Ornament is the leading magazine celebrating wearable art. Explore jewelry, fashion, beads; contemporary, ancient and ethnographic.
Issue link: http://ornamentmagazine.epubxp.com/i/104373
REFERENCES/BIBLIOGRAPHY Dubin, L.S. 2009 A History of Beads. From 100,000 B.C. to the Present. Revised and Expanded Edition. New York, Abrams: 396 p. Liu, R.K. 1974 Materials and techniques for stringing necklaces. The Bead Journal 1 (2): 27-32. —1995a Collectible Beads. A Universal Aesthetic. Vista, Ornament Inc.: 256 p. —1995b The Yin and Yang of Clasps. Ornament 18 (4): 48-53, 55. —2001 Neckwires. Elegant Utility. Ornament 24 (3): 60-63. —2012 Bamboo Jewelry. A Sustainable Resource. Ornament 35 (3): 60-65. Ogden, J. 1982 Jewellery of the Ancient World. New York, Rizzoli: 185 p. NANCY MICHEL: Aquamarine and gold, with gold hook clasp complementing gold beads. KAPULE'S DESIGNS: Williwilli seed necklace, with kukui nut terminals and string ties. NANCY WORDEN: Tubing neckpiece, clasped Asian silver torque and RKL bamboo torque, two of which are worn by slipping over the head or neck. RKL: BLACK BAMBOO, silver chain, Turkoman pendant, jump ring clasp. ANNETTE PASKIEWICZ: Bezel-set fused glass, with hook and eye silver clasp and components, nicely integrated in design. RKL: Precolombian ornaments, silver tubing neckwire and gold S-clasp. NAN ROCHE: Loop-in-loop polymer necklaces, with polymer and rubber cord toggle clasps. FUMI UKAI: Jade pendant on fine macrame, with gold box clasp. CYNTHIA TOOPS: Feathers necklace, with polymer toggle clasp, in scale with components. 67 ORNAMENT 36.2.2012 disconnect between the large amount of work in the necklace components and the much lesser effort put into their closures. Toggle, double hook, hook and eye, sliding fastener, hinge fastener, and even bayonet clasps are known from historic examples in metal, dating back to ancient Egyptian, Sumerian, as well as Greek and Roman jewelry (Ogden 1982), although we do not know how old S-hooks are. These types of clasps and their variations are all in use today, although always better made, due to the greater availability of materials like precise metal wire and better metalsmithing equipment. The worldwide increase in prices of precious metals has affected their usage and scale or caused a shift to base metals. Neckwires, cables or chains with attached closures demand diminutive clasps so the beads or pendants can slip over them. If the clasp or fastener can be put on after all components are in place, as the last step in the assembly process, such constraints do not apply. In certain types of closures, such as slide clasps or beads, their size or diameter can be small, as this factor does not affect their operation or strength, since friction against the sliding cords is the operating principle. Often, the most important factors impacting how a clasp functions are not visible or little noticed, at least until it is worn: Weight, drape or conformity to the body, pliability, and fit on the neck. Neck size, the shape of one's clavicles, the size and angle of the chest all affect how a necklace wears and whether the clasp will be secure. An open clasp can be secure as long as gravity pulls the two parts of a clasp against each other. If not, some type of locking clasp should be used. Unlike rings, which can be sized to the finger, adjusting to the wearer for neckware is limited. Some designers add extenders to the clasp, so that varying neck sizes can be accommodated. No matter what type of necklace or clasp is preferred, anyone can appreciate the ingenuity, innovation and level of crafting demonstrated in this survey of contemporary craft jeweler and designer-made closures and clasps. For a necklace to not be worn because the clasp is too difficult to use is comparable to a writer's article or book not being read because the type is too illegible. We all want our work to be acknowledged, and the well-wearing piece of jewelry is that affirmation.