_The Necklace_
_The Symbolism of the Necklace_
The necklace is the most conspicuous of adornments. The earclip is more
subtle, because it performs a double function: it is to be noticed
for its own beauty; at the same time, quietly and without advertising
this aspect of its role, it helps to shape the contour of the head and
to bring out a radiant glow in the countenance. In the necklace, the
importance of these functions is reversed. The jewel worn around the
neck can play a part in moulding the personality and enhancing its
highlights—it must always be chosen with these things in mind, but its
major purpose is display.
Because of its prominence, the necklace from early times has been a
symbol of high office. It was worn by kings and was reserved for those to
be specially honored, as soldiers returning from victorious campaigns. It
is still part of the ceremonial regalia of priests of various religions.
The universal employment of the necklace as an article of feminine
adornment has led to its almost complete withdrawal from the masculine
wardrobe. For formal occasions, however, it is still used to designate
rank or honorary station, in some variation of the wide band that goes
around the neck and comes down to, or is fastened at, the belt. In
the United States, for example, the President signalizes the bravest
soldiers by placing around their necks the Congressional Medal of Honor.
For most of its uses, the necklace is donned without any sense of this
long symbolic history. Yet it may not be too imaginative to find an echo
of this significance in the romantic gesture with which a man places a
beautiful necklace around the neck of his beloved.
_The General Effect_
Being the most prominent article of personal adornment, the necklace
requires considerate care. Poorly chosen for the particular individual—no
matter how attractive the jewel in itself—it may make a woman seem
overdressed. Stones of the wrong color may make her skin look sallow. A
heedlessly selected style may emphasize wrinkles in the neck. With proper
thought, however, the right necklace, well fitted, not only presents its
own beauty but adds youth and beauty to the chinline and neck of the
wearer.
The saying that a woman is as old as she looks gains further truth from
the powers of jewelry to contribute to the color of the skin and the
lines of the body. The lines that curve upward from the shoulders to the
head have much to do with the general impression of youthfulness, vigor
and health, or of drab weariness, fatigue, and age. And it is along these
lines that even the most beautiful woman draws on the aid of the necklace
and seeks not just the beautiful but the beautifying jewel.
_The Diamond Necklace_
The sparkle of the diamond necklace suits any complexion and enhances
the glow of any skin. Unfortunately, its use is restricted to special
occasions, which alas too seldom shed their brilliance upon one’s crowded
year. At opening night of the Horse Show or the Opera, the diamond
necklace is worn, as at the season’s Charity Ball or a Gala Concert. It
is appropriate, also, at formal receptions and, of course, should always
accompany a woman on a trip abroad.
_The Rivière_
One of the most attractive, dressiest and most timeless styles in
the diamond necklace is that single strand of diamonds, the straight
line necklace, known as the rivière, or river of light. Whether the
diamonds are uniform, that is, all of equal size, or graduated around
the neck with the largest centered in front, nothing should be allowed
to interfere with the incomparable beauty of the gems. No medallions of
precious metal should be allowed between. The one concern of the jeweler
should be to achieve the flowing sequence of perfect solitaires, in one
accordant interplay, a cascading river of brilliance and sparkle.
Care must be taken with the fitting of the rivière so that none of
the diamonds will overturn when it is worn. An expert craftsman knows
that the first requirement is the pre-shaping of the mountings, before
the stones are set, to conform not only to the shape but also to the
movements of the neck. A painstaking jeweler may make a plaster cast of
the lovely neck and shoulders which are to receive the rivière; upon this
cast he can form the rounding jewel. Every good jeweler possesses some of
the skills of the sculptor.
The round diamond solitaire rivière is, beyond all compare, the most
brilliant and regal of necklaces. The fireworks of light, constantly
flashing from gem to gem, echoing and re-echoing their sparkle, give to
the skin a soft and velvety glow.
_The Baguette Necklace_
Another beautiful diamond necklace, almost as attractive as the round
solitaires, is one made of baguette diamonds. It is both more sedate in
mood and more modern in style. The baguette necklace, moreover, while it
is beautiful in its sole array of diamonds, may also be worn with further
adornment—a diamond motif or clip or tassel, of which more will be said
in connection with other necklaces.
The rivière necklace, round or baguette, is often made so that it can
be separated to form two bracelets. It is thus a flexible jewel and can
be used on the arm when the informality of the occasion would make the
all-diamond necklace less appropriate.
_The Pearl Necklace_
Although the diamond necklace, especially the unsurpassed rivière, is
worn only on the most special occasions, there is hardly ever an occasion
on which a properly chosen pearl necklace is out of place. The pearl
necklace is the most beloved as well as the most versatile of all such
jewels. The simplest tailored suit will be graced by a tailored choker,
or by one or two strands of well-matched pearls. The pearl necklace can
be worn on a sweater, a high-neck dress, a V-neck dress, a low-cut gown.
I have seen one, though I do not recommend it, worn with a bikini; and
one, doubled about the ankle, taking the place of the thin “slave chain”
of gold.
The pearl necklace looks proper on a simple lass in her teens, and it
graces the frail or fuller charms of an elderly lady. While it is thus
general in its range of use, it is by no means indiscriminate in its
bounty; the shade and the size of pearls must be carefully selected in
order for their harmony to enhance the wearer.
_The Colors of the Pearl_
There are innumerable shades of pearls from which to choose. They vary
from chalk white through rose pink to dark cream. Some of them are
greyish or brownish; these may be becoming if suited to the complexion.
The general whiteness we first associate with the pearl is overlaid with
these other tones in softest lustre.
The simplest way of selecting the tint of pearl that will add its glow to
the complexion is to lay the strand against the inside of the wrist. Each
strand should be moved slowly back and forth and compared with the skin
tones. Usually one lustre of the pearls, one particular tint, will bring
out a velvety glow on the skin. This is the proper complementary shade
for the complexion. In making such a choice, it is well to take counsel
from the trained observation of a reliable jeweler.
_For the Brunette_
For a brunette, or someone with well-tanned skin, care must be taken lest
the pearls be too white. This will cause a dulling of the glow of the
skin. The wrist test described above will reveal that, for the brunette,
cream-colored pearls are the best.
_For the Blonde and the Redhead_
Either a blonde or a redhead, with a fair complexion, will find the
virtues of her skin enhanced by pearls of a pinkish hue. Especially on a
blonde, pearls can be most attractive.
For platinum hair, however, more than the complexion must be considered.
In such cases, the wrist test is not enough. The pearls should be laid
against the hair, as though to form a head-band. Usually platinum hair
will accord with pearls of a greyish-white tint.
Properly chosen pearls will withstand the variations in skin shades due
to the seasons. The fairer skin of winter, the summer’s burn or tan, do
not affect the underlying pigmentation which harmonizes with the lustre
of the pearl.
A woman gives time and thought to the selection of a harmonious shade of
lipstick or nail polish; she should take more pains with the selection of
the more permanent and more important necklace of pearls.
_For a Long Neck_
A woman with a long neck will find that its length seems diminished if
the necklace is of the choker type, fitted very closely into the nape
of the neck. It should be of uniform size all around, not tapering down
towards the back. If the neck is thin, it may be made to seem quite
attractive in a chiffon scarf with the necklace over it.
_For a Wide Neck_
A tapering necklace, loosely worn, with a prominent center pearl, will
tend to pull together the lines of a neck that is wide. A double strand
necklace, hanging with some space between the strands to make it airier,
will also counteract the sense of width. For a slimming effect, a tight
necklace should be avoided.
Large beads will make a neck look smaller but must not be worn if the
neck is both full and short With a short neck, a long string of pearls
or beads may be draped loosely over a dress with a low neckline, without
collar or scarf. If the strands are properly arranged, close together or
loose as the neck demands, more than one strand may be worn no matter how
the neck is fashioned.
_Size of Pearls_
The size of the pearl is also to be considered. On a long neck, it is
wiser to have the pearls all of one size. On a wider neck, they will
be more attractive if they are graduated, smaller ones at the back and
around the sides, then growing toward a large central pearl at the front.
Note that with a young girl large pearls are not in good taste. A string
of smaller, well chosen and well matched pearls is impeccable and
charming.
_The Proper Stringing of Pearls_
Once a fine strand of pearls has been selected, it should be strung so
as to gain full advantage from its own lustre. The glow of pearls is
enhanced by their reflection; the closer they are to one another, the
more beautiful they all look. Knots, sometimes fashioned between pearls
to strengthen their stringing, should never be made in the front of the
necklace. But if this is done, for reasons of safety, the pearl stringer
must take care to make the knots extremely small and very close with no
gaps showing between the pearls. The rhythm of the well-matched pearl
necklace with the highlights moving from one pearl to the next should not
be disturbed by improper stringing. When a string breaks, it is virtually
always near the clasp; knots, therefore, should be made for the five
pearls on each side of the clasp. This is usually enough for safety and
does not interfere with the beauty of the jewel.
_The Necklace Clasp_
Whatever the necklace, it must have a clasp. For a single strand, the
clasp should be small and worn in the back. A large clasp is apt to turn
or become entangled in the hair.
With a pearl necklace, a clasp of a colored stone, such as a ruby or an
emerald, will make an effective complement, highlighting the pearls; but
for any necklace a diamond clasp offers perfect harmony. A frequently
available diamond to use for such a clasp may be found nestling next to
the little finger of the left hand—the diamond of the engagement ring,
“grown too small along the years.” Such a stone has lost none of its
sentimental value. Its sparkle and the memory of courtship nights may be
preserved in a necklace clasp.
_Designs for Clasps_
A larger necklace of double or triple strands naturally calls for a more
elaborate clasp. Such a clasp should not be merely a functional piece to
hold the necklace together; it should be chosen for its own beauty and
harmony. Often such a clasp, with the holding mechanism hidden, is worn
in the front.
An effective design, in excellent taste with most jewels, may be
fashioned in a flower motif with a black pearl in the centre. A
smart-looking clasp, consisting of round diamonds and baguettes, can be
made to separate into as many smaller clasps as the necklace has strands.
One may thus wear a single necklace of, say, three strands, or three
separate necklaces at the same time or on different occasions. Different
lengths and combinations of necklaces can be arranged, in this way, to
suit the mood or various degrees of décolleté. Clipped together, the
whole clasp forms a beautiful ornament at the back of the necklace.
_For Formal Wear_
With a strapless evening gown, where the line of the back should be
uninterrupted, another pattern of necklace and clasp lends distinction
to the ensemble. This is an arrangement of three to five strands in the
front, with only two or, at most, three smaller strands, close together
in the back. There are two motifs, one on each side, separating the back
strands from the ones in front; one of these motifs conceals the clasp.
The two motifs, which may be of diamonds or of gold, should be visible
only from the front, so as to preserve the graceful lines of the back
décolleté; they can be highly decorative while remaining less formal or
less pretentious than a necklace of diamonds.
When wearing such a many-stranded necklace, long earclips, at other
times suitable to an evening gown, should be eschewed; the combination
will seem overdone. The two clasps and the strands of pearls will be
sufficiently eloquent, if worn together with regular, not pendant,
earrings.
_The Sentimental Clasp_
A clasp may often be fashioned of an heirloom. There may be a brooch or
a ring which has been passed along in a family for generations or been
linked with personal and sentimental episodes and memories. Or there may
be a piece of jewelry which a woman does not wish to abandon—yet which
has fallen out of style. What may look old-fashioned on the dress front
may preserve all its beauty as a clasp. Indeed, an old piece of jewelry,
without altering the setting, may in this way be incorporated into a
necklace. The very beautiful early Victorian or baroque flower brooches,
for example, and rings and ornamental pins of those styles, may readily
be converted into clasps for a two- or three-strand necklace. A brooch
may become a centerpiece to be worn in the front, or it can give an
unusual but becoming effect worn at the side. Carefully fitted to sit at
the proper place at one side of the neck, such a clasp adds distinction
to the contour.
_Fitting the Pearl Necklace_
A properly chosen pearl or bead necklace can do much to counterbalance
features of the neck. Few women realize this and therefore do not pay
sufficient attention to their choice. They spend less time on this than
on the selection of a hat. Yet I have seen cases where as little as
one-eighth of an inch difference in length made all the difference in the
world in beauty.
For a long neck, the necklace should be short and rest on or a little
above the nape of the neck. For a shorter and wider neck, the necklace
should come a little below the nape to create an oval rather than a round
impression. A heavy neck can be deftly dressed in three or four strands.
The first strand should nestle slightly below the nape of the neck with
just a little space left between the rows—too much will give the effect
of a dowager. Properly spaced, such a necklace will create a slender and
youthful appearance. A motif on each side, by breaking the even line,
will further create an effect of a longer and more slender neck.
_The Bead Necklace_
For thousands of years the lapidaries of India have painstakingly,
by hand, cut, polished and pierced rubies to fashion them into beads
for necklaces. The often uneven shape is preserved so that the slight
irregularity of the beads both stresses their preciousness and adds to
their charm. Ruby beads are usually strung on silk or on platinum wire,
as are beads of emeralds and sapphires. The beautiful glow of these
precious stones is soft and flattering, no less so when interspersed with
motifs of brilliant diamonds and baguettes. Such an array of rubies or
deep sapphires, directly touching the radiant skin, is a breathtaking
sight.
_Fashions From India_
The Indian Maharanees, visiting the leading fashion centers of the world
less than a century ago, came with large assortments of these precious
gems. The many-stranded necklace, first seen in the gorgeous costuming
of the Eastern lands, created a new fashion in the western world. Today
every elegant occasion is sure to be graced with some of these necklaces
of rare and exquisite beauty.
I once had the pleasure of designing for Her Highness Indira Dewi, the
Maharanee of Cooch-Behar, a parure of ruby beads: earrings, necklace,
bracelet and ring of enormous stones, all combined with diamonds. My
first visit with Her Highness held me amazed. She opened a great cowhide
coffer which contained an unforgettable assortment of pouches made of
the finest gold brocade; they held a veritable dream of riches. Rubies,
sapphires, emeralds poured forth—thousands of carats in each pouch. I
watched, as though in a vision of Aladdin’s cave, while this glimpse of
the Orient was spread before me.
It was much as the Elizabethan poet Christopher Marlowe pictured in his
dream of the Orient splendor:
Give me the merchants of the Indian mines,
That trade in metal of the purest mould;
The wealthy Moor, that in the eastern rocks
Without control can pick his riches up
And in his house heap pearls like pebble-stones,
Receive them free, and sell them by the weight;
Bags of fiery opals, sapphires, emeralds,
Beauteous rubies, sparkling diamonds,
And seld-seen costly stones of so great price
As one of them indifferently rated
And of a carat of this quantity
May serve in peril of calamity
To ransom great kings from captivity ...
Infinite riches in a little room.
_Other Necklace Jewels_
Necklaces are, of course, wrought with many other stones. There are soft
and Battering shades of aquamarine, turquoise, amethyst, lapis lazuli,
the frequent coral and the aristocratic jade—to name but a few—that look
superb on a proud neck. Earclips and rings may usually be worn to match.
Such parures and semiprecious stones make ideal sets for daytime wear,
especially, since they combine delightfully with cotton and with chintz,
for a young, fresh, summertime effect.
Coral may be used in almost any range of red, from deep ox-blood to the
most delicate hue of pink. The white corals, especially chalk-white, are
unbecoming to most shades of skin and are not recommended save for that
summer shade regretfully called “new sunburn.” Whatever the stones, the
color of the necklace should be chosen with regard to the more usual
complexion so that the brightness of the jewels adds an accordant glow to
the skin.
_The Necklace of Gold_
Today the gold necklace is worn in endless variety. It may be narrow or
wide; simple or elaborate; classical, antique or modern.
A tailored gold necklace can be worn throughout the day. It is likely to
have rather heavy links, and the brightness of the gold will shed lovely
highlights on the skin. Or it may be fashioned of twisted wire, sometimes
in multicolored gold, thereby creating a three-dimensional effect in
the design. Here again the jewel shows how akin the goldsmith is to the
sculptor.
The dressier types of necklace are worn quite wide. They are daintily
made, woven to deserve the name “neck-lace.” Being fashioned of fine
metal into open work, they are flexible and follow the movements of
the neck. Such a gold necklace can be touched with diamonds or colored
stones, so as to create a lively interplay of highlights which brighten
the soft glow of the skin. The metal should be chosen so as to capture
not the brazen but the softer qualities of the gold.
_Appendages: The Tassel_
A charming variation from the plain band around the neck is achieved by
the addition of a tassel. The knot of this may be a tight band of gold,
plain or centered with a diamond. The hanging cords may be links or
chains or tiny medallions of gold; they may be many strands of pearls;
or they may be baguette and round diamonds in a tumbling cascade. There
is something especially feminine, and pleasantly gay, in a tassel. Its
constant motion keeps it ever freshly beautiful.
The tassel may be worn, for a change, gaily swinging from the jacket as a
lapel pin, but it is at its best on the necklace. There it will usually
hang from the center; but it should be made detachable so that, with
certain dresses, it may be put on the necklace at the side to give a
different, piquant air to the ensemble.
_Appendages: The Single Drop_
At the height of mid-century necklace fashion is the addition of the
single drop. This should not be long, like a pendant, but rather one
large extra stone, clipped on close to the collier to add chic and
smartness. It may be a pear-shaped diamond, a grey or a black pearl,
an emerald, or indeed any stone that harmonizes with the necklace
color—though most frequently such a drop is worn on a necklace of
diamonds or pearls. The single stone is set with an almost invisible
clasp and can be attached to the necklace at any point desired.
Resultant effects can be startling. The appearance of the necklace may
be completely transformed; a daytime jewel may be transmuted to evening
elegance. Various moods can be deftly suggested, or stressed, by the
clever placing of the jewel drop.
_Transformations_
The construction of a necklace so that it can be transformed, as I
suggested before in connection with the rivière, marks an increasing
aspect of jewelry design. The diamond necklace, appropriate only to the
off-shoulder evening gown and adorning only the most formal occasions,
spends more time in the treasure chest or vault than any other jewel. Its
usefulness is increased many-fold when it is so created that it comes
apart to form bracelets and clips and other jewels more frequently worn.
The devising of detachable parts and convertible jewels is no new-fangled
practice. It began in France before the French Revolution, first gaining
popularity with a social élite that initiated many fashions. Many
eighteenth and nineteenth century necklaces also served as tiaras. Jewels
in our museums today testify to the great skill and ingenuity with which
the earlier artists cunningly contrived and concealed the mechanical
devices that made possible these transformations.
_My Own Conversions_
One of my own most exacting assignments was to create such a necklace
for a beautiful Viennese ballerina. It was specified that the necklace
should separate to form a bracelet and five clips of various sizes.
Two of these were to form an assorted pair of dress clips; two were to
be matched for the ears; one was to be larger, to serve as a brooch
but with an attachment so that it might also become a hair ornament.
The completed necklace, which was really a unified parure, was put on
exhibition, bringing me my first Gold Medal _für Schönheit und Kunst_ at
the Künstlerhaus.
Another of my necklaces, displayed in color in Vogue Magazine, is
separable into two bracelets, of different size and design, and a large
dip that can be used on a dress or as the centerpiece in other jewels.
Other convertibles suggest themselves, once the imagination begins to
play. It must be remembered that the problem is complex, because it is
not simply a question of what other jewels a main piece can be broken
into. The major concern is how well all the transformations fit the
personality of the individual who is to wear them.
I have designed a diamond-encircled ring, the main piece of which is a
diamond rose. The center stone of this rose may be changed, so that a
ruby, emerald or pearl can be set in, according to the mood, the occasion
and the color of the gown. Also, the entire diamond rose may be detached
to become a brooch or a main attachment on a bracelet.
Another of my convertible jewels is a diamond necklace that can be used
as a choker or, by the addition of platinum chains, can be lengthened
in various sizes. It may also, with the help of the platinum chains, be
turned into two bracelets. Still another convertible—of which there can
be many motifs—is a fan-rosette clip, made to slide so smoothly onto a
diamond necklace that the two become one jewel.
I have found it a challenge to devise necklaces convertible into other
unusual jewels; many of these have been exhibited and shown on newsreels
throughout the world.
_What a Woman Wears, Others See_
A mirror is the nearest a woman looking at her jewels can come to the
world’s viewpoint. She wears the jewels; others should admire the effect.
And they will only if the complexion, the contours and the personality
have all been wrought into harmony in the selection of the jewel. The
completely garbed and adorned woman is the jewel.
Few women can buy a different necklace for each garment they are likely
to wear. A well chosen necklace should be attractive whether worn close
to a high-neck dress or above an off-shoulder gown. It should be tried on
with both types of dress before being bought.
A good jeweler will not only permit but encourage such a practice. He
will lend his counsel out of his wide experience. He will probably be
more interested in making a woman happy than in making a sale. (Even
from the point of view of his own financial advantage, this is a wise,
long-range view. And no woman should go to a jeweler whose interest in
her will not be long-range.) In addition to a good jeweler, there should
be another male more nearly concerned, whose opinion is valued. But
the woman herself has to face the world with her jewels. They are her
adjuncts and intimate accessories to beauty. In the final choice she must
remember that the necklace, most prominent of her jewels, must capture
her own personality and tastefully proclaim her character.