Glass jewelry that mimicked the precious look of real diamonds or gemstones was already worn by the ancient Greeks and Romans. However, the golden age of what we now call “costume jewelry” truly began in the 1920s and 1930s, an era of new movements like Art Deco and a time when Coco Chanel revolutionized fashion. We take a dive into the world of costume jewelry with expert Manuel Opdenakker, whose work is brimming with creativity.
Text by Anja Van Der Borght
“As a young boy, I was already helping sell items in my father’s antique shop and my mother’s jewelry store further down the street in Antwerp,” Manuel Opdenakker recounts. “Some customers found it odd, but most thought it was amusing. Even now, I occasionally hear comments like, ‘Oh, a man in this business!’ But for me, it’s a perfect fit. Because of our diverse selection, customers often bring in a (photo of a) dress to find the perfect piece of jewelry for a special occasion. Sometimes, we encourage them to step out of their comfort zone. It’s always gratifying to see someone evolve from wearing a small pearl earring to embracing our most original collections. For many, costume jewelry becomes a genuine passion over time!”
Mathilde and Maxima
“Having grown up in this field, I’ve witnessed the evolution of costume jewelry firsthand,” says Manuel Opdenakker. “In the past, women who wanted to accessorize their outfits with costume jewelry were often discouraged by partners who preferred they wear ‘real’ jewelry as a status symbol. This meant that many women ended up wearing the same gold necklace to every event! Fortunately, actresses on the red carpet, and even members of royalty, helped change that perception. Jewelry gradually became an inseparable part of fashion, with precious materials becoming less important. Both Mathilde and Maxima, crowned queens in 2013, have been trailblazers in this shift. Today, beautiful costume jewelry rivals pieces made of precious metals. A bold statement necklace often pairs wonderfully with simple diamond earrings and a classic ring.”
Costume Jewelry
“You need plenty of jewelry,” said Coco Chanel. “If it’s real, flaunting it is in poor taste. The jewelry I create is very beautiful but, above all, very fake!” Indeed, it was Gabrielle “Coco” Chanel who introduced the term “costume jewelry” in the 1920s, sparking a revolution not only in fashion design but also in jewelry. Chanel’s clothing designs were simple, elegant, and comfortable. She added glamour by creating jewelry to complement her outfits. Out of financial necessity, Chanel avoided gold and gemstones, instead designing costume jewelry. The term “costume jewelry” may refer either to the idea of accessorizing a “costume” (what we now call an “outfit”) or to the type of jewelry worn in theatrical productions. Regardless of its origin, Chanel’s jewelry, like those used on stage, featured bold and dramatic designs: long strands of glass pearls, dangling earrings, and chunky plastic bangles. These striking pieces complemented the style of the independent, trendy, and rebellious women of the time. Other designers, like Italian fashion icon Elsa Schiaparelli, followed Chanel’s lead with their own hyper-modern and surreal creations. Today, vintage costume jewelry from this era remains as stunning and valuable as gold and diamond pieces. “When my mother opened her shop in the 1980s, her costume jewelry collections were often linked to major fashion houses like Yves Saint Laurent, Moschino, Versace, Armani, and Ferré,” says Opdenakker. “She sold the most cutting-edge collections available at the time. Over the years, that has changed. Today, the most avant-garde costume jewelry collections bear the names of designers from all over the world, think of Italian Angela Caputi, Danish brand Monies, or Belgian designers Christine Bekaert and Laurence Delvallez.”
You need plenty of jewelry. If it’s real, flaunting it is in poor taste. The jewelry I create is very beautiful, but above all, very fake!
– Coco Chanel
A Passion for Jewelry
“Today, I source collections from all over the world,” shares Opdenakker. “They are unique, artistic, wearable, timeless, or eccentric pieces crafted from diverse materials. The only criterion: I must find the collections beautiful myself. For me, the design is far more important than the material. Perhaps it works in my favor that, as a man buying women’s jewelry, I can’t wear them myself and therefore view the collections from a different perspective. Even when a collection looks stunning or is crafted with impressive skill, we often make improvements in our own workshop. For instance, if the piece isn’t designed with enough thought for wearability or ergonomics, we enhance it. We also frequently improve the way the jewelry is gilded or adapt the designs to suit the taste of Belgian women.”
A Personal Collection
“In the late 1990s, at the age of 21, I launched my own collection of everyday wearable jewelry,” Opdenakker explains. “Simply because it was missing from our range, and we wanted to meet our customers’ needs in that area. It’s a very minimalist collection with primitive shapes and a matte gold finish. The collection is now sold in about 30 stores across Belgium. Thanks to the success of these collections, I partnered with Magali Maes, who grew up in the jewelry industry through her mother’s brand. Together, we founded ‘Atelier Louiza,’ which has since gained recognition both domestically and internationally. ‘Atelier Louiza’ is not just about our in-house collections; we also create limited editions and collaborate with fashion houses and artists. Our boundless creativity is far from running out!”
Manuel Opdenakker, Exclusive Costume Jewelry, Armeduivelstraat 11, 2000 Antwerp.
