"Fashion Flashback: Bracelets" written by Morgan Watkins

One of the oldest pieces of jewelry known to man is the bracelet. Worn and adored by cultures far and wide, bracelets can be tracked back tens of thousands of years. But how did some of our favorite styles come to be? Read on to learn more about bangles, charm bracelets and other beloved arm candy.

Initially, bracelets were made out of a variety of natural goods such as stone, twigs, feathers, horns, teeth, and even insect secretions. In 2008, archaeologists discovered a stone bangle that could be as old as 70,000 years. Researchers believe that an early human species known as the Denisovans crafted the ancient piece.

(Image from https://www.dailymail.co.uk/sciencetech/article-4753746/Scientists-believe-stone-bracel et-70-000-years-old.html)

Other bangles have been found within tombs and other ancient ruins all over the world, ranging from Mayan stomping grounds to Roman ones. In Indian cultures, glass bangles are customarily worn by brides to represent safety and a prosperous marriage. These glass accessories are worn for life; they’re only broken or removed in themselves with wrist cuffs constructed from leather and metal, while also wearing upper and lower arm cuffs for ornamental reasons. Snake inspired bangles which coiled around the wrist were en vogue, until bracelets lost popularity in the Middle Ages, when Christian and Catholic ideals claimed the wearing of jewelry to be an act of shameful vanity.

(image from www.talkingfashion.net)

This religious mindset humbled individuals around the globe until the Renaissance rolled around. While men were less likely to be seen accessorizing with bracelets at this time, European women insisted on bringing the ornaments back into style around the late 16th and early 17th centuries. Cameo bracelets depicting images of gods, deities, animals, landscapes and more were on trend, and by the Victorian era, so were charm bracelets. Charm bracelets were originally introduced by Egyptians in ancient times. The charms were said to be magical, providing luck and protection to the wearer.

(image from www.talkingfashion.net)

Around 500 BC, Persians and Babylonians also wore charms for their special powers. But it was Queen Victoria, who wore a gold chain adorned with lockets containing portraits her family, who initially revived the wristlet. The charm bracelet became known as jewelry that was not only charming and elegant, but also an accessory that held personal meaning and significance. From that template came new ideas for charm bracelets, like the cha cha, which is adorned with beads rather than traditional charms.

(image from www.talkingfashion.net)

Like Queen Victoria’s charm bracelet, friendship bracelets also carry themes of love and loyalty. Indigenous people from Central and South America are said to be the inventors of the friendship bracelet, which was constructed by weaving together colorful threads, beads, shells and more. The traditional wearing of friendship bracelets is sacred, for the creator puts a considerable amount of love and hard work into the completion of the wristband. Once the bracelet is tied around the receiver’s wrist, they are allotted one wish which will only be granted if the band is worn until it slips off naturally. Removing the bracelet manually is a sign of a failed or broken friendship, and whatever wish the receiver may have made will be forgotten. The return of the friendship bracelet took place during the 70s, when peace, love and anti-war were common social themes and weaving became a fun craft for kids and teens alike.

(image from www.talkingfashion.net)

It was during the 20th century that bracelets, like other pieces of jewelry, became more affordable due to increased production. Lines were more refined and simplified in comparison to earlier designs as Art Deco influenced fashion. Slim, plastic bangles, wide cuffs, dainty chains, and charm bracelets made of gold-plated brass and sterling silver were popular styles worn by women far and wide. Men even started donning bracelets once more, opting for edgy sterling silver chains.

(image from www.talkingfashion.net)

From the Denisovans to the Chloé runway, the bracelet is the 70,000 year old accessory staple that is constantly being made new in fashion.

(Image from http://www.vogue.it/en/shows/show/collections-fall-winter-2018-19/chloe)

References: “History of Bracelets.” Overstock. Overstock.com, Web. “Oldest Obsidian Bracelet Reveals Amazing Craftsmen’s Skills in the Eighth Millennium BC.” Phys.org. Science X Network, 2011. Web. Stewart, Will. “World’s Oldest Known Stone Bracelet Could Rewrite the History of Early Man: 70,000-Year-Old Bangle Suggests Our Ancestors Were Far More Sophisticated than Thought.” Daily Mail. Associated Newspapers Ltd, 2017. Web. Trautmann, Julianne. “Bracelets.” LoveToKnow. LoveToKnow Corp, Web. Wheat, Michele. “All About Friendship Bracelets.” Wristband Resources. Wristband Resources, Web.

The 1960s: From Homemaker to Hippie Chic

By Paige McKirahan

The 1960s was a truly transitional decade filled with experimentation and defiance. In the earlier years, it was very reminiscent of the conservative styles popularized in the ‘50s, but the late ‘60s were the complete and utter opposite. This contrast makes you wonder if the extreme traditional values of the previous decade created this opposition where women showed more skin and were more flamboyant than ever. The world’s fashion leaders were shifted as the overwhelming British Invasion had to do with more than just The Beatles and Twiggy. The London look trumped Parisian couture and modern, youthful styles took hold of the public as new fashion icon’s bold aesthetics shook the industry to its core. 

In the beginning of the decade, Jackie Kennedy was the “it” girl of fashion; her style as simple, clean, well-tailored, and perfectly cohesive. She wore collarless dresses with one large top button, accessorizing with pillbox hats, sensible heels, and Chanel bags that were widely popularized in the ‘50s. Her global influence came to a screeching halt after the assassination of her husband, President John F. Kennedy, and she was removed from the public eye.

Women now had to discover a new fashion inspiration and found it in pop culture icons Brigitte Bardot and Mary Quant. Quant's style moved away from stiff, “adult” fashions and leaned towards youthful, short silhouettes with bold prints and accessories. Bardot, on the other hand, was very different than both Kennedy and Quant; her “tacky” and bold style was unlike any others that we had seen before and she was so influential that her pink gingham wedding dress with lace trim started a movement all on its own. We can also thank Brigette for popularizing the off the shoulder look, affectionately known as the Bardot neckline, that has come back into circulation in the past few years.

Brigette Bardot sporting her namesake neckline

(image credit pinterest.com)

As the decade zoomed forward, experimentation was brought to the forefront with mod style. Designers began revolting against traditional, waist cinching styles from the ‘50s and used the youth rebellion spreading from England to garner massive profits. The mod look boasted miniskirts, colored tights, low heels, mannish jackets, and ties. Shift dresses became trendy and their hem lengths were directly related to how women felt about their own sexual liberation, giving them a power over their own sexuality that was previously unheard of.

One of fashion’s most iconic faces, a icon known to the public as Twiggy, commonly modeled this style and had women stepping into freeing clothing that allowed personal expression. Colors and prints were inspired greatly by the pop and modern art movements, with bright hues, stripes, and Campbell’s soup cans adorning everything from dresses to bags.

Supermodel Twiggy in a mod shift dress

 (photo credits to pintrest.com)

This rebellion also is responsible for the birth of the hippie movement, which was a political anti-fashion statement that was so popular it became a mainstream trend. The late ‘60s saw an earthier hippie style than the 1970s and the more colors, the better. Extremism was a huge part of this form and it affected everything from accessory choice to silhouettes. Hats were oversized, vests were knee length, and coats drug the floor. Folk motifs were front and center, influencing clothing and jewelry alike with ethnic motifs. There were no rules with this type of fashion; you marched to the beat of your own drum with no regard for outside judgement.

The jewelry of this decade still loved the longstanding costume style, but designs became bolder and increasingly more expressive. Many jewelry producers began experimenting with lower cost materials, rejecting the idea that jewelry represented status. Textured gold was still popular, yes, but plastics like vinyl, resin, and Perspex could be produced in mass quantities for a very low cost. The Pop Art movement that was influencing fashion made its way into accessories, with large geometric shapes complimenting the simple shift dress silhouette.

Floral motifs that have been used in jewelry for decades’ prior were revived in a big way as the birth of the Hippie movement and Flower Power trend paired with the new plastics of the time allowed the designs to become bold and colorful. Long, dangling earrings also came into fashion as shorter hairstyles were in and clip earrings were out. Large bangles and statement rings were ‘60s staples and were easy options to update outfits that need a little bit more va-va-voom. Lea Stein was one of the most popular designers of the time; after she started her company in 1957, she began manufacturing buttons for apparel. She then made her way into jewelry and used layers of colored cellulose acetate to create her trademark character pieces.

Though this decade seems to have dipped its toes in multitude of differing trends, the ‘60s made its mark in the fashion industry and changed style forever. People no longer felt the need to conform to society’s idea of stylish and instead started dressing in a way that expressed their personalities and taste. I think everyone should be a little rebellious in fashion because without rebellion, how do will we stand out? To start a fashion rebellion of your own, head over to our '60s collection to find pieces that express who YOU are!

The Resurgence of Opulence and Femininity in the 1950s

By Paige McKirahan

As society was finally on the road to recovery in post World War II and Great Depression America, fashion began to reflect this return to the norm as it exploded into new directions and silhouettes. In 1947, Christian Dior created ‘The New Look’ collection, which the first from the couture house and his first as a designer. The goal of the line was to revive France’s international fame in the fashion industry and it was wildly successful; Dior’s excess use of fabric and extremely womanly forms were a refreshing change from the rationed simplicity we became so familiar with in the 1940s.

He was extremely fond of the feminine motifs used in the ‘30s and they were easy to bring back into circulation as women were greatly encouraged to fulfill their roles as beautiful, well-dressed homemakers. Influenced by Victorian era silhouettes, skirts became full and busts were padded to create tiny waists in shorter, sexier styles. Despite the fact that this collection was released in the late ‘40s, it became a huge inspiration for ‘50s fashion and set the tone for the decade’s biggest trends.

Dior’s ‘New Look’

(photo credit to harpersbazaar.com)

Fundamentally, the 1950s were a time of conformity and modesty. Women’s appearances were directly correlated to their husband’s success, causing them to spend more time shopping and updating their closets with the latest fashions in order to appear affluent. There were two main dress types popularized in this era: the swing dress and the pencil dress. The swing dress featured a full skirt and the pencil was a form fitting sheath style. Both had cinched waists are were shin length, but the sheath style was impractical to wear around the house as it didn't allow for much movement. Housedresses were full- skirted and simple in cotton, with shorter sleeves and collars. If a woman had errands to run, she could wear her housedress out and spice it up with matching accessories and a pair of heels rather than flats. Evening and cocktail dresses were glamorous and made of rich fabrics including silk, satin, lace, velvet, and chiffon.

 1950s day dresses

(image credit to vintagedancer.com) 

Skirts were full and commonly made of one large round piece of fabric, dubbing them 'circle skirts'. Fluffy petticoats were worn beneath them to add volume and some were pleated at the waist to give an added fullness. Pockets were common and were either hidden on the sides or adorned on the front as an added statement piece. Poodle skirts are quite possibly one of the most iconic styles to come out of this period, though they were not popular as we assume them to have been.

Jewelry in the ‘50s was clean, colorful, and ornate; as spending power increased in this decade, costume jewelry flourished and gave women the opportunity to coordinate their outfits with accessories effortlessly. Some novelty designs and patriotic motifs were still popular, but they were eventually replaced by classic shapes and colors that were easier to pair with clothing. Expanding on this desire for cohesiveness, many women wore matching sets of jewelry, which were commonly referred to as parures. At the beginning of the decade when pierced ears were not socially acceptable, ear clips reigned and were gem-laden and oversized.

Pearls enjoyed a huge boom in popularity as their chicness paired beautifully with the feminine styles of the time. Yellow- toned and rose gold was the favored choice, along with the synthetic plastic Lucite. Lucite played a huge role in jewelry innovations of the period and prompted the creation of the jelly bean pin; this style of pin was quite small and Lucite was crafted into tiny cabochon balls to form the belly part of the animal design. Trifari and Coro were both huge names in the jewelry industry as they produced the increasingly popular costume jewelry and were the largest manufacturers in the American market.

Clip on earring featuring pearl and gold accents

(photo credits to vintagedancer.com)

Small hats were worn by mature women in this time period, typically made of felt and adorned with flowers, feathers, or bows. Pill box hats, berets, plate hats, and the cloche popularized by Audrey Hepburn were all prominent styles and were created to sit delicately on the head as to not compress the hair. Hair flowers were a famous alternative to hats and were integral to the pin-up look. Scarves tied around the entire head or worn as a headband also accompanied the Rockabilly aesthetic and emphasized the hair flip style. One barely left the house without a pair of gloves, and matching them to hats and purses was a popular practice. Purses tended to be smaller and hobo styles were iconic, along with novelty bags made of unusual materials.

After two decades of rationing and longstanding economic turmoil, the 1950s was a period of overwhelming optimism and change. Dior completely altered the fashion world with his debut collection and pushed the trends of the era towards femininity and opulence. We see accentuated waists come back into style and the rise of more traditional values prevail, which greatly influenced industry trends. If this has inspired you to emulate this iconic era’s style, head over to our collection to check out some vintage pieces that are sure to give you that ‘50s feel!

Fashion Without Boundaries: Genderless Designs Take Reign

By Paige McKirahan

Fashion is, in short, a form of creative expression; those participating in this expression should feel as if they have the freedom to wear what they want when they want, regardless of the restrictive gendered guidelines set by society. In a time that seems more accepting and open to new ideas than ever, discussions of gender fluidity are now front and center as debates of right and wrong flood the media. Though many aren’t choosing to embrace these societal changes, others see them as opportunities for self-discovery and evolution. Celebrities like Jaden Smith and Young Thug are prime examples as they flout gender norms with ease, wearing dresses and skirts simply because they prefer the style. In lieu of Fashion Week, we wanted to look at some designers that do not see gender as a barrier in style, aiming to create inclusive collections for all. With men and women’s styles now both walking down the runway in combined shows, the question of what is masculine and feminine is being posed. But, in reality, who gets to decide these distinctions? Do they even matter in the end?

Jaden Smith in skirts for various campaigns

(image credits to youtube.com)

Fashion has been crossing these lines for years and we have seen genders appropriating opposing styles since the ‘30s when menswear came into fashion for women during wartime years. But showing these both gender’s lines together truly allowed us to consider the distinct differences (or lack thereof) between the two. Materials and fabrics are the same, cuts are uncannily similar, and accessories are fluid. Many designers are also choosing to show these collections using androgynous models, further blurring the line between male and female. 

Raf Simons puts this androgyny to great use as he was the first to have a combined men and women’s show for Calvin Klein. As Simons began as a designer of men’s fashions, he used that knowledge and incorporated previous stylistic choices into creating clothing for both genders with feminine edges. Men and women were both in suits with blazers, sheer tops exposing nipples, and varsity stripe motifs.

Raf Simons Calvin Klein Collection F/W 2017

(photo credit to elle.com) 

Simons is one of the many designers using the runway to freely express the fact that men’s and women’s clothes can be interchangeable, but some designers are taking it to the next level and creating fully genderless designs. Offering a place in the industry for those who don’t find themselves confined by gender or simply do not want to abide by the norms, these labels have paved the way for this movement and have even prompted the Council of Fashion Designers of America to add a “unisex/non-binary” category to the NYFW calendar. 

One of these labels in particular is blurring these lines in a big way; Becca McCharen- Tran and her swimwear brand Chromat are aiming to make shopping less alienating by not using exclusionary language in regards to gender, making everyone feel welcome. She knows that being in a swimsuit can make one feel vulnerable, and wants to be sure that her brand has plenty of options for people from all walks of life, allowing them feel empowered in one of their pieces. The Phluid Project is also a game changer in retail space; Rob Smith recognizes that it is not a comfortable experience for those who want to shop in departments that don’t fit their appeared gender and began this project to combat that. He created the shop as a space for people who want to view fashion in a safe environment, exploring boundaries. He wants to eliminate gender expression and the concept that fashion or makeup should define your gender as he feels the practice is outdated.

An Instagram post from Chromat displaying gender neutral swimwear

(photo credit to highsnobiety.com) 

This trend has also made its way into the jewelry market as many people are now buying gender neutral pieces; it is now about the question “what does wearing this piece say about me?” rather than “was this piece made for me?” As more men are opting to wear jewelry, they are commonly choosing pieces that are characteristically more ‘feminine’. This new engagement takes them away from the traditional watches and cufflinks, moving more towards rings and bracelets that express their personalities. As we proceed towards acceptance of all and true freedom of expression, restrictions in the jewelry industry are truly breaking down. 

To conclude this discussion, I want to leave you with a quote from Gypsy Sport Founder, Rio Uribe, as you consider this move towards unification: “All clothes are gender neutral. It’s really about who’s wearing the garments and how they gender themselves. I love when a piece can be worn by anyone, whether they are cis, trans, male-, female-, or non-binary-presenting. Personally, I think that if kids weren’t told that blue jeans are for boys and pink dresses are for girls, then we would all be dressed as our true selves. So I design for people who think like me, who are themselves regardless of society’s expectations and regardless of what section of a clothing store they like to shop in.” Here at Talkingfashion, we believe that style is genderless and seeing these ideas being reflected on runways brings us great excitement. Always remember-- wear what you love, everyday!