RAPAPORT... When a jewelry lover discovers that there isn’t a book about her favorite piece of jewelry, she does the obvious thing: She writes one. That was the motivation for Lori Ettlinger Gross, jewelry historian and writer, whose book, Brooches, subtitled Timeless Adornment, was just published by Rizzoli. The 192-page book contains 175 photographs, depicting nearly 300 brooches ranging in style and period from antique to contemporary.
Gross believes brooches are “the best examples of the jeweler’s art. They don’t require the armature of the body. They are complete unto themselves.” She points out that the weight of many of the period brooches could be supported by the boned and corseted clothing of the day. To illustrate, she sought out fabrics and garments that matched the periods in which the brooches would have been worn. Then she and photographer David Behl set to work, matching up jewelry and textiles, or garments.
Gross opens the text with a personal introduction about why brooches captivate so many women. In the first chapter, entitled “History,” she reaches back to 2500 B.C., discussing the way brooches or pins were used primarily as functional works to hold clothing together. Historic references to members of royalty follow, accompanied by examples of brooches from various periods.
Many of the brooches illustrated were found in private collections, as well as in the stockrooms of antiquarian jewelers who, Gross says, “opened their jewelry boxes to me.” She then sought out appropriate textiles in New York’s decorative arts district.
FROM COLLECTING TO CARE
A chapter entitled “Craft” includes mini-profiles on Oscar Heyman and Fabérge, as well as collector Millicent Rogers and artist Alexander Calder. One section features Joanne Lyman, who designs and adapts jewelry designs for the Metropolitan Museum of Art.
In the “Collecting” chapter, the many forms this particular passion takes are discussed, starting with the actress Elizabeth Taylor and including such disparate figures as Joan Rivers and Queen Victoria. The resurgence of interest in particular periods from the past, including the rare Georgian jewels, is also covered. Gross stresses that a person’s own taste is a good guide to choosing brooches. This chapter also includes a section entitled “Collections,” which refers to various periods of design, giving examples of gem-set brooches as well as costume brooches made of inexpensive materials.
In “Style,” the pin as self-expression is illustrated. Gross notes that women take considerable time deciding how to match a brooch to a piece of clothing. Examples of women making these selections include Joan Rivers and Elaine Mack, a personal shopper for Bergdorf Goodman. Photos of movie stars Carole Lombard and Marilyn Monroe show how these glamorous icons chose to wear brooches.
The next-to-last chapter, “Pin-ology,” advises readers how to learn about wearing brooches by analyzing fashion magazine spreads. Miniprofiles in this section discuss color, themes, motifs and moods evoked by various brooches.
The book concludes with a chapter on “Care.” Gross advises readers to consider their budgets when choosing a brooch, and then discusses how to assess the quality of its make. She also suggest that readers with items in need of repair question potential repair people to ascertain whether they have the necessary skills.
Article from the Rapaport Magazine - June 2008. To subscribe click here.