It is the 1920s and the air is sweetened for the first time with the scent of Coco Chanel’s iconic Nº
5 Parfum. In New York, the Chrysler building climbs skywards, changing cityscapes for ever as
the competition begins to rise ever higher.
In the air, pioneering women aviatrices dare to break records, and down below, their sisters Jazz
dance the night away in beaded and bejewelled flapper dresses, free at last from the stifling
constraints of corsets and layers of petticoats.
It is a time of exploration and innovation, and in many industries and occupations women lead the
way. Jewellery designers overturn traditions, utilising industrial engineering to create diamond
encrusted links and mechanisms.
Exciting new plastics and machine cut glass allow mass production and affordability for costume
jewellery as never before. New styles emerge from the Ateliers of Coco Chanel and Elsa
Schiaparelli, inspired by Africa, Egypt and China.
Clothing becomes a canvas for self expression, Sonja Delaunay and Raoul Dufy redefine
geometry and flowers, while Sergei Diaghilev brings artists and dancers together in a visual feast
that spills out into fashion.
It’s a vast eclectic mix of Ocean liners, sleek cars and primitive boldness, yet somehow it all
unites to become a particular kind of modern, as Art Deco races across continents.
The Charleston Sautoir is a blend of beaded elements, with Delica beads, tiny pearls and crystals
encasing unusual acrylic stones. The necklace has five elements and a slinky rope worked in a
little known technique.

Leaning closer to the mirror to catch the waning light on her reflection, Renée vigorously pinched
her cheeks and smoothed into place a loose strand of her sharp bob. As her eyes darted around
her image, checking for perfection, she finally fixed herself with a confrontational stare, which
turned saucy very quickly. Her perfect Cupid’s bow lips slowly widened to a winning smile.
Magnifique, she thought as she drew back, satisfied with her self-appraisal, and now for the
finishing touch. Set on the dressing table beside the mirror was an elegant Chinese box, clad in
mother-of-pearl, and Renée pressed a tiny button on the lid to release the catch. Opening it, she
carefully took out her new, treasured necklace and fixed it in place about her neck, centring the
beautiful, glittering stone at her décolletage. She knew Emile would be utterly delighted to see her
wearing the birthday gift he had shyly presented to her three days ago, and she laughed with pleasure, picturing his face tonight when he leads her onto the dance floor and watches her sparkle.

The Renée necklace is elegant and comfortable to wear, comprised of six different elements which
can be easily adapted and recombined. The colour and materials emulate the ubiquitous use of
jet, silver and marcasite in the Art Deco era, along with the exciting use of straight lines and
angles in conjunction with circles and curves.