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| 1920s Napier Gold Plated Necklace |
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| 1950s brass cuff, from The Napier Co. |
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| 1950s Napier Silver plate necklace. |
I think the seed was planted in my preteens with my fascination with my grandmother's costume jewelry, as well as her career as a fashion illustrator and hat designer in the 1920s. However, it was not until my late 30s, after attending an estate sale that I again became caught the costume jewelry bug. Prior to that time period, I liked jewelry, and I loved vintage items, but I didn’t have a calling to study jewelry as a history project until later in life.
Why did you start the Costume Jewelry Collectors Int'l?
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| Melinda L. Lewis |
I had been a member of a collecting club called VFCJ (Vintage Fashion Costume Jewelry) for seven years. After attending the clubs bi-annual convention in October 2009, one month later, the founder, Lucille Tempesta, unexpectedly announce the immediate closure of the club. I felt this was a loss for me and the community of costume jewelry enthusiasts. Jewelry studies had become such a great part of my life, and having an organization like this was central to our and fellow colleagues businesses—let alone the long-term friendships that had been forged through VFCJ. My husband and I asked Lucille if we could purchase the club and carry on the name, but were told that it was not for sale and that we should start our own club. So, we did. Our first act was to ask my friend, Pamela Wiggins (who is also an avid Napier collector) if she wanted to form a new club and the rest is history! Within three days, we had our websites up and had made our announcement. For the first year, we also published a quarterly magazine.
Why Napier? Why a book on Napier?
Why Napier? Why a book on Napier?
I wanted to “unveil” the history of this company because there had never been a book that discussed Napier with great depth. Then, after travelling around the country meeting former employees and photographing their collections, it became more personal—more purpose driven if you will. I began to feel compelled to take on writing a book in a way that would truly honor the work of so many dedicated people over 121 years of its history.
Were a significant amount the of Napier examples in the book from your collection? If so which ones -how many?
Were a significant amount the of Napier examples in the book from your collection? If so which ones -how many?
Although we did not have access to the Napier archives, we were fortunate to have photographed some glorious collections from around the country owned by previous Napier employees. Even though some folks wished not to be named, we identified the contributors whenever we had permission. You’ll see from the credits in my book there were a lot of people who contributed to make this book happen. But, to answer your question, a fair number of the pieces are mine.
What is your favorite piece of Napier that you own?
It is hard for me to have just one favorite piece. I do love the “Cumquat” series from the 1950s, and I love many of the modernist pieces from the 1970s. However, as I think about it, the “Horse-Shoe Nail Pendant” featured on page 468 is probably one necklace from my personal collection that I wear the most. It is pretty over the top!
Is there a Napier piece you would love to acquire?
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| "Horse Shoe Nail Pendant" |
Yes, actually it is a series of pieces from the 1970s designed by Antonio for Napier in the mid-1960s. The former are necklaces very similar to Trifari’s modernist style necklaces of the 1970s: big plastrons or breastplate pieces. The Antonio pieces are more elusive, and I have only seen them in Vogue. They were fabulous space-age pieces.
What other designers or eras in terms of fashion and costume jewelry do you admire?
I’m very fond of Katerina Musetti’s designs. I think she is one of the up and coming designers who has not been fully recognized for her art. I also appreciate Larry Vrba’s jewelry, but have yet to purchase a piece of his work. There are so many designers I’ve yet to discover since my focus has been directed toward Napier for many years. It is actually fun to think about all the new discoveries I will be making.
Favorite era for jewelry design?
My “favorite era” for jewelry design has evolved over the years. My predilection toward a particular genre depends a great deal on my mood or the current fashion mode. In the beginning, I really liked the 1950s, but I also have an enormous appreciation for the 1920s and the early 1970s. The styles of each of these time-periods could not be farther apart from one another. That is part of what makes it so much fun!
Favorite Jewelry exhibit/archive you have visited at a museum or a private collection?
I would have to say that my favorite collection was one that I photographed for the book out of Connecticut. The collection is probably one of the most diverse Napier collections ever amassed. It could be easily one of the largest as well. However, I’m under a confidentiality agreement not to disclose the name of this person. My husband and I actually spent part of our honeymoon in the collector’s home. It was great fun, and I have learned there are even more unusual Napier items in this personal collection now. It is truly a Napier archive unto itself.
What was the hardest aspect of Napier's history to research and clarify- was it the actual date the company was established as discussed in the book or another aspect?
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| 1950s Sterling Silver Napier bracelet |
What was the hardest aspect of Napier's history to research and clarify- was it the actual date the company was established as discussed in the book or another aspect?
Yes, verifying the actual commencement date was time consuming and at times frustrating, mostly the information which had been previously reported turned out to be wrong – leading to many dead ends. But after many tedious hours over several months, I found a handful of the original legal company documents from the period. Then, with each additional piece, the whole story finally all came together. The hardest part of the research was chasing down the trademark history. I eventually made page after page of charts and spreadsheets and tables. I had to go through dozens of U.S. Trademark Official Gazettes, page by page. It was painstaking but in the end, so worth it. That is why I have over 60 pages on the marks and findings in my book. To know the trademarks allows me (and my readers) to date pieces with a level of accuracy that you just cannot get any other way. And, my research is ongoing. There are still a couple trademarks and the legal categories they fall within that I have yet to verify.
The book mentions the original signature of Bliss and Napier later. Are there any unsigned pieces?
The book mentions the original signature of Bliss and Napier later. Are there any unsigned pieces?
As a general rule, Napier marked ALL of its jewelry. The exceptions to this are exceedingly rare. There are very few pieces of unsigned Bliss that I’ve seen and verified against vintage catalogs or discussed with E.A. Bliss experts, and maybe a handful of designs from the 1920s through the 1990s of unsigned Napier. After that 1990, when Napier jewelry was produced on a mass scale with pieces such as pierced earrings sold on hanging cards, the earrings were often not marked, or just the clutch was marked, which could have been easily lost. Most pieces, which are called “unsigned Napier,” are generally not Napier at all. Unfortunately, either the sellers do not know, or the dealer tries to pass it off as Napier to unsophisticated buyers.
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| 1950s Napier Necklace |
Yes! I am reasonably certain that there are literally thousands of designs I have not seen. Even though my book features many thousand pieces, it still contains only a small part of what the company designed over the years. I attempted to be as representative as I possible, but the sheer number of pieces meant I had to leave many pieces out. For example, Napier would often do multiple variations on a design – using different metal colors, or stone types, or multiple kinds of pieces in a line. The company introduced as many as 1500 new designs each year—some designs were in the collection for just one season, and other designs were in the collection for decades. Especially, when it comes to the earlier designs from the 1920s and 1930s, I am sure there are a lot I have not seen and would be delighted to encounter them! I enjoy seeing a new variation of a familiar piece, but when I discover a new design, I get a rush of excitement that is enlivening. I hope that the book brings more of the rare pieces out into the community where they can be appreciated and adored.
Do you feel a weight has been lifted now that the book is published, a sense of accomplishment after such an extensive project-What does the book mean to you?
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| 1930s Napier Cuffs |
In many ways, I feel a huge burden has been lifted off of me. I have experienced a tremendous responsibility to the Napier employees to do an honorable job at representing what for many of them constituted their life’s work. On one hand, I wanted it to include as much of the story as I could share. On the other, I sometimes felt out of integrity because the project was taking so long. It was not because I was not working hard on the book but because I kept expanding the project in order to get it “right.” Unfortunately, some of the employees I interviewed passed away before I finished, and they never saw the work and their contributions. That broke my heart.
Now that it is complete and in the hands of the employees, I feel both proud and satisfied. Their appreciation for the job I did makes it all worth it.
Now that it is complete and in the hands of the employees, I feel both proud and satisfied. Their appreciation for the job I did makes it all worth it.
In personal terms, because I have chronic pain and migraines, completing this project was a huge effort. At the same time, it gave me a purpose to work towards and something positive to focus my attention. It distracted me from feeling sorry for myself and motivated me to work hard and be productive when I really didn’t want to get out of bed. I also have dyslexia, and I was put in special education as a child. Reading is challenging for me, let alone writing a book! I never thought of myself as someone who would become an author. When I hold the book in my hands and see what I have accomplished, I am thankful that it gave me the opportunity to go beyond what I thought was possible for myself.
I wanted to thank Melinda for her contribution and help to celebrate her accomplishment. Her insights here, from her grandmother's talented history to her challenges are inspiring. I have definitely been more open to discovering Napier pieces for both my wardrobe and store lately, spotting items I may have missed before! You can order or browse more information on her site.
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| 1930s Napier Tiger Suite |
