Edwardian Jewelry: A Short Overview

Era: 1901 - 1915

The Edwardian era in jewelry corresponds roughly to the reign of King Edward VII (1901–1910), but stylistically extends through World War I to about 1914–1915. Influenced by the Belle Époque in France and the British monarchy’s love of luxury, Edwardian jewelry is characterized by extreme lightness, delicacy, airiness, and an almost ethereal femininity—often described as “lace translated into precious metals.”

Key Characteristics

Materials: Platinum became the dominant metal (newly perfected torch technology allowed it to be worked into fine, strong filigree). White gold was introduced late in the period. Diamonds and pearls were the most favored gems.

Color palette: Predominantly white-on-white (diamonds and pearls set in platinum) with occasional pastel accents (pale sapphires, aquamarines, peridots, pink tourmalines).

Techniques: Millegrain (tiny beaded edges), knife-edge wires, openwork “lace” settings, garland-style swags, bows, ribbons, festoons, and piercing (ajouré) to let light pass through stones.

Motifs: Bows, ribbons, garlands, wreaths, flowers, scrolls, tassels, true lover’s knots, and neoclassical elements (laurel leaves, Greek key).

Major Jewelry Types

Necklaces

Dog collar (choker): Wide, rigid bands of platinum lacework studded with diamonds, often 5–15 rows deep. Made famous by Queen Alexandra to conceal a childhood neck scar.

Négligée: Double-drop pendant on a fine chain, with two drops of unequal length—very fashionable 1900–1910.

Sautoir: Extremely long pearl or bead ropes (often 60–100+ inches) ending in tassels; worn wrapped multiple times or with a pendant.

Lavalière: Delicate pendant necklace with a central motif and dangling elements, named after Louis XIV’s mistress.

Festoon & Garland necklaces: Swags of diamond flowers or leaves draped across the neckline.

Rings

Cluster rings: Large central stone surrounded by smaller diamonds in open, lacy settings.

Marquise / Navette rings: Elongated boat-shaped diamond clusters mimicking the shape of a lady’s fingernail.

Toi et Moi (“You and Me”): Two stones (often diamond and pearl or two different colored gems) side by side symbolizing partnership.

Gypsy (flush) settings: Stones set level with the band for practicality, though still often accompanied by millegrain detail.

Dinner rings / Cocktail rings: Early versions with bold, raised diamond plaques—precursors to Art Deco styles.

Other Signature Pieces

Tiara: Convertible tiaras that could be broken down into necklaces, brooches, or hair combs.

Brooch: Large, airy bow or garland brooches pinned at the high neckline or bodice.

Bracelet: Wide, flexible platinum cuffs with diamond motifs; also delicate “line” bracelets of single diamond rows.

Earrings: Long, dangling “pendeloque” styles or lightweight girandole (three-drop) designs.

Stomacher: Large triangular bodice ornaments covered in diamond lacework.

Notable Jewelers

Cartier (especially Louis Cartier and the “Garland Style”), Boucheron, Chaumet, Fabergé, Lalique (transitional enamels), Tiffany & Co., Marcus & Co., and British firms such as Garrard.

Cultural Context

Edwardian jewelry reflected a last flourish of aristocratic opulence before World War I. The widespread adoption of electric lighting at evening events made brilliant diamonds and platinum sparkle dramatically, encouraging ever-more-transparent settings. The period’s romantic, feminine aesthetic—often called “Edwardian lace” or “white jewelry”—stands in stark contrast to the heavier gold and colored stones of the Victorian era and the bold geometry of the coming Art Deco period.

In short, Edwardian jewelry is the ultimate expression of lightness and refinement: diamonds and pearls floating on gossamer platinum lace, embodying a fleeting moment of pre-war elegance.