History
1. The Birth of Miriam Haskell and the Founding of the Company
Birth and Background
Miriam Haskell was born on July 1, 1899, in Indiana. She left university early in order to support herself and began working. In 1924, she moved to New York and entered the world of high-end jewelry retail. She opened a boutique inside the McAlpin Hotel in New York City (then located at 103 West 34th Street), where she sold costume jewelry by prominent designers of the time, including Coco Chanel.
Establishment of the Brand
In 1926, Haskell formally founded the Miriam Haskell brand, appointing Frank Hess—who had worked as a window display designer at Macy’s department store—as her chief designer. Although Haskell herself was not a jewelry designer, she possessed a refined aesthetic sensibility and strong editorial vision, which clearly shaped the direction of the brand.
2. Design Philosophy and Characteristics of Miriam Haskell Jewelry
Miriam Haskell rarely designed jewelry herself. Instead, she excelled at identifying talent, selecting designers, and guiding their creative direction. As a result, the distinctive style of the brand can be understood as a reflection of her discerning eye.
Frank Hess, the brand’s principal designer, was known for his highly private nature. He spoke little about his creative process or design philosophy. His work is characterized by a strong sense of color, asymmetrical composition, and innovative forms. Signature elements include lariat-style necklaces, fringe, intricate beadwork, and natural motifs such as flowers, leaves, and animals.
Material selection was another defining feature of the brand. Faux pearls, in particular, became synonymous with Miriam Haskell jewelry. After World War II, Japanese-made imitation pearls—including baroque-style pearls—were increasingly used. These pearls, prized for their deep luster and organic irregularity, left a lasting impression on Haskell’s later works.
While a relationship with a specific Japanese manufacturer (often cited as Niki Pearl) is widely discussed and considered highly plausible, definitive documentation of an exclusive contract is limited; therefore, this connection is presented here without absolute assertion.
3. Miriam Haskell in Her Era
Popularity in the 1930s
During the 1930s, photographs of prominent figures—most notably actress Joan Crawford—wearing Miriam Haskell jewelry circulated widely, significantly elevating the brand’s visibility. Haskell typically introduced collections three times a year, centered on the Spring, Fall, and Holiday seasons. Her faux pearl creations in particular resonated with a broad audience of women.
Baroque Pearls and Japanese Imitation Pearls
In the postwar period, imitation pearls supplied from Japan assumed an increasingly important role in Haskell designs. Baroque-style pearls, with their irregular forms and luminous depth, became a key visual element that reinforced the brand’s distinctive aesthetic.
4. Wartime Influence and Changes in Materials
During World War II, access to European materials became severely restricted, and metal rationing posed additional challenges. In response, Haskell jewelry incorporated alternative materials such as wood, feathers, and plastics.
After the war, material sourcing resumed from Europe and the United States—particularly Rhode Island. By the late 1940s, designs became increasingly ornate, with expanded use of beads and rhinestones, resulting in more elaborate and decorative compositions.
5. Changes in Management
In 1951, Miriam Haskell stepped away from active management due to health concerns, and the company was taken over by her brother, Joseph Haskell.
Frank Hess remained with the company as head designer until 1960. The design principles established during his tenure were carried forward by subsequent designers. This fully realized aesthetic later came to be known as the “Signature Look.”
6. Continuation After 1981
Miriam Haskell passed away in 1981, but the company continued to operate. The brand has remained active, producing jewelry that respects its classical heritage while incorporating contemporary elements.
The Legacy of Miriam Haskell
Miriam Haskell jewelry is regarded as one of the most important bodies of work within vintage costume jewelry and continues to be highly sought after by collectors. Her faux pearl and baroque-style pearl designs helped elevate costume jewelry beyond imitation, establishing it as an independent form of artistic expression.
Her influence persists in contemporary jewelry design, and the name Miriam Haskell holds a lasting place in the history of fashion.
Miriam Haskell Jewelry: Signatures and Dating
Jewelry Before the 1940s
Many pieces produced before the 1940s do not bear metal signatures and were originally identified using paper tags. Today, these works are commonly referred to as unsigned Miriam Haskell. Authenticating such pieces requires careful attention to construction, materials, and craftsmanship.
1948: Introduction of the Horseshoe Tag
The horseshoe-shaped tag introduced in 1948 remains an important identifying feature, although technical limitations meant it could not be applied to all designs.
1951: Introduction of the Oval Signature
From 1951 onward, a more versatile oval signature was adopted. After 1979, this oval mark evolved into a fully flat-backed version.
Changes and New Techniques in the 1970s
In the 1970s, new production methods were introduced, including the slide clasp (used from 1975 onward), reflecting broader changes in manufacturing processes.
Russian Gold Plate (RGP)
After World War II, when metal supplies became stable again, Miriam Haskell began using beautifully stamped filigree components. These were sourced from suppliers in France and in the state of Rhode Island, and then sent to Unida Plating in Providence, Rhode Island.
At Unida Plating, a special process developed by James Brady was used. The metal parts were repeatedly dipped into a solution containing 24-karat gold, among other ingredients, creating the deep, rich tone known as “Russian gold.” This process was controlled entirely by hand, and as the gold content in the solution gradually changed over time, subtle variations in color naturally appeared from one filigree to another.
This distinctive surface quality—both visual and tactile—greatly contributes to what makes Miriam Haskell jewelry feel exceptional, and remains one of the key elements that sets it apart from other costume jewelry of the period.
Characteristics of Miriam Haskell Jewelry and How to Identify Fakes
Miriam Haskell jewelry is admired by collectors worldwide for its beauty and exceptional hand craftsmanship. At the same time, its enduring popularity has led to frequent misattributions and the presence of deliberate forgeries in the market. This section outlines the essential characteristics of genuine Miriam Haskell jewelry and the key points to consider when determining authenticity.
1. Handcrafted Wirework and Soldering
One of the defining features of Miriam Haskell jewelry is its construction. In principle, pieces were assembled without reliance on adhesive, using meticulous wirework and soldering instead. Beads, rhinestones, and metal components were individually secured with wire, achieving both structural strength and visual refinement.
That said, examples exist in which clasps or motifs were later reinforced with adhesive due to long-term wear, age-related deterioration, or subsequent repairs. For this reason, the presence of adhesive alone should not automatically be taken as proof that a piece is inauthentic.
2. Hook Clasps and Structural Consistency
Clasps play a critical role in identifying genuine Haskell jewelry. The most well-known example is the so-called “Haskell hook,” typically measuring approximately 2.5 mm × 13.6 mm.
This hook is characteristically placed on the right side of the necklace and attached to the body with a jump ring. Wire connections are executed with careful efficiency—for example, linking the nearest holes in filigree components to minimize visible hardware. This consistent and thoughtful construction is an important indicator of authenticity.
3. Filigree Work and Harmony of Gold Tones
Delicately layered filigree metalwork is one of the hallmarks of Miriam Haskell jewelry. These components are designed to create depth and dimension, with multiple layers working together in visual harmony.
In misidentified or counterfeit pieces, gold tones often appear uneven or discordant from one component to another. Authentic Haskell jewelry, by contrast, may show subtle variations in tone while maintaining an overall sense of balance and cohesion.
4. Russian Gold Plate (RGP)
Many Miriam Haskell pieces feature a distinctive metal finish known as Russian Gold Plate (RGP). This technique, developed by James Brady, involved repeatedly dipping metal components into a solution containing 24-karat gold, producing a rich, antiqued gold appearance with depth and variation.
Because color depended on the condition of the solution and the number of dips, natural variations in tone are expected. This subtle irregularity is one of the key visual clues collectors rely on when identifying genuine Haskell jewelry.
5. Signatures, Unsigned Pieces, and Authentication
A significant number of authentic Miriam Haskell pieces are unsigned. Until the late 1940s, paper tags were commonly used for identification, and metal signatures were introduced more systematically only later.
Additionally, because the Haskell company performed in-house repairs, there are documented cases in which original signature components were transferred to replacement parts. For this reason, authenticity should never be judged solely on the presence, absence, or placement of a signature.
There are also earrings and hoop-style pieces that bear only a “PAT.PEND” (Patent Pending) mark, with no brand name signature. These marks indicate patented or patent-pending hardware that was genuinely used by Haskell, despite lacking a brand inscription.
(See photo below.)
This category is often overlooked, but the distinctive shape and construction of the findings make them relatively easy to recognize once familiar. Evaluating form, construction, and overall quality—rather than signatures alone—is essential.
6. Component Quality and Overall Composition
Miriam Haskell jewelry is defined not by individual parts alone, but by its overall compositional harmony—often referred to as the “Signature Look.” From the Frank Hess era onward, careful attention was paid to color balance, volume, and motif placement.
As a result, even when similar components are used, pieces that lack this unified aesthetic may fall into the category of “wannabes”—items made in a similar style but not produced by Haskell.
7. Adhesives and Contextual Dating
While adhesive use was generally minimized in genuine Haskell jewelry, exceptions exist—particularly in pre-war pieces, wartime designs using substitute materials, and items that underwent later repair. In some early examples, as with other contemporary brands, rhinestones were affixed using adhesive.
Ultimately, the most reliable method of authentication is a holistic evaluation that considers period, construction, materials, and overall design integrity together.
