![]() ![]() This tight embroidery and careful wiring of both the components and beads, leaving little sign of the base underneath, is one of the most distinctive features of Miriam Haskell jewellery, and a testament to both the design and execution of each piece. Once a piece had been designed it was down to her workshop of craftsmen, many of whom were European refugees who had learnt their trade in the jewellery houses of Europe, to painstakingly wire complex multi layer motifs built up of beads and strass montees on to filigree backings. These famous names aside, it was the detail, quality, workmanship and price that ensured the companies success with the wider public. As a friend of Coco Chanel’s she also created pieces for Chanel’s couture collections. Publicity shots of these celebrities and others wearing her jewellery, along with design credits for films and theatre productions, and interviews all confirm her status within these illustrious circles. In fact, it is said that Joan Crawford was such an admirer of Miriam Haskell designs that she collected nearly every piece that was produced from the 1940s to the 1950s (all to be auctioned off by New York’s Plaza Art Galleries upon her death in 1977). In this short time frame Miriam had established herself as the owner of a costume jewelry company, with a clientele of society women including Gloria Vanderbilt, movie stars such as Joan Crawford, and Lucille Ball, and royalty in the form of Wallis Simpson, the Duchess of Windsor. Continuing success saw the company relocate to 392 Fifth Avenue in the 1930s, going on to open outlets at Saks Fifth Avenue and in Burdine’s department stores, as well as a boutique shop in central London. With Miriam providing the business acumen a second shop was opened within a year at West Fifty Seventh Street. That same year, Miriam was joined by Frank Hess, a window dresser from Macy’s, who became her jewellery designer. Miriam Haskells first store window – Le Bijou de L’Heure (or Jewels of the Moment). On the 30th July 1926 a business permit was issued in Miriam’s name, allowing her to open a gift shop style boutique – Le Bijou de L’Heure – in The McAlpin Hotel on 103 Sixteenth Street. In 1924 Miriam set off for New York City with a fabled $500 in her purse, more than likely loaned to her by her shop keeper father. ![]() Miriam progressed through High School in nearby New Albany before studying at Chicago University for three years, but without graduating. They owned one of the town’s dry goods stores carrying fabric and cloth, somewhat akin to an English haberdashery store. One of four children, she was born in the small town of Tell City, Indiana, to her Russian Jewish immigrant parents. Coming to the fore in America at a time when Coco Chanel had just launched her vrais bijoux en toc, or real fake jewelry, collection in Europe, Miriam was able to ride on an American obesssion with French fashion and model her early jewellery on European costume jewellery, competing directly with Chanel and Italian designer Elsa Schiaparelli.Ī portrait of Miriam Haskell from the late 1930s. She was noted for her original but affordable hand-made costume jewellery, which successfully reflected, and was sensitive to, both the economic times and historic events in America, be it the Great Depression of the 1930s or the war years of the late 1940s. Miriam Haskell, seen below, was a celebrated American jewellery designer, business woman, and costume jewelry pioneer.
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