Restringing ethnic jewellery
ethnic necklaces
Restringing ethnic jewellery
Published Jan 19, 2024
‘This necklace is on its original stringing’ is something you may read in jewellery descriptions. But what does ‘original stringing’ mean? In this article, I’ll zoom in on stringing and restringing: it’s cultural context and 5 practical points to inspect when checking for restringing.
Ethnic jewellery: the many lives of necklaces
What I love about ethnic jewellery is that these jewellery pieces lived. They were part and parcel of everyday life, they moved along with their wearers, they bumped into other things, they got dented, banged up, damaged.
Take a necklace, for example. It may have been gifted to a bride on her wedding day, or assembled from treasured beads by a girl. It was worn on festive occasions or maybe every day, it was seen, admired and cherished.
And at one point during its long life, it broke. The thread snapped, perhaps after a sharp edge of a bead had chafed at it relentlessly, or simply because years of wear finally made it give way.
It was repaired, and at that point may have been embellished: another silver bead added because finances had been good, maybe another amber bead found its way in the composition as well…
And there you have it: a second incarnation of the same necklace. Rinse and repeat: one necklace may have been repaired or changed countless times.
Restringing ethnic jewellery: a part of life
Now this applies to straightforward, single strand necklaces, but also to beaded necklaces with multiple strands, lots of beads, silver amulets strewn in between…pieces like these would eventually break, once or several times, and be repaired.
That is for example visible in the Kabyle necklace in the gallery above. Clicking it will enlarge the image. It is still on an original stringing as the wearer had intended it, but upon closer inspection, the pendants are not all of the same age. Some have lost all their enamel, while others still have it; some have become smoothly worn, while others look more crisp. This necklace has been restrung at least once, in which a different selection of pendants was made.
Necklaces might also intentionally have been taken apart to be restrung with newly acquired beads, or to be divided up into smaller necklaces for children.
The point is that a piece you see *today* is not necessarily the same as when it was first created. Jewels were altered over time, adapted, improved, taken apart, made smaller…altering ethnic jewellery is a regular practice.
Restringing ethnic jewellery: an example from Oman
A great example are these two necklaces from Oman: click the photos above to see both necklaces.
The first necklace is an older one that is still on its last stringing. The thick hemp rope has darkened over time, the knot at the closure is frayed, and the dirt is also visible between and underneath the beads. A trick often used to make a necklace look old, is to darken its stringing. Looking between and underneath the beads may help assert if it actually has been worn, or that it just looks that way.
The second necklace is on a clean rope. You also see how the necklace is closed in a very different way: the two ends have been stitched together. It is much younger: this piece was a gift to a foreign teacher in the 1980s. Her Omani students wanted to present her with a parting gift, and financed this necklace together. The teacher never wore it, but instead treasured it at home.
Both are on original stringing, but one has not been worn as intensively as the other. And what is more: necklaces like these were restrung from time to time, too. [1] When the rope would get too stained or dirty, or new beads or pendants were added, the necklace would be restrung in its entirety.
Restringing ethnic jewellery: materials
This continuous stringing and restringing also means that it is perfectly possible for new materials to sit next to older ones. It’s not uncommon to find plastic beads added to coral, or to see newer coin pendants find their way into a necklace of older ones. As the photos above show (click to enlarge them), you will find bits and pieces of older jewellery lying around in just about every workshop from Marrakech to Cairo and beyond.
Because of these elements, the necklace forms a biography of the culture of its wearers. Who were they in contact with, who did they trade with, what materials made an appearance? Nylon fishing line, for example, has been in use since the 1960s to string necklaces with – it’s not necessarily a sign of modern stringing.
And that brings me to another aspect of restringing: the composition of a necklace.
Restringing ethnic jewellery: composition
There is, generally speaking, a set of standards within a culture as to what a necklace is supposed to look like. It’s a ‘type’ of necklace that is specific to a particular group, tribe, region etc. The individual components may vary, but the overall lay-out remains the same.
Over time, these compositions change, too: fashion will always play a part in how ethnic necklaces are created. The next generation always wants to do things a little differently, and these changes are visible in small or large details.
Looking at old photographs can be very helpful here (bearing in mind the complications these may bring – read more about that here). Looking at jewellery that has with certainty been collected before a particular date, or that has been in a family for generations, is also very helpful (you did not really think you were getting an article without me pointing out the importance of provenance, did you…?).
Restringing ethnic jewellery: our coloured view
So, the jewellery that we see, is the end result of years of threads breaking, fashions changing, beads bought, silver traded for cash, new elements acquired, dividing up larger necklace among kids…there is a depth of life behind these that is just amazing.
But these last incarnations are the ones that get published in jewellery books, shown in exhibitions and presented online. And that is often when they ‘freeze’: they are taken out of their living context, shown as beautiful objects in their own right, and become the main sources for studying jewellery.
The last composition we see, can’t readily be used to unequivocally establish that this is how a piece of jewellery always is ‘supposed’ to look. Not on the level of ‘but there are supposed to be three blue beads here’, anyway. But what they are very useful for, is establishing what the predilections of the time were, what the overall design is and which materials were in use.
Restringing ethnic jewellery: how is a piece presented to you?
By now, I suppose it will be clear that restringing is standard practice. But I’m guessing that is not what you want to know…because ‘original stringing’ often is connected to a form of authenticity. ‘This is the real deal’, that sort of thing. A restrung necklace however, can be just as real.
The thing to be aware of is how a necklace is presented to you. I have seen pieces presented as ‘19th century on original stringing’, but including beads that did not exist in the 19th century.
There is a fine line between original restringing, and modern compositions made to look old. What you really want to know, is the difference between the two.
Restringing ethnic jewellery: how to check for restringing
Restringing is the norm, not the exception. But how to see if you’re looking at an actually old piece, or a new one made to look original? Here are five tips:
1 – You will need to be aware of styles and types worn by the particular people the piece is from, and the timeframe it is supposed to be from. There’s no escaping that. Look at the overall composition carefully;
2 – Next, zoom in and see if the individual materials used match with that timeframe. Again, it’s not uncommon, for example, for plastic beads to find their way into an incarnation of a necklace, but when this is presented to you as ’19th century, never altered’ that is cause for concern;
3 – Zoom in a little further and check if the thread has been artificially aged: inspect the space between the beads and in the bead openings. Do note however that when a necklace is densely strung, the thread may remain cleaner than the rest;
4- Inspect the closure. This is often altered over time to allow for easier wearing. Here again, it helps to be aware of how these pieces were fastened. A loop-and-knot/bead/coin closure can be, but is not always the original way of fastening a necklace (and please remember that nothing is easier to pick up a stray coin to use – coins do not automatically date a piece of jewellery). S-hooks almost always indicate restringing.
5- Read the description carefully, if it concerns a necklace on offer. Does it say ‘in the style of’ or ‘based on’ or ‘composed of’? That indicates restringing or even a design creation by the seller.
And there is nothing wrong with that, by the way! In fact, all of my ethnic Dutch necklaces have been restrung, for example – I don’t want them to break when I wear them. Also the replacement of closures with S-hooks is nothing dramatic, and in fact adapts the necklace to a new stage in its life where it is wearable again.
Just as long as one is transparent about what is simply restringing, and what is altering (or even designing) the composition itself.
Restringing ethnic jewellery: living jewellery
Jewellery is not frozen in time, but grows old with us, and like us, changes appearances along the way. We see its last identity as it were, and it’s up to us to be aware there have been multiple lives before that! Restringing is normal. In that light I would suggest to replace ‘on original stringing’ with ‘on an original stringing‘ – it does do more justice to the many lives a necklace has had.
This article will continue with an article on how to spot alterations in ethnic jewellery, and an article on what to think of before you start restringing necklaces that are still on an original stringing – stay tuned!
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References
[1] This practice was shared with me by mrs. Alix Normandeau.
S. van Roode, [write the title as you see it above this post], published on the Bedouin Silver website [paste the exact link to this article], accessed on [the date you are reading this article and decided it was useful for you].
Sigrid van Roode
Sigrid van Roode is an archeologist, ethnographer and jewellery historian. Her main field of expertise is jewellery from North Africa and Southwest Asia, as well as archaeological and archaeological revival jewellery. She has authored several books on jewellery. Sigrid has lectured for the National Museum of Antiquities in Leiden, Turquoise Mountain Jordan, and many others. She provides consultancy and research on jewellery collections for both museums and private collections, teaches courses and curates exhibitions. She is not involved in the business of buying and selling jewellery, and focuses on research, knowledge production, and education only.
