Jewels by Paul Flato: America’s First Jeweler to the Stars

Katharine Hepburn Wears a custom Paul Flato Brooch in "Holiday."

Katharine Hepburn Wears a custom Paul Flato Brooch in “Holiday.”

by Angela Magnotti Andrews

There is nothing more awful than to wear some new jewelry and have nobody notice it, a contingency you can easily avoid by making sure yours are Jewels by Flato, which is to say, conversation pieces. ~Ad copy from the 1930s.

The conversation piece in question was a brooch consisting of jeweled radishes, complete with Flato’s signature naturalistic leaves and a diamond tie holding the bunch of red radishes together.

Conversation pieces by Paul Flato were all the rage in the 1930s and 1940s, especially among New York’s socialites and Hollywood’s elite. Known as one of the first of the Jewelers to the Stars, Paul Flato infused every piece with whimsical humor, exquisite gemstones, and flamboyant style.

His fascination with jewels began when he encountered a Gypsy at the age of 8. Out hunting for birds in the woods near his boyhood home in Texas, he and his friend accidentally burst into a Gypsy encampment.

Wild-eyed with wonder and more than a measure of fear, they watched as a Gypsy man twisted and bent silver wires into a necklace. Paul, fascinated beyond his fear, spoke up and asked the man if he was going to put a coin in it. Before the man could answer, the two boys high-tailed it home. {1}

Days later, Paul returned to the camp. All that was left was a large patch of matted grass, blackened ash, and a fragment of silver wire. He tucked that piece of metal into his pocket, just as he had tucked the memory of its transformation into his memory. {1}

After abandoning his pursuit of medicine as a late teenager, Paul turned that boyhood memory into a monumentally successful business venture. Collaborating with the likes of Harry Winston, who sold him diamonds and gemstones, and a team of top-notch designers, including Fulco di Verdura and George W. Headley, Mr. Flato launched himself into the jewelry stratosphere.

His jewels adorned some of Hollywood’s hottest stars, including Greta Garbo, Katharine Hepburn, Rita Hayworth, and Ginger Rogers. Among his most notable celebrity jewels are a diamond and ruby bracelet patterned after Mae West’s corset, and a gold pickax with black enamel sign language clips for Katharine Hepburn. {11}

Mr. Flato also collaborated with debutantes and socialites, including Millicent Rogers Balcom, heiress to Standard Oil, who designed a heart brooch, which Mr. Flato studded with rubies and sapphires. During his heyday, Mr. Flato opened two stores, one on East 57th Street in Manhattan and one on LA’s Sunset Strip across from the Trocadero nightclub.

Alas, in 1943 Mr. Flato took a sharp nosedive. Convicted of grand larceny, Mr. Flato served 16 months* in Sing Sing. A $60,000 diamond, given to him on consignment by a trusted client, vanished from his store. Turns out, Mr. Flato had made a practice of pawning such consigned pieces.

Upon his release, he moved to Mexico, reportedly to avoid another prison sentence. Some reports place him back in the US for a spell in the 1950s. However, his old friends Winston and Verdura had upstaged him by then.

Ultimately, he reinvented himself in Mexico City, opening a successful shop on the Zona Rosa. He thrived in New Mexico, but after an 8.1-magnitude earthquake struck near his home in 1986, his family insisted that the 85-year-old jeweler return to the US. America’s first Jeweler to the Stars died amid his family in 1999, at the ripe old age of 98.

Today, Mr. Flato’s “chic, timeless, blood-stirring, intriguing, thrilling, and absolutely unforgettable” {cited} jewels are among the cream of the crop for jewelry enthusiasts and collectors.  Many of his pieces have sold at big-name auction houses for hundreds of thousands of dollars.

Truly, if you have the opportunity to lay your hands on one of his pieces, don’t let go!

*some reports say 18 months

BIBLIOGRAPHY
1. Bray, Elizabeth Irvine. Paul Flato: Jeweler to the Stars. China: Antique Collectors’ Club Ltd., 2010.
2. Grima, Francesca. “Jewellers from the past…” Francesca Grima’s Jewllery Blog. December 29, 2009. http://francesca-grima.blogspot.com/2009/12/jewellers-from-past.html.
3. 
“Jeweler to the Stars: American Creative Genius.” Paul Flato Website.” http://paulflato.tntmax.com/history.
4. “Jewelry in Focus: ‘Say it in Jewelry’–Flato’s ‘Deaf & Dumb’ Sign Language Clips.” Jewels du Jour Blog. March 21, 2013. http://www.jewelsdujour.com/2013/03/say-it-in-jewelry-flatos-deaf-dumb-sign-language-clips/.
5. “Obituaries: Paul Flato; Jewelry Designer.” Los Angeles Times, July 24, 1999.
6. “Our Story.” Paul Flato Website. http://paulflato.tntmax.com/our-story.
7. 
“Paul Flato.” Lucas Rarities Website. http://lucasrarities.com/paul-flato-jewellery/.
8. “Pual Flato.” Wikipedia. Last Updated April 8, 2013. http://en.wikipedia.org/wiki/Paul_Flato.
9. “Paul Flato Hollywood Whimsical Jewelry.” Learn to Bead Blog. December 19, 2010. http://blog.landofodds.com/2010/12/19/paul-flato-hollywood-whimsical-jewelry/.
10. Rodriguez-Arguelles, Ines. “The Duke of Verdura.” Jewels Bijoux Joyas Blog. January 3, 2012. http://jewelsbijouxjoyas.blogspot.com/2012/03/duke-of-verdura.html.
11. Sarah. ”Life on the Roadshow.” The Pink Shoe Diaries Blog, March 31, 2010. http://ilookgood.blogspot.com/2010/03/life-on-roadshow.html.

GIA Museum Presents Kara Ross: Premiere Designer Spotlighted in Their New Series “Aluminati”

"Horizontal" by Kara Ross. On Exhibit in the GIA Museum's "Aluminati: Students to Stars" Exhibition. Photo credit: GIA on Pinterest.

“Horizontal” by Kara Ross. Photo credit: GIA Museum on Pinterest.

The raw crystals of this exquisite green dioptase dynamically extrude from its 18k yellow gold mounting in much the same manner it must have jutted out of its original brownish quartzite host. GIA graduate, Kara Ross, added a touch of glitter with a sprinkling of pavé diamonds, perhaps in honor of the carbonate crystals that often grow alongside dioptase in its natural form.

Ms. Ross is the first of a group of GIA alumni who will be honored with their own exhibitions at the GIA Museum in Carslbad, California. The museum’s latest series, “Aluminati: Students to Stars,” will showcase the far-reaching successes of their many talented graduates.

Kicking the series off with a bang, the bold and unique styles of Kara Ross will inspire and impress a public audience in the same way the cutting-edge designer has inspired and impressed a celebrity audience, including actresses Anne Hathaway, Kate Hudson, and Cameron Diaz, as well as U.S. First Lady Michelle Obama.

A highlight of the exhibition, Mrs. Obama’s custom “Shirt Cuff” bracelet, made from amethyst crystals, sterling silver, and the wood of a fallen White House magnolia tree, will be on display alongside the matching earrings Ms. Ross made for the fashion-forward First Lady. The bracelet and earrings demonstrate Ms. Ross’s unique ability to transform natural materials into astonishing works of art.

Ms. Ross got her start in jewelry design in her early teens. To commemorate a family safari in Africa, her parents encouraged their daughter to design and fashion a ring with the native tourmaline she chose. Inspired by downtown Philadelphia’s Jeweler’s Row, Ms. Ross created a ring of 18k gold and diamonds in which to mount the square-cut tourmaline.

This early start at creating jewelry marked her indelibly, and her passionate pursuit of designing with gemstones earned her the highest credential given by the GIA, a GIA Graduate Gemologist diploma. As a GIA Gemologist, Ms. Ross is a highly trained expert in diamonds and colored gemstones.

“Through the GIA, I developed my passion and knowledge for gemstones, and these inform and enhance all the designs I create today,” Ms. Ross told Jeff Miller of Rapaport Auctions. Her nearly-organic rendering of the green dioptase in the stunning ring pictured above demonstrates her statement. Visitors can see the ring, named “Horizontal” by the designer, as well as Mrs. Obama’s “Shirt Cuff” bracelet, and many more designs by the celebrated designer in the GIA Museum atrium.

According to the GIA Museum’s website, Ms. Ross’s work will be on display through October 2013. For a free guided tour, visitors must call ahead to make an appointment. To schedule a tour, call 800-421-7250, ext. 4116.

Vintage Celebrity Jewelery: The Jewelry of J. Edgar Hoover

FBI Badge, circa 1935. Photo Credit: Greater Cincinnati Police Museum.

FBI Badge, circa 1935. Photo Credit: Greater Cincinnati Police Museum.

The year is 1924, and the jewel in question is a gift from Annie to her son, J. Edgar Hoover. It is a “small star sapphire ring.” {1} According to Clint Eastwood’s film, J. Edgar, the ring was made from platinum and set with six diamonds and a star sapphire. Upon J. Edgar’s death, on this day in 1972, Mr. Hoover bequeathed the ring and two cuff links to John Edgar Nichols, son of Mr. Hoover’s faithful publicist, Louis Nichols.

Mr. Hoover also willed his platinum watch with a white gold wristband to his other namesake, John Edgar Ruch, son of the FBI Director’s first ghostwriter, George Ruch. {2} In pictures of Mr. Hoover, his customary uniform of suit and tie is often minimally ornamented with a few choice of personal ornaments, most distinctly a ring which he wears on his left ring finger, a watch and/or bracelet he wears most frequently on his left wrist, and on at least one occasion a small lapel pin. Unseen in the photographs would be the conventional cuff links, likely FBI issue, though he may have had a few personalized pairs.

His biographers credit it him with affection and generosity, reporting that he often bought jewelry for his mother. However, there is scant record of which jewelers he favored, though several reports indicate that he was friends with Paul Flato, renowned “Jeweler to the Stars”.

It is likely that the lapel pin was associated with one of the many fraternal organizations he belonged to, either the Shriners, the Masons, or even the FBI. According to public records, the declared value of his personal property at the time of his death, including jewelry, books, antiques, and other household effects, was at minimum $70,000, with some indications that this was a very low estimate.

While the trail on his personal jewelry seems to dry up at this point, there is one piece of ornamentation that J. Edgar Hoover had with him at all times–his FBI badge. His first would have been issued in 1917. The pattern for this initial badge was a miniature ornate shield, branded “US” in the center, which was encircled by a banner reading “Bureau of Investigation/Justice Department”.

In May 1927, three years after Mr. Hoover was promoted to Director of the Bureau, a new badge style was issued. This one featured a flat miniature shield crested by an eagle. In the center of the shield, between the branded letters “U” and “S”, Lady Justice (the blindfolded Greek goddess Dike) holds the scales of justice and her double-edged sword, symbolizing the power of reason and justice. In banner style, the words “Bureau of Investigation” and “Department of Justice” border the edges.

After the 1927 issuance, two different variations of this badge style were adopted. In 1934, they increased the size of the badge and cast it with a slight curvature. And, in 1935, the present style was adopted which demonstrates a more androgynous Lady/Lord Justice. The curvature of the badge is more pronounced, and the banner now reads “Federal Bureau of Investigation”, reflecting the final name change for the agency.

The first 1000 of these badges were manufactured in Attleboro, Massachusetts by the Robbins Company. Numbered 1 to 1000, these first official FBI badges are still in circulation. When retiring agents turn them in they are typically reissued to new agents. However, one of these original FBI badges will not find its way in the hands of a rookie agent.

Badge No. 1, issued in 1935 to first-in-command, Director J. Edgar Hoover, will soon take its place among over 2,000 items from the late Director’s estate at the National Law Enforcement Museum in Washington, DC. Scheduled to open in 2015, the museum promises to “tell the story of Director Hoover and the FBI like no one has been able to tell it before.” {cited}

Notes
1. Gentry, Curt. J. Edgar Hoover. New York: W.W. Norton & Company Ltd., 1991.
2. Ibid.

This Replica of Jade Jagger with a Twist of Belvedere Is Coming Up on Julien’s Auction Block in Mid-May

The Jagger Dagger. Photo Credit: Julien's Auction House.

A Replica of the Jagger Dagger. Photo Credit: Julien’s Auction House.

This handsome replica of the celebrated Belvedere Jagger Dagger will be on sale live at New York’s Hard Rock Café as part of Julien’s Auctions annual Music Icons sale on May 18, 2013. The dagger is really an ice pick with a twisted white enamel handle topped by an elegant blue enamel bead.

As confirmed by Martin Nolan, Executive Director of Julien’s Auctions, the handle and crossguard are set with clear and light-blue simulant gemstones and a central square of blue enamel. The steel blade is etched with delicate branches beneath designer Jade Jagger’s engraved signature, “JJ”.

Approximately 50 of these promotional Jagger Daggers were made, and according to Julien’s lot description none of them appear to have been sold publicly. While it has not been confirmed, this writer believes that this dagger is actually one of the legendary ice picks made for the sole purpose of carrying out the famed Jagger Dagger ritual at some of the world’s hottest night clubs in the spring of 2008.

Such a fantastical role in one of 2008′s most inventive marketing plans, combined with the allure of its famous designer, certainly packs this gorgeous dagger ice pick with more than its fair share of historical value. Here’s the story as I believe it unfolded.

As OTSP describes, it all began as a collaboration which fused Ms. Jagger’s “unique aesthetic” with “the world’s premium luxury vodka,” to serve up a delicious cocktail of high-class fashion, romping good times, jewel-encrusted rock and fashion legends, and of course Belvedere Vodka by the magnum.

Before the launch, the folks at Belvedere sat down with Jade Jagger to discuss “the cultural references surrounding communal drinking” and how to cut ice. {cited} Ms. Jagger discovered that hand-chipped ice melts at a slower rate than standard cubed or crushed ice, thereby affording perfectly chilled vodka without diluting its distinctive flavor and potency.

Drawing inspiration from Viking and Arthurian lore, Ms. Jagger combined glittering white diamonds and pale blue sapphires with the alluring mystique of lapis lazuli and moonstone to craft a dagger ice pick which captured what she called “the flavors and colors of Belvedere.” {cited} Once the dagger was perfected, she set her beauty and good name to work promoting the dagger and the vodka.

Following a string of lavish, star-studded unveiling galas around the globe, some of the daggers were entrusted to hand-selected premier nightclubs, such as 1 Oak in New York City, Crystal in London, and VIP in Paris. Club patrons who ordered a magnum of Belvedere Vodka (1.5 liters) were treated to the luxurious ritual.

While the exquisite jewel-studded dagger served as holy relic, set apart in a glass case for viewing only, it was, I believe, this dagger and the others like it which served as the true power behind the elaborate rituals performed at the world’s hottest night clubs that spring.

When a patron ordered the stunning bottles of Belvedere Vodka, a block of engraved ice was carried to the table by two attendants. In ceremonial fashion, a third server, wielding a Jagger Dagger, would hand chisel into the glasses shimmering shards of fresh ice over which a fourth server would pour the “creamy, peppery” vodka lauded as “the hottest vodka” {cited}.

Clearly, putting one of these $250,000 jeweled wonders to use chipping away at ice night after night would have proven impractical at best, foolhardy at worst. Therefore, it stands to reason that Ms. Jagger designed this line of replica Jagger Daggers to take the heat, so to speak.

These Jagger Daggers are no less the real deal than the jeweled souvenirs set with diamonds and blue sapphires or the replicas set with white topaz and aquamarine sold at high-end boutiques such as Harrods of London.

Each of the three styles was designed and crafted under the watchful eye of one of London’s most gifted entrepreneurs, Jade Jagger. Each played a vital role in Belvedere’s extravagant endeavor to promote their campaign, “Luxury Reborn.” And each style is a unique work of art expressed in 3-D form by a talented jewelry designer.

Interested parties will find this limited-edition jeweled ice pick among several other famous jewels featured as part of Julien’s annual Music Icons auction. Alongside the Dagger, the sale will also feature costume jewelry and a Pascal Morabito watch from Cher’s private collection, as well as three gifted jewels from The King:

  • A diamond-encrusted Star “E” ring, which Elvis gave to Charles Hodge in Las Vegas,
  • A monogrammed anklet (“EP”) made in 1977 by Memphis jeweler Lowell Hays, which Elvis Presley gave to his then-sweetheart, Ginger Alden, and
  • A 14k gold ring set with a synthetic pink stone the singer gave to the head pharmacist at Schwab’s Pharmacy.

Interested readers can find lot descriptions and further details on Julien’s website.

This Dazzling Cocktail Ring Resounds with Bulgari Style

BVLGARI Ruby & Diamond Cocktail Ring

The curving lines of this wide-band platinum cocktail ring ooze luxurious comfort. Rimmed in 18k yellow gold, the 1.19-carat emerald-cut ruby flanked by two pear-cut genuine diamonds add a touch of glamour. Stamped “BVLGARI 2337 AL”, this dazzling cocktail ring resounds with Bulgari style.

Reminiscent of the imposing dimensions and geometric motifs of 1930s Bulgari, this ring epitomizes Bulgari’s dedication to striking a balance between modernity and classicism. Rooted in the tradition of ancient Greek silversmiths, the Bulgari family has built upon its historic foundations an enduring legacy of excellence, sophistication, entrepreneurship, and stunning craftsmanship.

Stretching beyond the boundaries of jeweled ornaments, Bulgari continues to enrich people’s lives with beauty in the realms of fashion, fragrance, and luxury resorts. Their success hinges upon the expert craftsmanship and persistent pursuit of the perfection of each piece of jewelry, each fragrance, each endeavor.

As a member of the elite Bulgari family, this magnificent cocktail ring with its striking aesthetic is a guarantee of impeccable craftsmanship, ethically sourced diamonds and rubies, and passionately inspired design.

Prominent Features of the George IV State Diadem

George IV State Diadem. Photo Source: Knowing the Royals.

George IV State Diadem. Photo Source: Knowing the Royals.

by Angela Magnotti Andrews
Paved nearly entirely in diamonds, save the pearl-lined base and the solitary four-carat canary diamond mounted in the central cross, this masterpiece features 1,333 white diamonds set in four bouquets symbolizing England (rose), Scotland (thistle), and Ireland (shamrock), as well as in four cross pattee.

The George IV diadem was designed to encircle the Cap of Estate, an ermine-trimmed velvet headpiece which up until the time of King Henry VII was worn in lieu of a crown. King Henry VIII was the first king to wear the Cap of Estate in tandem with a crown.

Framed between two rows of pearls, the diamond scroll work band was remounted in 1902 for Queen Alexandra, who grudgingly passed the diadem on to Queen Mary when her son, George V, was crowned king. It has remained among the Crown Jewels since Victoria bequeathed it to the state in her will.

Just as Queen Victoria chose the diadem for her coronation procession, Queen Elizabeth II also wore the diadem on her way to Westminster Abbey. Queen Elizabeth II continues to favor the jewel, wearing it for the State Opening of Parliament each year.

In addition to Queen Elizabeth’s frequent use of the crown, philatelists celebrate the diadem, which is featured on the first postage stamp ever made. The 1840 Penny Black, a rare and prized stamp, features Queen Victoria’s young profile ensconced in her favorite crown.

BIBLIOGRAPHY
1. Wikipedia. “The Personal Jewel Collection of Elizabeth II.” Accessed May 28, 2012. http://en.wikipedia.org/wiki/The_Personal_Jewel_Collection_of_Elizabeth_II.
2. The Wedding Tiara. “George IV State Diadem Royalty Tiaras.” Accessed May 28, 2012. http://theweddingtiara.com/archives/george-iv-state-diadem.
3. Royal Exhibitions. “St Edwards Crown.” Accessed May 28, 2012. http://royalexhibitions.co.uk/crown-jewels-2/royal-regalia/.
4. Butschal, U. “Queens Juwel Casket: Windsor Tiara’s.” Royal Magazin. Accessed May 28, 2012. http://www.royal-magazin.de/queenbrooch.htm.
5. Hardwick, Holly. “George IV State Diadem Crown.” Queen of Crowns Blog. Posted September 9, 2007. Accessed May 28, 2012.http://blog.hollyhardwick.com/2007/09/george-iv-state-diadem-crown.html.

George IV Designs the State Diadem

George IV State Diadem. Photo Source: Queen of Crowns Blog.

George IV State Diadem. Photo Source: Queen of Crowns.

by Angela Magnotti Andrews
King George IV loved beautiful things. It is said that Buckingham Palace and the Windsor Apartments still reflect his taste in art, furniture, and interior design. His passion for masterpieces of art also translated to a vast collection of beautiful jewelry, both acquired and custom made for him.

One of the most prominent pieces of this collection, the State Diadem, was designed to his specifications. Rumor has it that he commissioned Rundell, Bridge and Rundell to construct the crown in 1821 for his coronation.

Though he petitioned to have the Imperial State Crown permanently replaced with the State Diadem in the coronation ceremony, his request was denied by Parliament. He did, however, birth the tradition of wearing the State Diadem during a portion of the ceremony.

The custom at the time of George IV’s coronation was to lease the jewels used in the crowns from a local jeweler. The jewels, inset before the ceremony, were removed following the ceremony and returned to the Royal Jeweler (Rundell & Bridge). This remained the custom for the diadem until Queen Victoria’s coronation, at which time the gems were soldered into the frame permanently.

In her will, Victoria gifted the State Diadem to the British Crown. The diadem was her crown of choice for multiple family and official events, and it has remained a favorite among the successive queens ever since her reign.

BIBLIOGRAPHY
1. Queen of Crowns Blog. “George IV State Diadem Crown.” Posted September 9, 2007. Accessed May 22, 2012. http://blog.hollyhardwick.com/2007/09/george-iv-state-diadem-crown.html.
2. “The Personal Jewel Collection of Elizabeth II.” Wikipedia. Last modified May 17, 2012. Accessed May 22, 2012. http://en.wikipedia.org/wiki/The_Personal_Jewel_Collection_of_Elizabeth_II.]
3. “George IV State Diadem Royalty Tiaras.” The Wedding Tiara. Accessed May 22, 2012. http://theweddingtiara.com/archives/george-iv-state-diadem.
4. “King George IV State Diadem.” Royal Exhibitions. Accessed May 22, 2012. http://royalexhibitions.co.uk/crown-jewels-2/royal-regalia/.
5. Butschal, U. “Queens Juwel Casket–Windsor.” Royal Magazin. Accessed May 22, 2012. http://www.royal-magazin.de/queenbrooch.htm.

“PUNK: Chaos to Couture” Opens May 9 at the Metropolitan Museum of Art in New York City

Karl Lagerfeld for House of Chanel, Vogue, March 2011. Courtesy of The Metropolitan Museum of Art. Photograph by David Sims.

Karl Lagerfeld for House of Chanel, Vogue, March 2011. Photograph by David Sims.

The jewelry of punk is more than adornment. It’s an anti-establishment, deconstructionist statement of individuality and originality. It’s safety pin necklaces, safety pin lip piercings, and safety pins in lieu of thread. It’s studded leather collars, spiked leather bracelets, and ringed leather bondage belts. It’s razor blade charm necklaces, razor blade gang chains, and razor blade earrings. It’s white metal studs on chokers, arm bands, and black leather jackets.

What do  safety pins, black leather, spikes, razor blades, and stainless steel studs have to do with the made-to-order world of Givenchy and Coco Chanel? That is the central question behind the Metropolitan Museum of Art’s upcoming Costume Institute exhibition, PUNK: Chaos to Couture.

Andrew Bolton, curator of the Metropolitan Museum of Art’s Costume Institute, has collaborated with Diana Vreeland, Anna Wintourand Vivienne Westwood to present this immersive, multi-sensory exploration of the continuing impact of punk’s DIY aesthetic on high fashion.

With the raging lyrics and frenetic stage presence of the Sex Pistols to establish the atmosphere, Andrew Bolton and his team at The Met will transport visitors to 430 Kings Road in London, where UK Punk first emerged at the direction of the movement’s god and goddess, Malcolm McLaren and Vivienne Westwood. Their anti-world at World’s End, with its graphic t-shirts and seditionary ideology, will be represented in the exhibition beside the unique flavor of US Punk.

Here, the pounding acerbic rhythms of The Ramones will propel visitors into the dim-lit graffitied walls of New York’s CBGBs. In this re-created womb of American Punk, the team at The Met pays tribute to rebel heroes, such as Richard Hell and the Voidoids. Called the “twin cities of punk” {cited}, New York and London together offer the true story of punk’s origins. The Met promises to demonstrate their profound influence on the fashion trends of the elite throughout every decade following the emergence of Punk in the 1970s.

With six galleries exploring the legends of punk and the four main DIY genres of punk fashion, The Met’s Chaos to Couture exhibition is sure to impress visitors with its contrasting display of original punk fashions alongside some of the most famous reinterpretations in high society. The exhibit serves to both inform and to inspire.

“What I hope is that people who come and see the exhibition will be inspired by how brave and how fearless they were,” said Sam Gainsbury, design consultant for the punk exhibition. {cited}

“No other countercultural movement has had a greater or more enduring influence on high fashion. Punk smashed every convention,” says curator Andrew Bolton. However, PUNK: Chaos to Couture will demonstrate that the seemingly opposing principles of deconstructionist punk fashions and made-to-measure couture have a silver thread which has knit them together throughout the past 40 years–both prize individuality and originality above all else.

Beginning May 9, and running through August 11, 2013, visitors can immerse themselves in what promises to be a revolutionary exhibit. For hours and rates, please visit The Met online.

Antique Claw-Set Twin Diamond and Ruby Engagement Ring

Claw-Set Ruby & Diamond Twin Engagement Ring

This lovely antique engagement ring features a natural ruby and old mine cut diamond. Both of the stones featured in this Victorian Era (1837-1910) ring are held in place by eight 14k-gold prongs in a traditional claw setting.

The claw setting provides optimal security for gemstones with minimal metal. In this mounting style, also called prong setting, the central stone is secured in place by between four and ten prongs. Accent stones can be secured by as few as two prongs, though this is primarily reserved for halo-style rings.

As you can see in this photo, by minimizing the amount of metal touching the stones, the claw setting allows the stone to take center stage. For this reason, it is one of the most popular styles for engagement rings.

When choosing your engagement ring, cut and clarity of the central stone(s) is the most important factor. However, once you’ve chosen your stone, it is vital to ensure that your chosen mounting will enhance that stone to maximum effect.

A traditional claw setting naturally elevates the central stone, allowing it to catch light from nearly every angle. Combining this style of mounting with a diamond or gemstone solitaire will afford expansive brilliance from nearly every angle.

While the traditional claw setting is the premier choice for large stones, a modified claw setting can enhance the brilliance of a smaller central stone. One such modification is the cluster setting.

When set in a cluster, a smaller focal stone is surrounded by several smaller accent stones. Usually all the gems are mounted in four-prong settings flush along the top of the ring. The claw settings on these rings allows light to hit the accent stones from various angles, simultaneously emitting a flash of brilliance from the clustered stones on the face of the ring.

Another popular variation on the cluster setting is the halo setting. HRH Kate Middleton’s celebrated engagement ring is a prime example of this style. The Duchess’s ring features a large (between 12 and 18 carats) oval-cut Ceylon blue sapphire mounted in 18k white gold in claw style with 14 prongs.

Surrounding the immense central stone are 14 round brilliant diamonds, also set in claw style. Each accent stone is set with five prongs, two of which are shared with its neighboring stones. The halo setting is perfect for a large central stones.

Perhaps the most acclaimed variation on the claw setting is the Tiffany setting. Introduced in 1886 by Charles Tiffany, the 6-prong setting is the standard for solitaire engagement rings. In perfect symmetry, this mounting directs all attention to the diamond, sapphire, ruby, or emerald on a bride-to-be’s finger. If a solitaire is what you desire, you can’t go wrong with a Tiffany-set solitaire engagement ring.

Determining the “Vintage” of Your Engagement Ring

Vintage Engagement Photo Source: Copyright 2008, Andrea Carlyle Photography. All Rights Reserved.

Vintage Engagement
Photo Source: Copyright 2008, Andrea Carlyle Photography. All Rights Reserved.

by Angela Magnotti Andrews
It has become popular for today’s bride to sport a vintage, antique, and/or estate engagement ring, but most brides-to-be aren’t sure exactly how to determine into which category their rings fit. One key in determining the vintage of your engagement ring is that the terms are not either/or classifications.

In fact, most rings older than 50 years will fit into at least two of the categories, sometimes three. There is no hardline rule as to what the terms vintage and antique mean, but here follow a few guidelines that should help you determine the “vintage” of your ring.

The term estate engagement ring applies to any ring that has been previously owned. The terms vintage and antique are a little more difficult to pin down, as several factors play a role in a ring’s classification. It is generally accepted that antique engagements rings are rings that are at least 100 years old.

However, the term also applies to the Art Deco era of jewelry, which spanned the 1920s and ‘30s, clearly not 100 years ago. The term vintage is even trickier. Typically, it applies to rings that are at least 50 years old, but it also includes rings from the Georgian, Victorian, Edwardian eras.

You can see how these categorizations can be confusing if you’re looking for one exclusive classification for your ring. So long as you view the classifications as inclusive, your Art Deco engagement ring can be classified as an estate, antique, and vintage ring. This leaves you plenty of room to choose whether you will tell all your friends that your favorite man bought you a vintage ring, and antique ring, or an estate ring.

BIBLIOGRAPHY
1. Country Consultant Blog. “What Makes Jewelry Vintage.” Posted March 29, 2011. Accessed May 22, 2012. http://www.countryconsultant.com/blogspot/?p=1470.
2. “Estate Jewelry.” Wikipedia. Last modified May 17, 2012. Accessed May 22, 2012. http://en.wikipedia.org/wiki/Vintage_jewelry.