Sweet Romance Jewelry by Shelley Cooper

noreply@blogger.com (Sweet Romance Jewelry) — Thu, 12 Jan 2012 19:03:00 +0000

Shelley's Jewelry Diary is a weekly personal message from Shelley, sharing her insights and perspective about jewelry design, her factory and the history of jewelry fashion.

Shelley's Jewelry Diary
by Shelley Cooper

January 12, 2012

Awaken your spirit...

Even before the arrival of Christianity in the Yucatan, the Maya revered the symbol of the cross as their Tree of Life. As the two cultures converged in the 1500s, the Maya retained traditions from their own understanding of the cosmos. Yet, they embraced the cross as a medium through which a person could awaken their spirit, invoke blessings and receive divine inspiration.

Mayan Cross Cuff Bracelet

It has been centuries, but remarkably, almost miraculously, the Maya continue to dwell in the Yucatan and Guatemala. The sculptural, polychrome facades of their ancient buildings and their color-drenched weaving continue to infuse daily life with a sense of the spiritual. My cross design is born of that world. Colors of the earth are expressed in stunning metalwork and crystal beads, each made by hand in the lampwork process. Many artists have put their hands to the creation of your necklace or cuff. May it bring you joy and inspiration.

noreply@blogger.com (Sweet Romance Jewelry) — Thu, 12 Jan 2012 16:50:00 +0000

Watch Shelley on ShopNBC tv this Friday...

Shelley Cooper returns to ShopNBC on Friday, January 13 for 6, hour long presentations of classic favorites, exciting new styles and dramatic vintage silhouettes. Valentine's Day is right around the corner, and the collection features a wide assortment of love and heart-themed bracelets, necklaces and rings. Whether it's candy glass hearts or love letter charms on bracelets, or Victorian garnet red or crystal heart-shaped pendants on necklaces, this collection has something perfect to touch the heart of any sweetheart.

Shelley will also present for the first time on the network her exciting and bold RetroMEX collection. In these new designs, Shelley ventures into the land of the Mayan empire with vibrant enamel blossoms, glazed terracotta tiles, and hand-forged filigrees. The jewels awaken the spirit with memories of mid-century Mexico. Exuberant colors, floral motifs and turquoise hues infuse classic silhouettes with the passionate spirit of vintage Mexican style.

The featured centerpiece of the line is the Mayan Cross, revered by the Maya as the symbol of the Tree of Life. Shelley dramatically interprets the cross as a sculptural pendant hanging from a glass bead necklace and as a bronze cast cuff. Colors of the earth are expressed in stunning metalwork and crystal beads, each made by hand in the lampwork process. Many artists put their hands to the creation of the cross, and Shelley hopes the wearer will find it to bring the joy and inspiration.

Click here to view the show schedule and snag your favorites online before they sell out on tv!

noreply@blogger.com (Sweet Romance Jewelry) — Fri, 06 Jan 2012 16:09:00 +0000

Our Egret, as seen in Victoria Magazine...

This unusually shaped pin frames a graceful egret bird standing in a marsh of turquoise and lilac enamel set with smoked crystal. Her delicate curvilinear form is characteristic of the Art Nouveau era.

The egret bird has a close connection to Mother Earth symbolizing cooperation with nature rather than working against it. This noble creature is also associated with strength, wisdom, purity, patience, prosperity, and long life.

French for "new art," the Art Nouveau movement emphasized integrating art into all aspects of life from architecture to furniture and the visual arts to jewelry making. Artists revived the arts of the Renaissance just as the fathers of the Renaissance looked to the ancient Greeks and Romans for inspiration. Jewelers initiated a rebirth of Renaissance techniques using jewels of sculpted and enameled gold thus transforming the jewelry industry into that of true artistry.

Own this piece of art by clicking here.

noreply@blogger.com (Sweet Romance Jewelry) — Wed, 09 Nov 2011 23:50:00 +0000

Shelley & Kendy: The morning show...

It’s true! Shelley and Kendy Kloepfer will be up to their old magic again on Saturday, November 12^th. Join them for holiday shopping and entertainment 10 a.m. to 12 p.m. EST. Give (or keep!) gifts of vintage glass and limited edition designs made exclusively for ShopNBC!

How to watch....

By TV: DIRECTV on Ch 316, DISH on Ch 134 & 228 and Verizon FIOS on Ch 157.

Don’t know your local cable channel? Enter your zip code here.

By live stream on ShopNBC’s website!

Visit our Facebook page after the show for some serious girl talk—favorite designs, what you ordered, questions about particular pieces, etc.

noreply@blogger.com (Sweet Romance Jewelry) — Thu, 03 Nov 2011 15:46:00 +0000

Guest Blogger: Gina Elise from Pin-Ups For Vets!

As we prepare to celebrate Veterans’ Day on Friday, November 11, 2011, we are reminded of the many wars and the many heroes who have fought for our freedom over the decades. Sweet Romance’s HEROES HEART, a beautiful crystal-spangled pin/ pendant, is designed to honor and express gratitude to those outstanding Americans. Sale proceeds benefit the work and mission of the Wounded Warrior Project (woundedwarriorproject.org), a nonprofit organization with unique advocacy programs designed to meet the overwhelming needs of returning soldiers, healing both the visible and invisible wounds of war.

My friend, Gina Elise, from the nonprofit “Pin-ups For Vets”, honors and supports veterans in her own special way, and I invited her to tell you about it in this week’s blog. With the sale of her visually exciting World War II-style pin-up calendars, Gina has raised thousands of dollars for VA and military hospitals across the country. Her dedication is inspiring, her mission is heartfelt and her service to our troops is her personal way of giving back. I hope you enjoy her inspiring story and that you’ll take the time to support a hero with the jewelry art of Heroes Heart or the calendar delights of Pin-Up For Vets. Better yet, support them both today!

21^st Century Pin-Up Girl Helps Raise Funds For Vetearns Hospitals

Hello Sweet Romance Fans! My name is Gina Elise and I am founder of non-profit organization, "Pin-Ups For Vets." Since 2007, I have been producing WWII style pin-up calendars that have so far raised $50,000 to expand cognitive, physical and occupational rehabilitation programs at VA and Military hospitals across the USA. In addition to raising money for these hospitals, I travel around the country and the globe, dressed as a 1940's pin-up girl, hand delivering donated calendars as gifts of appreciation to our ill and injured Veterans at their bedside. By the end of this November, I will have visited 31 VA and Military hospitals in 19 different states and also Landstuhl Reginonal Medical Center in Germany (http://www.pinupsforvets.com/whereisgina.html).

It is my goal to visit our Nation's Heroes in at least one VA and Military hospital in every state in the USA! I have some pretty incredible stories from my hospital visits. Sometimes Veterans will cry when I am visiting, because it is rare that they get thanked for their service. Many of them don't get visitors in the hospital. It really means the world to them to know that people are thinking of them and the sacrifices they have made for this country. I encourage all of you to contact the Volunteer Services department at your local VA Hospital and inquire about how you can start volunteering!

In addition to delivering these donated appreciation gifts, Pin-Ups For Vets also ships donated calendars, posters, etc. overseas to requesting military units to boost morale in the combat zone. You can see pictures of deployed service members with their calendars here: http://www.pinupsforvets.com/inthefield.html

The 2012 Calendar has just been released and is very special. Seventy-one years ago, Naval aviation machinist, Hal Olsen, painted morale-boosting nose art on the sides of WWII bombers, and today, those same images are being used to once again boost morale for America’s deployed service members, through the release of our 2012 “Pin-Ups for Vets” calendar. Hal Olsen is widely accepted to be America’s last living nose artist from WWII. His nose art creation, entitled, “Accentuate the Positive” was published in the first edition of National Geographic Magazine. He is a national treasure to nose art fans across America and I feel so lucky to feature some of his art in this year's calendar.

Wearing Shelley's Candy Glass necklace

In 2010, I had contacted Shelley Cooper, owner of Sweet Romance, to ask her if I would be able to borrow her beautiful pieces to use in the 2011 calendar. From the first time I saw the Sweet Romance line, I fell in love with it. The jewelry is a throwback to “Old Hollywood”. It is so classy and glamorous and I thought it would be perfect to feature in the 2011 calendar. It’s easy to see that each piece is so well thought out, as there are such intricate details. The pieces are show-stoppers, that’s for sure! It’s also nice to know that Sweet Romance is designed and manufactured in the USA. Shelley is very supportive of Veterans, and immediately agreed to let me feature her gorgeous pieces. Sweet Romance became the exclusive jewelry line of the 2011 Pin-Ups For Vets calendar. I was very grateful to Shelley for her support and I hope to partner with her again on future projects.

Don't forget to check out http://www.pinupsforvets.com/ to order your new 2012 calendar! And also be sure to "Like" our page here: https://www.facebook.com/pinupsforvets We post news about upcoming Pin-Ups For Vets events and also which hospitals we will be visiting next. Thank you very much, Sweet Romance, for your support of Pin-Ups For Vets!

Lots of love,

Gina Elise

noreply@blogger.com (Sweet Romance Jewelry) — Fri, 28 Oct 2011 19:16:00 +0000

2 hr shopping extravaganza!

It’s time for one more preview from the collection I’m presenting on ShopNBC on Saturday, November 12 at 10 a.m. ET. It’s going to be a fast-paced, two-hour shopping extravaganza of matching sets, one-of-a-kind wearable art pieces and intriguing narratives about some beautiful jewels I can’t wait to share with you. Get out your holiday shopping list and buy them gifts they will cherish and remember.


1940s Citrine Torsade

Make a dramatic statement with this 1940’s Inspired Torsade necklace and matching ring. This entirely hand-worked composition, perfect for the lover of 1940s couture fashion, is based on styles that, in their day, were very expensive. Created in a two tone brass - one dark and one bright - the detail of the floral side pieces is heightened by the variety of flower elements that work as a sort of mini corsage, with Swarovski crystal in champagne and clear, seed pearls, natural coin pearl and cream color enamel. Flowing from the side pieces are strands of natural citrine baroque and pebble shape beads, pearls and crystal beads in champagne, crystal luster and clarit in various brilliant cuts. The blend of baroque and faceted shapes and neutral color palette lend a feminine softness to this larger scale piece.

Creamrose Pearl Garden ring

For this bold ring, a large Swarovski creamrose pearl is set amid winding vines and flowers set with clear and aurora crystal. There are four large aurora stones that glimmer beneath the leaves on all four sides.

Vintage Deco Glass bracelet

I acquired these mirror-back glass stones from an importer active in the jewelry business in the 1930s and 40s. They were made in Germany just after WWII and their box is stamped "Made in US Zone." They call to mind the geometric deco aesthetic of simple lines and curves that defined everything from fashion to building designs. Alternating with black Czech square cabochons, the mirrored stones in their pastel colors, express their specific circa both in color and the design of this necklace. I generally save these wonderful vintage components to incorporate into my designs for ShopNBC, since their production is so limited. This stunning deco style is also available in earrings and a necklace.

Filigree Prism Pendants

Adorn yourself for the holidays with simple and sultry red and green prism glass that look like you found a treasure your great aunt might have purchased in the 1930s. Hand forged filigrees form the setting for a glass prism, just like Czech workshops produced before WWII. Delicate chains of tiny octagon and round stations take on the appearance of the filigree pendant. Smoke Swarovksi crystal twinkles from the setting above the prism and the necklaces come in a choice of Olivine Green or Scarlet Red.

These last few weeks I’ve just given you a small taste of the great styles and treasures available for sale when I appear on ShopNBC in November. Wake up with me on Saturday, November 12, 10 AM eastern time for all of your holiday gift-giving and jewelry-wearing needs. I promise you a great time and beautiful pieces to add to your collection.

noreply@blogger.com (Sweet Romance Jewelry) — Fri, 21 Oct 2011 14:27:00 +0000

Preview for my visit on November 12
A Saturday morning to savor together...

For many months, my staff and I have been preparing a new collection for you. Every step of our process, from concept sketches to manufacturing, has resulted in pieces to treasure for their beauty and historical accuracy. You may intend to do some holiday shopping, but I’m certain that several pieces will speak directly to your heart. It will be my special pleasure for you to join me on ShopNBC TV, Saturday morning, from 10am to noon (eastern). Here are some of the jewels I’ll be presenting:


*Victorian Shadow Box Necklace, J404877*

Background: During the Victorian era, ornament and detail was applied to everything. And it was during this era, in 1899, that the Eiffel Tower -- La Tour Eiffel -- was finished as the entrance arch to the 1889 World's Fair. It quickly became the global symbol of France and one of the most romantic and recognizable structures in the world. Visitors to the Fair bought souvenirs which were saved and cherished by successive generations. My pendant is a miniature glass enclosed shadow box, a particularly Victorian concept. The background is an old image of the Eiffel Tower at sunset. The delicate sprig of tiny forget-me-not flowers is set with glass seed pearls and crystal. A tiny banner "Souvenir de Paris" reminds the wearer of their visit to the city of romance.

Vintage Bohemian Glass Ring, J405831

Background: A Balkan fortune-teller would have worn such an opulent, mysterious ring! The large ornamental glass oval was pressed, colored and gilded by hand in a workshop located in Austro-Hungary (pre-Czechoslovakia). Like other jewelry I design for ShopNBC, this ring is a limited edition. The production was limited to quantity of glass available. It is set upon a black enameled oval struck from old tooling. When I look at this ring, I think of the mystique of gypsies and artisans who brought their imaginations to glassmaking in the early 20th century.

Sunken Treasure Earrings, J405972

Background: As the name might suggest, these earrings could be a mermaid’s favorite jewelry. Elements of different shapes and textures are set with clear crystal on mixed burnished antique silver and bronze finishes. Filigrees have a fringe of crystal that shifts and changes with your every move.

Chrysocola & Apple Green Bracelet, J404444

Background: Chrysocola, magnesite, apple green jade, yellow jasper and howlite beads are blended with floral details to create this earthy, natural composition. The colors call to mind a verdant backyard oasis of greenery, water, sun and flowers. A little enamel turtle has crept out of the grass to perch atop the foldover clasp. With a distinctly vintage presence, luscious large semiprecious beads were popular in jewelry of the 1950s. Silky and cool to the touch. Visually yummy from every angle.

Deco Vintage Glass Lavaliere, J404855

Background: Many years ago, my connection with a glass importer in New York led to some wonderful purchases. One of the prime dealers of glass "bijouxterie"imported from the Glablonz region of Czechoslovakia for use in costume jewelry and apparel, his warehouse overflowed with treasures from the past. I often bought goods sight unseen, just on his opinion that certain batch of glass would please me. I received hundreds of these floral glass triangles in two sizes. Ever judicious about how vintage glass is used, I designed the triangular panels and canopies to serve as deco style settings so the glass could be used in a composition. An "arrow" weave chain finishes this substantial yet fluid 1930s style necklace.

Watch for my next diary entry for the next set of preview pieces. Tune in to ShopNBC on the morning of the 12^th to be thoroughly entertained by wonderful jewelry, interesting historical notes and fresh ideas for special gifts and personal style.

noreply@blogger.com (Sweet Romance Jewelry) — Fri, 14 Oct 2011 15:11:00 +0000

Mermaids murmur in halls echoing their voices...
Finding design inspiration at the aquarium

When the Beluga Whale Exhibit opened at Chicago’s Shedd Aquarium, my Uncle Norman suggested we visit it together. What began as an outing to view baby whales became a day of other sightings just as wonderful and absorbing. We crawled along in summer traffic up Lake Shore Drive, and arrived only to creep down every aisle of the blazing hot parking lot hunting for a space. At the farthest end, where pavement became gravel, we finally nosed in under a tree. Even from our remote location, we noticed a huge crowd of people in the distance, too many for just the exhibit. To get a better look, I stepped up on a cement enclosure surrounding the tree, thereby disrupting dozens of bees. Sprinting away, I was followed closely by my nimble septuagenarian uncle. We caught up to another visitor and mentioned our curiosity about the crowd. He matter-of-factly replied that Vice President Al Gore was the VIP causing the swarm of G-men, bodyguards and the public. Deciding it was going to be a whale of a wait to get in, we slowed our walk, stopping in patches of bee-free shade along the path.

We finally reached the slow surging crowd but hung to the side while it thinned down. My uncle hadn’t been to the aquarium for many years and I only remembered it from childhood. As we waited, we found ourselves awestruck by the architecture and design of the building. Once inside, our fascination continued, more for the building details than what we came to see. Uncle Norman dropped our whale show tickets into his coat pocket for later, after we’d taken in the magnificence of the interior.

The Shedd Aquarium was financed by John Shedd, the second president of Marshall Field & Co. in 1924. By his lavish donation, his purpose was to construct the world’s largest indoor aquarium with “the greatest variety of sea life under one roof.” Researching leading aquariums around the globe, only the best and newest technology was planned for the Shedd. It was to add to the building movement that Chicago city planners dubbed “Paris on the Prairie.” Architect Ernest Graham, the project leader, was masterful in designing buildings, from general elevation concepts right down to the lighting fixtures within. The budget was so generous, he proposed a grand Beaux-Arts style rotunda embraced by classical Greek architecture to match the scale and style of the neighboring museums.

The interior wasn’t designed with just a few sea life accents here and there. Instead, the world of the ocean was infused in the design of every surface for every purpose within the building. It is a blending of Art Deco materials of bronze, marble, steel and glass with the curvilinear, undulating life forms of the sea. Entering the grand portal doors, there is a colossal 12 arm bronze chandelier with a sea creature etched into each glass panel. It illuminates the entry below and the coffered, oceanic themed ceiling above. Another light fixture is in a giant glass buoy held in the arms of a bronze octopus suspended from the ceiling. Art glass nautilus shells form soaring torchiere floor lamps. The bas relief of sea-foam green marble upper walls, the dados, even the bronze elevator doors express aquatic treasures in both geometric deco forms and figurative realism. You can almost hear mermaids murmuring in the halls, the Travertine marble echoing their voices…

After taking in the spectacular design of the oceanarium itself, we did finally visit the sharks, jellies, piranhas and got splashed during the baby beluga show.

What an inspirational day for jewelry design! I couldn’t wait to convey some of the architectural wonderment of the Shedd Aquarium in jewelry pieces. Central to this collection is my “Mermaid Cartouche” bracelet with five "cartouche" links that are individual vignettes of ocean creatures. Designed in the same blend of deco and nouveau, the subjects express various forms of sea life as art. Every detail is an original sculpture. All fabrication and ornament is entirely executed by hand. The shimmer of aurora and smoke crystals border each link. A starfish, a seahorse and an angel fish pause in sea fern. The mermaids blend geometric faces and hands with flowing nouveau tresses and tails. The bracelet clasps with a dolphin jumping through a crystal ring. Soft glowing lacquer colors, pearls and crystal stand out against the darkened bronze metal finish; the jewelry version of peering into aquatic habitats at the Shedd.

noreply@blogger.com (Sweet Romance Jewelry) — Fri, 07 Oct 2011 17:08:00 +0000

Behind the design...
Join me on November 12 for an evening of entertainment and shopping on ShopNBC! I'd like to share with you two new jewels that I'll be presenting on the show...

Old Capistrano Coral Cross
When passenger train travel was popular in the 1950s and 60s, people often disembarked at major stops to move about and shop. Souvenir jewelry was especially made to entice browsers with thematic styles of the region of the country they had reached. Stops in the Southwest and California had beadwork, silver and copper. In San Juan Capistrano, a small copper cross with a flower and coral beads was made for this trade. Inspired by that necklace, I present my design, a sumptuous 1930s style filigree cross with multiple floral details, set with Czech glass pearls, red jasper, turquoise and a carved rose. Intricate filigree beads are the stations between five decades of beautiful 10mm sponge coral beads. A warm, rustic vintage look, it can be worn for fashion or used in devotionals as a full rosary.

Intaglio Charm Bracelet
These 'reverse' cameos etched in glass are handmade by the very same process used by Bohemian glassmakers of the last centuries. Among the art obsessions of Catherine the Great was intaglios; the Hermitage houses her celebrated collection. 18th century Russia was intrigued with France as the home of the enlightenment - of ideals of humanity, technology and style. Russian nobility spoke French and Catherines's own palace was desgined after Versailles. The intaglios and fleur-de-lis charms of our bracelet celebrates that era. Oval, round, chevee and octagon intaglios are set in classical style settings. Three vintage style chains attach to a toggle and rope ring closure.

noreply@blogger.com (Sweet Romance Jewelry) — Fri, 30 Sep 2011 18:06:00 +0000

Shelley's Jewelry Diary is a weekly personal message from Shelley, sharing her insights and perspective about jewelry design, her factory and the history of jewelry fashion.

Shelley's Jewelry Diary
by Shelley Cooper

September 30, 2011

Mark your calendar...

NEW: Deco Lavaliere and Vintage Jadeite Deco Necklaces

Great news! We've been planning for months and our factory has been working at the speed of light in preparation for my upcoming ShopNBC show! Clear your calendar for the evening of Saturday, November 12. I'll be presenting new holiday designs to glam yourself for Christmas or to gift to others. Check back soon for a full preview of all the goodies!

noreply@blogger.com (Sweet Romance Jewelry) — Thu, 22 Sep 2011 22:46:00 +0000

Scent-sational artglass bottles…

Dating back to Biblical anointing oils, fragrance as art and science is ancient. It has the power to invite notice, suggest a mood, prompt a memory and refresh the spirit – all through an invisible means. The combination of these magical “powers” and the expense of manufacturing have rendered it a substance worthy of exquisite containers.

The golden age of perfume bottle design and production occurred between 1900 and 1935. The perfume tray had become a permanent display on a lady's vanity table. Along with favorite jewelry and cosmetics, decorative perfume bottles were treasured articles. DeVilbiss, Baccarat and Steuben are but a few of the companies that fashioned exquisite perfume bottles for the vanity.

Blown and molded glass flasks and decanters were placed into metal fittings, including large stoppers and bases. Finish ornament included lavish designs in crystal, enamel, beads and filigrees; International fragrance companies contracted factories in Bohemia and France to produce specialty designs for their commercially marketed perfumes.

Today, vintage decanters have nearly vanished into the possession of collectors. I’ve revived the tradition of designing and manufacturing jeweled bottles of the same caliber and distinction for those who appreciate things beautiful and nostalgic. My perfume decanters have all the detail of circa 1920s originals, including art glass vessels, pedestals and atomizers. As charms, mini perfume bottles and French cosmetic labels are whimsical reminders of the flasks displayed on great-auntie's perfume tray.

noreply@blogger.com (Sweet Romance Jewelry) — Fri, 16 Sep 2011 17:42:00 +0000

Shelley takes inspiration from her Russian roots…

The Sweet Romance NeoClassics Collection celebrates the art passion of Catherine the Great, blending power and femininity with artworks of classical antiquity. This particular style is associated with Romanesque period jewelry, about 1000 years old. Featuring intaglios and bezel set stones, the style has been favored since its 11th century beginnings. The jewelry and art wealth amassed during Catherine’s reign contributed to the stature and power of Russia’s of the late 1700s.

Catherine acceded the Russian throne in 1764 and, under her rule, Russia became a European power. She adored classical jewelry and was one of the world's greatest art collectors, even using the purchase of artworks as a political weapon. She was ever-conscious of the reality that in the eyes of European monarchs, a great jewelry collection was as important an asset as a great army. Among her art obsessions was intaglios-- she collected them and she commissioned thousands of them, both original and replicas of Roman and Greek circas.

Jewelry from the Roman period often featured gold and bronze set with brilliantly colored glass beads, polished stones, intaglios, and satiny pearls. The Neoclassics Collection captures the grandeur of the vast Roman Empire and the ancient world. As authentic as the ancient originals, our are intaglios, handmade, using the very same process used by Bohemian glassmakers of the last centuries. Molten glass rods are pressed with an incised intaglio image, one by one. The rough impression is cut and polished to create a satin glass "carved" image. Our intaglios are pressed with the same metal tooling that created the antique originals.

The collection allows for a high mix and match factor. Layer up in pearls, ancient coins and intaglio jewels for a look that merges antiquarian riches with a totally modern presentation.

noreply@blogger.com (Sweet Romance Jewelry) — Fri, 09 Sep 2011 16:57:00 +0000

Shopping the past to nourish the soul

I’m certain, at least once, you’ve heard someone referred to as having an “old soul.” The phrase typically describes a young person who seems to possess sensibility and wisdom beyond her years from experience she has never lived. I think these people, while children, become keen listeners and observers. They absorb family history into their personalities, enfolding the dramas and dreams of the previous generation into their own sense of self. They gravitate toward people, places and objects that fulfill and expand personal storylines.

Still in our teen years, my friend Joe and I recognized in each other an affinity for “what used to be.” We shared a fascination for the history and style of the decade between the wars—1920 to 1930. We listened to Fats Waller, Gershwin and Noel Coward. We peppered our wardrobe with vintage chic. Joe had a tee shirt silkscreened with the words Art Deco (who’s that?) he wore under an old tux jacket along with stitch-crease high rise trousers. I cinched my 26 inch waist with a red leather bow belt over a black wool midi skirt—both items appropriated from the forgotten section of my mother’s closet. Red sling back platform pumps and an unstructured man jacket completed my favorite ensemble. I forgot to mention those painful yet stylish ruby red Trifari clip earrings. Our vintage duds were light years more hip than mainstream fashion. People routinely pointed to Joe’s shirt and asked “Are you Art?”

We dressed this way for our monthly shopping trip to the past. Downtown Long Beach, California, was an area of iconic old department stores and restaurants. Established in the first decades of the 1900s and robust for decades, the 1970s were nudging them toward their final years in operation. Their architecture blended Greek revival columns with ponderous granite facades, very much like those one would have expected to see in older Midwestern towns. In fact, the retail corridors were conceived and developed by the wave of mid-westerners who populated Long Beach, often called “Iowa-by-the-Sea.” Into the 1970s and 80s, much of the downtown streetscape remained intact. Although the boom times were over and its elegance had faded, what remained was such an inexplicable attraction for Joe and me.

The first stop on our shopping jaunt was the cavernous Salvation Army Thrift on Orange Avenue. A long open flight of stairs brought us up to the threshold of heaven—a mezzanine racked with glass shelves overflowing with old stuff like perfume bottles, travel souvenirs, inkwells, clocks, dolls, picture frames, chrome cocktail shakers and rhinestone cigarette holders. The walls were patchworked with idyllic Fox prints, war bond posters, neon advertising signs and Maxfield Parrish’s “Daybreak” in every size ever produced.

Joe hunched over a display case to study old fountain pens, Bakelite dice and pin-up girlie calendars from the 1940s. I rummaged through a tray of rhinestone dress clips, vexed at the few pieces my small budget allowed me. I settled on a shooting star design and also a chrysanthemum bangle bracelet, probably celluloid, encrusted with dust, but priced right. Joe netted a tie clip in the shape of a bomb with fins and a draftsman’s French curve in the shape of a lady with French curves.

Next, we would dip into a series of antique and second hand shops that dotted Broadway and 7^th Streets. Bargain Basement was a favorite. A cramped basement and street level specialized in apparel and accessories, from fedora hats to reptile head purses, all artfully merchandised on vintage Lucite store fixtures. The upstairs room was lighted by single 60 watt bulb that cast a timid light over wooden bins stacked with brilliantly colored California pottery. How could it have been that Corning casserole dishes replaced the satisfying, almost nourishing old crockery? There it was, heaping piles of ringed Bauer mixing bowls in yolk yellow, bright red Aladdin teapots by Hall, Vernon Kilns Hawaiian Flowers dishes, giant Pacific Pottery platters, Roseville and Hull planters, beehive measuring cups and defunct coffee shop crockery. Just how did Corelle indestructible plates destroy the appetite for bright Fiesta pottery and Fostoria glass?

On Broadway, we continued our rounds at Char’s. The shop’s lathe and plaster walls were exposed, creating floor to ceiling shallow shelving that displayed penny candy containers, Hopalong cap guns, lead soldiers, eyecups, teacups, Victorian wax flowers, salt & pepper sets and costume jewelry galore. We worked our way downtown, through Purple Heart Thrift, Acres of Books and a shop with a French name that purveyed oriental earthenware, mismatched hand painted porcelains, Celedon fakes, Ming figurines and teak folding screens. Joe bought a sand cast pot metal dragon and I fell for a delicate teapot with a hand painted lake scene and flying birds.

Finally, our shopping trip brought us to 100 Broadway at Pine Avenue—the flagship store of Buffum’s Dept. Store, a Long Beach tradition since 1904. Until the 1960s, saleswomen wore a navy blue dress with pearls and customers dressed up to shop there, though Buffum’s was never pretentious. It was welcoming, conscientious about quality and service. Its interior architecture sensitively blended mid 20^th century upgrades with the original grand scale sales floor and chandeliers. Most of it intact and respectfully maintained, it made us nostalgic for a world we never lived but were convinced we would have loved.

Our lunch spot was the restaurant on the sixth floor, Terrace of the Four Seasons. The large room was a study in pale blues and greens, with Travertine marble floors, a huge painted mural and banquettes with satiny upholstery. Sooo art deco and we savored every detail. It’s true that Buffum’s French dip sandwiches were inimitable and so was their chicken-walnut-grape salad. After our requisite dessert of pink champagne ice cream, we prolonged the fun with chocolate covered mint sticks and coffee.

Joe and I repeated the order of this day once a month until our junior year in college. Each time, our appreciation for history deepened and this instilled in us a certain calm and maturity thought to be present in “old souls.”

noreply@blogger.com (Sweet Romance Jewelry) — Fri, 02 Sep 2011 12:34:00 +0000

Many of my jewelry designs are based on the stylism of the opening years of the 20^th century, termed Art Nouveau, when artists and designers turned away from revival historicism. Lasting a brief period of time, between 1895 and 1915, its influence on all decorative arts established the Art Nouveau style as a recognized design movement. Originally intended as a rebellion against industrial mass produced products, the design practitioners of the "new art" created items that were largely handmade, one at a time. Form and beauty of an item was deemed more valuable than the intrinsic worth of its materials.

It flourished in a world of innovative ideas and rapid social change. The “new art” brought design innovations that weren’t derived from any previous art form or period style. It stressed art and hand fabrication over precious materials and machine production. Even in its day, it was expensive and avant-garde. Designs abandoned Victorian classical motifs, replacing them with a new vogue emphasizing naturalistic themes, curvilinear lines and femininity. Jewelry, in particular, experienced a dramatic transformation.

The Art Nouveau designs in jewelry were sinuous and elegant. Botanical themes featured the whiplash curve, pulled, sinuous vines, plant-like textures and movement. Flowers and vines took on sensual, meandering and flowing lines as if shaped by wind or water. There was nothing rigid or formal in the new style. Its very silhouette daringly conformed to the wearer’s every movement. It brought emotionally charged works of art to jewelry fashion, fabricated by legendary studios such as Lalique and Tiffany, Vever and Ashbee.

To suit the demands of the design, enamels and glass were often used in preference to gemstones. Precious stones and metals were viewed only secondary in the selection of materials and finishes to create objects of beauty. Art glass became a primary element in Nouveau design--the artistry of glass jewels and applied coloring was as much a part of the jewelry rendering as its form and theme. The new aesthetic resulted in an emancipation of jewelry from being mere status symbols to high art forms.

Just 15 years into the new century, WWI broke out. The demand for munitions production to fuel the war effort gave to the demise of Art Nouveau and brought the Machine Age soundly into place. Hand crafted decorative arts would be remembered as a significant, yet genteel chapter in art history.

noreply@blogger.com (Sweet Romance Jewelry) — Fri, 26 Aug 2011 13:14:00 +0000

How did Japan lose the pearl biz in the 1920s?

Lily of the Valley Brooch

The trademark jewel of the most powerful, influential and stylish of woman is the pearl. The rarity of fine examples coupled with the difficulty of obtaining them are two facts that have made pearls a historical metaphor for great women. The very appearance of pearls, their glowing luster and slight iridescence, has been likened to the beauty of women.

Common to portraits of queens, aristocrats, heads of state and first ladies is the wearing of pearls. Queen Elizabeth I of England acquired large and unusual pearls for the Tudor dynastic treasury, which contributed to the wealth of the realm. Another monarch, Catherine the Great and Russia, used the purchase of pearls and art as a political weapon to gain European dominance of objects that defined a nation’s wealth. Photos of the first modern First Lady, Jackie Kennedy, reveal her delight in wearing pearls. Such is also the style of the always fashionable First Lady Michelle Obama.

Deep Ocean Pearl Earrings

Women of fashion have always emulated the royal taste for pearls. The French developed a method for making non-melting wax pearls. A glass nucleus enrobed in a semi-translucent wax and lacquered outer coating could be drilled for stringing or be used alone to set like gems. In the 1920s, the simulated pearls of American manufacturers were a close imitation of the real thing. They were made in different grades and clasped with gold or platinum. The fever for imitation pearls resulted in a slowdown in the genuine oriental pearl business.

My Pearls Collection features lustrous, satiny shell pearls in rich, unexpected color palettes. They mingle with exotic crystals and chain in pieces that to the lexicon of pearl jewelry in the inimitable antiquarian expression of Sweet Romance.

La Traviata Bracelet

Receive 15% off the pieces featured here by entering “pearls” in the coupon box at checkout:

Lily of the Valley Brooch
Deep Ocean Pearl Earrings
La Traviata Bracelet

noreply@blogger.com (Sweet Romance Jewelry) — Fri, 19 Aug 2011 17:17:00 +0000

There were magnificent displays of jewelry in diverse ranges of style, theme and value.

Cameo Locket Necklace

Victoria -- The very name evokes countless images and associations, both historical and cultural. She came to the throne at the age of 18 and was England’s “first blush of spring” after the decadence of previous monarchies. Her youthful idealism and determination were exactly what was needed to embrace the advances of the modern world. During her long reign, between 1837 and 1901, she was a proponent of the Industrial Revolution, devoted to progress in manufacturing, building, medicine, transportation and the decorative arts. Victoria’s influence as a woman was strongly evident in society, particularly among the growing middle class. Her marriage to Albert was joyous and romantic. They were committed to family, home and high moral principles and truly loved their public.

The Great Exhibition, conceived by Albert, opened in 1851. It was the world’s first international exposition, which he called “a monument to enterprise, combining engineering, utility and beauty.” Over 13,000 exhibitors showcased achievements in the arts and sciences. More than a third of the total population of Britain attended. There were magnificent displays of jewelry in diverse ranges of style, theme and value. Visitors, inspired by the profusion of ornaments, began wearing jewelry as every day articles of fashion.

Art Glass Locket Necklaces

These Victorian tokens of affection were given by a gentleman to a lady, a mother to a daughter, and exchanged among friends. Just like today, the Victorians wore them in multiples. Each subject carried its own secret meeting shared between gift giver and recipient. Both the 19^th century invention of photography and the Civil War elevated the importance of lockets for daily wear.

Much like the flounce and flourishes of Victorian dresses, jewelry followed the “more is more” school of taste. Great interest in antiques resulted in jewelry of classical and rococo themes decorated in enamel, mine cut and crystal ‘gems’ set in non-precious metals.

In my collection, I present sweetheart bracelets and lockets in varying styles and themes, just as the Victorian’s sought. Dare I say Victoria herself would have loved them? Indeed!

noreply@blogger.com (Sweet Romance Jewelry) — Fri, 12 Aug 2011 14:43:00 +0000

I liked having a string of high fliers...

You like a collection that can be dependably re-ordered.

I’m often asked how I got into the business of designing and manufacturing jewelry. The answer to this question is usually a short summary of my background as an artist and historian with a driving interest in entrepreneurship. However, the detail of how I financed my beginnings in business is a lot more interesting.

Bringing a concept to market depends on implementing a strategy that involves a lot of rational thinking, dedication, energy, people connections and money. Money, or ‘start-up’ capital, is the grease that animates all these factors, giving cohesion and support to daily business. Cash flow to a business is very much like breathing in and breathing out. So, in the absence of an angel investor, personal wealth, bank loans, and celebrity status, how did Sweet Romance manage to link one day to the next in the very beginning?

In the early 1980s, I was already tinkering with jewelry making. By day, I did commercial art for ad agencies and by night, I studied jewelry fabrication. On the side, I was dabbling in the sale of private label cosmetic products which proved remarkably profitable. I shifted more time into the cosmetics operation, blending my graphics and design ability for the packaging and marketing of exotic colored cosmetics to the beauty supply industry. Soon, I had an ex-Max Factor chemist mixing nail polish in colors previously unavailable and I struck deal with a New York private labeler to distribute their eye shadows and lipsticks.

The artificial nail craze was just a few years along. A full set of acrylic nails averaged $50. Enrollment in beauty schools mushroomed with women in pursuit of a manicure license and a new career. I let up on the tedious graphics business and enjoyed the freedom of peddling my nail polish and cosmetics to the beauty schools and at the flea market on weekends. Department and drug store cosmetic lines were conservative and lackluster in the early 1980s, certainly no competition for my iridescent, dayglow and metallic colors.

I made lots of cash that funded the creation of several products for the beauty supply industry, which had recently opened to the public. Before the 1980s, a cosmetology license was required to enter a beauty supply. Now public, the stores suddenly needed different product lines to fuel over-the-counter sales. In addition to cosmetics, I developed “Finger-Charmers,” a tiny gold-filled charm to wear on the nail, secured by clear top coat. Twenty-four styles were offered on a revolving acrylic display. I hired reps for both the beauty industry and general retail. Finger-Charmer displays became a fixture in most beauty supplies nationwide as well as mass retail chains such as JC Penney and Osco/Sav-on Drugs.

The product itself was inexpensive to make, package and ship. I gave out a base commission, a spiff on rack placements, free shipping and 30 days terms on the rep’s say-so. The racks were a veritable vending machine for the retailer and they were swift to reorder to replenish their displays. Ever frugal and uncommitted, I was still running business out of my big apartment. Then, one day, my friend, who did the billing, asked “How come the mailbox is always empty?” With just a quick review of our aging accounts payable, we could see that most customers were slow to pay. New terms were put in force and cash flow started up. Checks were mostly good and I didn’t have a credit card pay option at the time. I reluctantly paid $800 for a combination fax/phone to be able to receive faxed purchase orders. Billing was transferred to the work of a Compaq 386 computer with an irritating ochre screen.

Eventually I recognized another opportunity with the beauty suppliers. They all had a dusty little earring rack loaded with non-selling, outdated styles. The manufacturer of my Finger-Charmer charms directed me to a costume jewelry dumper who liquidated department store merchandise. He sold me a trailer full of earrings from a line that had just folded called “Encore.” The earrings were current and stylish, gathering even more cachet from my new mounting card. Emblazoned in hot-stamped silver on gray velvet, the brand name proclaimed “Girls Love Earrings.” Just like Finger-Charmers, “GLE” was a prepak of earrings and display, promising a new collection with every re-order.

Ironically, that’s where it all stopped and began at the same time. Retailers didn’t want new styles in every order. They wanted to re-order the same earrings—tested sellers. But, the success of the program was the continual refresh of new styles, I explained. No, that was a gamble they replied. How about an exchange allowance for non-movers, I countered. Nope, how about a collection that can be dependably re-ordered?

This situation ended my existence on flash-in-the-pan products with unknown life spans. It made me commit myself financially and personally to the effort of building a business for the long term to the benefit of not only myself, but also my employees, customers and vendors.

The joy and glamour of Sweet Romance jewelry results from people who, over the years, have created a company of shared belief, grit, hard work, smarts, sheer luck and a lot of love.

noreply@blogger.com (Sweet Romance Jewelry) — Fri, 05 Aug 2011 17:00:00 +0000

Discover icons of romance and mystery

He practically traded his soul to guarantee the protection and safe return of the priceless treasures.

Tut Tut tut Egyptian Charm Bracelet

The wondrous discovery of Tutankhamen’s tomb in 1922 did not exactly begin the fascination with ancient Egypt. It did, however, profoundly influence archaeology and popular culture. The undisturbed intact articles found in Tut’s tomb became icons of romance and mystery. Egyptian motifs began to appear in the stylized art deco facades of buildings and in decorative arts. Bohemian glass factories produced decorated elements to be used in the creation of “artifact” jewelry and souvenir items for the Egypt pavilions of World Fairs and Expositions. Most of this period jewelry, termed “Egyptian Revival” has disappeared into the domain of advanced collectors.

In what has become the blockbuster exhibition of this generation, more than 7 million visitors have flocked to see “Tutankhamun and the Golden Age of the Pharaohs” since 2005, when the exhibition premiered in Los Angeles. It has since traveled across the U.S. from San Francisco to New York City and around the world, including London, Paris, Germany and Australia, captivating people of every age and from every walk of life along the way.

I had the honor of my jewelry designs offered in the traveling gift gallery accompanying this world exhibition. I must tell you, it wasn’t the smoothest ride in the beginning! After first learning about plans for the Tut exhibit, I knew that several of my Egyptian jewelry designs would add a touch of authenticity above and beyond the predictable souvenir jewelry.

Serpent Cuff Bracelet

After multiple efforts to reach him by phone, I finally got to the “impresario” of the exhibit, Kurt. He began the conversation with a gruff “I’m probably NOT interested.” He told me that curating the show had proved secondary to the amount of logistical planning, diplomacy and outright wrangling with the Egyptian government and antiquities people and a massive insurance bond. He practically traded his soul to guarantee the protection and safe return of the priceless treasures. “Millions of dollars have been poured into this and I’m not about to take on anything but original Egyptian product.” I persisted in explaining that the jewelry I was offering contained authentic elements that had been produced in Bohemian glass factories during the 1920s to answer the “Egypt Mania” fashion craze resulting from the discovery of Tut’s tomb.

That caught him by surprise. After a few seconds of pondering this new angle of the conversation, he backed down. The intensity of his voice eased and he said calmly “send me a 100 of each of your top 5 styles.” As the exhibit traveled over the next few years, visitors were delighted to come away with an article that so closely approximated the magic of the antiquities that they had just viewed. The common experience is to buy a booklet or postcard to forget on a bookshelf or in a drawer. But through emails and letters from all over the world, we learned of exhibit goers who cherished reliving their visit and felt as ancient queens themselves each time they wore their precious jewels.

Blue Goddess Egyptian Earrings

Sweet Romance Jewelry continues to bring the genre alive with designs incorporating authentic vintage glass and historical accuracy. Because their quantities will soon be exhausted, each piece of jewelry is truly a limited edition.

noreply@blogger.com (Sweet Romance Jewelry) — Fri, 29 Jul 2011 15:00:00 +0000

"It's all retro to me..."

…most of what we believe to be our own innovation is actually an expression of our observations and reactions to everything we’ve seen or that’s been done before.

Cherries Jubilee Pin

A few months ago, while sketching out designs for my ShopNBC show this past May, my neighbor’s teenage daughter watched over my shoulder. I asked her opinion of the piece I was drawing and she responded, “How do you think up so many new ideas? Will you ever run out?” I tried to explain that seeking originality is the driving force in any creative endeavor, but that most of what we believe to be our own innovation is actually an expression of our observations and reactions to everything we’ve seen or that’s been done before. Especially when the subject is fashion. “There’s nothing new under the sun,” I summarized. “Well, it’s all new to me,” she corrected.

Then, I realized that our short discussion had defined why I love what I do. I have much to say, through design, about the history of women and their fashion legacy. I still feel discovery and exhilaration when a fragment of history suddenly explains the reason for certain fashion trends and manufacturing techniques. Within this context, it’s all new to me, too. I strive to enfold a “retro” essence into my designs which, hopefully, join the heritage, luxury and longevity of your most revered vintage pieces.

I've included two of the sketches I had been working on at the time. Both of these designs, Cherries Jubilee Pin and Vintage Deco Bracelet, were presented on my last show at ShopNBC and can now be purchased through their website by simply clicking the caption on the photo.


Vintage Deco Bracelet

noreply@blogger.com (Sweet Romance Jewelry) — Wed, 27 Jul 2011 18:24:00 +0000

ShopNBC's video promo for my jewelry! They really did a great job!
Check out these pieces in the Sweet Romance Boutique ONLY at ShopNBC.

<br><br>ma

noreply@blogger.com (Sweet Romance Jewelry) — Fri, 22 Jul 2011 14:39:00 +0000

"What are you wearing with your bum roll?"

Get to the Renaissance Faire in true regalia of the times.

Navarre Ribbon Necklace

A bum roll is hitched in place under your magnificent jacquard farthingale, to emphasize your feminine waist. The tapestry outer corset has a flatteringly tight fit, accentuating every breath you take. The rise and fall of your bosom gently shifts your necklace, creating the soft rhythmic glitter of faceted jewels. With all the attention to the historic accuracy of your costume, why, oh why, are you wearing Victorian style jewelry?? After all, Queen Victoria ruled 16 generations (234 years!) following Elizabeth.

Oversize Link & Cabochon Bracelet

To ensure you’re strutting true Elizabethan style jewels, I’ve designed an extensive collection based on original Renaissance pieces, inspired by my hours spent in dusty British archives. The collection is accurate to the times and can be easily mistaken for authentic originals. Each design is remarkably different from any other jewelry you’ve seen. Got you curious?

Tudor Dangle Earrings

Jewelry was, in fact, the lifelong passion of Henry VIII (besides wives). Amassing jewels for the royal treasury continued during the long reign of his daughter, Elizabeth. Jewels contributed to the wealth of the realm and those of national importance were kept in the Secret Jewel House of the Tower of London. Jewelry was the essential currency of political influence in matters of state as well as royal romantic courtships. Elevated position or rank at court was signified by the opulence of jewelry chains, badges, ciphers and monograms. The Queen's own astonishing array of gems and pearls magnified the aura of her royal splendor. According to the Venetian ambassador, at the state entry of Elizabeth for her coronation in London in 1559, her procession "so sparkled with jewels and gold collars that they cleared the air, though some noted it snowed a little."

Sumptuary Laws attempted to restrict the wearing of jewelry to the royals and wealthy. However, the public passion for jewelry made this impossible. Princely magnificence could be had in the form of faux gems -- Venetian "imitation foiled doublets," so that even commoners could feel the royal treatment.

Legend of the Night Cross

Except for several written inventories and listings in wills, very few jewels of the Tudor period survived the succession of the times, fashions and other monarchs. In 1603, Elizabeth's successor, James I, began to disperse the Tudor inheritance. He cashed in some of the jewelry for personal gain and deconstructed and sold it, jewel by jewel, to pay off state debts. Although the collection of jewels dissolved, they remained yet intact on the wearers they adorned in portrait paintings by Renaissance masters Nicholas Hilliard, Marcus Gheeraerts and Levina Teerline. Jewelry was so accurately depicted in portraits, that some artists applied a highlight of burnished silver to enhance the realism of diamonds and pearls. These paintings preserved the permanent record of the jewels and their rightful owners.

Jeweled Grate Bracelet

Elizabeth herself has been described as the jewel of the Renaissance. She was educated in the classics, mathematics and was fluent in several languages. As Queen, she avoided the excesses of the reigns of her father, Henry VIII, and her sister, Mary I. Her foreign policy cautiously avoided alliances until she was forced to act against Spain in the 1580s. Elizabeth pursued a careful public image, with particular emphasis on the legitimacy and stability of her monarchy. Attributes of her majesty and sovereignty are expressed in court jewelry worn by her subjects to demonstrate their devotion and loyalty to “Gloriana,” Queen Elizabeth.

Grand Regalia Brooch

A particular style of jewelry that became popular among the elite was the “stomacher” – a long, multipart brooch worn at the diaphragm of an over corset or waistline. My own version, the Grand Regalia Brooch, can also be easily worn in the Renaissance manner as a neckband by using a wide satin ribbon. The intricate sculpture of this pin is a pair of zephyrs and griffins who protect a treasure of cabochon cut "flawed" (glass) rubies and emeralds, typical of Renaissance lapidary work.

Me in costume at a Renaissance Faire

For all you faire goers, I have written an article entitled Elizabethan Lady’s Guide to Proper Dress, complete with a photo example of yours truly.

noreply@blogger.com (Sweet Romance Jewelry) — Fri, 15 Jul 2011 14:15:00 +0000

"Art Deco Style"

Chrome toasters, geometry and women get the vote.

Ever since I became aware of style and design, I’ve loved the Art Deco esthetic. Through your letters and emails, I know that my interest is a shared one. There are several reasons for this.

Deco Triangle Necklace

First, many of us were nurtured by a woman of the 1920s—our mothers, aunts and grandmothers. Their personalities were shaped by that particularly restless, defiant and ultimately liberating time for women. With empowerment of the right to vote and employment, women insisted on liberating fashion changes also. The confines of the corset were abandoned for loose-fitting, shorter dresses. Women bobbed their long hair, painted their lips and shopped using credit terms. The spirit that was kindled in the Roaring ‘20s enabled them to persevere through the Depression and WWII. They instilled in us their tenacity, self-reliance, creativity and thrift.

The other reason we like deco design is because our lives have been filled with its influence. Architecture, neon signs, chrome toasters and mother’s rose gold watch have the geometric lines born of the Machine Age.

Deco Crystal Barrette

Apparel and jewelry fashion joined in sync with the new design philosophy of angles and curves heralded at the Paris International Exposition des Arts Decoratifs in 1925. Fashion jewelry making accelerated. There was high demand for crystal bracelets to clasp bare arms, bead necklaces to drape the new “flat” silhouette and earrings to seductively swing beneath the brim of a cloche hat. The Machine Age obliged with automated chain linking devices and mass produced rhinestones. The elongated rectangular ‘baguette’ cut was developed. Pave’ set diamonds and rhinestones ruled the day.

Slinky Spiral Necklace & Earrings

There were different flavors within the Deco style. Exotic influences were seen in oriental motifs, molded glass, enameling and rhinestone encrusted filigrees and celluloid. Jewelry, purses and dresser top items looked like opulent luxuries. Then there was the streamline, geometric form seen in motifs such as arrows, shooting stars, designs which conveyed movement. Old themes such as fruit and flowers were expressed in geometric forms. Tut’s tomb was discovered in 1922, a revelation of artifacts which captivated the world. Molded glass ornaments of Egyptian themes were produced for use in jewelry.

It is my hope that you find great pleasure in my designs of the Deco era.

shelleycooper.com

noreply@blogger.com (Sweet Romance Jewelry) — Fri, 08 Jul 2011 19:51:00 +0000

"The smallest things can count the most"

Even the intensive hand labor of jewelry production has engineering short cuts.

The business of designing jewelry is not an enterprise that indulges the free expression of one’s personal aesthetics and tastes. Creativity is harnessed by considerations of fashion trends, performance of past collections, customer demographics and market potential. If that’s not enough to douse the spark of inspiration, think of what it takes to compete with overseas manufacturers who have the clear advantage of lower costs. Being first in time with a hot silhouette can provide a temporary edge. But, all too quickly, success is fleeting, buried by the flood of cheap knock-offs from overseas factories. Like apparel, jewelry fashion is marketed to satisfy short term trends.

So, how did Sweet Romance, an American designing manufacturer, live to celebrate our 25^th year in business? It’s the result of building brand awareness and people relationships—our clientele and vendors. It’s the result of consistent presentational beauty unbound by seasons and erratic trends. Underlying the beauty of design is quality construction, a tenet of ‘made in USA’ that we faithfully follow. Domestic manufacturing has burdens of high labor and overhead costs, making efficiency a pivotal factor in staying the course. Even the intensive hand labor of jewelry production has engineering short cuts.

One very small detail that directly affects quality and value is the jump ring. You know, the tiny rings that serve to connect all the components in a piece of jewelry, chain to clasp, dangle to earwire. One hardly notices them until the vexing discovery that a charm is missing from your favorite bracelet. The majority of costume jewelry is made with even cut jump rings. The ends come together without overlap and they eventually fail. To get around the problem, we used heavy gauge rings and grueling hand labor.

I mentioned this annoyance to Gary, our metal supplier who always has a fix for mechanical puzzles and inefficiencies. He held one of our tightly closed jump ring to the light and pointed out that a miniscule gap was still present. “How about a Linkomatic?” he suggested. The word sounded like an infomercial product hawked on late night tv. “ Didn’t Lucy Ricardo have a Veggie-matic?” I joked. Gary’s mouth smiled inside the borders of his white moustache and beard. “It’s a machine that forms a bias cut ring from spooled wire.” One always feels relief when a longstanding problem is on the verge of resolve. I envisioned a neat hand held plier kind of device. “I’ve got a few I’ve been hanging onto, but I can bring one by your place tomorrow as a loaner,” he offered.

Turned out the Linkomatic was no gadget. It was large and heavy, with a plethora of moving metal anatomy. It seemed like a distant relative was moving in with too much luggage. Gary tugged at the dolly wheeling in the machine, the size of a large drill press, its electric spooler, cables, a fifteen pound spool of wire, mammoth foot pedal and a box of various tools and extra parts. After bolting it in place on a wooden desk, he connected the peripherals and then produced a thick 1970s circa operations manual. We both studied the diagrams that showed the proper threading of the wire. Starting at the oiled felt pad, wire traveled through channel inserts, gapping controls, a cut-off blade to the forming arbor to the face plate and pusher blades before your first glimpse of wire. The closing arm or ‘head’ finally creates the closure. Adjusting all the tolerance variables was a lengthy, irksome effort. But, finally, an acceptably formed ring popped out, perfectly oval and smoothly closed. Quite pleased, Gary patted the head of the Linko and turned off its switch.

One of our assemblers picked up a jump ring from the output tray, “All that for just this?” she teased. “It’s part sewing machine and part stapler. How’d they ever come up with this contraption?” The Linkomatic was silent as if waiting for me to answer the smug question. Its green metallic housing, powerful clutch, timing and rotary mechanisms and gleaming steel tooling deserved some dignity, some words of defense. “This is our new baby,” I finally announced.

We bought Gary’s machine and, as time went on, we added 3 more Linkomatics to the family. Experiencing their ease and convenience, our production staff came to love them as their own.

shelleycooper.com

noreply@blogger.com (Sweet Romance Jewelry) — Fri, 01 Jul 2011 15:16:00 +0000

Shelley's Jewelry Diary is a weekly personal message from Shelley, sharing her insights and perspective about jewelry design, her factory and the history of jewelry fashion.

Shelley's Jewelry Diary
by Shelley Cooper

July 1, 2011

"World War II victory yields victory…in fashion"

Fashion in America during the 1940s was greatly influenced by the war as women went to work. Nearly 10 million of them labored in the manufacturing of armaments and airplanes. Millions more worked at other jobs that had been traditionally considered men’s work. Women not only did ‘their part’ for the war effort, they were capable and reliable. Although factory jobs were well paid, it was hard to find something to spend the money on. War put everything in short supply. Rationing and war bonds were a part of everyday life.

The jewelry industry experienced shortages of metals under the limitations imposed by the War Production Board. Factories in Central Europe, which had made and exported stones and beads, were either closed down or changed their industry to make war related products.

Fashion changes occurred from the wearing of practical clothing at work, namely pants instead of dresses. Clothing sizes became standardized and ready-to-wear off the rack fashions spurred the retail apparel business. After victory was announced in 1945, women had money to spend. Department stores were flooded with shoppers intent on having Dior’s new “soft look,” and costume jewelry to match every outfit.

There was an outpouring of eclectic fashion designs. The squared-off ‘military’ cuts gave way to flared skirts and figure enhancing knits. Rhinestones were set into or sewn onto everything from buttons to shoes. Apparel manufacturers often included a rhinestone pin or buckle on a dress to guarantee its appeal. Rayon and nylon, developed during the war, were printed in fabulous colors and patterns.

The decorative glass industry kept right in step with its spectacular output of faceted glass jewels, beads and rhinestones. Jewelry designers who had formerly worked in precious metals were converted to costume jewels by the lure of creating imitation pieces that were cost prohibitive in gemstones. Fashion jewelry became the fashion rage.

The world had opened up to tourism. Americans vacationed in exotic destinations and brought home saris, kaftans and kimonos. Oversized, brilliant-colored, theme jewelry appeared. Rhinestones reigned. They adorned Revival designs, which were a hybrid of historic vernacular and playful American kitsch. The influences of Medieval, Renaissance, Egyptian, Chinese and East Indian antiquity were all part of the Revival styling of mid-century American jewelry. It was all-new and glamour could be a rhinestone rickshaw pin or a tangle of faux pearls.

My Americana collection utilizes palettes and exotic designs of the ‘40s and ‘50s. It is so perfect to sparkle in the summer sun or glint in the moonlight of a summer’s eve!

shelleycooper.com

noreply@blogger.com (Sweet Romance Jewelry) — Fri, 24 Jun 2011 19:33:00 +0000

Shelley's Jewelry Diary
by Shelley Cooper

Friday, June 24, 2011

"What is truly precious…a first lesson in jewelry appraisal"

Designing jewelry had always been a pleasurable pastime for me. In my twenties, I filled sketch books, studied manufacturing techniques and produced pieces for my own enjoyment. At the time, ‘real’ work that paid my way in life was commercial art. I did graphic design and layout production for some of the red-hot Madison Avenue ad agencies and publishers with Los Angeles offices. All my work was freelance so I poured on the hours developing display ads for consumer products, from kitchen appliances to potato chip bags. I hand lettered presentation boards used to pitch new clients and captioned storyboards for TV ads.

My studio was located on the 10th floor of a Westwood office building on Glendon Avenue, just south of UCLA and just north of Ship’s, a 1950s diner that served up a patty melt of local renown. My office door opened to a spacious single room, occupied by an enormous drafting table and floor to ceiling windows. Various piles of photos, Dr. Martins ink bottles and mugs loaded with colored markers framed the mayline straight edge screwed into the table top. The disarray was comforting only to the eye of the person who understood the clutter and for others, it hopefully signified that I was in demand with a steady clientele.

I particularly enjoyed work involving formal hand lettering and spot illustration. Calligraphy jobs for high society invitations and menus led to some limited entry into the world of the rich and privileged. My reputation for unique work and making deadlines expanded business for increasingly elaborate projects. My favorite client was Frances Klein, Beverly Hills antique jeweler to celebrities – rock stars to royalty.

When she first opened her shop on Rodeo Drive in the 1960s, antique jewelry was nowhere on the fashion radar. At the time, stylemakers weren’t conscious of chic Edwardian diamond necklaces nor rose gold Deco tank watches. Their focus was plastic mesh, O-chain disco belts, Moroccan trade beads and anodized peace symbols. Mrs. Klein is credited with the revival of interest in antique jewelry in the United States and the rapid escalation of its value. Her celebrity clientele developed a taste for spectacular old jewels of rare design and provenance. In turn, the stargazing public observed that Art Nouveau enamels, cameos and maybe pearls were, indeed, groovy.

Not only did Frances Klein purvey a thin top of the best and rarest jewelry, she applied generous amounts of her profits and time to charitable causes. Her need for embellished calligraphy for social communications is what brought us together. I took my portfolio and a selection of Italian handmade paper to her shop to discuss invitations for an upcoming fundraiser dinner. Her shop, appointed in luxurious glass cases, set the stage for the drama of jewels locked inside. Before any discussion of the reason for my visit, I was offered tea and encouraged to browse. Not the least bit pretentious, Mrs. Klein furthered my appreciation of old jewels in another, very charming way. On one occasion, I admired an 18th century miniature portrait painted on ivory, surrounded by rubies and turquoise ballontinis. She removed it from the display and fastened it around my neck. While adjusting the tilt of the bronze counter mirror, she murmured how much more exquisite the necklace was when worn

I looked in the mirror and noticed I was smiling and that my eyes glittered like the faceted stones on the pendant. The splendor of the piece measured beyond the intrinsic value of its gemstones and gold. It was the personal subject of the portrait, the fact that it had already been loved by several generations of wearers that made it so valuable. It demonstrated how life is celebrated by the creation and wearing of jewelry. A museum-worthy bauble of considerable gem weight will definitely command your attention. Still, a twenty-five point lesser grade engagement diamond can own your heart.

shelleycooper.com