Tom Binns
Set with collier and earclips in green and white rhinestones, entirely hand-set
ca. 1980
signed Tom Binns USA
Originally from Belfast, Northern Ireland, Binns moved to London, where he became immersed in the burgeoning punk rock scene. Here, he found the inspiration that would define his early work. Unlike the polished and pristine Jewellery of the time, Tom Binns's jewellery was raw, unrefined, and unapologetically rebellious.
His early pieces often incorporated unconventional materials such as safety pins, barbed wire, and household items. Traditionally seen as mundane or utilitarian, these elements were transformed into striking pieces of wearable art. Tom Binns necklaces from this period were a stark departure from the delicate chains and pendants that dominated the market, instead offering chunky, bold designs that made a statement about the wearer's individuality and defiance of norms.
Binns' unique style quickly caught the fashion world's attention, leading to a pivotal collaboration with the legendary Vivienne Westwood. Known for her own punk-inspired designs, Westwood and Binns were a match made in fashion heaven. Together, they created some of the most memorable collections of the 1980s, with Tom Binns Jewellery playing a central role in the look and feel of Westwood's shows.
During this time, Tom Binns earrings became particularly iconic. His use of asymmetry, mismatched pairs, and a mix of high and low materials resonated with the punk ethos while pushing the boundaries of what luxury fashion could be. These collaborations solidified Binns' place in the fashion industry and introduced his work to a broader audience, making Tom Binns Jewellery a must-have for the fashion-forward crowd.
About Vintage Costume Jewelry:
Costume jewelry– also known as Fashion Jewelry– was especially made popular in the mid-20th century. While their materials were less precious than real gold and diamonds, using glass stones, semi-precicious stones and lead and brass, many big fashion houses and designers produced highly complex pieces of jewelry that stand for craftmanship that today can only be found in so-called Haute Joaillerie. Most famously, Coco Chanel popularized the use of “faux jewelry”, bringing costume jewelry to life with gold and faux pearls. Chanel's designs drew from various historical styles, including Byzantine and Renaissance influences, often featuring crosses and intricate metalwork. Her collaboration with glassmakers, such as the Gripoix family (Maison Gripoix), introduced richly colored glass beads and simulated gemstones, which added depth to her creations without the high cost of traditional precious stones.
Elsa Schiaparelli– Chanel’s lifelong rival– brought surrealist influences into costume jewelry design, famously collaborating with Salvador Dalí and Jean Cocteau. She created the House of Schiaparelli in Paris in 1927, celebrating Surrealism and eccentric fashions. Her collections were famous for unconventional and artistic themes like the human body, insects, or trompe-l'œil, and for the use of bright colors like her "shocking pink". While Schiaparelli had to close her avant-garde business in the late 1950s and was forgotten for decades, her designs have recently been rediscovered and are celebrated for their bold design.
In many instances, high-end custome jewelry has achieved a "collectible" status and increased value over time. Today, there is a substantial secondary market for vintage fashion jewelry. The main collecting market is for 'signed pieces', which have the maker's mark, usually stamped on the reverse. Amongst the most sought after are Miriam Haskell, Sherman, Coro, Butler and Wilson, Crown Trifari, and Sphinx.
The term signed however is an invention that only reached European production in the late 1950s- when American buyers started to ask for authentification to distinguish high class designers from mass-produced pieces, while in Europe all costume jewelry had been issued by the fashion houses themselves and hence remained somewhat exclusive from the start.
Tom Binns
Set with collier and earclips in green and white rhinestones, entirely hand-set
ca. 1980
signed Tom Binns USA
Originally from Belfast, Northern Ireland, Binns moved to London, where he became immersed in the burgeoning punk rock scene. Here, he found the inspiration that would define his early work. Unlike the polished and pristine Jewellery of the time, Tom Binns's jewellery was raw, unrefined, and unapologetically rebellious.
His early pieces often incorporated unconventional materials such as safety pins, barbed wire, and household items. Traditionally seen as mundane or utilitarian, these elements were transformed into striking pieces of wearable art. Tom Binns necklaces from this period were a stark departure from the delicate chains and pendants that dominated the market, instead offering chunky, bold designs that made a statement about the wearer's individuality and defiance of norms.
Binns' unique style quickly caught the fashion world's attention, leading to a pivotal collaboration with the legendary Vivienne Westwood. Known for her own punk-inspired designs, Westwood and Binns were a match made in fashion heaven. Together, they created some of the most memorable collections of the 1980s, with Tom Binns Jewellery playing a central role in the look and feel of Westwood's shows.
During this time, Tom Binns earrings became particularly iconic. His use of asymmetry, mismatched pairs, and a mix of high and low materials resonated with the punk ethos while pushing the boundaries of what luxury fashion could be. These collaborations solidified Binns' place in the fashion industry and introduced his work to a broader audience, making Tom Binns Jewellery a must-have for the fashion-forward crowd.
About Vintage Costume Jewelry:
Costume jewelry– also known as Fashion Jewelry– was especially made popular in the mid-20th century. While their materials were less precious than real gold and diamonds, using glass stones, semi-precicious stones and lead and brass, many big fashion houses and designers produced highly complex pieces of jewelry that stand for craftmanship that today can only be found in so-called Haute Joaillerie. Most famously, Coco Chanel popularized the use of “faux jewelry”, bringing costume jewelry to life with gold and faux pearls. Chanel's designs drew from various historical styles, including Byzantine and Renaissance influences, often featuring crosses and intricate metalwork. Her collaboration with glassmakers, such as the Gripoix family (Maison Gripoix), introduced richly colored glass beads and simulated gemstones, which added depth to her creations without the high cost of traditional precious stones.
Elsa Schiaparelli– Chanel’s lifelong rival– brought surrealist influences into costume jewelry design, famously collaborating with Salvador Dalí and Jean Cocteau. She created the House of Schiaparelli in Paris in 1927, celebrating Surrealism and eccentric fashions. Her collections were famous for unconventional and artistic themes like the human body, insects, or trompe-l'œil, and for the use of bright colors like her "shocking pink". While Schiaparelli had to close her avant-garde business in the late 1950s and was forgotten for decades, her designs have recently been rediscovered and are celebrated for their bold design.
In many instances, high-end custome jewelry has achieved a "collectible" status and increased value over time. Today, there is a substantial secondary market for vintage fashion jewelry. The main collecting market is for 'signed pieces', which have the maker's mark, usually stamped on the reverse. Amongst the most sought after are Miriam Haskell, Sherman, Coro, Butler and Wilson, Crown Trifari, and Sphinx.
The term signed however is an invention that only reached European production in the late 1950s- when American buyers started to ask for authentification to distinguish high class designers from mass-produced pieces, while in Europe all costume jewelry had been issued by the fashion houses themselves and hence remained somewhat exclusive from the start.
