Trifari is the last classically collectible brand featured in Chapter Two, Part I. Trifari produced well-designed and manufactured costume jewelry designs over several decades. They were able to endure because of their solid business practices. The following history of Trifari is presented based on five business practices shared by the successful brands shown in Chapter Two, Part I.
Trifari’s founder(s) had a passion for jewelry design and manufacturing.
In 1912 Gustavo Trifari started his own jewelry business. He was soon joined by Leo F. Krussman in 1918 and Carl M. Fishel in 1925. At this time the company was named Trifari, Krussman & Fishel (KTF.). Trifari chose his partners carefully. Each brought essential skills to the new company that helped it to succeed and grow. Gustavo Trifari was a trained goldsmith and the first designer for the company. It was an easy decision to partner with Leo Krussman, a superb salesman. As the company grew Trifari and Krussman partnered with Carl Fishel who was responsible for the marketing and other business tasks. (Information from Brunialti, Carla Ginelli and Roberto. American Costume Jewelry Art & Industry, 1935 – 1950 Volumes A – M and N – Z. Atglen, PA: Schiffer Publishing Ltd., 2008. page 58.)
In 1930, the partners made a brilliant decision to hire Alfred Philippe as a designer. He remained with the company until his retirement in 1968. Although Philippe is credited with the successful Trifari “look” during those years, former CEO Irving Wolf explains that the success of Trifari’s designs was also a team effort.
Mr. Philippe had come to Trifari from the world of fine jewelry, and brought this heightened sensibility to his costume jewelry designs. Even though, in most cases, his name appears on the patents, the design department was definitely a collaborative effort, and credit should be given to the other talented designers who worked with Mr. Philippe.
Corwin, Susan Simon. Irving Wolf and Trifari A View from the Top. Vintage Fashion & Costume Jewelry Vol. 16, No. 3: Lucille Tempesta Publisher, 2006. Pages 7-8.
Trifari exercised integrity in their business practices.
Trifari showed integrity in several ways. First, the company contributed to the community.
Trifari was the first company to make a sizable monetary contribution to the Brown Medical School.
Corwin, p. 10
The Trifari company showed their patriotism by converting some of its manufacturing facility to make components for the Navy during World War II. (Brunialti, p. 59)
Author’s Note: From family history I know Trifari stood by the quality of their products. My mother sent a prized Trifari watch back to Trifari to fix a broken band. The watch was not new, so the original band design was unavailable. Trifari, without complaint or excuses, replaced the band with a comparable design free of charge.
Trifari Watch from the 1960s. The green face is signed Trifari. The band is a “free” replacement.The replacement band is signed GERMANY BASEMETAL.
Innovation was an integral part of Trifari’s business model.
Two examples of Trifari’s dedication to innovative manufacturing are the development of Trifanium and the creation of high-quality plating solutions.
The name Trifanium appears in many Trifari advertisements stressing its importance in promoting Trifari as the premier costume jewelry brand. For example, the 1964 Trifari Christmas advertisement highlights Trifanium as a desirable quality.
Trifari’s Christmas Collection in golden-toned Trifanium with simulated pearls, some flicked with rhinestones.
Trifari 1964 advertisement
Trifari set shown in the 1964 Advertisement
Irving Wolf provides additional insight into the definition of Trifanium.
…Trifanium is the name for a special alloyed casting metal used by Trifari to create the cast pieces for their jewelry. The Trifanium castings were then filed, polished, and plated.
Corwin pages 7-8
Trifanium was developed after the war in 1947 when the company no longer needed to use sterling silver for their designs.
In addition to Trifanium, Trifari created excellent plating solutions. Irving Wolf explains:
Trifari developed its own plating solutions for both gold and rhodium colors. The gold plating solution contained real gold and was applied much thicker than the industry standards. While some gold jewelry had a finish 1 millionth of an inch thick, Trifari’s was 8 millionths of an inch thick.
Corwin, p. 10
Plating solutions were expensive and essential to the long-lasting life of Trifari jewelry. Irving Wolf reveals that Trifari plating solutions were so good they them to other brands. (Corwin, p. 10.)
Year after year, Trifari produced distinctive, recognizable jewelry designs.
Trifari jewelry through the decades is replete with examples of design excellence. (See the Gallery below for example jewelry through the decades.)
Trifari’s designs were so good, the company fiercely worked to protect their designs from pirates. Early Trifari jewelry prior to 1955, included information about the design patent in the signature. If the patent was issued the design patent number was included with the Trifari signature. If the patent was pending, some versions of DES. PAT. PEND. was included with the signature. Three examples are shown below, but there are additional variations.
In 1955 Trifari won a court case against a known copycat. This case strengthened the power of the copyright symbol to protect designs. From that time forward, Trifari designs are copyrighted, and the jewelry was marked Trifari with some version of the copyright information. Two examples are shown below.
The advertising also included the new copyright information. Prior to 1955 the ads included patent information: Designs Patented, Authentic only if Stamped on the back with the name Trifari, Design patent(s) pending, and Design patented.
After 1955, the information on the advertisements included: Not authentic unless stamped Trifari Jewelry designs copyrighted by Trifari, Jewelry designs copyrighted by Trifari, and Design copyrighted. Sometimes more than one of the phrases is included in one advertisement. Trifari was serious about protecting their designs!
Trifari took pride in the quality of their work and hired top-quality designers. The gallery below features example jewelry designed by some of the most well-known designers: Joseph Wuyts, David Mir, Alfred Spaney, Jonathan Bailey, Kunio Mataumo, and Diane Love. There were many, many more.
Trifari appreciated their designers. The company listed Joseph Wuyts, David Mir, and Alfred Spaney on some of the design patents. Jonathan Bailey and Diane Love designs, with their names, were featured in Trifari advertising.
Trifari honored Kunio Mataumo with the addition of his signature on some of his designs for Trifari and in the advertising.
Trifari’s business model included a strong marketing plan.
Trifari heavily advertised nationally in fashion magazines. Many, many wonderful advertisements are available today to help collectors identify and date jewelry designs. It is important when ad information is used to date designs to remember that a design may have been made for several years.
Note from Author: It is my future plan to show all of the Trifari ads I’ve collected in the Information section of the website. Some pages from the Trifari 1979 catalog are shown in Collecting Costume Jewelry 303; however, soon the entire catalog will be posted.
One of Trifari’s most important marketing tools was their reputation for excellence. The jewelry sold for higher prices than their competitors because their customers were willing to pay for quality. Trifari knew they must maintain the quality of the jewelry to keep the trust of their loyal customers. Collectors today appreciate the way Trifari kept that trust.
Ownership Changes
The last of the three original partners died in 1964. The children of the partners continued to run Trifari until 1975 when the company was sold to Hallmark Cards, Inc.
In 1988 Crystal Brands (the Monet group) purchased Hallmark Cards, Inc. which included Trifari. In the 1980s the Trifari mark changed to include TM. (The gallery including information about the marks for the jewelry shown.)
By 2000 the Monet group was purchased by the Liz Claiborn group and at this time the manufacturing was moved overseas. Some of the later designs are unsigned except for the original box and paperwork.
Design Variations
Creating design variations based on one Inspired Design Element common to the group, is a normal practice for jewelry designers. The design element might be a stone, the shape of a stone, a color combination, an historical motif like Art Deco, a shape, or any other recognizable trait. Trifari was superb at creating a design group with an Inspired Design Element. Identifying these elements provides a collector with two important pieces of information.
First, the Inspired Design Element helps a collector identify other pieces from a group.
Secondly, once identified as part of a group, the collector can assume that any identifying information about the group (including dating the piece and linking it to Trifari’s extensive advertising) applies to the piece.
In the following gallery the Inspirational Design Element for Trifari design groups is identified. Taking the time to “see” these design elements common to a design group quickly become automatic.
The gallery is in order by decade. The dates given for each piece are from known design patents, known advertising, or from the Trifari signature. Often, the dating information is “best guess” based on the signature and the construction. As new information comes available, the gallery will be updated.
Author’s Note: Despite Trifari’s wonderful documentation, sometimes conflicting and confusing information surfaced while working on this section. For example, I found advertisements dating some jewelry to after 1955; yet the jewelry was signed Trifari without the copyright information. Conflicting information like this is one reasons I love the online format. Unlike a paper book, when I find better information, I can, and will, update the gallery.
TRIFARI GALLERY
KTF. First used in 1935
Top: Tiny 3/4″ Trifari clips signed KTF. featuring a plastic coral flower and two green plastic leaves. They are triangular in shape with each bloom highlighted by a rhinestone. Bottom: Single Trifari 1 1/4″ clip with similar plastic inserts also signed KTF.
Inspirational Design Element: Molded plastic leaves and flowers
Left: Back view showing the rhodium plating and the KTF. signatures. Right: Close view of the KTF. signature on the bottom clip.This Trifari bracelet is fully symmetrical with rectangular links that alternate between a gold plated link and a rhinestone encrusted link. It is signed KTF. The geometric, flat, design is typical of 1930s jewelry. Back view showing the rhodium and gold plating.Left: The design of the clasp mirrors the design of the connectors between links, so when worn the clasp is hidden. Right: KTF. signature.
Top: These two 1 1/4″ 1930s era Trifari clips are signed KTF. The design is typical of flat art deco style clips. When worn together as shown above the asymmetrical design is well-balanced. When worn separated (below) the design is asymmetrical. Bottom: This early Trifari bracelet measures 7 1/4″. It is signed KTF. The X design shown in the center link and at both ends, looks like a stylized Maltese cross. These clips were also made into Clip-mates. (See Clip-mates below.)Left: Back view showing the design of the clip backs and the rhodium plating. Middle: KTF. signature as seen on both clips Right: KTF) signature on the bracelet.
Inspirational Design Element: Art Deco geometric links
There is no known design patent for this 1930s – 1942 Trifari 1 7/8″ribbon motif pin signed KTF.Back view showing the rhodium plating and stamped KTF mark.
2 1/2″ Trifari Clip-mates pin comprised of two identical leaf design 1 1/4″ clips. Trifari patented the mechanical mechanism used to attach the clips on August 11, 1936 utility patent number 2050864.Left: The Clip-mates begin with specially design clips complete with a rail. The pin back slides into the rail attaching the two clips together so they can be worn as a pin. This design is Trifari’s answer to the Coro Duette mechanism. Right: This photo shows the pin back removed by the rails.Left: This view shows the design of the clips when open. The rails are attached to the clips.The clips are unsigned except for the CLIP-MATES signature and utility patent number 2050864 on the inside of the rails.
Inspirational Design Element: Identical clips, the line of abstract leaves is framed by open space and a fringe of rhinestones
1930s – 1941 Trifari
Measuring 2 1/2″ this Trifari clip is design patent number 114,136 issued in 1939. It is beautifully decorated with red and cream enamel and crystal rhinestone accents. The green rhinestone in the center of the flower adds contrast and draws the eye to the central point of focus. Floral designs, naturally asymmetrical, is a favorite motif for Trifari.
Inspirational Design Element: Red enameled flower with the rhinestone center
Back view showing the gold plating, typical Trifari clip mechanism including a small hook near the ends of the prongs. This hook helps to anchor the clip to the garment. Typical 1940s elongated Trifari signature with crown over the “T”.Close view of the design patent number and the hook below the prongs.~2″ Trifari floral clip with pink, blue, and yellow blooms and green and brown leaves. The ribbon has blue enameling. This is another well-balance Trifari asymmetrical floral design. It is design patent number 119,836 issued in 1940.
Inspirational Design Element: Cluster of small, enameled flowers
Back view showing the typical Trifari clip design and hook. The rhodium plating is in wonderful condition.Close view of the Trifari signature and patent number.Lovely and large this Trifari clip measures 3 1/4″. The floral design includes several types of flowers all encrusted with rhinestones. The three center flowers have five petals with an interesting 8-point center. It is a slightly asymmetrical floral design by J. Wuyts patent number `119837 issued in 1940.Left: Back view showing the creamy rhodium plating. Right: Typical 1940s Trifari signature.
Inspirational Design Element: Five-petal florals with pointed centers
Slightly smaller than the Wuyts clip above this 3″ clip is signed Trifari and Des. Pat. No. 121252 issued in 1940. All eight blooms are dangling from curved stems.Back view showing the rhodium plating and signature.
Inspirational Design Element: Blooms dangling from curved stems
This large 3″ clip is signed with the typical Trifari 1940s signature. No known patent exists for the design of this floral. However, the color of the pearls, the size, the open space in the leaves, and the use of enamel help to date this clip to the early 1940s.Close views of the floral details and the use of negative space in the leaf design. Note the asymmetry in the leaves. The “eye” accepts this asymmetry in a floral.Back view showing the typical Trifari clip design.The numbers 911108 are etched into the back of one leaf. The meaning is unknown.
Inspirational Design Element: Distinctive leaves with open (negative) space
Signed Trifari, this early pin measures 2 1/4″. The design suggests late 1930s to early 1940s. Unfortunately, the signature is poorly struck. There is no known patent for this piece. Note the use of prong-set stones. This is atypical for Trifari. The design of the flowerpot, with one large sapphire rhinestone, is reminiscent of Mazer designs from the 1930s except the Mazer handles are different. The cactus features imperial topaz color rhinestones accented with red. Back view showing the open-backed stones and the partial Trifari signature.
Inspirational Design Element: The gravity defying way the topaz stones are stacked
This large clip measures 4 1/4″ and is signed Trifari. It matches design patent 121,350 issued in 1940. There are six flowers with seven molded glass petals surrounding a faux pearl center. Each bloom is on a wire stem that is gathered by a red enamel bow. The petals, each in their own perfectly sized frame are a trait of Trifari designs that, with variations, carried into the 1950s.
Inspirational Design Element: The molded glass petal
Close view of the gathered back, white bloom and Trifari signature. The ~2″ Trifari clip is signed Trifari and Des. Pat. No. 121728 issued in 1940. This asymmetrical floral design has a curved shape. Layers of decoration enhance the curves. A line of rhinestones is at the bottom followed by blue enamel, a row of pearls graduating in size, more enamel and rhinestones topped by an enameled petal. The crystal stones are in rhodium plated settings, but the rest of the clip is gold plated.
Inspirational Design Element: This design, and the one below, is part of a Trifari design group called Emperess Eugenie. The designs feature similar scrolls of metal, pearls, and enamel.
This 1940s Trifari clip is a variation of the larger clip shown above. There is no known patent for it. It shares several traits with the larger clip above including blue enamel, pearls, curling metal, rhodium and gold plating, and tiny accent rhinestones. The clip measures 1 3/4″. The earrings, designed to be worn so that the design extends to the side of the ear (note the position of the clips in the photo) measure 1 1/4″. The design of the earrings matches the design of the clip.
Inspirational Design Element: Variations from the Emperess Eugenie group
This Trifari 2 1/2″ clip features light blue and ruby cabochon stones and burgundy enamel. It is an asymmetrical floral with a distinctively shaped bloom. The ribbon that gathers the stems together is set at an angle. This is a brand trait of many Trifari floral designs.Back view showing the rhodium plating, signed Trifari clip, and opened backed settings for the cabochon stones. It is signed Des. Pat. No. 122092 issued in 1940.
Inspirational Design Element: The shape of the floral bloom is repeated in at least one other design from that year.
Trifari produced many floral and leaf design clips in 1940 including this 2 1/4″ leaf design patent number 122,339. It features three aquamarine cabochon stones, blue enamel and crystal rhinestones. The curl at the tip of the leaf is decorated with stones and is a Trifari brand trait. The clip is rhodium plated.Back view showing the negative space in the design and the Trifari signature.
Inspirational Design Element: Row of cabochon stones down the middle, graduated in size
David Mir for Trifari
Designed by David Mir for Trifari, this rare elephant pin is design patent number 130,154 issued in 1941. This example has been restored.Left: This is a photo of the David Mir pin prior to restoration. Right: Design Patent No. 130,154 issued Oct. 28, 1941 to D. Mir.
Note from Author: See an article about the restoration of this piece under INFORMATION.
Famous Trifari jelly belly frog design patent 135172 issued in 1943
Trifari is famous for the “jelly belly” designs created in the early 1940s using Lucite for the main part of the design. In this case the frog’s belly is Lucite set in gold plated sterling and decorated with crystal rhinestones. The crystal rhinestones are set in silver rather than the gold plating used for the body. This is an important detail. Some reproductions of the famous jelly belly designs appear totally authentic; however, the crystal stones are set in the same gold plating. This cutie measures 2 3/4″ and featured green high-domed, cabochon eyes.
Jelly belly designs are some of the most innovative designs in Trifari’s arsenal.
Inspirational Design Element: Lucite belly
Signed Trifari, this 1 3/4″ jelly belly rabbit is design patent number 135169 issued in 1943.
Trifari packed this little bunny with interesting details. He has whiskers, rhinestones outlining his ears, a fluffy rhinestone encrusted tail, a tiny paw holding his yummy branch, and a wary expression that seems to be looking for danger as he munches away on his branch.
This design was produced in several colors. There is no known design patent but a 1943 advertisement showing the design can be seen at www.jewelmuseum.com The details of the design, including the feet, the stretched-out neck, and the flapping wings, give the illusion of flight.
Inspirational Design Element: colorful glass body in the stretched hexagon shape
1947 – 1954 Non-sterling designs, some with Trifari and Design patent information
This 1948 Trifari 15 1/2″ necklace is design patent 151, 535. The 7 1/4″ bracelet is 151,537. Matching earrings (not shown) are patent 151,537. This is a well-known Trifari design that was made in several colors.Left: The central point of focus is the vibrant green center decoration. It is attached to a flexible chain or band comprised of an arrangement of squares and rectangles. This geometric, flexible design is often referred to as being tessellated. Tessellated is defined as a pattern of shapes that fit together without gaps. The necklace and bracelet are both fully symmetrical designs. Middle: Trifari signature on the bracelet. Right: Interesting Trifari signature with COPR. added. COPR refers to copyright, so it is interesting that Trifari signed this necklace with both PAT. PEND. and COPR. They were doubling down on protecting their designs from pirates.
Author’s Note: Sometimes this set is described as sterling. This example is not sterling; however, it “feels” soft like sterling. In addition, it benefits from a good polishing with a silver polishing cloth.
Inspirational Design Element: The distinctive tessellated band and center decoration
The design of this 15 1/2″ 1948 necklace is signed PAT. PEND. but no known patent has been found. However, it was advertised as part of Trifari’s “Fragonard” Series in 1948. Fragonard is the name of a French artist from the 18th century. The ad is shown on at www.trifari.com.
Inspirational Design Element: Blue molded glass stones
The blue stones are molded glass and set in gold tone metal designed to look like branches. The design of the chain continues this “natural branch” motif.
Inspirational Design Element: molded glass stones
This very beautiful red, white, and blue Trifari set includes a 6 1/2″ bracelet, 15 1/4″ necklace, 3/4″ earrings and 2 1/8″ pin. The patriotic color scheme could refer to either the American or French flags.Left: Back view showing the thick rhodium plating. Right: Close view of the “cross” style pendant.Left: Close view of the bracelet. The design of this bracelet matches Trifari design patent number 151,708 issued in 1948. Right: Trifari signature
Inspirational Design Element: Red, White, Blue color scheme, distinctive bracelet design
This high-end Trifari design dates to between 1947 and 1955. The pattern of the baguette stones going around the neck is similar to the pattern of the red, white, and blue bracelet shown above. This pattern helps to conceal the fold-over clasp located at the center back. The necklace measures slightly less than 15″ so it is designed to fit close to the neck.Left: Back view showing the rhodium plating. Middle: Curved lines of stones arch over each other to add dimension to the fully symmetrical design.
Inspirational Design Element: Heavy use of baguette stones to decorate the curves; distinctive pattern of stones
This tiny 3/4″ green poodle pin matches Trifari design patent number 153,391 issued in 1949. The outstandingly cute and innovative design uses a faceted rhinestone for the fluffy poodle mane and a baguette rhinestone for the nose. Serious about protecting their designs, this miniature pin is fully signed on its tiny leg and body. A much larger version was also made.
Inspirational Design Element: Use of faceted stone for the body
1949 Trifari design patent 155,213 matches this fully symmetrical 1″ pin. The 3/4″ earrings mirror the design of the pin. There are five tiny branches and five lines of baguette rhinestones in this design. A 1949 advertisement calls this set “Snowflake”. The pin originally sold for $7.50 and the earrings for $5.00. At the time this was a luxury purchase. In 1949 the hourly wage was raised from 40 cents an hour to 75 cents an hour, so this set was worth over 16 hours of work.The pin is signed in a circular cartouche rather than the usual stamped Trifari signature. The earrings are signed on the clip backs.
Inspirational Design Element: Snowflake motif, distinctive shape of the branches
These 1949 Trifari 1 1/2″ ballet dancer pins were designed to be worn together. The hands and feet are not as finely detailed as the Boucher ballet pins; however, the Trifari pins have beautifully crafted costumes. The male dancer’s costume has a definite military aesthetic. The use of tear-drop rhinestones in the ballerina’s dress gives it volume and draws the “eye”.Both pins are signed Trifari PAT. PEND. The male dancer is also signed with the number “9”.
Inspirational Design Element: Ballet Dancers in motion
In 1950 Trifari created a series of design using these “demi-lune” stones. This tree is a design variation of patent number 157,200. The original patent shows a larger tree with 10, rather than 6, demi-lune stones. A 1950 advertisement calls these stones “Pseudo-moonstones”. The jewelry with these stones is part of Trifari’s Claire de Lune (meaning moonlight) series. Interesting Trifari signature with “PE” etched into the back.
Inspirational Design Element: Demi-lune stones
In 1950 clips were still sold. This 1 3/4″ wreath-style clip is part of Trifari’s Clair de Lune series and matches design patent 157,191. Except for the two gold tone ribbons at the top, this is a fully symmetrical design based on three circles: the inner circle of rhinestones, the middle circle of demi-lune stones, and the outer circle of red rhinestones.
Inspirational Design Element: Demi-lune stones, triple circle design
This beautiful 3 1/4″ Trifari bird pin matches design patent 159,923 issued in 1950. Graceful lines of metal, decorated with baguette stones, give the illusion of flight and help to define the feathers.
Inspirational Design Element: Baguette stones as the dominate design decoration
Trifari produced many variations on the key motif including this 2 1/2″ pin signed Trifari PAT. PEND. There is no known patent for this design; however, the design, like the bird shown above, is predominantly decorated with baguette rhinestones dating this piece to ~1950.
This 2 1/2″ ribbon pin is signed Trifari PAT. PEND. but there is no known patent matching this design. The use of baguette stones dates this piece to ~1950. The innovative and distinctive design of the ribbon center consists of baguette stones set on gold tone stems.
The design of this Trifari 1951 Art Deco style 15″ necklace and 3″ clip is distinctive and easily recognizable as Trifari. Triangles comprise the overall shape of the design and the shape of the invisibly set stones. The necklace is design patent 164,815. The clip, likely sold in pairs, is 164,816. A matching earring (not shown) is 164947.All pieces are signed Trifari PAT. PEND. A versatile design, it was produced in other colors including golden topaz and clear crystal.
Inspirational Design Element: Invisibly set stones in a triangular pattern
The Trifari 15″ sunflower necklace design was patented in 1951, 162,747. A bracelet (not shown) is patent 162,748. There is no known patent drawing for the 3 1/4″ pin; however, it is signed Trifari PAT. PEND. and is clearly part of the same design group. The distinctive grid pattern of the sunflower is best viewed from the back.
Inspirational Design Element: Sunflower motif, distinctive grid pattern construction
Several pieces with this innovative and distinctive basket weave design were created; however, there is only one design patent number 162,079 for the bracelet (not shown). This design was advertised in 1951 as “Heart Throbs”. The ad shows a necklace, bracelet, two pins in different sizes, and earrings. This example measures 1 1/4″.The back of this pin is as attractive as the front with the heart inside a heart design. Grid pattern backs is a brand trait of many Trifare designs. It was strong and allowed the light to shine through.
Author’s Note: Nolan Miller made a modern copy of this design.
Measuring 2 3/4″ this lovely asymmetrical floral design features five-point flowers comprised of diamond shape rhinestones. It was featured in a 1951 advertisement as the “Star Flower pin”. There are four known patents for pins featuring the same five-pointed flower. This one is design patent number 164,722.
Inspirational Design Element: The five-point start comprised of diamond-shaped rhinestones
Called the Gem of India in a 1951 advertisement this set features silver tone metal, large tear-drop crystal rhinestones and a silver tone snake chain. The 15 1/2″ necklace is design patent number 164,716. The ~2 1/2″ pin is design patent 164,723. This set was also made in gold tone. There is no known patent for the matching 1 1/4″ clip earrings.
The necklace and pin are well-balanced asymmetrical designs. The large stone is the point of central focus. Curving lines arch over and around the design elements to unify them.
All pieces signed Trifari PAT. PEND.
Inspirational Design Element: The large tear-drop stone topped with a small round stone
The adorable 1 1/2″ crab pin matches Trifari design patent 166,215 issued in 1952 and is part of a Trifari design group of figural pins with white stones.
Inspirational Design Element: Eyes made of beads with pin centers
This 1952 Camellia pin features poured glass petals. White beads with pins like those in the above crab design are used as the floral center. The design is fully symmetrical and part of a group of similar poured glass petal designs. It is shown in a 1952 Trifari ad with a matching necklace, bracelet, and earrings.
Inspirational Design Element: Distinctive framed petals, white beads for the center
This beautiful set was advertised in 1952 as “Promenade”. The 15″ necklace is design patent 167,652, the bracelet is 167,654, and the earrings are 167,716.
The bracelet is fully symmetrical. The earrings and necklace are well-balanced asymmetrical designs.
Left: Back view showing the double-hinged bracelet. Right: Close view of the inspirational design element.Left: Signature on the necklace Middle: Signature on the bracelet with no crown over the “T” Right: Signature on the earrings with DESIGN PAT. PEND.
Inspirational Design Element: The cone-shaped curl of metal decorated with baguette rhinestones
Part of the 1952 Trifari “Twinkle” design group this pin measures 2 1/4″. There are ten known patents in this design group made with either gold or rhodium plating. It is signed Trifari with the crown and PAT. PEND.
Inspirational Design Element: The diamond-shaped five-pointed star
1953 brings another grouping of small Trifari critter designs. They are all “frame” designs with a decorative stone belly. This tiny 1 1/2″ elephant pin features a patriotic red, white and blue color scheme. The center belly is a round faux moonstone. The use of blue tear-drop shaped stones for the ears is an innovative design trait. It is design patent 169,171.
Inspirational Design Element: Frame design with stone belly
This light-weight basket motif design is patent number 170,208 issued in 1953 along with several other coordinating pieces. The design features both silver and gold tone metal and flowing, curved lines. It is a mostly symmetrical design. The simple, elegant design of the basket is comprised of three curving, ribbon-like, lines of metal. The use of negative space is distinctive.
Inspirational Design Element: The floral element consisting of navette-shaped stones surrounded by a halo of rhinestones
This 2 1/2″ design matches patent number 169,185 issued to Trifari in 1953. Two ridged plastic inserts are used for the flowers. Tiny beads, like those in the crab design above, decorate the stems with tiny flower buds. This pin is part of a design group advertised as “Beau Belles”.It is signed Trifari PAT. PEND.
Inspirational Design Element: White plastic, bell-shaped flowers
Again, Trifari is using molded glass elements set in custom frames to create a summer necklace design. The necklace measures 16″ including the extension chain and is design patent 172,358 issued to Trifari in 1954. The design repeats the use of white beads for buds. The matching 1 1/4″ earrings are a design variation of the necklace design.All pieces signed Trifari PAT. PEND.
Inspirational Design Element: The pear-shaped elements
This lovely floral 16″ necklace and 1 1/2″ earrings matche design patent number 172,187 issued May,1954. The central point of focus for this design are the elegant flowers defined by faux alexandrite and green rhinestones. The use of the primary emerald color and the lavender secondary color provides an eye-catching contrast that draws the eye. The close view of the center decoration shows the beautiful flowers gracefully arranged in curving; baguette lined branches.
Inspirational Design Element: Flower with two contrasting stone colors
The tips of this famous and popular Trifari design feature oval, black diamond rhinestones set in rhodium plated metal. The wings are textured gold-plated metal. Both pins are signed Trifari without the copyright symbol dating them to 1947 – 1954. The left butterfly is 2 3/8″ and the right is 1 1/2″. The popular gold tone butterfly design is tailored enough to be worn in the daytime with almost any outfit. Interestingly, the design matches patent 138,520 issued in 1944. At that time Trifari designs were in sterling due to the war.
Author’s Note: This design was also featured in a 1958 Trifari catalog in three sizes with earrings. I don’t know if the 1958 reissue had the same signature. If the reissue had the same signature without the copyright symbol, this set could date to 1958.
Inspirational Design Element: Decorative tips
1955 – 1960s Signed Trifari with copyright
After 1955, Trifari used the copyright symbol, strengthened by a court case Trifari won to protect their designs. They stopped applying for patents. Fortunately, many vintage ads are available to help date these pieces. When an ad is unavailable, the dating information is based on construction elements that may or may not be accurate.
Advertised in 1955 as Bolero this fully symmetrical design consists of faux green stones set in gold tone Trifanium. The ad states the jewelry is available in turquoise, coral, or white. The green color was likely added later. The necklace measures 13 1/2″ with a 3″ extension chain, the bracelet is 7 1/4″, and the earrings are 1″.Left: Back view showing the smooth gold tone plating. Center: Close view of the swirled plastic inserts. Right: 1955 is the first year Trifari signatures included the copyright symbol.
Inspirational Design Element: Oval plastic stones in distinctive frames
This distinctive and original design was featured in a 1955 advertisement as “Jeweled Embers”. This is the clear crystal version, but it was also offered in colors. It is a fully symmetrical, link design that is comfortable to wear. The faux branches are angled to showcase the sparkling stones. The “knot” design of the 3/4″ earrings is original and creative. The necklace measures 13″ with a 3″ extension. The bracelet is 7 1/4″.The interesting large size of the copyright mark suggests Trifari not only intended to protect their design with the copyright but wanted to be sure their intention was clearly visible.Back view showing the smooth metal back and close view of the textured branches.
Inspirational Design Element: The distinctive branch link topped with a stone
This beautiful white Trifari bracelet measures 7 1/4″ and features round and oval shaped white cabochon stones. Each link has four leaves at the top and bottom. The connectors between links are capped with a white oval cabochon, so that the connectors are part of the unified design.Back view showing the shape of the links and the connectors.
Inspirational Design Element: White cabochon stones
This beautiful set was called “Radiance” in a 1958 advertisement. The 1 1/2″ pendant is on a delicate 17″ chain. The design matches the earrings design. A link collar and matching bracelet, with the same seven stone floral center decoration, were also available. (Not shown). The 2″ wreath-style brooch and matching 1 1/4″ earrings have the same design element. All pieces are signed Trifari with the copyright symbol and feature rhodium plating. Available in several colors, this example features faux alexandrite and deep purple rhinestones. This 1 1/2″ pendant and matching 1″ earrings is a color variation of the set shown above and are part of the “Radiance group”. Interestingly, the pendant and earrings are signed Trifari without a copyright symbol.
Inspirational Design Element: The seven stone floral is the unifying design element.
This popular Trifari set was advertised in 1958 as “Fasination”. The distinctive design element is shown on the right. It consists of white stones with two colors of faceted beads dangling from pins, so they move when worn. They are accented by small crystal stones set on attractive “v” shaped branches. This design was made in several color combinations with the dangling beads in contrasting colors. The necklace measures 13 1/2″ with a 2″ extension chain. The earrings showcase the “v” design of the necklace and measure 1 3/4″.
Inspirational Design element: The “v” shaped branches and dangling beads
This outstandingly well-designed Trifari set is signed Trifari with the copyright symbol. It dates from 1955 – 1960s. The set is a fantastic example of how a designer creates variations, sometimes very different from the other pieces, based on one or more inspirational elements. The inspirational elements are the black diamond rhinestones and pearls. The 13 3/4″ necklace with 3″ extension and 7 1/4″ bracelet were originally purchased together, yet the design of the bracelet is substantially different than the design of the necklace. The bracelet has no dangling elements. It is comprised of navette-shaped stones set between geometric “Vs” or triangles. It is a link design that is flexible and comfortable to wear.
The design of the necklace and 3″ pin feature tear-drop shaped black diamond rhinestones and white pearls. Like the bracelet they are fully symmetrical. They also have an additional inspirational design element – a circle, or a semi-circle of black diamond floral elements with pearl centers. The 1 1/4″ oval earrings are a design match for the top stones in the brooch.
Author’s Note: I’ve seen two additional necklaces that match the inspirational design elements in this set. One necklace features the same stone design as the earrings. The other is a less elaborate version of the necklace. Many brands, including Trifari produced designs at different price points.
Inspirational Design Elements: Black diamond stones in navette and tear-drop shapes, white pearls with black diamond accents, some dangling elements.
Advertised in 1958 as “Bouquet” this popular Trifari set features clusters of plastic lowers set in wavy, textured, gold plated branches. The set is described as “Finely textured golden toned Trifanium touched with colored petals in white, white/turquoise, white/coral, yellow/coral.” The necklace measures 13 3/4″ with a 2 3/4″ extension chain, 7 1/2″ bracelet, 2 1/2″ brooch and 1 1/4″ earrings.
Inspirational Design Element: The cluster of white flowers
The necklace measures 12 1/2″ with a three inch extension chain. It is a link design featuring pleated metal decorated with emerald, navette shaped stones. The back is smooth. The matching 1 1/4″ clip earrings feature the same two elements. All pieces are signed Trifari with the copyright symbol and date to 1955 – 1960s.
Inspirational Design Motif: Pleated metal with navette-shaped stones
This distinctive Trifari set includes a long 3 1/4″ branch decorated with olivine rhinestones and one eight petal flower. The color scheme is monochromatic with two shades of green and one green aurora borealis stone in the flower’s center. The 3/4″ earrings mirror the design of the flower. This was a popular and versatile design made with the single flower as shown or with additional flowers, in multiple colors. This set dates from 1955 – 1960s.
Inspirational Design Element: Eight petal flowers on a branch
In Trifari’s long history they routinely produced tailored jewelry designed for daytime wear. The design of this 3 1/4″ pin and 1 1/4″ earrings is suitable for day to night wear. The crystal stones match with any outfit. The ribbons of gold tone metal provide a classic background for the circle of stones. The set is a well-balanced asymmetrical design. The ribbons break the symmetry of the rhinestone circle and loop to the side. In this way they balance the visual weight of the sparkling circle. All pieces are signed Trifari with the copyright symbol dating this set to 1955 – 1960s.
Inspirational Design Element: Classic motif with a broken circle of stones
This Trifari design group was advertised in 1959 as “Etoile” (French for star) and features iridescent nuggets stones and navette stones with an aurora borealis finish. The designs were made in several colors. Collectors love jewelry with these stones. The 2 1/3″ design on the left is a fleur-de-lis shape with yellow nuggets and clear aurora borealis stone accents. The matching earrings are oval and a traditional symmetrical design that works with all of the “yellow nugget” jewelry in this group including the 3″ key shown above. The wreath design at the top measures 2 1/4″ and features green nuggets. Note the open space at the top of the wreath. This break in the symmetry of the design ads interest while remaining comfortable to the “eye”.
This design was advertised in 1959 as “Sorrento”. It features a five petal floral with black diamond rhinestone accents. The petals are faux baroque pearls – called “baby tooth” pearls by collectors. The design of this 2″ pin is a classic wreath shape with typical Trifari leaves curled at the tips and decorated with stones.
Inspirational Design Element: Faux baroque pearls in the shape of a five-petal floral
This set is another example of Trifari’s day to night jewelry. The 3″ floral features a circle of crystal stones broken by gold leaves that curve to the right. The curve of these leaves balances the curve of the stem creating a well-balanced asymmetrical design. The 1″ earrings mirror the design of the brooch. Even with classic designs like this set, Trifari added extra details. For example, a tiny rhinestone is added to the leaves on the stem. This touch of elegance is one of the reasons Trifari designs are celebrated by collectors.
Inspirational Design Element: Trifari’s elegantly balanced, asymmetrical designs is a brand trait of Trifari’s designs. The design element in many floral designs is a floral element, breaking a decorative element, to curve to the side and balance the design.
The design of this set is innovative and distinctive. Tiny gold cut outs, in the shape of four petal flowers are topped with flat backed sapphires stones topped. They resemble buttons. Additional small sapphire rhinestones decorate the outside. The bracelet measures 7″, the earrings are 1″ ovals, and the owl is 2″. The gold plating on the front is shiny and smooth. The plating on the back is textured. The signature dates this set to 1959.
Inspirational Design Element: Button style decorations in recessed settings, blue and white color scheme
The hammered metal is an unusual design technique effectively used in this Trifari design dating to ~1959. This example has oval and tear-drop shaped faux amber cabochon stones, but it was available in other colors including emerald and sapphire. The necklace measures 15″ with a 2 1/2″ extension chain, the bracelet is 7″ and the drop earrings are 1 1/2″.
Advertised in 1963 as “Cavalcade” this 14″ necklace with 2″ extension and 1 1/4″ earrings was made in several colors and in either gold or silver tone plating. The links fit together perfectly to form a distinctive seamless woven pattern. The light and dark sapphire color scheme highlights the pattern. The textured links, with pierced openings, is a distinctive Trifari trait used in many other designs.
Inspirational Design Element: Unique woven design
This elegant set is a design variation of the “Cavalcade” design shown above and likely dates to the save time period. The faux pearls add a softness to the design. The bracelet measures 7 1/4″. The pendant earrings are a lovely design variation and measure 1 3/4″.
Inspirational Design Element: Woven design with pearls
All of these pieces are variations of a 1964 Trifari design group called ” Royal Renaissance”. The stones are set in antiqued gold tone metal and simulate the look of “gripoix” (poured glass). The prong-settings are unusual for Trifari. The rich royal colors, coupled with the antiqued metal, support the vintage motif of this popular set. Left: The lariat style necklace measures 16 1/2″ from the clasp to the bottom. The bracelet is 7 1/4″ with a 2″ charm. The lariat and the bracelet are signed Trifari with the copyright symbol. The 3/4″ oval earrings match the design but are signed Trifari without the copyright symbol. Middle: The 2″ brooch and 1″ clip earrings are design variations of the same group. Right: The brooch has a bale so it can be worn on beads or another chain.
Author’s Note: I found a piece from this set in a trip to Austria. It was expensive. Since I already had this set, I didn’t buy it.
Inspirational Design Element: “Poured” glass with antiqued metal
This pin is NOT upside down. It was featured in this position in the 1964 Trifari Fall/Winter catalog. It was called the “Dove” pin. Trifari continued to create beautifully enameled pieces, constructed with rivets at this time. The Dove measures 1 7/8″. This long, 3 1/2″ bird in flight pin resembles the 1964 bird shown above and dates to the same era. It features flowing blue and green feathers with a textured gold tone body. The head is streamlined to give the illusion of flight.
Inspirational design element: Flying bird motif, blue and green enamel
Also from the 1964 catalog this beautiful King Fisher is a tiny work of art. Measuring only 1 1/2″ it is packed with details. The enameling was carefully wiped off the lines of gold metal defining the feathers. It is another example of the “in flight” enameled birds offered by Trifari in the mid 1960’s.
Inspirational Design Element: Petite figural with exquisite enameling
Both of these pearl and rhinestone designs are featured in Trifari’s 1964 Christmas advertisement. Trifari made many beautiful daytime wear designs like these with pearl and rhinestone decorations. Left: This pin measures 2 1/2″. It has a rived construction. The pins in the 1964 advertisement sold between $5.00 and $12.50. This one would have been at the top end of that range. Right: This example is a large 3″ and comes with 1″ earrings.
Inspirational Design Element: Tailored metal design with pearls and rhinestone accents
This beautiful bracelet is signed Trifari without the copyright symbol. This design is shown in a 1966 Trifari catalog found at www.morninggloryantiques.com. The catalog called the design “Contessa”. It measures 7 1/2″ inches and includes emerald and sapphire rhinestones in a distinctive floral pattern.
Author’s Note: It is unknown why the Trifari signature for this set lacks the copyright symbol. However, the catalog and the design of the bracelet date it to 1966.
The design of the bracelet links alternate between the blue and green floral and the cluster of sapphire rhinestones all set in gold plated metal.The back view also shows the alternating pattern of the floral and the cluster of stones.
Inspirational Design Element: The inspirational design element for this bracelet is the distinctive pattern described above.
A 1966 catalog at www.morninggloryantiques.com features a group of innovative Trifari jewelry designs called “Briolette” featuring colorful, faceted beads. The group includes a variety of pins, earrings, necklaces, and a bracelet done in colorful faux sapphire, crystal, fuchsia, topaz, jet, and olivine beads. This 3″ double bloom has fuchsia beads.
The Trifari “Briolette” beads are round with pentagon-shaped facets. Trifari’s use of the term briolette is interesting because briolette beads are traditionally defined as pear-shaped beads with triangular shaped faceting.Back view showing the grid pattern. The faceted beads have a silver backing visible through the openings.From the same design group, the symmetry of this round 1 3/4″ “Briolette” pin is broken by the curved gold tone leaves. The “Briolette” jewelry was available in several colors.
Inspirational Design Element: Faceted beads used in place of rhinestones
The Trifari innovative “Modern Mosiacs” design group advertised in 1966 features designs with open frames filled with resin to simulate the look of stained glass. It is a costume jewelry version ofplique-a-jour enameling where glass enamel is placed in metal spaces with a removable backing. When the backing is removed, the light shines through the colors just as light shines through stained glass. The advertisement describes the jewelry as “…simulated translucent jewelry…”. The Trifari “Modern Mosaics” Christmas tree pin was produced in green, red, clear, and multi-color resin. It is a symmetrical design comprised of asymmetrical, colorful resin shapes. Tiny crystal rhinestones accent each resin shape.The earrings are 1″, the maple leaf is 3″. The Christmas tree pin is 2″.
Inspirational Design Element: Resin to imitate plique-a-jour enameling
A 1967 Trifari advertisement titled “Enamels are here…” features this 2″ green and pearl pin and matching 1″ earrings. It is an asymmetrical floral design that the “eye” loves.
Inspirational Design Element: Small enameled floral design
In 1968 Trifari offered a design group featuring textured metal, enameled designs – some with beautiful stones. The enameling is often described as “snake skin”. It was called L’Oriente. The fleur-di-lis brooch measures 3″ and features an unusual color combination of faux amber and bright green. The matching earrings 1″ and are further decorated with a cluster of dark topaz stones.This unusual set has the same textured green enameled metal in an abstract floral shape. It is likely also part of the L’Oriente design group. The pin measures 1 1/2″ X 2″. The earrings are 3/4″.
Inspirational Design Element: Textured, snakeskin style enameled metal
Some pieces in the L’Orient group featured coral cabochons. This design of this 2″ butterfly does not have the same textured metal, so it is likely not part of the L’Orient group; however, the coral stones date the design to the same era.
Inspirational Design Element: Tear-drop shaped coral cabochons and textured enamel
The especially bright green cabochons stones are the stars of this fully symmetrical Trifari 15″ necklace with a 2 3/4″ extension chain, 7 1/4″ bracelet, and matching 1″ clip earrings. It is signed Trifari with the copyright symbol and dates to 1955 – 1960s. The green cabochons are accented by small sapphire cabochons. The blue green color combination is found on many Trifari designs from the 1960s.
Inspirational Design Element: Vibrant green cabochons with sapphire accents
This Trifari brooch and earrings set exhibits many interesting design traits. The lively design is symmetrical. It features faux moonstones but was also made with pink “angel skin” stones. Tiny paisley elements, in silver tone metal and decorated with rhinestones, add a touch of glitter to the otherwise rough texture of the leaves. It is a modernist floral design with a Persian aesthetic. The pin measures 2″ in diameter. The earrings are slightly over an inch. It dates to 1960s.
Inspirational Design Element: Modernist design with paisley elements and moonstones
The most interesting feature in this modernist design is the contrasting textures of the metal. The cluster of sapphire rhinestones are surrounded by shiny smooth metal. This unusual crescent-shaped pin measures 1 3/4″ and is signed Trifari with the copyright symbol.
Inspirational Design Element: Modernist design with both smooth and textured metal
Measuring approximately 16″ this rare necklace design includes two rows of emerald, tear-drop shaped stones set in double frames. The stone is set in one frame. Then the framed stone is suspended in another frame. The frames have a twisted rope decoration. This is a recognizable, distinctive design. The two strands fit perfectly together so the necklace lays flat when worn. Left: The push-in clasp is a floral design consisting of the same double-frame settings decorated with emerald rhinestones. The set is signed Trifari with the copyright symbol and dates to 1955 – 1960s.
Inspirational Design Element: Faux gemstones in double frames
Dating to the late 1960s – 1970s, the design of this necklace is Art Deco revival. The hard-plastic pendant is decorated with triangular, rhinestone studded inserts. It measures 3″ and is suspended from a 24″ rhinestone chain. The matching clip earrings are 3/4″. Left: Beautiful Trifari clasp and end pieces Right: Trifari signature with the copyright symbol.
Inspirational Design Element: Art Deco motif, rhinestone chain
Dating to the 1970s this Trifari waterfall set was made in several color combinations. The pendant measures 5 1/4″ and features yellow plastic “apple shaped” beads strung chandelier-style from a gold tone frame. This example is on a 34″ snake chain. The matching clip earrings are 1 1/2″.
Inspirational Design Element: Beads cascading from a frame
Late 1960s – 1970s through 2000
This adorable rabbit pin is signed Trifari with the copyright symbol and dates to the 1960s – 1970s. The use of plastic stones to form a rabbit face is innovative and distinctive. It measures 2 1/2″ and was also available as a necklace.
Inspirational Design Element: Innovative use of Lucite
This interesting pendant features green Lucite and crystal rhinestones. The pendant measures 1 3/4″ with 3/4″ clip earrings. It is signed Trifari with the copyright symbol and dates to the late 1960s – 1970s.
Inspirational Design Element: Creative use of Lucite and stones
This huge 4″ X 7 1/2″ pendant on a 10″ chain is designed to fit close to the neck. It is signed Trifari with the copyright symbol. It likely dates to the late 60s – 1980s. The brushed gold and silver tone plating is similar to the plating found on 1980s era Trifari; however, the actual date of manufacture is unknown. This is a heavy necklace in a design that is atypical for Trifari.
Inspiration Design Element: Modernist motif, large heavy design, nice plating
In the 1970s artifacts from King Tut’s tomb toured the United States. At that time Trifari created this beautifully enameled, Egyptian revival group. A larger version of the 1 1/2″ scarab on the left was also produced (not shown). The button-style earrings are approximately 1″; however, more elaborate earrings were also made (not shown). The pendant is the lotus flower. It measures 3″ and is suspended from an 18″ snake chain. The link bracelet is 7 1/4″. All of the enameling is exquisitely done. A rare collar necklace was also part of this group (not shown).The back view shows the brushed gold tone finish. All pieces are signed Trifari with the copyright symbol.The design of the clamper bracelet consists of two stylized cobra heads. It fits an average size wrist. Ancient Egyptian carvings often show a bird with the wings in a downward motion. This rare bird pendant measures approximately 3″ and has the Ankh symbol for immortality and everlasting life, suspended below the bird.Back view showing the wonderful enameling stretching all of the way around the bracelet.
Advertised in 1970, this necklace is part of a special collection of jewelry by designer Diane Love. The original tag describes this piece as a “Replica of a Byzantine reliquary crucifix 5th century…decorated”. The necklace is distinctive and recognizable, which is fortunate because except for the original tag, it is unsigned. The pendant is 3 1/2″ in diameter. The necklace, with the pendant, measures 20″. The design of the chain is a distinctive part of this Diane Love creation.
Inspirational Design Element: Historical replica, original and distinctive chain
Jonathan Bailey for Trifari
A 1970s advertisement identifies this set as “Sculpturesque” by Jonathan Bailey for Trifari. Designed to look like molten gold, both pieces are signed Trifari with the copyright symbol. The necklace measures 15″, the pin 2 1/2″. The ad reads, “Premiere! Designer Jonathan Bailey’s first and exclusive Trifari creations. Dramatic, Provocative, Important.” This is a modernist design celebrating the beauty of the natural earth by presenting gold in its natural rough form and baroque style pearls. This metal hang tag, first used in 1954, is attached to the chain.
In 1979 Trifari was offering small, pierced earrings and many different styles of chains. This interesting “ladder” of chains likely dates to the same time. It measures 14 1/2″ around the neck with a 3″ extension chain, so it is designed to sit close to the neck. 8 1/2″ of silver and gold chains dangle down, like a chain tie. Mysteriously, it is signed Trifari without the copyright symbol; however, the design and use of lightweight materials date this necklace to the late 1970s.
Kunio Mataumo for Trifari
This beautiful floral set was designed by Kunio Mataumo for Trifari in the early 1980s. The necklace is 17″, bracelet 7 1/2″, and the drop earrings 2″. It is a symmetrical design featuring large pink stones nestled with gold tone flowers. The earrings were purchased with the necklace and bracelet and are likely a design variation. The Trifari TM signature was first used around 1980. The script Kunio Mataumo signature is easily identified. Back view showing the chain-link construction.
Inspirational Design Element: Florals and vibrantly colorful stones
Triangles are the star in this modernist Kunio Mataumo 1980s Trifari design. The necklace measures 18″ and is signed Kunio Mataumo in script and Trifari TM.
Inspirational Design Element: Creative use of triangles
Soft and satiny this 1980s Trifari 16 1/2″ collar necklace, 3″ brooch, and 1 3/4″ earrings was designed by Kunio Mataumo for Trifari. The plating is the star of this design. It is soft, muted and distinctive. The graceful leaves, unadorned except for the finish, are beautifully sculped. They are graduated in size and reach all of the way around the neck.The set is signed Trifari in script (a 1980s signature) and Kunio Mataumo in script.Back view showing the link design and dimensional leaves.
Inspirational Design Element: Unadorned leaf design with soft gold tone plating
This wonderful Trifari design has been called a swan for the long neck or a duck for the curved beak. The pin measures 1 1/2″, the earrings are 3/4″. This design is from a 1996 Trifari retro group. All pieces are signed Trifari with the copyright symbol. It is a classic Trifari, frame-style figural, designed with a sapphire cabochon center stone for the body. It was also made in other colors.
Inspirational Design Element: Figural with cabochon belly
Signed Trifari TM and dating to the 1980s – 1990s this lovely vase of Lucite flowers measures ~2″. This piece has some of the tiny details of the older Trifari designs including a red, high domed cabochon at the base and crystal rhinestone accents. This design is constructed all in one piece.
This Trifari “Moghul-style” set is signed Trifari TM and dates to the 1980s. The pin measures 3 1/8″, the “J” shaped pierced earrings are 1 1/4″, and the necklace measures16″. The brooch and earrings feature swirled metal decorated by ruby, sapphire and emerald Lucite stones. The necklace, purchased separately, features the same stones but the scrolled metal design is different. Back view showing the open work in the designs.
Inspirational Design Element: India inspired motif and gem colors
This eye-catching cross pin/pendant is signed Trifari TM 1996 and is part of a special group of dated designs. It features bright capri blue and red cabochon stones. The leaf-shaped decorations on all four directions are innovative and unusual.
Inspirational Design Element: The leaf-shaped decorations and vibrant colors
After 2000, lower quality unsigned Trifari designs
Author’s Note: It is challenging for me to show the following Trifari jewelry because I struggle to be “kind” in the descriptions. I do not like negativity in my work. After much thought, I decided it was important to show what can happen when high standards are not upheld. The designs and the quality of the jewelry become ordinary.
The Trifari necklace and earrings are unsigned. They are identified as Trifari by the owner who purchased them from a Trifari department store display. The delicate necklace features several colors of small rhinestones in oval frames. Some of them dangle from the front of the design. The earrings mirror the necklace design. Both the plating and the crude casting are not up to Trifari’s usual standard.
Inspirational Design Element: Oval shapes with small stones
This set was purchased in a department store. The plastic pin is unsigned except for the Trifari box. The colors and the shape of this design are nice but lack the “plus” quality details associated with Trifar’s earlier designs. This is another example of unsigned Trifari jewelry. The necklace and earrings are plastic, and the chain is unremarkable. The design lacks Trifari’s usual attention to detail and distinctive design quality.
Inspirational Design Element: lightweight plastic stones in a simple, unadorned style
The exact date when Trifari jewelry was no longer signed is unknown.
Conclusion:
From the 1930s through the 2000 Trifari produced high-quality jewelry in terms of materials, manufacturing, and especially in design. Trifari jewelry collected high values from customers through the decades and collects high values from modern day collectors. The crown in the Trifari signature is well-deserved…Trifari is a KING among vintage jewelry companies.
Author’s Note: Chapter Three will be next. Chapter Two, Part II featuring collectible jewelry brands started after 1948 – 1960s will be added at a later date.
