Dates of operation: 1919 – 1970s 1939 – 1970s for jewelry
Hattie Carnegie was an innovative fashion expert credited with the iconic “little Carnegie suit.” She was a visionary and a superb businesswoman who knew how to market her fashions, how to recognize and employ talented designers, and how to build a first-class fashion house. Carnegie had a strong fashion aesthetic, and she insisted her designers follow her lead. The following excerpt from the book Hattie Carnegie Jewelry Her Life and Legacy by Georgiana McCall describes her relationship with the inhouse designers.
Hattie Carnegie would often pop in on her designers to drape muslin on mannequins or shrill “No, take off all that junk!” She insisted that clothes be simple – “well both complicated and simple.”
McCall, Georgiana. Hattie Carnegie Jewelry: Her Life and Legacy. Atglen, PA: Schiffer Publishing Ltd., 2005. p. 13.
The early jewelry designs were signed HC in a diamond shaped cartouche. Most Carnegie jewelry in the collectible market today is signed Hattie Carnegie in script on an oval cartouche with or without the copyright symbol or Carnegie in script. Many pieces were unsigned and sold with a paper label.
It is unclear if the talented fashion designers Carnegie employed designed the early jewelry. The book American Costume Jewelry Art & Industry, 1935 – 1950 A-M by Carla Ginelli Brunialti & Roberto Brunialti, a well-researched book that relies on undisputed documentation from magazines and vintage advertising, discusses early Carnegie jewelry designs.
The only jewelry designer, known on the basis of documentation of the time, was Michael Paul who worked for Hattie Carnegie during the 1940s until 1949.
Brunialti, Carla Ginelli and Roberto. American Costume Jewelry Art & Industry, 1935 – 1950 Volumes A – M. Atglen, PA: Schiffer Publishing Ltd., 2008. p. 74.
Another name associated with early Carnegie jewelry is Carnegie’s nephew Irving Apisdorf. It is believed he was involved in the Carnegie jewelry department, but it is not clear if he personally designed the jewelry or acted in the capacity as a director who selected jewelry designs to carry the Carnegie name.
Much of the Carnegie jewelry found in the collectible marketplace today was made by jobbers. These are jewelry manufacturers who designed and marketed jewelry made in their factory. A customer would select a design, place an order (possibly with some modifications), and then have the jobber make the product and mark it with the Carnegie name or attach a removable Carnegie paper label.
The book Hattie Carnegie Jewelry Her Life and Legacy by Georgiana McCall provides interesting information on the identity one of Carnegie’s jewelry designers/manufacturers. She writes,
Designer Daniel Kasoff and his son, Larry, designed and sold jewelry under the name “Florenza.” The Kasoffs’ wholesale customers included Weiss, Kramer, Coro, Capri, Revlon, and, yes, Hattie Carnegie. Clients would tell the Kasoffs what they wanted and the items would be designed, manufactured, and stamped with their own individual logo.
McCall p.22
Before her death in 1956 at the age of 70, Carnegie exserted her aesthetic on the jewelry designs selected for her brand. After her death design directors filled that role for both fashions and for jewelry, without the vision and input of Ms. Carnegie. In the early 1960s Kenneth J. Lane accepted the position of design director for all of Carnegie including their fashion, fragrance, and accessories division. He writes about his time there in his autobiography Faking It.
Ironically, I became very involved with their jewelry division and met all the people who had factories in Providence and New York. Larry Joseph, who headed Hattie Carnegie costume jewelry, was a very difficult, tough guy who taught me a great deal. …Larry and I fought like mad, but I think we respected each other. Working with Hattie Carnegie was really my education for producing jewelry and learning all the aspects of manufacturing.
Lane, Kenneth Jay, and Harrice Simmons Miller. Faking It. New York, NY: Harry N. Abrams, Inc., 1996. p.24.
This excerpt reveals several interesting aspects of Carnegie jewelry design and manufacturing in the early 1960s.
First, Carnegie jewelry was produced by multiple factories in Providence, Rhodes Island and New York City. The use of multiple manufacturers explains the scarcity of identifiable Carnegie brand traits.
Next, the head of the costume jewelry division, Larry Joseph, was well versed in manufacturing techniques and design resources, so he was able to select quality jewelry for the Carnegie brand. He helped Kenneth Lane understand the processes.
Finally, Kenneth Lane’s design style guided Joseph’s jewelry selections at this time. Lane was the overall design director. This influence explains the similarities between 1960s Carnegie jewelry and Kenneth Lane jewelry.
Carnegie jewelry designs were often whimsical figural pins, good quality beads, and elegant evening sets. Many pieces were unsigned and sold with paper labels, so the signed Carnegie jewelry is scarce in the collectible market. Unfortunately, some designs have been reproduced, so carefully research any high-end Carnegie designs for authenticity prior to purchasing. The signed pieces command higher values today.
Brand Trait: Most Carnegie figural designs are three-dimensional.
Carnegie’s prominence in the history of fashion elevates the Carnegie name for collectors. However, since the design of Carnegie jewelry passed through the hands of many design directors, select Carnegie jewelry with distinctive, memorable designs. Some of her iconic designs include:
An Asian princess and standing Asian figures
Resin figural designs especially the Lion in the Grass, Elephant in the Grass, Swan with feathers, Boy riding a Dolphin and the Mermaid pin
African animals especially the Antelope, Anteater and various Lion designs
Floral designs incorporating Dynel, a brush-like fiber, in the design
Adorable bug pins
Elegant necklace, bracelet and earrings sets
Egyptian designs some dating to the early 1970s
The following gallery of Carnegie jewelry is a limited, eclectic collection. Since there are few consistent brand traits the descriptions rely on the six basic design elements identified in Chapter One – shape, line, color, contrast, visual weight, and balance. All of the jewelry shown is signed.
Figural Pins
This 2″ moth pin is an iconic Carnegie design. The top wings are on tiny springs, so they tremble when worn. The head and wings are decorated with pavé crystal rhinestones. It is signed Hattie Carnegie without the copyright symbol and dates to the 1950s – 1960s. Tiny 1″ ladybug pins like this example were made in many different colors and are an iconic Carnegie figural. This example is signed Hattie Carnegie without the copyright symbol. 1950s – 1960sCarnegie sold several versions of zebra motif pins. The galloping zebra shown here measures 2 1/2″ and features both smooth and textured gold tone metal, black enameling and crystal rhinestones. The zebra’s contrasting black and white stripes provide a bold contrast that stands out when worn on Carnegie’s classic fashions. It is signed Hattie Carnegie without the copyright symbol. 1950s – 1960sThe glowing green eyes have the highest visual weight in this 2″ design of a growling, open-mouth lion pin. This three-dimensional design is 1 1/4″ tall! Lions were one of Carnegie’s favorite subjects and were made in many variations. This example is finely carved with brilliant details including a sculpted tongue. It is signed Hattie Carnegie with the copyright symbol. 1955 – 1960sThe design of this 2 1/2″ burro pin features black, matte-finish plating, orange beads, and peridot rhinestones in various shapes. Orange and green are secondary colors that are rarely paired in a design. If they are together, they are often accent colors on a neutral or black background as shown here. The three-dimensional pin features a backet weave body, textured mane, and adorable splayed legs. 1955 – 1960sThe Carnegie 2″ swan is an elegant design with a faux pearl belly, sculpted feathers and a rhinestone studded neck. It is signed Hattie Carnegie without the copyright symbol. 1950s – 1960sThis large 4″ Carnegie elephant pin/pendant has a faux pearl body, three dangling pearls. The enamel is burgundy, cream, and emerald. It is signed Hattie Carnegie with the copyright symbol. Note the lines of smooth gold tone metal separating the enameled sections. They have all been wiped clean of excess enamel. This is a mark of quality manufacturing. The main body was cast all in one piece. Then the faux pearl belly and dangles were added. Only two stones are used for this colorful design – a navette shaped green stone on the head and one small green stone for the eye. 1955 – 1960s.This rhinestone and faux baroque pearl bow pin is a delicate, mostly symmetrical design. The sides of the bow are in the shape of two intertwining hearts. It dates to the 1950s – 1960s.Asian motif jewelry was a favorite of Carnegie including a series of Asian figures that are so well balanced, they can stand like a figurine. This example features detailed silver tone metal with crystal, sapphire, and pearl accents. It is signed Hattie Carnegie without the copyright symbol. 1950s – 1960s
Pins/Bracelet
The rose, aurora borealis blue, and (olivine) green faceted beads are attached to the base of this 2″ Carnegie design through straight pins curled around the spokes. The rose, blue, and green color combination pairs well with neutral colors like beige, brown, and black. It is signed Hattie Carnegie without the copyright symbol. The three-dimensional pin is a fully symmetrical design. 1950s – 1960sThis 2″ Carnegie symmetrical circle pin features clear, black diamond (smoke), and pink rhinestones set in three concentric rings. The construction is innovative and unusual. The rings are adjusted so the pink stones are perfectly placed between the black diamond rhinestones. It dates to the 1950s – 1960s and is signed Hattie Carnegie without the copyright symbol.This unusual Hattie Carnegie 2 1/4″ pin is an asymmetrical design. It dates to the late 1960s. The motif is a celebration of the shapes, colors, and power of naturally occurring stones. The soft pearls contrast with the hard, dark stones. It is signed Hattie Carnegie with the copyright symbol and has gunmetal plating.This is a well-known Carnegie bracelet design. It is a rigid, oval-shaped design consisting of intertwining ribbons of textured metal and pavé crystals. The stones are in open-backed settings to let the light shine through. The design is fully symmetrical. The innovative snap closure is carefully placed to continue the symmetry all of the way around. It is signed Hattie Carnegie without the copyright symbol and dates to the 1950s – 1960s.
Sets
The scalloped edge of the mesh, in this innovative Carnegie design, is folded to resemble the collar of a blouse. Then bottom edge is decorated with crystal rhinestones. The necklace measures 16″ including the extension chain so it is designed to fit close to the neck. The bracelet is stylistically similar except the mesh is turned under to form lovely, scalloped edges and the rhinestones are in a line running down the middle of the bracelet. The bracelet measures 7 1/2″. All pieces are signed Hattie Carnegie with the copyright symbol and date to the 1955 – 1960s.
Brand Trait: Carnegie designs often include high-end details.
The design of this exquisite Carnegie necklace, bracelet and earrings set includes many interesting qualities. It is a symmetrical link design comprised of oval-shaped faux turquoise stones set in a frame of tiny gold tone flowers. There is a tiny blue rhinestone at the center of each flower. The necklace links graduate in size with seven large links and four smaller links. It measures 17 1/2″ including the extension. The design of the 7 1/2″ bracelet and 1″ clip earrings matches the necklace except the tiny rhinestones are clear rather than blue. All pieces are signed Hattie Carnegie without the copyright symbol. It dates to the 1960s.
Author’s Note: The Carnegie set shown above is a marriage. The necklace was purchased separately. It would be an easy fix to change the blue stones to clear stones. However, it is fine just as it is. A design group often includes variations in design.
This iconic Hattie Carnegie design features highly faceted, high-end crystal stones wrapped in gold tone wire in a hugs and kisses style. The 16″ necklace is a link design made in five curving segments. The 1 1/2″ oval earrings also feature high-end crystal stones with crossing lines of gold wire. A large navette-shaped stone decorates the center. Two styles of bracelet were made to match this set. One is a large clampers style bracelet, and the other is a flexible cuff. In addition to the crystal stones, this design was made with pink, smoke, white and other beautiful stones. The necklace and one earring are signed Hattie Carnegie without the copyright symbol. This design dates to the 1950s – 1960s.
Beads/Earrings
Carnegie produced many beaded necklaces like this triple strand glass necklace. The faceted beads are strung with white cord rather than the clear plastic cord found in beaded designs today. It measures 17″ including the extension chain. The clasp is signed Carnegie in script. 1950s – 1960s.This Carnegie double strand necklace features gray and pink art glass beads strung on white cord. The decorative clasp is signed Hattie Carnegie in script. It measures 15 1/2″ including the extension chain. The pink and gray color combination is found on many Carnegie designs. 1950s – 1960sCarnegie used a variety of clip backs. Top: These 1″ round earrings are set in gold tone metal and signed Hattie Carnegie without the copyright symbol on an oval disk attached to one earring back. Bottom: These attractive 1″ tear-drop shape earrings feature rhodium plating. Both earrings are signed Carnegie. 1950s – 1960s
Hattie Carnegie’s business model was to provide well-made, detailed designs with classic, simple lines. The jewelry bearing the Carnegie mark was selected to coordinate with this vision. Imagine a brown suit with the orange and black burro pinned to the lapel, or an elegant black dress with the sparkling Carnegie hugs and kisses necklace decorating the neckline. Look for distinctive Carnegie designs, signed Carnegie designs, and Carnegie designs with beautiful, expensive details.
