Vintage

Vintage Redux
Bring new life to
old favorites…
You’ll
Do you have a collection of jewelry
castoffs? A box of broken bijoux? Pieces from the past
that are full of meaning but missing a few links? Through
Vintage Redux: Remake Classic and Collectible Jewelry,
Redux
Remake Classic and
discover: artist Brenda Schweder guides you through the process
of remaking your discarded treasures into new styles to Collectible Jewelry
• 35 projects using
original jewelry wear today.
spanning every decade
from 1920 to 1990
Learn to reuse and recast iconic jewelry
• comprehensive tools,
materials, and basic from the past, such as cameos, enameled flower
techniques guide
brooches, rhinestones, and more into soon-to-be
• inspirational, six-page
gallery showcasing work favorites of today. Simple, clearly explained jewelry-
from a variety of artists
making techniques in Vintage Redux help you transform
• step-by-step photography
and tips from the artist old into new. You’ll also find inspiration in Brenda’s
that will help jewelry makers
of all experience levels
words, as she guides you step-by-step through each project.

Heirloom
Schweder
62663 U.S. $21.95 Brenda Schweder’s first book, Junk
ISBN 978-0-87116-266-3

Kitsch
to Jewelry: A Step-by-Step Guide to
5 2 1 9 5
Using Found Objects in Jewelry You
Can Actually Wear, was published in
2007. Her jewelry is often featured in
9 780871 162663 0 64465 16266 6 BeadStyle, Bead&Button, and Art
Jewelry magazines. Traditional Brenda Schweder

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 Vintage
Redux

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BKS-62663-FM.indd 2 8/7/08 12:59:22 PM
 Vintage
Redux
emake Classic and
Remake
Collectible Jewelry

Brenda Schweder

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 Dedication
To my parents, Janet and Warren Meintz,
who taught me that I can do it myself and that
anything worth having is worth rebuilding
(or storing until you do so). I love you!

Acknowledgments
It takes a village. (Villagers, you know who
you are! And yes, Ted, you are a villager too!)
Thank you.

And to Barbara Eash—the dearest, most

knowledgeable appraiser around. Thank you
for your love of things old! Your enthusiasm is
contagious.
Kalmbach Books
21027 Crossroads Circle
Waukesha, Wisconsin 53186
www.Kalmbach.com/books

© 2008 by Brenda Schweder

All rights reserved. This book may
not be reproduced in part or in
whole without written permission
of the publisher except for brief
excerpts for review.

Published in 2008
12 11 10 09 08  1 2 3 4 5

These jewelry designs are copyrighted. Please use them for your
education and personal enjoyment only. They may not be taught or sold
without permission.

Manufactured in the United States of America

Publisher’s Cataloging-In-Publication Data

Schweder, Brenda.
Vintage redux : remake classic and collectible jewelry / Brenda Schweder.
p. : ill. ; cm.
ISBN: 978-0-87116-266-3
1. Jewelry making. 2. Handicraft. 3. Found objects (Art) I. Title.
TT212 .S349 2008
739.27

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 Author’s Note
What woman doesn’t have a stockpile of jewelry (my vanity drawer dost overfloweth)
that acts as a physical storyboard of who she is during each period of her life? I’ve got
goofy little stud earrings—hearts, bees, and more hearts and bees—from my teenage
years in the seventies (sadly all I could afford with my scant babysitting money), my
treasure trove of eighties early career pieces (signifying a maxed-out credit card—but
I looked GOOD), and a hole in the late nineties when I retreated from accessorizing
due to a state of stay-at-home Mom. (I was lucky to get in a daily shower; putting on
earrings meant dressing up!)

Perhaps you have a box in the back of your top dresser drawer filled with bijoux from
your beloved grandmother, aunts, and mother? We vow (sometimes we even utter the
words) that we’ll wear them or make something of them—we’ll pay them homage
by giving them the importance they deserve. But, just like our “I can make that”
sentiment when we are trying to talk ourselves out of a purchase, time escapes us, and
we just never get to it.

Or maybe you really love vintage costume jewelry (you’re a little wacky like me, aren’t
you?). You’d love to wear it with the trendy outfits you compose each morning, but the
pieces need a little updating, a little alteration, to let people know you’re inventive and
your own fashion editor. After all, you ARE unique, your very own stylist, a mélange
of the results from your brain’s massive Google search: images, sites, even video.

Time can be a considerable foe. Our busy lifestyles have us running from one errand
to the next appointment with barely time to breathe. Another matter, though, is the
lack of inspiration for what to do with all this most-essential stuff (that’s it—we’re
sharing a room at the Hoarder’s Psychiatric Hospital). And then, what does one do
with sentimental or valuable treasures? You might think, “IF I did do something with
Great Aunt Rose’s wedding set, what would it be? Where would I start?” Or, “How
can I turn this into something without ruining it?” Ahhh, there’s the rub. The idea is
half the battle; the execution of utmost importance.

Finally, how do I update these lovelies into today’s styles? What are the important
trends (we’ll cover those herein), and how do I meld all this with something I’ll be
proud to wear?

The answers to these and many other questions are right here inside Vintage Redux:
Remake Classic and Collectible Jewelry (redux: say “re-do”). I’ve had a blast twisting my
mind this way and that to create a book full of fun and inventive (very important, this
inventive part) jewelry pieces that will make you say, “Gosh, now I know what to do
with Great Aunt Rose’s set.” My goal is to have you running off to the bead store with
a brain overflowing with possibilities. You’ll be carrying that special piece in hand to
match beads and findings. Then when you’ve finished your renewed masterpiece, you
will say to your coworkers and friends, “I re-made it myself.”

Happy Redux!

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 Introduction
What Is Vintage, Really? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
What Not to Redux: Collectible vs. Redux-able . . . . . . . . . . . . . . . . . . . . . . . . . 8
How to Use This Book . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
Cleaning, Repairing, and Storing Jewelry . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
How to Redux: What Makes Jewelry Up-to-Date? . . . . . . . . . . . . . . . . . . . . . . 10
A Re-Stringing Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

New Order Redux

The Ol’ Switch-arooni A Brooch Makes a Magical Conversion to a Necklace . . . . . . . 16
Mr(s). T An Eighties Gold Chain Collection Gets Baubled . . . . . . . . . . . . . . . . . . . . . . 18
The Owl and the Pussycat Fish Articulated Necklaces Go from Kitsch to Cute . . . . 20
Ring-let Costume Rings Link Up to Build a Bracelet . . . . . . . . . . . . . . . . . . . . . . . . . 22
A Ribbon Runs Through It
An Eighties Chain Splits to Form Two Mixed-Media Bracelet Combos . . . . . . . . . . . . . 24
Fantastic Plastic and Elastic A Plastic Link Bracelet Tells It’s Time for Fun . . . . . . 26
Mod Squad Basic Cuffs Blossom with a Collection of Flower Pins . . . . . . . . . . . . . . . 28
Steppin’ Stones A Contemporary Plaque Necklace Rocks Out to a New Groove . . . . . 30
A Necklace with Fili Pedigree
A Filigree Pendant Stars in a Collage-y Show . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
So Stilletto Great Eighties Earrings Click (Clip-on) Your Heels . . . . . . . . . . . . . . . . . 34
Chandelearring A Silvery Teardrop Earring Pair Says “Chandelier,” Literally . . . . . . . 36
Plastic with a Twist A Faux-Bakelite Necklace Tangles with Nuts and a Melon (Clasp) 38
A Few of My Favorite Things
A Mix of Materials and Origins Tie Together in a Cream-Colored Theme . . . . . . . . . . . . 40
Mona Lisas’ Smiles
A Graduated Cameo Necklace Exhibits Its Own Five-Woman Show . . . . . . . . . . . . . . . 42
Bombastic Plastic A Few Already Re-done Necklaces Get Redux Part Two . . . . . . . . 44
Comment Dit-On “Purse” en Français? (How Do You Say “Purse” in French?)
A French Embroidered Purse Comes Full Bloom . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46

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 Contents
The Amazing Technicolor Dream Necklace
Colored Gemstones Congregate for a Zealous (Jealous?) Neckpiece . . . . . . . . . . . . . . . . 48
Danish Anyone? A Danish Pendant Is Treated to a New Life . . . . . . . . . . . . . . . . . . 50
Newfangled Old Bangles An Old Set of Bangles Gets a New (Jump Ring) Twist . . . . . . 52
The New Definition of Studly Plastic Bangles Get a Studded Face-lift . . . . . . . . . . . 54

Unexpected Redux—Vintage Collectibles Become Jewelry

One Buckle, Two Buckle, Three Buckle, Four ...
A Belt Buckle Collection Teams Up to Become a Necklace or Belt . . . . . . . . . . . . . . . . . 58
Very Millinery Berry Millinery Berries Cluster in a Chic Choker . . . . . . . . . . . . . . . . 60
Curtain Call A Chandelier Prism Duet Debuts as Earrings . . . . . . . . . . . . . . . . . . . . . 62
With a Click of Her Heels A Rhinestone Shoe Buckle Finds a New Home as a Bracelet . . 64
Cape(d) Crusader Cape Closure Sinks to a New Low as Belt Buckle . . . . . . . . . . . . . 66
A Change Will Do It Good A Lovely Thimble Gets a Second Chance at a Happy Ending . 68

Heirloom Redux—Sentimental Pieces Kept Close

Really Scary Pearls Heirloom Pearls Scare Up a (Temporarily) Frightening Look . . . . 72
Caught in Time A Vintage Watch Charms Now More Than Ever . . . . . . . . . . . . . . . 74
Getting Pinned A Pretty Pin Is Housed in a Tapestry of Ribbon . . . . . . . . . . . . . . . . 76
Pass It On A Traditional Swiss Costume Button Fastens onto a Bracelet . . . . . . . . . . . 78
Classy Ring A High School Ring is Reclassified . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80
The Dad Piece A Bolo Focal Piece Turns Heirloom Bracelet . . . . . . . . . . . . . . . . . . . 82
Regifting—It’s Good to Be Me!
A Cloisonné Necklace Gets Clipped (in a Good Way) . . . . . . . . . . . . . . . . . . . . . . . . . . 84

Inspirational Redux—
A Gallery of Work by Inspiring Artists . . . . . . . . . . . . . . . . . . . . . 86
Techniques . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92
How Do You Know If Things Are Old?
An Interview with Merilyn Lauria, proprietress, A Wrinkle in Time . . . . . . . . . . . . . . . 94
About the Author . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95

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 What Is Vintage, Really?
A $100,000 question. The dictionary loosely defines of the good and valuable than run-of-
vintage as “of an era.” How perfectly ambiguous. the-mill—which makes for guilt-free
And, so it follows that what’s vintage to you may be remaking. In the Heirloom Redux chapter,
modern to Grandma Clara. Furthermore, we really I show how to reinvent or remake valuable
don’t want to discuss the age of our eighties jewelry or sentimental jewelry without devaluing the
with our daughters or young friends, now do we? original piece.
I’ll touch on the differences among vintage, antique, ’Course if you’re reading a book written
and contemporary jewelry to dealers and collectors in by me, you gotta know I’d find a way to work
the next few pages. But in this world, vintage is really in found objects. And what could be better than
more of a state of mind—one that has us feeling a little combining vintage with found? Unexpected Redux
melancholy, recalling with nostalgia the bygone days takes a look at this fabulous pairing, injecting a little
(sometimes with a bit of tongue-in-cheek). whimsy and a big sense of adventure!
Suffice it to say that what is classic and collectible My aim is to provide a book that is long on
for this book spans a pretty wide period of challenging your imagination. I want you to be
time. It features jewelry that wouldn’t be inspired to look past first impressions to creating with
considered trendy today—a few pieces that possibility—and lots of it!
harken back to Victorian times, a couple
that recall the Arts and Crafts and Art
Deco movements, and a lot more from What Not to Redux:
the fifties, the wacky sixties, and the Collectible vs. Redux-able
seventies. It stays out of the nineties
Of course, this is totally up to you and your prowess
and beyond (with the exception of
as a designer and collector. Some of us are purists
a Chico’s piece remade on p. 30),
and enjoy old pieces for their beauty within the
but the eighties proved so plentiful
context of the time they were manufactured—and
with what’s now considered kitsch
would feel more than a little queasy when drilling
that many more projects of this type
into a circa-1940s locket. Others feel that what is
had to be passed along, in an
collecting dust in our bureau drawers deserves to
updated fashion.
be enjoyed and worn—and admit there should be
Long story short,
some semblance of updating. Nonetheless, this book
there’s a lot less
shows both, and from there you can choose your
collectible than
own gut-level feeling about redux.
classic jewelry out
there—or, a lot less
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 How to Use This Book
Obviously, there will be different levels of deconstruction techniques for reinventing, rebuilding, and refashioning
and reconstruction needed to coax new looks from old your own redux. Common techniques are explained with
bijoux. Some pieces need only a few beads (Mr(s). T, step-by-step instructions in the Techniques section at the
p. 18), a converter and chain (The Old Switch-arooni, end of the book; you’ll find reference to these within the
p. 16), or a slip of paper (Chandelearring, p. 36) to projects. (You may even use some in your new jewelry
update them. Some are completely taken apart and making.) Have fun scouring your local stores—bead
reconstructed (The Amazing Technicolor Dream and otherwise—for the perfect beads and other pieces to
Necklace, p. 48), and, in some cases, a few use multiple work with.
pieces to make one great fashion statement (A Few of My The jewelry I started with (my befores) isn’t highly
Favorite Things, p. 40). collectible, and that was on purpose. The projects are
Will you find exactly the same pieces to remake? meant for beginners with a zest for the other side of the
Probably not. You will be able to take a few of the street—brave creators like you, who cull through your
projects and insert-own-jewelry-here. But, for the own stash and adapt ideas like those in this book to make
majority of the rest, you will take away a book-load them your own. After all, you are so very YOU, unlike
of inspiration, a plethora of ideas, and lots and lots of the average bejeweled bear!

A Little Dab (of Soap) Will Do Ya:

Cleaning, Repairing, and Storing Jewelry
I’ve collected tips and tricks Soap and Water: For Hagerty Silver Stone Replacement:
from several sources, but please some glass and plastic pieces, a Cleaner: The best for silver, When you need to replace a
use your own discretion when bit of mild, soapy water and a hands-down. stone or repair with glue, use
handling old things. soft brush (try a soft toothbrush) a jeweler’s glue with a fine
works wonders for grimy build- Storage: Storing your injection tip, especially for
Makeup Brush: Use a up. Avoid submerging beads jewelry pieces in any type of rhinestones. If a stone is missing,
never-used-for-makeup brush that appear to have an iridescent plastic bag—zipper top or you can find dealers that
for the safest and gentlest or AB (Aurora Borealis) finish. I other—is bad for them. The specialize in stone replacement.
cleaning. Pick a soft one with a learned the hard way and found bags are made with petroleum
lot of surface area. plain old beads and a bunch of that emits chemicals and breaks Cleaning Verdigris:
clear finish covers floating in the down over time. Instead, wrap The beautiful green patina that
Pressurized Air: A can sudsy water. pieces in soft cloth (preferably we adore on some older pieces is
of pressurized air works well cotton) or tissue paper (archival a warning sign on metal. It can
for dust buildup. It does have Glass cleaner: Some say is best, but even plain tissue is be bronze disease or just plain
a powerful blast though, so use to use a bit of glass cleaner and almost archival). Also, wrap erosion. Try cleaning verdigris
with care around fragile parts. a soft cloth. But avoid using this pieces separately—clumping by applying a bit of ketchup to
Try covering the piece with method with rhinestones as it can them together easily knocks the affected area. Let it stand for
a open weave cloth first, then peel off the foil backing. out stones. 10 minutes and wipe it off.
spraying.

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 How to Redux? Chain, chain,
chain Dripping, winding,
What Makes Jewelry Up-to-Date? fringing, undulating, swagging . . . you
get the idea. Mix it, match it, layer it, and
Appraisers use hints like material, technique, and vary its color, shape, and texture. Chain’s
the big thing (it’s the fine, thick, and
innovation to date pieces. For instance, a certain word decorative thing, too). Add chain for an
on a package may be a modern word, thus ruling out automatic update.

the possibility the product was manufactured before the

word was commonly used. Pendants Ever since the
first Fashion Forecast column I co-
authored for BeadStyle’s inaugural issue
(September 2003), pendants have been
We, on the other hand, know style by what we see in in. They’ve been gaining in size and
stature, but they remain nonetheless. To
our day-to-day lives. We know a trend because we live quote retailer Mary Kay Martin of Lise
with it, but we may not be able to put our fingers on & Kato’s, “Jewelry just doesn’t seem now
without a pendant.”
exactly why something is of-today. And of course, your
individual style counts 100 percent to this fashion gal. But CharmS Ever-popular and
(seemingly) everlasting, this trend just
we’re all influenced by trend to some degree, so I’ll bring doesn’t get tired. From the traditional,
us right up-to-the minute with some broad-stroke trends. collected charm bracelet to all-at-once
clumps of focal charms, charms are
indisputably charming.

What defines an updated look? Without getting into LayerS Whether we’re talking
metal over shell, gemstones over wood, or
the nitty-gritty of style-this-week, I’ve listed a few IT layered all-over looks, this trend follows
trends—those that have withstood the test of time for a fashion’s layered look, showcasing
material and color combinations.
little longer than, say, the mood ring.
Bangles Bangles have been
popular for several seasons. Find them in
just about every material from wood to
bone, plastic to polymer, silver to
24-karat gold. They come plain or
textured, embellished or studded.

Kitsch The 20-something,

gen-Y, indie craft movement
has got this trend flying off
the shelves. Fun and whimsy
are key. You’ll know it when
you see it and laugh out loud!

Clusters Just what it sounds

like, when many small components are
bunched grape-style as a focal element.
A bumper crop for the neck or wrist!

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 Colored Gems One
of the newest looks (and probably the
most difficult for DIY-ers to replicate),
this trend shows up with colorful, clear,
bezeled stones. The pieces are fun and
uplifting and, well, a little regal!

Chunks Elaborate, over-

the-top pieces are all over the place!
Definitely statement makers, they
show best against clothing with classic,
minimal lines. But then again, over-
the-top is over-the-top, and who’s to say
when more is just plain more?

Embellishment
This trend speaks to the can’t-leave-
well-enough-alone type. Anything
plain is decorated, anything decorated is
encrusted.

Segments Throw symmetry Studs A perfect pairing to the

out the door with this trend. Whole Geometric and Art Deco trends, metal
necklaces are divided up into or crystals lend a raised surface and
parts of a whole. The pieces can be interest to classic-lined accessories and
complementary or disparate, but clothing.
once they are joined, they speak
as a unified whole. ON THE Edge If you
haven’t seen a skull or two by now,
Vintage Aha! The reason this you’ve been holed up in the backwoods!
book is pertinent today; a blending of Dark metals, Goth-inspired motifs, and a
old and new. This trend is the warm- bat or two are all good for a bit of shock
and-fuzzy of today’s looks and can span value, especially if they are juxtaposed
many styles and tastes. against feminine pearls.

Geometric The Art Deco Pavé Today’s definition of pavé?

era is creeping (quickly creeping) in Bling! This look is defined
with its straight lines and hardened by allover encrusted
curves. Definitely a vast departure from crystals. Could
the sweetness of the flora and fauna a trend be more
trend that defined Art Nouveau, this is Marilyn Monroe?
probably the freshest thing to happen in
jewelry for quite some time.

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 A Re-stringing Project
Today’s stringing materials are far superior to the natural
threads previously used. When I re-string a piece, I take
apart the whole piece and reassemble it. This method
provides longevity to the piece and helps ensure that I
won’t break another strand sometime soon.
1. Assess the situation—in what thing to get rid of the disintegrating 6. Starting at the middle loop of one
An Exercise in condition is the piece? Can you cotton thread (it was just a matter of connector, add a crimp to the wire end
Patience: Simple handle it? Lay the piece on a towel time before more breakage would and thread through the loop and back
Re-stringing or bead board [a]. Are there beads occur if it was left as is). down through the crimp and a few
4. Deconstruct the broken strand.
Project missing? Can you replace the missing
Carefully. In order. (No cats,
more beads, leaving a 1-in. tail [c].
Little did my sister’s sister-in-law pieces, or are you decreasing the Crimp (Techniques). Repeat with the
value by commingling old and new rambunctious children, or overall remaining strands on the same end,
know when she asked me to repair
components? Do you care about flailing personage allowed in the adding two per loop to the necklace
her beloved Trifari necklace and
authenticity, or do you simply want room.) Leave spaces where beads are and three per loop to the bracelet.
bracelet set that she made one
to wear a pretty thing? My triage missing. Fill in and/or reorder. 7. Repeat Step 6 on the other end,
fatal error. She used the words “no
assessment: Both the multistrand 5. Cut beading wire. String each taking up slack in the wire.
hurry.” Phrases such as this (which
necklace and bracelet have weak strand following the original pattern 8. Finish by adding a crimp cover to
lack hard-and-fast deadlines) to
stringing material; one broken strand [b]. (If the strand is intact and you are each crimp.
someone like me (who has good
to each; looks like I have all the merely replacing the old string, run 9. Write the note of apology about its
intentions but needs a good
beads; restring with stronger flexible your beading wire through the strung delay that will accompany this piece to
end-date to shoot for) are tickets
beading wire; use crimps for security beads and transfer them from the its rightful and very weary owner.
to a black hole (the same one
but recover with new clamshell thread to the wire.)
housing my household repairs
and mending). But I prevailed, connectors to maintain authenticity.
and voila, the necklace is wearable 2. Gather your tools and any new
once again. beads and findings. This was an easy
one—wire, crimps, and covers.
In case you find a similar set-in- 3. As long as I had committed to
distress, here are my Nine Steps to this project (finally, with deadline
Multistrand Stringing Surgery: looming), I would re-string the whole

12

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 Materials
the old . . .
• Trifari necklace (1950s)

the new. . .
• 12 crimp tubes
• 12 crimp covers
• flexible beading wire, .012 or .013

Tools
• chainnose pliers
• cutters
b

13

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 5-0-6
Brenda Schweder
Vintage rose-monte cabochon, vintage glass beads
and brass chain, African brass bead, contemporary
brass number nails.

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 New Order Redux
New Order Redux

As a lover of vintage anything, you might guess

how gaga I can be over old costume jewelry. Its history
and experience draw me in, and I literally
have to remind myself to breathe when gazing upon
a new find. It’s the inventor in me, however, that
won’t let these beautiful bijoux stand as is and I have
to (autopilot kicks in) update it, redux it, and mark it
with a “B.”

Many times reinventing a piece saves it. You may

simply rejuvenate a broken or missing clasp, breathe
new life into a rhinestone bracelet with replacement
crystals, or find just one component from what used
to be whole and insert it, perfectly, into its new,
rightful home. But mostly it’s just fun to mix ’n’ match
looks—pair the old with the new, the patinated with
the polished, and one decade with another. You become
part matchmaker, part jewelry wizard, taking bits
and pieces from the past and re-creating them into a
Jewelry New Order.

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 The Ol’ Switch-arooni
A Brooch
Makes a
Magical
Conversion
to a Necklace

16

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 P
Materials
Probably the easiest way to update a lovely vintage brooch—without the
the old . . .
abracadabra—is to slide a converter with a built-in bail onto the pin, and then add • printed picture brooch (ca. 1900)

a chain from your jewelry box or fashion your own to match. The beauty is that
you’ve not altered the piece at all, but you can give it its due and wear it—often.

Steps
1. Cut a 1½-in. (3.8cm) wire length.
2. Turn a plain loop (Techniques) and
load a 4mm bead [a].
3. Trim the wire to 3⁄8 in. (1cm) and
turn a plain loop at the other end
[b]. Repeat steps 1 and 2 to make
eight beaded components.
4. Open the brooch pin and slip on
the converter [c]. Close the pin.
5. Cut the chain into eight 2¼-in.
(5.7cm) and two 1½-in. segments. the new . . .
Open and close a 4mm jump ring • 8 4mm gemstone beads
(Techniques) around the converter • 19mm brooch converter
bail and the two end links of the • lobster clasp
shortest chain lengths [d]. • 7mm jump ring
6. Open the loops of a beaded • 2 4mm jump rings
a b component and connect to a chain • 2 ft. (61cm) 2mm bar-and-loop
end [e]. Close the loops. Continue chain, gold-filled
linking four additional chain and • 1 ft. (30cm) 22-gauge wire
three beaded components on one
side. Repeat on the other side. Tools
7. Open and close a 4mm jump ring • cutters
around an end link and a lobster • roundnose pliers
clasp; open and close a 7mm jump • chainnose pliers
ring around the other end link [f].
c d

Tip
Normally, chain could be threaded
directly through the converter’s
bail, but this bar-and-loop style
needed the jump-ring connection
e to lie correctly.

History Lesson
There really is a difference
between a brooch and a pin.
A pin on the back of a brooch
f is always set horizontally and
above the radius center point.
This allows for the piece to tip
downward slightly when worn.
Pins can have horizontally or
vertically oriented fasteners.

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 18

BKS-62663-CH01A.indd 18 8/7/08 10:55:50 AM

 Mr(s). T
Materials
the old . . .
• hefty gold-tone necklaces (1980s)

An Eighties Gold Chain Collection Gets Baubled

C Can it really be this easy? Sometimes an update is effortless. Knowing when to say
when wasn’t Mr. T’s forté (at least in the jewelry department), but the Mrs. gets all
the bennies from his fashion fallout now with a few head pins and some well-chosen
beads. I’m happy for her, but I pity the fool!

Steps
1. Load a head pin with a vintage
bead (optional: add spacers for
interest) and turn the first half of the new . . .
a wrapped loop (Techniques) [a]. • 13 9mm vintage glass beads, white
Repeat with all the beads. with platinum bands
2. Determine a bead pattern • 4 8mm vintage white glass beads
for your necklace. Put a bead a with loops
component onto its determined • 4 6mm vintage white glass beads
link [b] and complete the wrapped with loops
loop (Techniques). Repeat with all • 13 2-in. (5cm) ball-tipped head pins,
the beads. vermeil
3. Add the pre-looped beads to the • 8 5mm jump rings, gold-filled
heavier chain links with jump rings
(Techniques) [c]. Tools
• cutters
b • roundnose pliers
Alternates • chainnose pliers
Try different baubles, spacers,
and head pins for beautiful and
complementary combinations, as
seen in the two longer necklaces.

Note
Be careful of excess layering!
Forward tipping possible! c

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BKS-62663-CH01A.indd 19 8/7/08 10:56:01 AM

 The Owl and the P
Articulated Necklaces
Go from Kitsch
to Cute

20

BKS-62663-CH01A.indd 20 8/7/08 10:56:13 AM

 Pussycat Fish
Materials
The Fish Necklace

the old . . .
• articulated fish necklace, with chain
intact (ca. 1962)

T These necklaces are so bad, they’re great! Now a hot-hot-hot item with you
20-somethings (you know who you are), the gotta-have-it only gets cuter (and
kitschier) with a few flat-back crystals, the glub-glub of beaded bubbles, and a
professorial statement from a wise, old sage. You can’t help smiling (laughing too?)
when you see them!

Steps
1. Glue the flat-backs to the fish
with two-part epoxy following
the manufacturer’s instructions in the new . . .
the pattern of your choice [a]. I • 9 SS12 Swarovski art. 2028, mint
alternated vertical rows of 3mm and alabaster
6mm flat-backs for my “scales.” • 9 SS20 Swarovski art. 2028, mint
b 2. Using a 1⁄16-in. (2mm) bit, drill a alabaster
hole near the mouth [b]. • 3 6mm Swarovski art. 5000, mint
3. Make plain-loop components alabaster
(Techniques) with four 6mm • 6 3mm Swarovski art. 5000, mint
crystal pearls, three 8mm pearls, six alabaster
3mm art. 5000s, and three 6mm • 3 8mm Swarovski art. 5810, white
art. 5000s [c]. crystal pearl
4. Open and close a jump ring • 4 6mm Swarovski art. 5810, white
(Techniques) around the newly crystal pearl
a c drilled hole and a new chain end • 63⁄4 in. (17.1cm) 3mm cable chain
link [d]. Open and close a jump • 2 5mm jump rings
ring around the other end link and • 16 2-in. (5cm) head pins
the existing chain. • 2-part epoxy, 5-minute
5. Arrange the bead components
along the chain pieces as desired. Tools
Open and close the plain loops to the • cutters
chain links as positioned [e]. • roundnose pliers
• chainnose pliers
d e Alternate • drill with 1⁄16-in. (2mm) bit
Enhance an articulated owl with
sew-on crystals, crystal buttons,
a moon pendant, linen thread,
and letter charms. Don’t you love
the wise glasses made by twirling
some 20-gauge steel wire around
roundnose pliers?

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BKS-62663-CH01A.indd 21 8/7/08 10:56:26 AM

 Ring-let
Costume Rings Link Up to Build a Bracelet

22

BKS-62663-CH01A.indd 22 8/7/08 10:56:37 AM

 Y
Materials
You don’t need to know your ring size to purchase a finger bauble (or two or nine).
the old . . .
Amazingly simple (insert I-coulda-had-a-V8 head-knock here), the rings in this • variety of colored gemstone rings
(mostly 1960s)
project are complemented only by jump rings and a minimal toggle.

a b c

Steps Alternate
1. Select a number of gemstone Choose assorted rings from
rings (I used seven for an one era, or use an eclectic mix. Or
8-in./20cm bracelet). Snip off any (ahem) combine a few from old
adjustable wires [a] and file rough beaus if you care to keep those the new . . .
edges smooth. Arrange gemstone memories dear! • 6 10mm jump rings, gold-tone
rings to fit the length of the finished d • 2 9mm jump rings, gold-tone
bracelet, less about 1½ in. (3.8cm). • 6 5mm jump rings, gold-tone, or
2. Open a 10mm jump ring Design Note 1⁄2-in. (1.3cm) chain segment

(Techniques), and add the first two Using a nylon jaw pliers will help • 11mm toggle clasp, vermeil
rings [b]. Close the jump ring. prevent marring the jump rings.
3. Open a 10mm jump ring. Rotate Tools
and add the third ring in the series • roundnose pliers
so that the stones are facing opposite Tip • chainnose pliers
sides [c]. Close the jump ring. Since rings are larger “beads,” an • nylon-jaw pliers
Repeat to add all the rings. 8-in. (20cm) bracelet fits as a 7-in. e
4. Open a 9mm jump ring. Add (18cm) version usually does on
the other side of the last ring and my wrist. Smaller beads fit closer
the toggle clasp loop [d]. Close the to your wrist, thus measuring
jump ring. truer to your wrist and average
5. Lengthen the bar end of the clasp bracelet size. The larger the bead,
with a ½ in. (1.3cm) chain piece, the longer the bracelet will need
or do what I did: Add three sets of to be for an accurate fit.
double 5mm jump rings to the last
jump ring of the toggle bar [e]. Use
a 9mm jump ring to connect the
toggle bar to the other end.

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BKS-62663-CH01A.indd 23 8/7/08 10:56:51 AM

 A Ribbon
Runs Through It
An Eighties Chain
Splits to Form
Two Mixed-Media
Bracelet Combos

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BKS-62663-CH01A.indd 24 8/7/08 10:57:02 AM

 A
Materials
A bit like dividing cells (well, all right, not really), I like the idea of getting a two-fer
the old . . .
when you can take a necklace apart and get two (count ’em, two) bracelets just by • large-link chain necklace, 16 in.
(41cm) (1980s)
throwing in another clasp! It may not take a petri dish to cultivate these miraculous • bolo necklace with a large focal
flower (1950s)
pieces, but you do have to decide on identical or fraternal twin bracelets!

Steps
1. Shorten the necklace to your
finished bracelet length, subtracting
the length of the clasp, by opening
a link [a] as you would a jump ring
(Techniques). Reattach the clasp end
to the shortened chain.
2. Cut the ribbon to the length a b
of the chain. Thread the ribbon
through the links [b].
3. Fold the ribbon end over twice
and hand-sew to the ribbon through
the second link [c]. Repeat on the
other end.
4. Separate the bolo tie from the the new . . .
focal piece. With roundnose pliers, • 1 ft. (30cm) 3⁄8-in. (1cm) wide
bend the guide down until it touches c d grosgrain ribbon
the back of the focal piece [d]. • 13 x 22mm bronze ethnographic
5. Open and close a jump ring reproduction plaque (Ashes 2
around one of the closed guides and Beauty, ashes2beauty.com)
the ring end of the clasp [e]. • 22mm sun pendant (Kamol Beads,
6. Bend an 8-in. (20cm) length of kamol.com)
wire in half [f]. • 4 9mm jump rings
7. Feed one wire end through each • 8 in. (20cm) 22-gauge wire
hole of the bronze plaque. Make a • thread to match ribbon
plain loop (Techniques) at the top e f
with one end and trim [g]. Add the
loop to the ring end of the toggle and Tools
complete a wrapped loop with the • scissors
remaining wire end (Techniques). • roundnose pliers
Open and close a jump ring around • chainnose pliers
the pendant and the • sewing needle
same ring end.

Alternate
My necklace was just long
enough to yield two bracelets.
So I made up a complementary
version using suede trim, ethnic
beads, and a clasp from my
stash!

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BKS-62663-CH01A.indd 25 8/7/08 10:57:18 AM

 Fantastic Plastic
and Elastic
A Plastic Link Bracelet
Tells It’s Time for Fun

26

BKS-62663-CH01A.indd 26 8/7/08 10:57:27 AM

 T
Materials
The elastic in this bracelet got up and went a long, long time ago! Limp (and not
the old . . .
holding anything to anyone), it really proved a pathetic excuse for a bracelet. But, you • red, white, and gold plastic elastic
bracelet (1970s)
know when you see po-tential, girl, so I scooped this goodie up and brought it
up-to-the-minute by adding a coordinating watch!

a b c

the new . . .
• 1¼-in. (3.2cm) watch with drilled
holes for bands, white
• 12–16 4mm ball beads
d e • 2 ft. (61cm) 1mm elastic, clear
• spray paint, metallic matte silver
• spray paint, white
Steps a red bead (for a large bracelet).
1. Cut apart the bracelet. Repeat through the bottom set of Tools
2. Spray paint the ball beads white. holes [d]. • cutters or scissors
To simplify this process, cut notches 6. Pick up the slack in the elastic • foil roasting pan for spray
in the side lips of a foil roasting pan. and tie a surgeon’s knot on each side painting
Thread the beads onto a piece of (Techniques) [e]. Trim the ends. • string
string and knot the string ends to
each side of the pan, spanning the
middle [a]. Design Note
3. Spray paint the gold spacer beads Depending on the colors of your
matte silver [b]. watch and bracelet pieces, spray
4. Take the bands off a purchased painting may or may not be an
watch. Thread a 12-in. (30cm) option. The gold paint on the
length of elastic through one side bracelet’s original connectors
of the watch, through two white needed touch-up anyway, so a
beads, and through the other side silver-faced watch became my
of the watch. Repeat on the other perfect choice.
side [c].
5. From one end, add two to three
more white beads, a silver spacer,
a red bead, a spacer, a white bead,
and a spacer. Repeat on the other
end, but add another red bead (for
a small bracelet), or a red bead, a
spacer and a second red bead (for a
medium bracelet), or a red bead, a
spacer, a white bead, a spacer, and

27

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 28

BKS-62663-CH01A.indd 28 8/7/08 10:57:47 AM

 Mod Squad
Materials
the old . . .
• various flower pins (1960s
and ‘80s)

Basic Cuffs Blossom with a Collection of Flower Pins

I If you like pins but you’re looking for a new way to show them off,
pin your pins-a-plenty into this trendy look. So simple, you’ll say “why
didn’t I think of that?” But you needn’t worry your little head; you can
do it yourself. Most pin findings will fit though a 3⁄16-in. (5mm) hole, so
mark your marks, get set (to drill), and GO!
the new . . .
Steps Alternate • 1-in. (2.5cm) and 2-in. (5cm) wide
1. Position a pin on a brass cuff and Alter your theme and/or the brass cuffs (Designer Findings,
mark the outermost pin back posts width of the cuff findings to designersfindings.net)
with a permanent marker. Draw create maximum interest! • 7mm rubber O-rings (optional)
a ⁄ -in. (5mm) circle around the
3 16 • spray paint, matte white
marks (this will ensure that your
drill holes are positioned correctly). Tips Tools
Using an awl or centerpunch, mark • When drilling, steady the a • drill with 3⁄16-in. (5mm) bit
the middle of the circle as the place bracelet on 2 x 2-in. (61 x 61cm) • small files
for the drill tip to center on. board. • awl or centerpunch
2. Drill through the cuff [a]. File
any burs or sharp edges. • If you like the look of the brass
3. Optional: Spray paint the cuff. itself, clean the surface of the
4. Fit the posts through the drill cuffs with alcohol and spray
holes. (You may need to carefully with lacquer to set the finish and
bend the pin or pin back armature prevent it from aging.
to fit the curve of the cuff) [b]. b
5. To further steady the pin to
the cuff, fit the posts with O-rings
or small rubber washers and close
the pin.

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BKS-62663-CH01A.indd 29 8/7/08 10:57:54 AM

 Steppin’ Stones A Contemporary Plaque Necklace Rocks Out
to a New Groove

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 T
Materials
This original piece, a signed Chico’s necklace (now how vintage can that be?), smacks
the old . . .
of pure eighties style! It’s minimal. It’s gold. And, well—it’s minimal and gold. Ah, • plaque necklace with faux leather
(post-1983)
the nostalgia of the decade when accessorizing meant accentuating with anything that
matched our all-black wardrobes. This redux updates à la Simon Sebbag, who is known
for taking a shape, repeating it, and then offering it in a different material or color.

Steps
1. Fold the waxed linen length
in half and tie a lark’s head knot
(Techniques) to the end ring at the
back of the plaque [a].
2. Arrange the geometric turquoise
beads in a necklace shape,
considering the length of the a b
finished piece and how the edges
will fit together due to the hole
placements. String a turquoise bead the new . . .
on one linen length [b]. • 2 yds. (1.8m) 4-ply waxed linen
3. Flip the piece over. Run the thread, black
remaining length of linen along the • 11–13 22 x 35mm geometric-cut
back of the turquoise bead and tie African turquoise (Rings & Things,
a square knot close to the bead hole rings-things.com)
(Techniques) [c]. Repeat until the c d • 6 in. (15cm) 20-gauge steel wire
necklace is the desired length. • G-S Hypo Cement
4. To make the clasp, use roundnose
pliers to turn a small loop at the end Tools
of the steel wire [d]. This loop will • cutters
be the connecting loop of the piece. • roundnose pliers
5. Flip the pliers and nestle the • small ball-peen hammer
largest part just above the small • anvil or bench block
loop between the largest part of the
pliers’ nose. Curve the wire around e f
the jaw [e], making sure the loop
is just large enough to fit over the
connecting loop on the back of the
necklace plaque. Flip the pliers again
and make another small decorative
loop. Trim any excess wire.
6. Harden the hook by hammering
both sides against a small anvil or
bench block. Texture both sides g h
with the ball end of a ball-peen
hammer [f].
7. Tie the hook onto the end knot
with a double knot [g], orienting
the hook to connect over the top of
the plaque loop [h]. Trim the linen
tails and dot with glue.

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BKS-62663-CH01A.indd 31 8/7/08 10:58:23 AM

 A Necklace with
Fili Pedigree
A Filigree Pendant Stars in a
Collage-y Show

STEPS
1. Remove pin back from brooch [a].
2. Cut six 12-in. (30cm) lengths
of linen. Fold one linen length in
half and insert each end through
adjacent holes in the bottom of the
filigree piece, entering from the top
[b]. Pull the ends back through the
loop, creating a lark’s head knot
(Techniques).
3. Feed one linen tail up through
the bead and trail the remaining
tail up the back of the filigree and
through a hole at the top [c]. Tie
the tails in a double square knot at
the top (Techniques).
4. Pick up another linen length and
string through the top end of the
French costume piece connector, the 11 turquoise tooth beads on one of the costume connector, and tie a clasp half to both end links of the
turquoise rondelle, the faceted pearl, the tails [g]. double knot around the top of the decorative curb chain with a double
the African bone bead, and the 8. Pick up the tail strung through connector with the linen already knot [m].
African cage bead [d]. (Note: the the turquoise beads and tie an strung through [j]. 14. Fill the channeled clasp with
bone bead will line the cage bead.) overhand knot close to the end link 11. Fold the length of decorative seed beads, and close the open end
5. Fold the length of double curb of the second length of decorative curb chain in half. Pull up the slack with chainnose pliers [n]. Pick up
chain in half. Pick up another 12-in. chain [h]. Orient the chain with the in the component from the last step, the remaining 6-in. linen length,
piece of linen, fold it in half, and points outward. and tie a double knot tight around and tie the end link of the bar clasp
tie a lark’s head knot around the 9. Fold another linen length in half. the two centered links [k]. half chain to the end link of the
bottom double link [e]. Tie a lark’s head knot around the 12. Pick up the pendant tails and tie decorative chain from the remaining
6. Tie the tails around the last link bottom end of the French costume a double knot linking the pendant necklace side.
of the decorative brass chain [f] with piece connector [i]. to the double-link and decorative 15. Finish by tying an additional
a square knot. 10. Pick up the double link brass chains [l]. overhand knot to each knot. Trim
7. With another length of linen, tie chain ends and tie the linen tails 13. Cut the remaining linen lengths all tails close to the knots, and dot
a double square knot around the last from Step 9 with a double knot. into two 6-in. (15cm) pieces. With with glue.
link of the decorative chain. String Pick up the strung component with one length, tie the hammered toggle

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 MATERIALS

O One has to keep up appearances, so get a few steps

closer to the big time with this great necklace that
combines complementary segments of filigree, a
the old . . .
• brass filigree brooch (ca. 1910)

decorative chain, and to-die-for turquoise. Forget

keeping up with the Joneses. You’ll have a stature all
your own that’ll have them turning back on their heels!

the new . . .
• 50 x 30mm turquoise pendant
• brass French costume clasp
• 9½-in. (24.1cm) 15mm brass
c d e vintage decorative chain (Beads
by Sandy, beadsbysandy.com)
• 10 in. (25cm) 6mm brass etched
curb chain (Vintaj Natural Brass
Company, vintaj.com)
• 9 in. (23cm) 8mm brass
etched double curb chain (AD
Adornments, adornments.com)
• 8mm turquoise rondelle
f g h • 10mm faceted brown pearl
• 20mm African bead, bone
• 25mm African bead, brass cage
• 11 6mm brown African turquoise,
tooth shape
• 20 100 glass vintage seed beads,
green
• 72 in. (1.8m) 2-ply waxed linen
thread, walnut brown
i j k • G-S Hypo Cement

TOOLS
• cutters or scissors
• chainnose pliers

l m n

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BKS-62663-CH01A.indd 33 8/7/08 10:58:57 AM

 So Stilletto!
Great Eighties Earrings Click (Clip on) Your Heels

34

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 W
Materials
What could be better than a classic pair of stiletto pumps? A classic pair of
the old . . .
stiletto pumps that sport mini feather-and-crystal waterfalls! Chic! If Carrie • fabulous pair of Napier clip-on
earrings (1980s)
Bradshaw orders them in every color imaginable, I’ll even throw in the personal
New York City delivery.

Steps Design Note

1. Insert a feather into the crimp Of course, this type of
with loop and crimp (Techniques) embellishment is a no-brainer
with chainnose pliers [a]. Repeat to on pumps. But be a fashion
make four feather components. adventurer, and clip them to Mary
2. Cut six 6-in. (15cm) wire lengths, Janes, too!
and set three aside. Align three,
and slip them through a hole at the a
earring base. String two feather Tip
components to one strand (my At Step 2, it helps if you actually
earring is curved, so I added the clip the earring onto a shoe so
feathers to fit the inside curve) that you see how to orient the
and string all the wire ends embellishment. the new . . .
through a crimp tube [b]. Push • 4 crimp tubes with loops,
the tube to the base of the earring. gold-filled
Arrange the wire ends at differing • 20 crimps, gold-filled
lengths, and crimp. b • 6 6mm Swarovski art. 5040, light
3. Add a crimp, a small black Colorado topaz AB
crystal, and a top-drilled crystal • 6 13mm Swarovski art. 6015,
to one wire end. Thread back crystal golden shadow
through the black crystal and the • 6 6mm Swarovski art. 5301, jet
crimp, leaving a bit of a tail [c]. • 6 4mm Swarovski art. 5301, jet
Crimp loosely. Repeat to two other hematite
wire ends. • 6 2mm Swarovski art. 5000, jet
4. Flatten a crimp loosely about • 4 3-in. (7.6cm) feathers, black
1 in. (2.5cm) from another wire end. c (craft store)
Add a large black crystal, a topaz • 3 ft. (.9m) flexible beading wire,
crystal, a mini black crystal, and a .015, gold
crimp. Flatten the end crimp loosely • 2 hook-and-loop sticky-back dots
[d]. Repeat with the remaining two
wire ends. Adjust the dangles to Tools
the length desired, considering the • cutters or scissors
weight of the crystals. Tighten all • chainnose pliers
the crimps and trim any extra wire
from the ends. d
5. Adhere a hook-and-loop dot to
secure the clip to the shoe. Add the
fuzzy (loop) side to the underside of
your shoe and the scratchy (hook)
side to the inside of the earring clip
[e]. Trim to fit.

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BKS-62663-CH01A.indd 35 8/7/08 10:59:22 AM

 Chandelearring
A Silvery Teardrop Earring Pair Says
“Chandelier,” Literally

36

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 I
Materials
Indisputably a chandelier earring—with a product so cool you’ll want to use it on
the old . . .
every plain surface you own! Simply print your image onto transfer paper with a laser • sterling teardrop earrings from
France (1980s)
printer, wet, and transfer the film onto the surface to be embellished. Smooth and
let dry. Warning: You can get a little wacky using this product! My advice is to get
permission from your hubby before decorating his car.

Steps
1. Polish any tarnish from the
earrings and wipe the metal clean
with a soft cloth.
2. Make a pattern of the area to be
covered with the image [a] and trim
just inside the marks.
3. Prepare a digital image in several a b
sizes and print the sheet with a
laser copier. (Be sure to print on
the textured side of the Lazertran the new . . .
paper.) Select the best fit using your • Lazertran paper
tissue window [b], trace and trim (www.Lazertran.com)
just inside the tissue template.
tools
• scissors
Note c d • marker or pencil
You may want to adjust the size • tissue paper
you need before printing onto the • small bowl of water
Lazertran so as not to waste this • paper towel or soft cloth
super stuff! • polishing cloth
• computer with graphic-sizing
program
4. Dip in water [c] and slide
the printed film from the paper
backing.
5. Slide the film onto the earring
face and smooth out any bubbles or
wrinkles with a soft cloth or paper
towel [d]. Set aside to dry according
to the package directions.
6. Repeat to make a second earring.

Tips
In this case, I needed to select a
bold image. The first chandelier
graphic I found was way too
detailed and ended up looking
like a texture instead of an image.

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 Plastic with a Twist
A Faux-Bakelite Necklace Tangles with Nuts and a Melon (Clasp)

38

BKS-62663-CH01B.indd 38 8/7/08 11:00:02 AM

 H
Materials
How fun is it to be the recipient of old, broken jewelry? In this case (and considering
the old . . .
my favorite color is yellow), it’s a gas! This promising, yet dilapidated, necklace • double-strand plastic chain
necklace (1940s)
recently came my way. A few of the links were cracked, and the clasp was crazed
and unworkable. But my never-throw-anything-out nature (thanks, Dad) had me
analyzing the engineering of the double-linked pattern and strategizing the repair. It
was easier than I thought, since each link has a hairline opening and the plastic was
still somewhat pliable.

Steps
1. Study the chain, remove broken
links, and re-connect the remaining
links [a]. Be careful not to bend the
links beyond their flexibility.
2. Cut three 24-in. (61cm) lengths
of beading wire. Load one strand a the new . . .
with 19½ in. (49.5cm) of seed pod • 6 16-in. (41cm) strands 10mm
beads. Load one strand with 10 seed Bahay seed pods, orange
pods and then a repeating pattern of • 20–25 8mm faux whiteheart glass,
one yellow whiteheart and five seed yellow
pods (five times); finish with 10 seed • 5 5 x 9mm vintage twisted plastic
pods. Load one strand alternating beads, yellow (Metalliferous,
five to seven seed pods with two b metalliferous.com)
yellow whitehearts [b]. • 5 11 x 30mm vintage enamel
3. Twist the plastic chain strands pendant, yellow (Vintage
together and connect them with Beads Laramie Studios,
the yellow plastic jump rings vintagebeadslaramiestudios.com)
(Techniques). Connect the plastic • 25mm melon box clasp (Jess
rings to one ring of the two-ring Imports, jessimports.com)
clasp half with a 9mm jump ring. • 10 in. (25cm) 22-gauge wire, silver
Connect the seed pod/yellow • 6 crimps, silver
whiteheart strands to the other ring c d e • 6 crimp covers, silver
with crimps (Techniques) [c, d]. • 9mm jump rings, silver
Repeat on the other end. Cover • flexible beading wire
crimps with crimp covers.
4. Cut five 2-in. (5cm) lengths of tools
wire. Make a plain loop on one end • cutters
(Techniques) and add the enameled • chainnose pliers
pendant [e]. Repeat to make five. • roundnose pliers
5. Load a twisted plastic bead onto • crimping pliers
the wire and turn a loop just above f g
the bead [f]. Open the loop, add the
dangle to a desired position on the
necklace [g], and close the loop.
Repeat with remaining pendant
components.

39

BKS-62663-CH01B.indd 39 8/7/08 11:00:13 AM

 A Few of My
Favorite Things

A Mix of Materials and

Origins Tie Together in
a Cream-Colored Theme

40

BKS-62663-CH01B.indd 40 8/7/08 11:00:28 AM

 O
Materials
One of my favorite things is playing with a one-color theme. Mixing subtle color shades,
the old . . .
tints, and textures really excites my creativity. My new favorite thing is this faboo • white or beige necklaces of glass
(1950s), plastic (1960s) and bone
method for using nylon cord to attach beads à la charm-bracelet style. Is this where girls (ca. 1915)

in white dresses with blue satin sashes come in?

b c

the new . . .
• 12 20mm rough coral nuggets,
white
a d e • 12 vintage banded beads, white
• ¾-in. (1.9cm) clasp finding with
Steps mesh dome, antique silver
1. Disassemble four necklaces. Re- (Ornamentea, ornamentea.com)
string the necklaces onto beading • .45mm Griffin Nylon Power cord,
wire, adjusting for length [a]. (Fill white
in a shorter piece by alternating • 12 in. (30cm) 22-gauge wire
extra beads from a too-long one.) • 10 ft. (3m) flexible beading wire
2. Reconstruct a clasp (my vintage • 8 crimps, silver
version fell apart) by loading six f g • 8 crimp covers, silver
beads onto a 22-gauge wire length,
forming a circle, and twisting. Add Nylon Power cord by holding the tweezers. Trim to 3⁄8–1⁄2 in. and burn Tools
a bigger bead on one end [b]. plain end with tweezers about again [g]. • cutters or scissors
3. Center the bead, and thread the 3⁄8–1⁄2 in. (1–1.3cm) from the thread 8. Repeat steps 5–7 to attach beads • butane lighter
wire down through appropriate end. Light a butane lighter and hold as desired. • crimping pliers
holes in the mesh dome-top finding. the flame nearby. The heat will
Make snug and twist [c]. Trim the ball the end up into a knot, and the
ends to ¼ in. (6mm), and fold into tweezers will stop the burning at the Design Note
the recess. desired placement. Play with connecting varying
4. Add the bead strands by 6. Thread a vintage bead and a numbers of bead strands. The
threading a crimp tube onto one coral nugget. Wrap the thread results can be formal or funky!
end, threading the wire through one around the bead strands, tying an
loop of half of the clasp, and back overhand knot. Tighten the thread
through the crimp tube [d]. Crimp to remove any slack (this will be Note
(Techniques) and repeat with the awkward at first, due to the long Do not precut the nylon thread
other strands. Hide the tails in length of cord) [e]. before creating each connection.
the next few beads of each strand, 7. Thread on another coral nugget This project requires an as-you-go
pull tight, and repeat the crimping and another vintage bead [f]. approach, since the nylon thread
process on the other ends. Move the beads close to the knot, unravels at warp speed.
5. Make a knot at the end of the holding the cord with the tip of the

41

BKS-62663-CH01B.indd 41 8/7/08 11:00:42 AM

 Mona Lisas’ Smiles
Graduated
S
Cameo Necklace
Exhibits Its Own
Some pieces just shout “makeover!” But this one? Not
so much. Still very cute and wearable in its original
state, I winced as I convinced myself to update my
Five-Woman beloved cameo piece. Now I’m more than glad I did.
Show What was a lovely graduated Victorian cameo necklace
became an updated, edgy, rockin’ version. (I love how
the ladies have become little hanging portraits. The
whole thing is like a mini gallery for your neck!)

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BKS-62663-CH01B.indd 42 8/7/08 11:00:52 AM

 STEPS MATERIALS
1. Disassemble the original piece
into components, recycling the the old . . .
fine chain for a future project. (I • Victorian graduated resin cameo
discarded the jump rings, as they necklace (1940s cameos,
were broken or brittle.) 1950s chain)
2. Make the foundation chain
length by combining the old S- a b
connectors and new lengths of
etched oval chain by opening the
chain links as you would a jump
ring (Techniques) [a]. Starting and
ending with chain lengths, alternate
six link lengths with the connectors
for a total of seven chain lengths and
six connectors.
3. Use 4.5mm jump rings to attach c d
the end links of the foundation
chain length and the other two
chain types with the swirl clasp set
(the swirl to one end, the ring to the
other) [b].
4. Make the cameo components by
using 4.5mm jump rings to attach the new . . .
seven-link segments of 3mm chain • 6 6mm freshwater pearls,
to each loop [c]. e f light gold
5. Clasp the necklace and place it • 5 4mm Swarovski art. 5810 crystal
on a mannequin or other form. DESIGN NOTE pearls, Crystal Powder Diamond
With pins, mark three points to Hanging the piece on a Pearl
swag, and connect the 3mm chain mannequin or form (I’ve used • brass swirl clasp set
to the foundation chain, adding the top of my task light in a • 14 4.5mm brass jump rings
one each of the large, medium, and pinch) helps get the placement • 30 in. (76cm) 2mm brass fine
small cameo components. When of the cameos and charms ornate chain
you are happy with the placement, just so as you work. Just as • 24 in. (61cm) 3mm brass
use 4.5mm jump rings to attach fashion couturiers drape their g cable chain
the center link of each cameo chain garments on the body for fit • 42 links/11½ in. (29.2cm) 7mm
hanger [d]. and placement, designing in brass etched cable chain
6. Repeat Step 6 with the 2mm this manner will help everything • 11 24-gauge brass pearl head pins
chain and the remaining medium land in the right spot the first
and small cameos [e]. time around. Supply note: all brass chain, jump
7. Load the freshwater and crystal rings, and clasp from Vintaj
pearls onto brass pearl head pins. Natural Brass Company,
Make the first half of a wrapped vintaj.com
loop (Techniques) [f].
8. Play with the placement of the TOOLS
pearl components by attaching their • cutters
unwrapped loops to chain links [g]. • roundnose pliers
When you are happy with the • chainnose pliers
placement, take the piece off the • mannequin (or similar form),
mannequin and complete the wraps optional
(Techniques).

43

BKS-62663-CH01B.indd 43 8/7/08 11:01:07 AM

 Bombastic
Plastic
A Few Already Re-done
Necklaces Get Redux Part Two

A Apparently someone had the same new-old idea of jewelry redux about a decade or two ago and reinvented
their own version of plastic-bead mix ’n’ match. A valiant effort, but we all get our turns, so this time a second
throw-in-the-air and fall-to-the-ground offered this nutty (actually rattan fruit-y) version. And frankly, the best
part was in the naming—finding a word that not only rhymed with plastic, but also means grandiloquent, just
puts the cherry on top of the whole pretentiously flowery and verbose declamation!

44

BKS-62663-CH01B.indd 44 8/7/08 11:01:22 AM

 Steps 3. String the remaining two lengths eye-shaped connector between the Materials
1. Select several necklaces that have with smaller beads, and combine linen lengths and tie another knot
a common color or theme. I chose into one segment by threading both just inside the hole [c]. the old . . .
plastic beads in russet, coral, black, ends through a tube bead [b]. 5. Tie a third knot at the opposite end • mismatched plastic and glass
and yellow-gold. 4. Cut the black linen into two 12- of the hole and place the connector necklaces from the 1920s (apple
2. Cut the salmon linen into six in. lengths and place them parallel between the lengths again [d]. Repeat juice beads), ‘30s (amber), ‘50s
12-in. (30cm) lengths. Thread to each other. Tie an overhand knot [e] for a total of five rings. (coral and black beads), and ‘60s
four lengths with different but about 3 in. (7.6cm) from one end 6. Cut the chain into six lengths of (white glass)
complementary bead patterns [a]. (Techniques). Add one end of an four links each. Arrange all bead
and chain segments, the wooden
heart, the coral tooth pendant, and
the rattan fruit as desired. Thread on
the heart and tooth pendants on the
nearby linen lengths.
7. Drill a hole through each end
of the rattan fruit [f]. (Note: It is
hollow and has a big seed boppin’
around in the middle.)
8. Thread a flexible needle on
the linen lengths adjoining the
a fruit. Work the needle through a
plastic disk, around the nut (a bit
of patience is required), and back
through the hole at the opposite
end. Add a second plastic disk (the
disks serve as washers and to finish the new . . .
the look) [g]. • 5 30 x 18mm vintage plastic
b 9. Pick up the slack, and join all the football-shaped rings, coral
segments with double square knots. (Vintage Beads Laramie Studios,
Dot each knot with glue and trim. vintagebeadslaramiestudios.com)
• 52 x 40mm carved bone heart
pendant (Beads and Pieces,
Design Note beadsandpieces.com)
Wear this piece long against a • 50mm coral tooth pendant (MB
baby-doll dress or double wrap Imports, mbbeads.com)
it for more emphasis near your • 34mm rattan fruit (a home décor
face. product)
• 2 11mm African plastic disks,
black
Tip • 2 ft. (61cm) 20 x 14mm etched
In a pinch for a flexible beading oval chain, gold-filled
needle? Fashion your own • 6 ft. (1.8m) 4-ply waxed linen
semi-pliant version by creating a thread, salmon
wrapped loop (Techniques) on • 2 ft. (61cm) 2-ply waxed linen
the end of a 3–4 in. (7.6–10cm) thread, black
piece of 22–24 gauge wire. Thread
c d and pierce! Tools
• cutters or scissors
• G-S Hypo cement
• rotary tool with 3⁄16-in. (5mm) bit

e f g

45

BKS-62663-CH01B.indd 45 8/7/08 11:01:36 AM

 Comment Dit-On “Purse” en Français?
(How Do You
Say “Purse”
in French?)
A French Embroidered
Purse Comes Full Bloom

46

BKS-62663-CH01B.indd 46 8/7/08 11:01:49 AM

 I
Materials
I wish I could say that I found this purse at a Paris flea market, but I can’t. I can say
the old . . .
the next best thing, that I bought it from a dealer who picks and sells stuff she finds • passementerie-embellished purse
from France (1950s)
around France (I’m stuffing myself in her carry-on for the next trip). The purse is, of • collection of earrings (1950s)

course, darling in itself, but that wouldn’t make a good story, now would it? I never
really feel like things are finished until they’ve got a good number of geegaws (in
this case earring geegaws) attached along the way—a good metaphor for living life,
dontcha think? Attaching stuff, that is!

Steps
1. Arrange earrings on the front of
the purse, then sketch or take a photo
to document their placement [a].
2. Prepare clip earrings by pulling
the tabs of the clip base outward
to release the clip [b]. Using
heavy-duty cutters, cut off the a b the new . . .
paddle-shaped part at the fold [c]. • 3–4 yds. (2.7-3.7m) 2–ply waxed
Using roundnose pliers, bend the linen thread, natural
remaining portion down as you • 5 10mm Swarovski art. 5817,
would a plain loop (Techniques) so white
the end meets the earring back [d]. • Two-part epoxy, 90-second
File any burs.
3. Prepare screw-back earrings by c d Tools
clipping the screw-back wire to • heavy-duty cutters
3⁄8 in. (1cm) [e]. With roundnose • scissors
pliers, roll the remaining stem into a • big-eye needle
loop as in Step 2 [f]. • roundnose pliers
4. Prepare pierced earrings by • file
cutting off the wire or snapping off
the base finding. e f
5. Cut 15–20 6-in. (15cm) lengths of
linen thread. Thread a needle. Add
one of the loops on an earring back
and sew through the purse front,
placing the earring according to
your sketch or photo [g].
6. Repeat next to the first hole [h].
On the inside of the purse, pull up
the slack and tie a surgeon’s knot g h
(Techniques) with the linen tails.
Repeat until all the sew-on earrings Note
are placed. My purse has a plastic liner that
7. Glue earrings without a loop, was too hard to pierce with a
again referring to the sketch or needle. I opened the liner seam
photo. Place and glue on the near the bottom and reached
cabochons (Swarovski art. 5817) as inside to tie the knots. I carefully
desired [i]. hot-glued it back together to finish.
i

47

BKS-62663-CH01B.indd 47 8/7/08 11:02:04 AM

 The Amazing Colored
Gemstones
Congregate For a

Technicolor Zealous (Jealous?)

Neckpiece

Dream Necklace STEPS

1. Disassemble the original necklace
and earrings. With two pliers,
disassemble the rosary chain into
two 65⁄8-in. (1.6cm), one 91⁄8-in.
(23cm), and one 53⁄4-in. (14.6cm)
lengths. Open a jump ring
(Techniques) and add a loop from
the end of each of the rosary lengths,
making sure the shortest length is in
the middle [a]. Close the jump ring.
Repeat on the other side in the same
manner to create a mirror image by
joining the bottom (longest) length
to the bottom position of the jump-
ring connection.
2. Cut three lengths of gunmetal
chain to complement the length
of the rosary chain. (Mine are
16 in./41cm, 20½ in./52.1cm, and
26½ in./67.3cm.) Open a jump ring,
and link one side of the clasp, the
rosary-chain end loop, and the three
end links to the chain lengths so
the shortest lengths remain on top.
Close the jump ring [b]. Repeat on
the other side.
3. Prepare the drilled dangling
components by loading them on a
head pin and turning the first half
of a wrapped loop (Techniques)
[c]. Add a short length of chain (I
started with 2 in./5cm), and finish
the loop (Techniques) [d].
4. Prepare the single-looped
components and square crystals by
adding a jump ring to the loop [e].
5. Prepare the double-looped
component by adding two jump
rings to each loop [f].
6. Prepare the top-drilled
components by making a
triangular swing with a plain loop
(Techniques) [g, h].

48

BKS-62663-CH01B.indd 48 8/7/08 11:02:13 AM

 E
Materials
Ever wish your necklace had magical powers? Make your own materialize using
the old . . .
bezeled components from a few eighties necklaces (dump the snake chain first). • clear glass necklace (1960s)
• red plastic earrings (1980s)
Throw in a bunch of yummy Swarovski crystal pendants and a pavé elephant for good • pavé elephant pendant (1980s)
• green glass rosary chain (1960s)
(memory) measure. Your siblings may be jealous, but you’ll come out on top in the end.

a b c

the new . . .
• 2 39 x 3.5mm Swarovski art. 6657,
crystal
• 34 x 20mm Swarovski art. 6100,
d e crystal
• 28mm Swarovski art. 6621, crystal
• 18mm Swarovski art. 6754, crystal
• 2 18mm Swarovski art. 6058, crystal
• 3 14 x 15.4mm Swarovski
art. 6012, ruby
• 3 14mm Swarovski art. 4439,
Bermuda blue
• 11 x 10mmSwarovski art. 6012, ruby
f g h • 2 8mm Swarovski art. 6301, hyacinth
• 2 8mm Swarovski art. 5301, ruby
• 6mm Swarovski art. 5301, lt. Siam
• 4 14mm shell pearls, white
• 16mm clasp, gold-tone
• 12 4mm jump rings, gold-filled
• 3 9mm jump rings, gold-filled
• 30 in. (76cm) 22-gauge wire,
gold-filled
i j k • 8 in. (20cm) 2mm long-and-short
chain, gold-filled
7. Prepare the 5301 crystals by of the pearl components. When you’re 9. Add the elephant pendant by • 9 24-gauge ball-tip head pins, gold-
loading them onto a head pin and satisfied with the composition, add opening the bail or fashioning one filled
making the first half of a wrapped the pearl components with new jump of your own with wire [k]. • 5¼ ft. (1.6m) 5mm long and short
loop (Techniques) [i]. rings (cut off or leave the raw ends), chain, gunmetal
8. Put the necklace on a mannequin and add the remaining components
or form. Pin each component in place, with existing jump rings, by finishing Tools
considering balance of color, weight, wrapped loops, or by making plain • cutters
and form. Play with the chain length loops [j]. • chainnose pliers
• roundnose pliers
• mannequin or form 49

BKS-62663-CH01B.indd 49 8/7/08 11:02:29 AM

 Danish Anyone?
A Danish Pendant Is
Treated to a New Life

50

BKS-62663-CH01B.indd 50 8/7/08 11:02:38 AM

 G
Materials
Good thing I took advantage of having Barbara Easch, Appraiser Fabuloso, take
the old . . .
a look at my pieces. What I thought was an Art Deco piece is actually Danish and • Danish or Danish-inspired
pendant necklace (1970s)
originated in the 1970s. No matter, though. I still get a super bracelet.

Steps
1. Remove the pendant from the
necklace chain. Reserve the chain
for another project.
2. Cut the wire length in half. Load
two rock crystal chunks, and turn
the first half of a wrapped loop on
both ends (Techniques) [a]. a b
3. Separate the white chain into a
5-in. (13cm) and a 5½-in. (14cm)
piece. Attach the crystal component
to an end link from each piece.
Complete each wrapped loop [b].
4. With the remaining wire length
and the small end of roundnose the new . . .
pliers, make the first half of a • 5–7 in. (13–18cm) 8mm vintage
wrapped loop. Add the end links c d chain, white
from the three smallest chain • 5–7 in. (13–18cm) 5mm etched
lengths, and complete the wraps. long-and-short chain
String the cone on the wire [c]. • 5-7 in. (13–18cm) 6mm etched
Make a wrapped loop above drawn chain
the cone. • 5–7 in. (13–18cm) 3mm oxidized
5. Open and close a jump ring drawn chain
(Techniques) around the clasp hook, • 5–7 in. (13–18cm) 2mm curb chain
the end links from the white chain • 5 in. (13cm) wire, 22-gauge
component, the remaining large chain e f • 2 10mm rock crystal nuggets
lengths, and the cone’s loop [d]. • 22mm cone
6. Pick up the small chain and cone • 23 x 12mm hook clasp
component, and add three oxidized • 20mm mesh ring
rings to the small white chain length • 3 8mm oxidized rings
and five silver spacers to both silver • 5 silveer heishis
chain lengths [e]. Thread all the • 2 10mm jump rings
chain lengths through the large
mesh ring [f]. Tools
7. Open and close a jump ring g • cutters
around the chain end links and the • roundnose pliers
bottom opening of the pendant [g]. • chainnose pliers

51

BKS-62663-CH01B.indd 51 8/7/08 11:02:51 AM

 Newfangled
Old Bangles
An Old Set of
Bangles Gets a New
(Jump Ring) Twist

52

BKS-62663-CH01B.indd 52 8/7/08 11:03:03 AM

 O
Materials
Out with the old, in with the new never resonated with me; the whole “out” thing
the old . . .
sounds so final! Don’t get me wrong, I’m all for advancements and keeping up-to- • a set of five Mexican silver
bangles with differing textures
date (I’m even a little judgmental about my friends who haven’t gotten e-mail yet), (1950s)

but there is such beauty in the old (food excluded) that I can’t help doin’ the “reno”
thing. I guess I consider it a challenge to rejuvenate the passé to make it sought after
again. Is that weird?

Steps
1. Wrap the steel wire tightly
around the marker a dozen or more
times [a].
2. Take the coil off the marker, and
saw through one wall [b]. Collect
the whole rings.
3. Harden the wire by pounding the a b
rings [c]. If desired, texture both
sides of each ring with the round the new . . .
end of a ball-peen hammer. Close • 3–5 assorted Hill Tribes pendants
each ring. Wipe each ring with wax. and beads
4. Cut an 8-in. (20cm) length of linen • 18mm wood donut bead,
thread and fold it in half. Make a black (Beads and Pieces,
lark’s head knot around a jump ring beadsandpieces.com)
(Techniques). Thread the wood ring • 6 x 40mm wood bead, black
over both ends and a 5mm nail head c d (Beads and Pieces)
bead over each end [d]. • 2 5mm vintage nail head beads
5. Thread both ends through the Tip • 2 6mm oxidized silver spacers
wooden ring’s bottom hole and fit Finish your steel jump rings • 3mm turquoise seed bead
the nail heads back to back into the and any steel creations with • 12–18 in. (30–46cm) 18-gauge
opening. Tie an overhand knot and Renaissance Wax. Just wipe a steel wire
snug it up to the bottom of the ring little on a soft cloth, apply and • 8 in. (20cm) 4-ply waxed linen
with an awl [e]. Trim the ends of the buff. It leaves a lovely sheen and thread, black
thread to ½ in. (1.3cm). Open and protects this metal from rust. • decorative head pin, silver
close the jump ring (Techniques) e • Renaissance Wax
around all five bangles [f].
6. Load a silver spacer, the long Alternate Tools
wood bead, a spacer, and a turquoise The all-silver version is called • cutters or scissors
seed bead onto the decorative head Sawadee Ka, Amigas, by Luci Link. • a wide-barreled marker (14mm)
pin. Turn the first half of a wrapped She dangled her 1980s Mexican • jewelry saw
loop (Techniques) [g]. Slide the silver bracelets with a vintage • bench block or small anvil
component on a jump ring and sterling elephant watch fob, a • ball-peen hammer
complete the wraps. Open and pre-1950 Siamese sterling • awl
close the jump ring around all five dancer, and a contemporary f • soft cloth
bangles. Open and close a jump Thai silver flower.
ring around the remaining pendant
loops/bails and all five bangles.

53

BKS-62663-CH01B.indd 53 8/7/08 11:03:16 AM

 The New
Definition of Studly
Plastic Bangles Get a
Studded Face-lift

D
Don’t you just love the Old West? Cowboys
are studly, and now you can be too! This
bangle set gets punctuated with dapped
filigree-and-button studs (with a little concho-
esque tie thrown in for good measure) or a
faboo pendant or way-cool brass number-
headed nails. They go well with my yoked
cowgirl shirt and mud-kickers—now off to the
mercantile to buy a pair of spurs!

54

BKS-62663-CH01B.indd 54 8/7/08 11:03:32 AM

 Steps 5. Place the first stamping on the Materials
bangle and mark the positions for
Red bangle: nail holes with an awl or permanent the old . . .
1. Place the water lily stamping face marker [e]. Measure the bangle • 3 plastic bangles (1980s)
down and centered in the 1¼ in. circumference and divide by five.
(3.2cm) depression of the dapping Measure this amount from the first
block [a]. position and mark. Continue for the
a 2. Fitting the hole to the dapping remaining three pieces.
punch, dap (pound the punch with a 6. Using a rotary tool with a 1⁄32-in.
hammer until the brass is concave) [b]. (.75mm) bit, place the stamping on
3. Cut a 6-in. (15cm) linen length. the bangle, and drill through the
String through a button from back hole at the side at an inward angle
to front. Center and tie a square knot to about 3⁄8 in. (mark the depth
(Techniques) [c]. Trim the ends to on the drill bit with colored tape).
1¼ in. Repeat with all the buttons. It is important to drill through
4. Fit a rotary tool with a cutting disc. the stamping both to enlarge the
b Shear 10 wire brads to 3⁄8 in. (1cm) [d]. stamping hole and to set the angle
for the nail [f]. Repeat on the other
side.
7. Trap a button inside the
stamping. Dot the tip of the wire
brad with glue and lightly tap it the new. . .
with a small hammer [g].
8. Attach the remaining decorations the red bangle
in the same way. • 5 brass water lily toggle
c d stampings (Vintaj Natural Brass
Company, vintaj.com)
Yellow bangle: • 30 in. (76cm) 4-ply waxed linen
Open and close the screw-eye loop thread, country red
around the hole from the pendant. • 5 16mm vintage brass buttons
Drill a hole with a 1⁄16-in. (2mm) bit, • 10 19mm brass wire brads
and place the screw in the bangle as (hardware store)
before [h], shearing the length of
the screw if necessary. the yellow
e f bangle
• brass dragonfly reed pendant
Tan bangle: (Vintaj Natural Brass Company)
Drill holes with a 3⁄32-in. (2.5mm) • 7⁄16-in. (1.1cm) brass screw eye
bit centered in the diamond-shaped (hardware store)
facets and add sheared number nails
tipped with glue [i, j]. the tan bangle
• 20 13mm brass numbered nails
(hardware store)
g h
Tools
• dapping block
• dapping punch, 1-in. (2.5cm)
• rotary tool with cutting disk
• drill with 1⁄32-in. (.75mm), 1⁄16-in.
(2mm), and 3⁄32-in. (2.5mm) drill
bits
• awl or center punch
i j • chainnose pliers
• extra-fine-tip permanent marker
• small hammer

55

BKS-62663-CH01B.indd 55 8/7/08 11:03:46 AM

 Monk’s Timepiece
Brenda Schweder and Julia E. Miller
Resin-filled vintage pocket watch housing, vintage
watch faces and parts, vintage stone bell-pull, various
contemporary fibers.

56

BKS-62663-CH02.indd 56 8/7/08 11:04:12 AM

 Unexpected Redux
Unexpected Redux—
Vintage Collectibles Become Jewelry

Who can stop their vintage adoration with just

jewelry? Start thinking out of the jewelry box and into
a sometimes whimsical and always thought-provoking
realm—that of vintage found objects. Creating with
found objects lends a sense of discovery to your work
and to those admiring it.

Pick up and design around wonderful old millinery

pieces, tiny toys, and trinkets that you’ve handpicked
from flea markets, attics, and antique shops. And don’t
forget to consider jewelry-scale pieces and parts of
bigger things—it just adds to the mystery. Use your
imagination and astound yourself!

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BKS-62663-CH02.indd 57 8/7/08 11:04:15 AM

 A Belt Buckle
Collection Teams
Up To Become a
Necklace or Belt

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BKS-62663-CH02.indd 58 8/7/08 11:04:25 AM

 One Buckle,
Materials
the old . . .
• 12–16 colorful plastic belt buckles

Two Buckle,
(early 1950s)

Three Buckle,
Four . . . the new . . .
• 60 in. (1.5m) 1-in. (30cm) wide
grosgrain belt tape, black

I
• sewing thread, black
• seam sealant
In case one buckle isn’t enough, how about a dozen? Wear this piece one of two
Tools
ways—or both, depending on your outfit and mood: 1) as a necklace—yep! a string • sewing needle
• scissors
of belt buckles draped around your neck; or 2) as a belt—the more predictable choice, • pinking shears (optional)

yet still so very inventive. Note: Pay no attention to the darker side of this project—the
many innocent belts (sniff!) that gave their lives for this one oh-so-worth-it accessory!

Steps
1. Thread the belt tape through a
buckle and insert the pin through
the second eyelet opening [a].
2. Fold the end over 1⁄8 in. (3mm)
and fold again ½ in. (1.3cm). Stitch
in place [b].
3. Arrange and add the buckles, a b
positioning them as desired (mine
has 12 buckles, one on every
fourth eyelet) [c]. Tack buckles
in place from the back with needle
and thread.
4. Trim the end of the belt tape to a
peak with a pinking shears and dot
with seam sealant [d], or finish by
repeating Step 2. c d

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BKS-62663-CH02.indd 59 8/7/08 11:04:35 AM

 Very Millinery
Berry

Millinery Berries
Cluster in a Chic Choker

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 D
Materials
Don that fresh-from-the-vine look, and nestle these berry clusters at the little
the old . . .
divot between your collarbones. Originally used in hats or as ornaments, these • millinery berry clusters (ca. 1910)

scrumptious morsels are actually blown glass. So finish with a sprig of mint and
go lightly, Miss Holly!

a b c

Steps
1. Make the first half of a wrapped
loop with the stem of a millinery the new . . .
berry cluster (Techniques) [a]. • 18 freshwater pearls, ivory
Finish the loop [b]. Repeat to form • 18 1½-in. (3.8cm) ball-tip head pins,
eight berry components. silver
2. Load 18 pearls on head pins. • 2-in. (5cm) 22-gauge wire, silver
Make six with plain loops 3⁄8 in. (1cm) d • two-piece tapered neck ring, silver
above the pearl, eight with loops 3⁄16 (Rio Grande, riogrande.com)
in. (5mm) above the pearl, and four • 2 5mm jump rings, silver
with loops directly above the pearl • 2–4 velveteen floral leaves,
(Techniques) [c]. cranberry
3. Make a plain loop at one end of
the wire. Arrange the components Tools
in the following pattern: two short • cutters
pearl components, a berry, two • roundnose pliers
medium, a berry, two medium, a e f • chainnose pliers
berry, two long, a berry, and a long
[d]. Load this pattern on the wire.
Repeat the pattern in reverse until
all the pieces are added.
4. Form a plain loop on the wire
end, making sure both loops have
the same orientation [e].
5. Open and close a jump ring
around the end loop and the drill g h
hole at one end of the neck ring [f].
Repeat on the other end. Alternate
6. Make a loop on the wire stem of Use black millinery berries with
a velveteen leaf [g]. Add it to the steel wire.
connecting jump ring [h]. Trim
close. Repeat with a second leaf, if
desired. Repeat on the other side.

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BKS-62663-CH02.indd 61 8/7/08 11:04:58 AM

 Curtain Call
A Chandelier Prism Duet Debuts as Earrings

I
I suppose you could just
go out and buy a fabulous
pair of Swarovski
pendants for this project,
but that would take away
the fun of reinvention.
The trick was to figure
out the engineering of
hanging the chain from
a front-to-back drill hole
(vs. a side-to-side hole).
It’s always something
(challenging), now isn’t
it? See ya on Broadway!

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BKS-62663-CH02.indd 62 8/7/08 11:05:08 AM

 Steps Materials
1. Cut a 1-in. (2.5cm) wire length.
Make a plain loop on one end the old . . .
(Techniques). Insert the wire • pair of chandelier prisms (1980s)
through the prism hole, and make
another plain loop on the other side
[a]. Make sure the loops have the
same orientation. a b
2. Cut curb chain as follows: two
6-link segments, two 18-link
segments, two 20-link segments,
two 22-link segments, two 24-
link segments, and two 26-link
segments. Divide into two sets,
and put the 6-link segments aside.
Open and close a 3mm jump ring
(Techniques) around the end links c d
of each of the remaining chain
lengths, keeping them in graduated
order [b]. Repeat with the second
set of chain lengths. Open and close
a 3mm jump ring around the end
links of the opposite end [c]. Repeat the new . . .
with the second set. • 42 in. (1.1m) 2mm curb chain,
3. Open and close a 4mm jump gold-filled
ring around the end link of a 6-link • 2 in. (5cm) 22-gauge wire, gold-filled
chain segment. Open one loop of the • 4 4mm jump rings, gold-filled
prism component, attach one jump • 8 3mm oval gunmetal jump rings
ring from the chain component • 2 10mm bronze button with shank
from Step 2 (orient the shortest (Ashes 2 Beauty, ashes2beauty.com)
length at the top), the jump ring • ear wires, gold-filled
at the end of the 6-link segment,
and a jump ring from the end of Tools
the second chain component, again • cutters
orienting the chain component so e • chainnose pliers
the shortest segment is at the top. • roundnose pliers
Close the loop [d]. Repeat with
the second loop, draping the chain
segments, keeping the shorter
segments at the top and adding
the button shank. Repeat with the
second set and the second prism.
4. Open an earring wire, and
attach the ends of the 6-link chain
components [e]. Close the wire.
Repeat for the second earring.

Alternate
No time for schlepping through
your local antique shop for
prisms? Try a Swarovski article
6100 pendant. The 34 x 20mm
size comes in crystal and crystal
AB, and the drill hole is oriented
in the same direction as the ones
in these chandelier prisms.

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BKS-62663-CH02.indd 63 8/7/08 11:05:19 AM

 With a Click
of Her Heels A Rhinestone Shoe Buckle
Finds New Home as a Bracelet

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BKS-62663-CH02.indd 64 8/7/08 11:05:28 AM

 N Not even Dorothy’s red slippers could hold a candle to these fancy shoe buckles.
Good thing she was the only (tall, non-witch) girl in Oz. Had she clipped on these
babies, her trip along the yellow brick road would have rocked! Then home (there’s
Materials
the old . . .
• rhinestone shoe buckle made to
resemble marcasite (ca. 1910)

no place like it) could have been a hop, jump, and a (lot fewer) skips away.

Steps
1. Disassemble the clip from the
back of the buckle (mine slid right
off) [a]. Lift off any other fabric that
is not necessary. (I left only the black
velvet facing.)
2. Using the appropriate size tip,
heat the hot-fix crystal applicator a b
and apply the crystals to the under- the new . . .
fabric [b]. • 6–8 in. (15–20cm) 1.5-in. (3.8cm)
3. Glue the feather to the back of wide velvet ribbon
the rhinestone button [c]. • 8–10 various-sized Swarovski hot-
4. With a threaded needle, sew the fix flat-back crystals
button through the velvet under- • 5 SS10 Swarovski hot-fix flat-back
fabric at one corner, overlapping the crystals, crystal (optional)
buckle [d]. • loomwork box clasp, silver (Nina
5. Cut the velvet ribbon to your c d Designs, ninadesigns.com)
finished bracelet size plus about • 15mm vintage rhinestone flower
3⁄4 in. (1.9cm). Insert it through the button
buckle bar, right side to the back of • guinea hen feather (craft store)
the buckle [e]. • thread to match ribbon
6. With a threaded needle, run a • Two-part epoxy, 5-minute
gathering stitch along the edge of (optional)
the ribbon about ¼ in. (6mm) from
the edge [f]. Pull the gathers to fit Tools
the width of the clasp bar. e f • scissors
7. Fit the edge through one side of • needle
the clasp bar (be careful to keep right • hot-fix crystal applicator
sides matching) [g]. Fold over ¼ in.,
then another ¼ in. Sew the ribbon in
place at the last fold line [h].

Tip
Glue flat-back crystals to the face
of the clasp to better match the g h
rhinestone buckle.

Note
I used orange thread for visibility
in these photos; you should
choose a thread that matches
your ribbon.

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BKS-62663-CH02.indd 65 8/7/08 11:05:40 AM

 Cape(d) Crusader

Cape Closure
Sinks to New Low
as Belt Buckle

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BKS-62663-CH02.indd 66 8/7/08 11:05:51 AM

 I
Materials
It’s a bird, it’s a plane, it’s a cape closure turned belt buckle! Will the Velvet Waist
the old . . .
Accentuator save the city once more? Will the commissioner reach the red phone • cape closure (1940s)

in time? Will the shady villain’s pants fall down? Could the embroidery tie in to the
closure motif any better? Stay tuned! Same cape time, same cape channel!

a b c

Steps the new . . .

1. Calculate the length of your
belt by measuring your waist, • 1½-in. (3.8cm) wide velvet ribbon
subtracting the distance between the • 1-in. (2.5cm) wide elastic ribbon
cape closure loops, and adding 1⁄2 in. • 1½-in. (3.8cm) wide grosgrain
(1.3cm) for finishing. Cut a piece of ribbon
elastic to this length. Cut the velvet • 36 3mm melon beads
and grosgrain ribbons 1 in. (2.5cm) d e • 4 5mm acorn beads
longer than the elastic. • metallic embroidery floss
2. Mark the velvet ribbon 2½ in. • thread to match velvet ribbon
(6.4cm) from each edge with pins
(these will be the centers of your end Tools
motifs). Measure from pin to pin, • cutters
and divide the distance by three. • embroidery needle
Mark that distance from each pin • sewing machine
(you should have four marks).
3. Thread an embroidery needle f g
with 2 ft. (61cm) of floss. Come up
from the back near a pin, and make of each with a melon bead. Repeat 7. Fold over ¼ in. (6mm) and tack
a straight stitch about ¾ in. (1.9cm) to make four motifs, positioned as with needle and thread [f]. Align
long away from the pin. Come back marked. the buckle back, and tack the buckle
up 1/8 in. (3mm) away and thread a 5. Layer the velvet and grosgrain to the belt edge [g]. Repeat on the
melon bead [a]. Stitch down on the ribbon lengths. Topstitch along other side.
other side of the bead. the length of the pieces on both
4. Come up about half the length of edges [d].
the running stitch, just beside the 6. Thread the elastic through the Tip
stitch [b]. Stitch down to begin a middle of the ribbon casing. Work it Use an old sewing trick to
couching stitch. Come up beside the through the length (some gathering thread elastic. Fasten a large
mid-point of the motif, add an acorn will take place), and pin to hold the safety pin to one end of the
bead, and stitch down on the other opposite end. Zigzag stitch the ends elastic, and work the pin through
side of it [c]. (This is your center [e]. (The finished stitch is in red to the opposite side by bunching
point.) Repeat the straight and thread. up the fabric and releasing it
couching stitches, radiating around further along the channel.
the acorn 8–9 times. Finish the end

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BKS-62663-CH02.indd 67 8/7/08 11:06:04 AM

 A Change Will
Do It Good
A Lovely Thimble Gets a
Second Chance at
a Happy Ending

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BKS-62663-CH02.indd 68 8/7/08 11:06:13 AM

 I
Materials
Imagine a very lonely cloisonné thimble gathering dust in a locked case at an antique
the old . . .
mall. It probably never guessed it would stop protecting sewing fingers from pricks • Chinese cloisonné thimble
(ca. 1900)
and pokes, but, then again, it never dreamed of languishing among other bijoux and • two-strand herringbone necklace
(1990s)
collectibles day after month after year either. Poor little thimble! My collector friends
may be wincing at the new hole in my just-released prisoner, but my guess is my
thimble is happy and proud of its new gemstone tassel. Shake it, baby!

Steps attach a drop unit. Close the loop. end of the chain at the clasp. Thread
1. Load your rotary tool with a 1⁄32-in. Attach three 4mm components the chain through the new bail [f]
(.75mm) bit, and carefully drill a hole in random order by opening and and reattach the jump ring.
in the center top of the thimble [a]. closing the loops. Make a total of 12
2. Make the beaded components: beaded chains. Alternate
With 2 in. (5cm) of 22-gauge wire, 4. Cut a 4-in. (10cm) length of 18- Try any type of decorative
string a 7 x 3mm drop bead and or 20-gauge wire. Make a wrapped thimble for this project. Just be
make a wrapped loop with swing loop (Techniques) that is at least sure to get permission before
(Techniques) above it. Make 12. ¼ in. (6mm) in diameter. Attach the raiding a prized collection!
With 5⁄8 in. (1.6cm) of 22-gauge wire, beaded chains to the loop by opening
make a plain loop (Techniques) at and closing the end loops [c]. the new . . .
one end, string a 3mm bead, and 5. Thread the beaded tassel through • 12 7 x 3mm carnelian drops
make a plain loop at the other end. the hole in the thimble [d]. Fit it • 12 4mm moonstone beads
Make 12. Cut 36 5⁄8-in. pieces of 22- snugly against the inside top. • 24 4mm Swarovski art. 5810,
gauge wire and make a plain loop 6. Leave ¼–3⁄8 in. (6-10mm) of white
at each end. String a 4mm pearl straight wire, then make a double- • 12 3mm garnet beads
on 24 and a 4mm moonstone (not wrapped loop (make two coils • 5 ft. (1.5m) 22-gauge wire, gold-
pictured) on 12. Make a plain loop instead of one) [e] at the top, and filled
above each bead [b]. complete the wraps (Techniques). • 1 ft. (30cm) 18- or 20-gauge wire,
3. Open the loop on a 3mm unit and 7. Remove the jump ring on one gold-filled

Tools
• cutters
• roundnose pliers
• chainnose pliers
• rotary tool with 1⁄32-in. (.75mm) bit

a b c

d e f

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BKS-62663-CH02.indd 69 8/7/08 11:06:23 AM

 V–Voracious
Brenda Schweder

A collection of rhinestone brooches, earrings, bracelets,

mother-of-pearl monogram.

Like a Rhinestone
Cowboy, but Not Really
Vintage rhinestone pin and bead,
contemporary ring finding, various beads.

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BKS-62663-CH03.indd 70 8/7/08 11:06:40 AM

 Heirloom Redux
Heirloom Redux—
Sentimental Pieces Kept Close

What could be more dear-to-heart than a keepsake

handed down from your mother or dear, dear great
aunt? All too often, these pieces are (not-so) treasured
in safety deposit boxes or deep in dark bureau
drawers. I’m sure these heirlooms weren’t meant
for seclusion. Instead, pay them the respect they
(and their past owners) deserve by reinventing them
to be worn—often.

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BKS-62663-CH03.indd 71 8/7/08 11:06:43 AM

 Really Scary Pearls
Heirloom Pearls
Scare Up a
(Temporarily)
Frightening Look

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BKS-62663-CH03.indd 72 8/7/08 11:06:55 AM

 I
Materials
I’m sure had I told my mother my plan for her pearls, she wouldn’t have been so
the old . . .
cooperative in lending them. Not everyone wants a teal monkey-type skull mixed up • strand of cultured pearls
(ca. 1950s)
with their keepsakes—but not everyone has me for a daughter! A trooper, she’s now
game after a bit of explanation about how removable everything is—though she’s still
hoping the monkey thing is an aberration!

Steps
1. Glue the crystals in the eye
sockets with 2-part epoxy [a].
2. Make a plain loop at the end
of the wire (Techniques). Load a
plastic disk, the skull bead, and
a disk [b]. Make a wrapped loop
(Techniques) above the disk. a
3. Open and close a 4mm jump
ring (Techniques) around the pearl
necklace clasp’s existing jump ring the new . . .
and the end links from the rolo and • copal skull bead (Anima Designs,
bar-and-link chain [c]. Repeat on animadesigns.com)
the other end, keeping the strands • 2 6mm Swarovski art. 6301
in order. crystals, hyacinth
4. Cut three 1-in. (2.5cm) lengths b • 2 African plastic disks, black
of figaro chain and three 10-in. • 14½ in. (36.8cm) 2mm gunmetal
(25cm) lengths of elongated oval bar-and-link chain
chain. Open and close a 4mm jump • 18 in. (46cm) 4mm gunmetal rolo
ring around random links to create chain
a haphazard tassel ending in loops • 3 ft. (1.4m) 2mm gunmetal
and fringe edges [d]. Make three elongated oval chain
similar tassels. Open and close the • 3 ft. (1.4m) 3mm gunmetal curb
same ring to a link at the 2 and chain
10 o’clock positions of the chain c d • 3 ft. (1.4m) 3mm silver-tone
necklace. Add a third to the bottom decorative chain
of the skull component. Make two • 3 ft. (1.4m) 2mm silver figaro
more tassels the same way, but chain
using only two 1-in. lengths of • 6mm gunmetal jump ring
decorative chain and two 10-in. • 7 4mm gunmetal jump rings
lengths of curb chain. Attach these • 9 in. (23cm) 20-gauge silver wire
at 4 and 6 o’clock.
5. Use a 6mm jump ring to attach Tools
the pendant to the center chain. • cutters
• chainnose pliers
• roundnose pliers
• two-part epoxy, 5-minute

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BKS-62663-CH03.indd 73 8/11/08 3:29:11 PM

 Caught in
Time A Vintage Watch
Charms Now More
Than Ever

This alternate
version features a
marcasite dangle,
detailed, opposite.

T
This beautiful watch could be anyone’s special heirloom, though I’m not
sure where or from whom I obtained it. Still exquisite in its design, I could
have replaced the missing diamond chips, but for now I’ve cheated and glued
Swarovski crystals into the empty spots just to get some sparkle back. When I
decide to bring it back to its original splendor (and maybe even get it running
again), it will be passed down through my family’s future generations.

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BKS-62663-CH03.indd 74 8/7/08 11:07:20 AM

 Steps Materials
1. Load a freshwater pearl on a pearl
head pin, and turn the first half of the old . . .
a wrapped loop (Techniques) [a]. • white-gold watch, missing diamonds
Repeat with three more freshwater (1920s)
pearls and the crystal pearl. • watch fob (ca. 1915)
2. Add a pearl component to an • rhinestone watchband half (1950s)
end loop of the watchband [b] and a b
complete the wraps. Repeat with all
the pearl components.
3. Open and close a 4.5mm jump
ring (Techniques) around the hole
in the baroque crystal. Open and
close an 8mm jump ring to attach
the crystal to the top loop of the
vintage watch [c]. Open and close
another 4.5mm jump ring around c d
the bottom loop of the watch.
Open and close a 4.5mm jump ring
around a hole in the filigree leaf.
Open and close an 8mm jump ring
around the bail of the cross pendant.
4. Cut 1½ in. (3.8cm) of ornate chain
from the total length. Open and
close a 4.5mm jump ring around the new. . .
the moon pendant and the end link e f • 10 2mm Swarovski art. 5000 crystals,
of the short chain length. Open and vintage rose
close a 4.5mm jump ring around the • brass multi-tiered donut
end link at the opposite end. Add to • vintage brass filigree leaf stamping
an open 15mm jump ring [d]. • 20x30mm marcasite cross pendant
5. Close the 15mm jump ring • 20mm Swarovski art. 6722, moon
around the multitiered donut. pendant, crystal silver shade
Use 15mm jump rings to attach • 16x11mm Swarovski art. 6090 baroque
the filigree leaf, vintage watch pendant, lt. amethyst
component, watchband component, g h • 15x7.5mm Swarovski art. 6000 crystal,
and cross pendant component to the topaz champagne
donut [e]. • 4 6mm freshwater pearls, gold
6. Open and close a 4.5mm jump • 5mm Swarovski art. 5810 crystal pearl,
ring around the end links of the antique brass
ornate, curb, and figure-eight • brass bird charm
chains and a clasp half [f]. Repeat • 16mm brass filigree bead cap
on the other end, adding the figure- • brass hook and eye clasp set
eight chain at the end of the other • 14-16 in. (36-41cm) brass fine ornate
two. i j chain
7. Load a 15 x 17mm crystal on a • 14-16 in. (36-41cm) 2mm gold-filled
head pin [g]. Bend the pin against 9. Add the fob’s clip to the center curb chain
the crystal’s side [h] and center over of the necklace [j]; add the pocket • 19-24 in. (48-61cm) 2mm silver figure-
the top edge. watch end to the donut. Gently close eight chain
8. String a bead cap above the to secure. • 6 1½-in. (3.8cm) brass pearl head pin
crystal and make the first half Supply note: All new brass materials • 5 15mm brass jump rings
of a wrapped loop. Add the bird Alternate are from Vintaj Natural Brass Company • 2 8mm brass jump rings
component to the end link of the The marcasite cone (on the • 8 4.5mm brass jump rings
silver chain with a 4.5mm jump second version) is complete with
ring. Slide the crystal component brass chain fringe—a fun and Tools
onto the jump ring and complete inventive way to make a cone • cutters
the wraps [i]. into a pendant or charm. • roundnose pliers
• chainnose pliers

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BKS-62663-CH03.indd 75 8/7/08 11:07:34 AM

 Getting Pinned
A Pretty Pin Is Housed In a Tapestry of Ribbon

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BKS-62663-CH03.indd 76 8/7/08 11:07:46 AM

 P
Materials
Problem: owning a lovely vintage brooch that you’re not wearing because you’re just
the old . . .
not a pin person. Problem, part deux: Since it was Gram’s, you’d sooner suffer a two- • brooch (renovated) (1920s)

week trip with your college “ex” than deconstruct it. Solution: Solve both dilemmas
by stitching a complementary ribbon bracelet that serves as a pretty canvas on which
to pin it and sport it about!

Steps
1. Thread a needle (I’ve used
orange thread to better illustrate
the steps, but you’ll want to match
your ribbon) and embellish the
ribbon by stitching up through the
vintage decorative ribbon, through
a turquoise bead and black seed a b
bead, then returning through the
turquoise bead and ribbon [a]. the new . . .
Further embellish by sewing on • 7 in. (18cm) 13⁄8-in. (36mm) wide
peach alabaster cylinder beads and velvet ribbon, dark green
black seed beads individually, as • 7 in. (18cm) 3⁄4-in. (18mm) wide
desired. Continue until the entire vintage decorative ribbon
ribbon is embellished. • seed beads, black iridescent
2. Cut the velvet ribbon length in • seed beads, turquoise
half. Align and center the decorative c d • cylinder beads, peach alabaster,
ribbon on top of a velvet ribbon silver-lined
piece. Pin in place. Stitch both edges • 1½-in. (3.8cm) basketweave crimp
in place [b]. end, antique gold (Designer’s
3. Align the remaining velvet Findings, designersfindings.net, or
ribbon piece back-to-back with the Ornamentea, ornamentea.com)
stitched ribbon component. Pin in • 3mm 1-in. (2.5cm) gold-filled curb
place. With a threaded needle, come chain
up through both velvet ribbons at • 13mm vermeil toggle clasp
the edge. Pick up a cylinder bead, e • 3 4mm gold-filled jump rings
go back through the ribbons, and • beading thread, size D
tighten. For the next stitch, come up the clasp [e]. Open and close a jump
through the ribbons and the bead ring around the crimp end loop Tools
just stitched. Pick up a new bead, and the remaining chain end link. • cutters
go back through the ribbons, and To the other end, open and close a • flatnose pliers
pull tight. Continue along the entire jump ring around the crimp end • beading needle, size 10 or 12
edge [c]. Repeat on the remaining loop and the ring half of the clasp.
edge. 6. Pin the brooch to the center of
4. Cover one end with a crimp the bracelet.
end and flatten [d]. Repeat on the
other end. Alternate
5. Open and close a jump ring Carla Sikorski used a similar
(Techniques) around the end link technique for her “Toot Toot
of the curb chain and the bar half of Tootsie” necklace (Gallery, p. 87).

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BKS-62663-CH03.indd 77 8/7/08 11:07:58 AM

 Pass It On A Traditional
M
My friend Marianne
inherited a button from her
grandmother Margaretha
and asked me to make
Swiss Costume
it into something new.
Button Fastens
The buttons are from
onto a Bracelet
Margaretha’s traditional
Swiss dress (you can see
them fastened to the
bodice’s top corners in
the photo).
Margaretha Kohler
Schild was born in
Meiringen, Canton
Berne, Switzerland, in
1887. She married in
1913 and emigrated (with
8 children—OMG) to
Wisconsin in 1922.
Called wire jewelry, the
button dates to the late
1890s. Marianne had it
professionally cleaned
and restored by a jeweler
before giving it to me
to redux.

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BKS-62663-CH03.indd 78 8/7/08 11:08:11 AM

 Steps Materials
1. Open and close a 4mm jump 7. Open and close a 4mm jump ring an end of the 1-in. (2.5cm) wire,
ring (Techniques) around a filigree around the opposite end link and one load the rhinestone bead, trim, and the old . . .
leaf loop and an end loop from a clasp half [g]. Attach the other half turn a plain loop above the bead [h]. • wire button from the bodice of a
connector. Open and close a 4mm to the other side of the button. 9. Open and close one loop of the traditional Swiss outfit (ca. 1900).
jump ring around the decorative 8. Load a ball-tip head pin with rhinestone ball around the lapis
chain and the second loop, the a silver spacer and a lapis bead. bead loop. Open and close the
filigree chain and the third/middle Turn a plain loop above the beads remaining loop from the rhinestone
loop, the 3mm figaro chain and (Techniques). Turn a plain loop on ball around the connector loop [i].
the fourth loop; and the anchor
chain end link and the fifth/bottom
loop [a].
2. Cut three 1¼-in. (3.2cm) lengths
of curb and two 1¼-in. lengths of
2mm figaro chain. Open and close
4mm jump rings around the end
links of each chain segment and the
loops of another connector [b].
3. To a third connector, open and a b
close 4mm jump rings around the
end link of the chain from the first
connector loop to the fifth loop;
the second connector loop to the
fourth; the third to the third; the
fourth to the second and the fifth
the new . . .
to the first [c]. • 2½–3½ in. (6.4–8.9cm) 5mm
4. Open and close a 7mm jump ring decorative chain
around the space between the top c d • 2½–3½ in. (6.4–8.9cm) 3mm
loops of the connector bar and the filigree chain
anchor chain. Repeat, filling in the • 2½–3½ in. (6.4–8.9cm) 3mm figaro
spaces (top to bottom) with figaro, chain
filigree, and decorative chains [d]. • 2½–3½ in. (6.4–8.9cm) 3mm
5. Add the button loop to the end anchor chain
loop of the connector on the short- • 3¾ in. (9.5cm) 2mm curb chain
chain component [e]. • 2½ in. (6.4cm) 2mm figaro chain
6. Open and close a 4mm jump • filigree leaf (Toho Shoji, New York
ring around the crossed area of the Inc., tohoshoji-ny.com).
short-chain component [f]. e f • 3 five-loop connectors
• 10mm oval faceted lapis lazuli
• 8mm rhinestone ball
• 17 4mm jump rings
• 4 7mm jump rings
• 1 in. (2.5cm) 22-gauge wire
• 2 in. (5cm) 22-gauge oxidized
head pin
• Western-style lobster claw clasp
g h i
Tools
• cutters
• roundnose pliers
• chainnose pliers

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 Classy Ring W
When a friend
wanted this special
ring reinvented into
a bracelet she would
A High School Ring
be more likely to
Is Reclassified
wear, we settled on a
plan to use the ring
as a clasp. Figuring
out the bar end of the
closure proved to be a
bit more challenging
until we tied in her
dad’s love of nature
and used a vintage
twig reproduction.
Finishing with pearls
(her favorites) in her
preferred palette of
basic black moved this
project to the head of
the class.

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 Steps Materials
1. Remove the existing clasp from
the brass necklace. Cut the necklace the old . . .
to your finished bracelet length less • class ring (ca. 1941)
3 in. (7.6cm). • brass rope chain necklace
2. Cut the head from a brass wire
head pin. Turn a double loop on one
end and load a pearl. Trim the end a b
to ½ in. (1.3cm), and turn a double
loop above the pearl [a, b]. Repeat
to make three pearl components.
3. Connect three pearl components
with two jump rings [c]. Link
a jump ring to the end of the
component.
4. Double the gunmetal chain, and c d
wrap it around the natural twist of
the rope chain bracelet, matching
the length to the bracelet length [d].
Trim.
5. Cut four 6-in. (15cm) linen
lengths. On one, thread the pearl
component, the end links from the new . . .
the doubled gunmetal chain, the e f • 7 rough nugget beads, black
end link from the vintage bracelet, tourmaline
and the two brass chain lengths • 3 brass cog spacers
[e]. Tie the linen in a square knot • Tree of Life pendant
(Techniques). • twig bar from the Woodland
6. On the other end, match and Toggle Set
cut the brass chain lengths to the • 6 in. (15cm) brass bar-and-loop
bracelet length. With a second linen chain
length, thread the end links of the g h • 6 in. (15cm) brass curb chain
chain lengths, wrapped bracelet, • 18 in. (46cm) gunmetal decorative
and the class ring [f]. Tie a double chain
square knot. • 2 12-in. (30cm) lengths 4-ply
7. Make the brass cog charms by waxed linen thread, black
loading the cog bead onto an eye • 3 2-in. (5cm) brass eye pins
pin. Turn a plain loop at the top • 10 3-in. (7.6cm) brass head pins
(Techniques). Make the tourmaline • 3 5mm brass jump rings
charms by loading the beads onto i j
head pins and making the first part Tools
of a wrapped loop (Techniques) [g]. 9. With a linen length, tie a double • cutters
8. Add the tourmaline charms to knot to the middle of the twig • roundnose pliers
the connecting rings of the bar chain toggle, then add the end loop of the • chainnose pliers
and finish the wrapped loops [h]. pearl component and tie another
Add the cog charms to the curb double knot [j]. Trim the ends to Supply note: New brass components
chain [i]. 1 in. (2.5cm). Tie the tree pendant from Vintaj Natural Brass Co.,
near the twig toggle with the linen vintaj.com.
Alternate length [k]. k
A lasso necklace entitled “The
Ring that Jack Wore” is by Lucinda Tip
Link (shown at left). Luci’s Dad’s Choosing the right size toggle bar
class ring works as a toggle to a is the most difficult part of this
1980s necklace. Jack’s love of bird project—it must be long enough
hunting is represented by the to do the trick. The average bears
pheasant feather. (bars) that I first tried slipped back
through.

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 The Dad Piece M
My good friend and her
father were especially close
and shared a time-honored

A Bolo Focal Acadian healing tradition that

Piece Turns descends generations—being

Heirloom Bracelet traiteurs, or traditional healers.
As a personal memento, he
left her a special piece of
healing aventurine—a bolo
focal—that she wanted to be
able to wear often, especially
when treating. My job was to
ensure that my design stood
up to the significance and
respect with which they both
endowed this piece. It was an
honor to bring together this
physical manifestation of their
very special relationship and
time together! The resulting
bracelet is named The Curtis
Piece in honor of her father.

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 The design works with any bolo as the focal piece. The Materials
directions for this project are illustrated with a whimsical the old . . .
• western bolo tie (1950s)
western version.

a b c

the new . . .
d e f • 4 16-in. (41cm) strands ironstone
beads
• assorted western charms
• ½ 16-in. (41cm) strand 4mm
turquoise beads
• 6-in. (15cm) strand barrel beads,
silver
• 16 2mm crimp beads, silver
• 16 crimp covers, silver
g h i • 3-5 4mm jump rings, silver
• 2 oxidized head pins, silver
Steps the other end with the other clasp Note • 9mm jump ring, silver
1. Remove the leather necktie from loop. Cover the crimps with crimp The Curtis Piece features garnet • 6 in. (15cm) 20-gauge wire, silver
the focal piece by gently prying open covers. (deep red is my friend’s favorite • flexible beading wire, .014
the metal guides [a]. 5. With roundnose pliers, bend the color), watermelon tourmaline,
2. Using roundnose pliers, bend the wire in half and insert through the and a modified charm glued Tools
guide back down until it touches the bolo guide channels [e]. Fashion a to the adventurine. The cross, • cutters
back of the focal piece [b]. wrapped loop (Techniques) at the hand, swirl, and bamboo motifs • roundnose pliers
3. Cut 10 9-in. (23cm) pieces base of the guide channels [f]. represent the traiteur tradition, • chainnose pliers
of flexible beading wire. String 6. Load a charm onto a decorative and a fleur-de-lis captures their • crimping pliers
5 in. of ironstone beads randomly head pin and turn the first half of French-Acadian ancestry.
interspersed with turquoise and a wrapped loop [g]. Complete the
silver beads. String through one wrapped loop. Repeat with the
bolo loop, then string five additional remaining charms. Add the charms
inches of beads [c]. Repeat four to a large jump ring [h]. Add the
more times for a total of five strands. charm component jump ring to the
4. To the end of one strand, add a wrapped loop from Step 5 and close
crimp and one loop from a clasp the jump ring [i].
half. Thread the end back through
the crimp [d]. Take up the slack in Design Note
the wire and crimp the crimp bead When crimping the doubled
(Techniques). Repeat on the other strands, start with one, then
four strands of the same side, adding crimp the same strand on the
all to the same clasp loop. Repeat on other end. Work back and forth
until finished.

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 Regifting—It’s Good
to Be Me!
A Cloisonné Necklace Gets
Clipped (in a Good Way)

M My husband, Jim, gave his mother

this cloisonné necklace after he
returned from a trip to China in the
mid-eighties. But guess which lucky
girl has it now? I’m pretty brave with
deconstruction, but it seems a bit
disrespectful to rip up someone else’s
gift (besides, the hand knotting’s not
my cup o‘ tea!). So I invented a way
to accentuate the piece sans snipping.
I created add-on necklaces that can
clip on and off as singles, partners, or
mix-and-match strands. Two earthy
versions are shown here, but I had
just as much fun making delicate
beaded chains. Thanks, Shirley—
you can borrow them back at
any time!

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 Steps Materials
1. Open and close a jump ring
(Techniques) around the clasp loops the old . . .
at each side of the necklace closure [a]. • made-for-the-American market Chinese
cloisonné necklace (1980s)
Scrimshaw Pendant
Enhancer
2. Thread the linen through the a b
scrimshaw pendant and a glass
bead. Center the length, skip the
bead, and thread back through the
pendant [b].
3. Tie the pendant to the midpoint
of the waxed cotton. Use an awl to
tighten the knot [c].
4. Open and close a jump ring
around a lobster clasp ring. Thread c d
the cotton through the jump
ring and tie an overhand knot
(Techniques). Trim, leaving a short
tail [d]. Repeat on the other side.

Tribal Pictogram the new . . .

Enhancer • 2 5mm jump rings, gold-filled
5. Arrange a collection of carved
and netted beads as desired [e]. f scrimshaw pendant
6. Cut three 3-ft. (.9m) lengths of enhancer:
linen. Center the large carved ball • 2 9mm jump rings, gold-filled
on one length. Gather all three • 2 lobster clasps with ring, gold-filled
lengths, align the ends, and tie • 4 ft. (1.2m) 3mm waxed cotton lacing
an overhand knot on each side of the • 12 in (30cm) waxed linen thread, walnut
ball leaving a bit of room [f]. brown
7. Working your way out from the e • 40x24mm scrimshaw pendant (Anima
center, add single or grouped beads Designs, animadesigns.com)
to one length and tie an overhand AlternateS g • 6mm moss agate bead
knot 2 in. (5cm) from the last knot • Really Scary Pearls (p. 72) also
with all three [g]. Add all the beads uses this enhancing trick. tribal pictogram
in this manner. • Prefer delicate? Add a enhancer:
8. Open and close a jump ring gemstone donut to a twisted • 2 5mm jump rings, gold-filled
around a lobster clasp ring. Align all chain, crimp round gemstone • 12 ft. (3.7m) 2-ply waxed linen thread,
three strands to 1 in. (2.5cm) shorter beads in place along gold-tone walnut brown
than the finished necklace length, beading wire, or display a mix of • 28mm carved horn bead (AD
making sure to keep the piece even gemstone and metal beads on an Adornments, adadornments.com)
on both sides. Tie an overhand knot elegant chain. h • 2 40x18mm carved floral horn beads
with all three strands around the • 2 20mm carved double-fish bone beads
jump ring [h]. Trim as desired. • 2 18x12 carved yellow jade beads
Repeat on the other side. TIP (Ayla’s Originals, aylasoriginals.com)
Mark the waxed linen and • 2 18mm wire net glass beads
cotton lengths at the determined • 55mm sea urchin spine
Design Note measurements by folding and • 40x15mm brass hand charm
Use a mannequin or other form creasing. The marks (folds) will • 2 lobster clasps with ring, gold-filled
to plan lengths that complement remain until smoothed out.
the original. Tools
• cutters
• roundnose pliers
• chainnose pliers
• awl

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 Froggy Went A-Courtin’
Ann Cook
Removable 1950s tiny enamel frog pin (passes through a peyote stitch cylinder),
reproduction pressed-glass flower beads and leaves, contemporary glass beads.

R’unorian Crystal
Ann Cook
1960s Swarovski crystal and
gold pin (1960s), contemporary
handworked web of wire and
Swarovski crystal.

Orehshon
Susan Duehl
1940s shoehorn (from the artist’s
mother), mint beads from 1960s
yard-sale necklace, vintage
Swarovski cabochon.

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 Inspirational Redux
Fob Nobbin’
Brenda Schweder

Vintage necklace, watch fob pieces,

mother-of-pearl tag, brass chain,
antique button.

Face-Lift Toot, Toot, Tootsie

Rebecca Conrad-LaMere Carla Sikorski
1980s wood bangle custom-fit with natural stones: 1930s cardigan pin (given to the artist’s
peridot, tanzanite, citrine, blue and pink sapphire, mother, Tootsie, by her father, Carl),
green and pink tourmaline, iolite, garnet, aquamarine. contemporary Ultrasuede, glass beads,
crystal.

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 Grampa Gregor
Jane Konkel
Vintage watch parts (gifted by the artist’s muse, Dzidra), various tiny beads and charms,
contemporary hand charm and photo representing the artist’s grandfather working with
his hands.

Susan
Sue Rejman-Zember
Custom-engraved Wisconsin State Fair heart
charm bracelet (ca.1965), thrift-store rosary
chain and dangles, vintage chain, contemporary
glass beads.

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 Inspirational Redux
“Does Anyone
Really Know What Time it Is?”
Any J. Smith
High school state music competition ribbon
(won by the artist), 1980s rummage sale
watch, 1980s chain necklace (from the
artist’s sister).

Triple Play La Poche de la Puce (Flea’s Pocket)

Rebecca Conrad-LaMere Susan Duehl
All 1980s elements from the artist’s own Timeworn 1900s beaded bag (from Paris’ Saint-Ouen
jewelry stash: brooch turned bracelet, chain flea market), gold frill added to hide and reinforce
from a choker, amethyst glass beads from a the frayed silk floss holding the bag to its frame,
necklace. contemporary beaded beads created by the artist.

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 The Aunt Char
Helen Dahms
Faux pearl brooch
(from the artist’s Aunt
Char), resined paper,
metallic mesh ribbon.

N–Newfangled The Dorothy Brown

Brenda Schweder Helen Dahms
1980s gold and crystal ring bracelet (contemporary Sweater clip (from the artist’s friend Rae’s mother); vintage rummage sale
Swarovski sapphire crystals replace missing originals), mother-of-pearl lariat necklace; contemporary pearls, stones, chain.
vintage pocket watch fob, enameled monogram cuff link,
1980s necklace.

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 Inspirational Redux
Sand Dunes
Susan Shaleen Sankarsingh
Rummage sale belt buckle,
contemporary glass beads and
pearls.

Celtic Charm Gold ‘n’ Siam

Geoff Sears Geoff Sears
Silver necklace section (from the artist’s mother) Unaltered 1950s bangled necklace (from the
and silver charm bracelet (from the artist’s friend) artist’s mother) transformed to bracelet without
(both from the 1960s), contemporary Celtic altering the original; contemporary wire-wrapped
charms, wire-wrapped Swarovski crystal. Swarovski crystal charms, connector, clasp.

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 Techniques Jewelry making can be overwhelming until you know your way
around a crimp, pliers, or a roll of beading wire. The following
techniques are a remedy to newbie-itis and will give you the
confidence to make beautiful jewelry in no time.

Knots Most knots are secured Surgeon’s knot Jump rings are the paper
1. Loop the right end of a cord over the left, as
with an adhesive such as beader’s you would to begin to tie your shoe, and pull
clips of beading. They connect
cement, glue, or nail polish. through. Loop it around and through again one part to another, correct the
and pull tight.
direction a part faces, give energy
and movement to your work, or act
Lark’s head knot
Fold a cord in half and lay it behind a as one end of a clasp.
ring, loop, or bar with the
fold pointing down. Bring
both ends through the Loops and jump rings:
ring from back to front, 2. Cross the left over the right and go through opening and closing
then through the fold, and once. Pull tight.
tighten.

Wire & metal

Overhand knot techniques Crimp beads
1. Make a loop and pass the working end or tubes are the staples of
through it.
2. Pull the ends to tighten the knot. beading. They’re used to attach 1. To open a jump ring or loop, grip both
beading wire to a clasp. sides of a single ring with two pairs of pliers.
Simultaneously, move one hand away from
your body and the other toward you. Do not
Flattened crimps pull the ring apart sideways, or the wire will
weaken and possibly break.
2. To close a jump ring or loop, re-grip
Square knot both sides. Simultaneously, reverse the
1. Cross the left-hand cord over the right-hand movement you made to open the ring until
cord, and then bring it under the right-hand both edges meet.
cord from back to front. Pull it up in front so
both ends are facing upward. Tighten. 1. Hold the crimp using the tip of your
chainnose pliers. Tightly squeeze the
crimp shut.
2. Check that the crimp has a solid grip on the
wire. If the wire slides, remove the old crimp
and repeat with a new one.

2. Cross right over left, forming a loop, and

go through the loop again, from back to front.
Pull the ends to tighten the knot.

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 Loops (plain or wrapped) and Wrapped loop Wrapped swing
eyes are the hangers of beading.
They hold jump rings and dangle
beads or charms. Wrapped loops
add strength, security, and a
decorative finish. 1. Grip a head pin above the beads with 1. Center a top-drilled bead on a length of
chainnose pliers, and bend the wire to form a wire. Bend each wire upward so the wires are
90-degree angle above the pliers, as shown. parallel to each other.
Plain loop or eye 2. Grip the wire with the tips of roundnose 2. Bend and cross the wires into an X above
pliers at the beginning of the right angle. the bead.

1. Gently bend the wire end down to form a

right angle. Using wire cutters (with the flush
end of the blades toward the piece), cut the 3. Bend the wire up and around the pliers, 3. Using chainnose pliers, make a small bend in
wire, leaving approximately 3⁄8 in. (1cm). as shown. each wire so the ends form a 90-degree angle.
2. With the tip of the roundnose pliers, grip the 4. Reposition the roundnose pliers by gripping 4. Grip the triangular loop above the bead,
end of the wire. Holding the piece steady, roll the wire with the bottom jaw inside the loop. and wrap the horizontal wire around the
the pliers toward you to make half of the loop. Complete the loop, wrapping the wire end vertical wire as in a wrapped loop. Trim the
around to a 90-degree angle once more. If you excess horizontal wire close to the coil. Use the
plan to add this component onto a closed ring vertical wire to make a plain or wrapped loop,
or loop, add it now before completing the coil. if desired.

Triangular swing
3. Release, reposition your grip, and roll again
to complete the loop.
4. The completed plain loop or eye.

5. Grip the entire loop with chainnnose pliers,

holding it steady with your nondominant
hand. Grip the wire end with a second pair
of pliers. 1. Center a top-drilled bead on a length of
6. Wrap the wire around the shank (the space wire. Bend each wire upward so the wires are
between the loop and where your jewelry parallel to each other.
starts), keeping the coils close and tight. The 2. Bend and cross the wires into an X above
gripped end will become bent and “chewed,” the bead.
and you will need to reposition your chainnose 3. Using chainnose
pliers several times. pliers, make a small
7. When you have completed several coils (only bend in the long wire
one is necessary; the rest fill in the gap and to form a 90-degree
decorate), use wire cutters to snip off excess angle. Cut the excess
wire close to the coil. short wire where it
8. Carefully tuck the cut end close to the coil meets the long wire.
bottom with chainnose pliers. You may need to
hold the loop steady with another small pliers
while you do this step.

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 How Do You Know If Things Are Old?
An Interview with Merilyn Lauria, proprietress, A Wrinkle in Time
B: How did you become interested The cream-of-the-crop are Miriam were not flat-backed but faceted and mother had a lot of it, so it is familiar
in collecting and selling costume Haskell—whose claim to fame is a either foiled or not. Faceted stones are to me. Almost everyone knows Coro.
jewelry? gajillion seed beads and seed pearls in more brilliant and sparkly.
a single piece of jewelry; Schreiner; It’s also good to know designer B: What is your favorite period?
M: My mother passed away about and Warner. But housewives still signatures. Designers used special Why?
five years ago. I had her jewelry couldn’t readily afford these brands. signatures for different periods or
appraised and was shocked at its My second tier consists of Weiss, lines. Some used a cartouche or a M: Hands down, the 1950s.
worth. At first, I had no interest in who was a top innovator, using signed, soldered disk. There was such variety and good
dealing in vintage costume jewelry, black diamonds, fine Swarovski craftsmanship. The pieces were fun,
but after that I decided to change the crystals, and Japanned or black metal; B: How do you know if a piece is not real serious. My husband, Georg,
focus of my business. Now I have a Eisenberg; Hobé; Kramer; Bogoff; collectible and/or valuable? who is the heavy lifter in the company
passion for it! and Barclay. and an expert in his own right, loves
Third are: Coro (pronounced M: Lots of research and any piece with critters: animals, birds,
B: What is the history of costume ko-ro), who was the first really big familiarizing yourself with signatures bees, or bugs.
jewelry? People have always adorned jewelry mass-producer and creator of and the character of the types of
themselves; hasn’t it been around lovely pieces that one could purchase stones, etc. helps. It’s a constant B: What devalues a collectible piece?
forever? at Woolworth’s for a dollar; Trifari; learning process. I use over a dozen
Judy Lee; and Art. reference books and a trusted jewelry M: Any signed piece that is intact
M: The term costume was used Fourth: Lisner, Emmons, Sara appraiser, whose best advice is that, has a value. Things like broken pin
as we use the word clothing today. Coventry, and Monet. more often than not, stick to your gut backs, a lot of verdigris on metal
People went to the costumer to Fifth and finally: JJ was a instinct. (which indicates deterioration), and
clothe themselves. Then in the 1940s, manufacturer of novelty pieces. cloudy, discolored, or scratched (not
jewelry started to be made to match Interestingly, even the lowest level B: What kind of value are we talking flashy) stones are what decrease value.
costumes—a red brooch was made pieces are beginning to be valued about for collectible costume pieces?
by the garment manufacturers to today. B: You’ve shared that there are
embellish a red costume. It was then M: The lesser, unsigned pieces dozens of reference books that help
that the term costume jewelry really B: How does your business define run from $15-$150 and a signed collectors know more about vintage
came into being. vintage? Miriam Haskell full set, which may jewelry. If you had to pick one, which
Prior to the early 1900s, there be a necklace, bracelet, brooch, and would it be?
weren’t lesser metals. Fine silver M: Serious antique dealers classify earrings or some other variation
and gold were used exclusively, antique as anything 100 years old or thereof, can go as high as several M: Yes, there are dozens, complete
and jewelry was embellished with older. That takes us back through the thousand dollars. with colored pictures, value guides,
only precious stones like diamonds, 1910s and ’20s; vintage picks up in the and loads of information. My favorite
sapphires, rubies, and emeralds. ’30s and spans through the ’60s. B: Who is your favorite designer? is a book by Judith Miller entitled
Costume jewelry makers, on the Why? Costume Jewelry: The Complete
other hand, used lesser materials— B: What do you look for when you Visual Reference and Price Guide. It
metals like pot metal, lesser-grade are buying? M: Kramer is my absolute favorite. is published by DK Publishing, Inc.
stones, glass, and plastics. In this way He used a lot of texture, layers, and
they could make affordable, pretty M: I look for a few things. First, I motion—like dangling crystals that B: Vintage costume jewelry is the in
pieces for the average woman. check the backs of pieces. Originals catch the light as they move. He thing right now. What’s your take on
have smooth backs whereas new or excelled at bold color combinations its longevity?
B: I’ve heard that when collecting, reproduced jewelry has a machined and designed outstanding evening
one should look for signed pieces. look. I also look for the color of the wear sets but also did daywear. M: All indications are that vintage
What are some names to look for? metal—original gold jewelry was a Another is Coro for a multitude costume jewelry is not a flash in the
warmer gold whereas the newer stuff of reasons—interesting designs, pan—it’s here to stay.
M: I categorize them into five levels. is brassy and brighter. Also, stones affordability, and versatility. My

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 About the Author
“I’ve got a million of ‘em!”
That’s my newest answer to a question I’m continually asked: “Where do you get all
your ideas?” For Jimmy Durante, (I think he’s the comedian who originally coined
the phrase), it was jokes; for me, it’s jewelry ideas.

Many of these ideas have found homes already: I wrote Junk to Jewelry: A Step-
By-Step Guide to Using Found Objects in Jewelry You Can Actually Wear (2007). I’ve
been published in almost every BeadStyle issue since its inception (not to mention
co-authoring the magazine’s Fashion Forecast column for the first four years). My
designs have been in Bead&Button, Art Jewelry, Make it Mine, Vintage Style Jewelry,
and a number of other Kalmbach Publishing Co. special issues and books. I also
design for Swarovski Create Your Style; teach at the world’s largest retail bead
gig, the Bead&Button Show; and try to be a good mom, wife, friend, sister, and
daughter. Take a wager on how much I cook and clean?

Most of the time, my head is spinning with jewelry designs—sort of a 24/7,

continual play, mental slide show. They wake me up in the morning. They peek
into my daytime duties, and they keep me up at night. A blessing and a curse, I
wouldn’t have it any other way. I’m so grateful for my own little mildly obsessed life
where I get to play with little things all the time.

It’s just the way my brain works. No matter where I am, I take inspiration from
anything and everything. The texture of an old painted ladder; how a piece of metal
from a toy boat looks atop a bicycle reflector on my messy bench-top, even what my
brain thinks it saw at first glance (when it’s actually something very different when
further inspected).

So, when does this odd behavior of collecting prehistoric-looking bugs (dead or
alive) and freaky doll heads and appendages become just plain unwell? Well, I
figure I’m way past the point of being mainstream (which hasn’t been my goal since
I was about 13) and if I am (or when I do), I will still be happy in my own little
wildly obsessed world (little padded cell?) as long as I have my stuff around me to
arrange and my family and friends visit once in awhile.
Just no straitjacket please; I’ll need my arms.

95

BKS-62663-EM.indd 95 8/7/08 12:58:44 PM

 Reinvent
junk into jewelry
with this book
Another
Junk to Jewelry

imaginative to

book by Brenda
Schweder, Junk to
A step-by-step gu
ide to
Jewelry, presents
using found objec
you can actuats in jewelry
lly wear

31 projects
Brenda Schweder

inspired by
Schweder

facets of
everyday life.
FROM THE PUBL
ISHERS OF

62489 • $19.95

By using items from your jewelry box, a sewing basket, the

hardware store, or even the sporting goods store, you’ll make
wearable art sure to turn heads. Included are a comprehensive
materials, techniques, and tools section, an inspirational,
eight-page gallery, artist tips and alternatives, and more.

Order online at www.BeadAndCraftBooks.com

PMK-BKS-62663RH

or call 1-800-533-6644
Monday – Friday 8:30 a.m. – 5:00 p.m. Central Standard Time. Outside the U.S. and
Canada, call 262-796-8776, ext. 661.
XBB

PMK-BKS-62663.indd 1 8/7/08 1:01:46 PM