ALL THAT GLITTERS … by Susan Stokes-Chapman

Anyone familiar with the Georgian era will likely conjure one of two contrasting images: the gritty underworld of 18th-century London, or — more romantically — the opulent ballrooms of the Regency ton. With the soaring popularity of Netflix’s Bridgerton, the period has captivated a whole new generation, drawing fresh attention to its sumptuous aesthetics and social intricacies. Naturally, this fascination extends to one of the era’s most dazzling hallmarks: fashion — and, in particular, jewellery.

Much like today, jewellery in the Georgian period served as a powerful form of self-expression. The variety was astonishing, with styles ranging from the refined and understated to the bold and ostentatious — especially among the upper echelons of society. Jewellery choices were not only a matter of taste but also of timing. During the day, women typically adorned themselves with simpler pieces: a modest necklace, a cameo brooch, perhaps a single ring. Garnets were especially favoured for their rich, deep hue.

By evening, however, the accessories transformed along with the occasion. Out came the more elaborate ensembles: intricately set necklaces, coordinating earrings, stacks of bracelets, and rings gracing nearly every finger. Diamonds, prized for their rarity and brilliance, became the gemstone of choice after dusk. Men, too, indulged in adornment — jewelled shoe buckles and ornate buttons lending flair and personality to their attire.

For the Georgians, jewellery was far more than mere adornment — it was a bold declaration of social status. Those perched at the top of the social hierarchy flaunted their wealth through the possession of genuine gemstones, pure diamonds, and luminous freshwater pearls. The most opulent among them might even boast an entire parure — a coordinated suite comprising a necklace, bracelet, earrings, brooch, and often a decorative headpiece — each element designed to dazzle and impress. As one descended the social ladder, however, both the quality and quantity of jewellery diminished noticeably, reflecting the wearer's more modest means.

 

Throughout the long Georgian era (1714–1830), jewellery design evolved with both fashion and technology, incorporating a rich variety of materials sourced from across Europe. Pieces were often crafted in countries such as Italy, France, and Germany, where skilled artisans blended artistry with innovation. True diamonds shared space with smaller, foiled-back stones designed to enhance their sparkle, alongside a dazzling array of ‘paste’ jewels — highly polished glass imitations that offered the look of luxury without the exorbitant cost of genuine gems.

Other types of glass, such as Vauxhall and Opaline, also gained immense popularity, admired for their brilliance and versatility when paired with colourful paste stones. Meanwhile, traditional precious metals like gold and silver began to make way for alternatives including gilt metal, iron, marcasite, and cut steel. Among these, pinchbeck — a gold-like alloy that resisted tarnish — emerged as a fashionable and accessible choice in its own right, allowing style to flourish regardless of status.

 

 

Natural materials such as coral, agate, turquoise, ivory, and amber were highly prized by the Georgians, admired not only for their intrinsic beauty but also for their symbolic value. Even wood found its place in jewellery design, showcasing the period’s appreciation for craftsmanship in all forms. Cameos, often carved from shell with extraordinary precision, were especially beloved. Typically crafted in Italy, these miniature works of art frequently depicted scenes from Greek mythology — a subject that resonated deeply with Georgian tastes, particularly as the era progressed and Grecian influences began to shape both fashion and architecture.

Jewellery also served as a powerful conduit for emotion and sentiment. In Georgian society, the giving of a diamond ring took the place of a bouquet of flowers, symbolising a profound declaration of love. Heart-shaped designs were cherished gifts, seen as particularly fortunate tokens of affection. Among the most intimate expressions was the 'lover’s eye' — a finely painted miniature of a beloved's eye, set into a brooch or locket and exchanged in secret. Mourning jewellery, too, was deeply personal. The loss of a loved one might be commemorated with a ring containing a lock of their hair, worn close to the skin as a quiet, enduring tribute.

Sadly, as fashions evolved over time, much of the original Georgian jewellery was dismantled and repurposed to suit changing tastes. Stones were reset, metals were melted down, and entire pieces were reimagined to align with the styles of a new era. As a result, surviving examples of early Georgian jewellery are rare today — precious remnants of a bygone age that has, in many ways, been lost to history.

Curiously, Georgian portraiture does not always depict its sitters adorned in jewellery, yet we know such adornments were both widely available and enthusiastically worn. So the next time you find yourself wandering the halls of Chatsworth — or any grand eighteenth-century estate — imagine the women who once lived there, dressed in regal splendour, a glittering necklace at their throat and rings — perhaps several — catching the light on their fingers.

For those keen to delve deeper into this dazzling subject (pun very much intended), Georgian Jewellery: 1714–1830 by Ginny Redington and Olivia Collings is an essential read. The book offers an in-depth and richly illustrated exploration of the period’s jewellery, far beyond what we can cover here. From Berlin iron and Wedgwood pieces to cut steel, harlequin gems, and the romantic symbolism of the language of flowers, it’s a visual and historical treasure trove. All images in this post are sourced from this excellent volume, which you can find on Amazon — a true feast for the eyes and the curious mind alike. It can be viewed HERE.

~~~~~~

My Georgian-set debut novel Pandora is due out with Harvill Secker in January 2022. It’s main character – Dora Blake – is an aspiring jewellery designer! You can pre-order by clicking the image below:

www.susanstokeschapman.com
Instagram: @SStokesChapman