In addition to what we consider the traditional line, which includes the classic styles of the Haskell design repertoire, the company is now doing some asymmetrical, sort of ethnic-looking things, which is a step in a different direction. The company’s ownership has changed hands several times but it has always stayed true to the signature Haskell look. Her company didn’t do a lot of cast pieces and it didn’t stray from the main idea of what the jewelry was supposed to be about-beautiful beads and execution for a sophisticated audience. Miriam Haskell is known primarily for beaded jewelry. She may have designed early on when she ran her first boutique, but shortly thereafter she hired a fellow by the name of Frank Hess, who designed for the company until 1960. Many people think she was, but she was basically a superior businesswoman, the person who had the vision for the company. A lady named Miriam Haskell founded it in a boutique in the McAlpin Hotel in New York, 1926. Miriam Haskell, the company, is still around today. Eventually that research evolved into a book that I coauthored on the company. It took some time for me to piece together why a piece is or isn’t a Miriam Haskell. At that time, people thought that anything with beads on it was an unsigned Miriam Haskell. Pamfiloff: I became fascinated with long, beaded fashion jewelry. Collectors Weekly: How did you become interested in Miriam Haskell? It’s just so easy much easier than getting on a plane and booking a hotel. I do most of my research on the Internet now. Information is much more accessible now than it was even just a handful of years ago. Up to that point, you’d hear of a show in New York or L.A., and if you could, you’d get on a plane to go and talk to the dealers that way. It was really wonderful to be able to speak to people across the nation and the world via the Internet. There were probably about 30 sites on the net when I started mine, and that was it. I’ve had The Glitter Box for almost 13 years. I’ve also been fascinated with Mexican jewelry forever. I very seldom venture out of the ’40s unless it’s something in the European area, mostly because I think it’s better constructed and the history is just wonderful. I love a lot of the French and Italian designers, and I still love old Trifari pieces and 1940s jewelry. I’ll get locked into an area and I want to learn all I can about it. I’m still very much involved in fashion jewelry, but I tend to lean more towards European pieces right now. I started to purchase some, learned more about them, and began to enjoy the various companies and styles that were produced. My interest in fashion jewelry came about because I was going to antique shows and became intrigued by all the pieces with rhinestones.
Along the way, I also collected antique and period jewelry. I must’ve had every piece of art jewelry made by every craftsperson in the area. I liked the jewelry of our era, the late ’60s. I’ll be 60 in September, so that’s a lot of years. I’ve been interested in jewelry since I was in high school. To learn more about Pamfiloff and Miriam Haskell jewelry, visit Pamfiloff’s website, The Glitter Box. No, Pamfiloff is also impressed by the moxie of this smart businesswoman, who succeeded early on as a woman in a predominantly male world. For Pamfiloff, the Haskell story is not just about how Haskell almost single-handedly elevated tapestry beading to a fine art, or the fact that she was one of the biggest suppliers of fashion jewelry to some of Hollywood’s most glittering stars. Sheila Pamfiloff is such a fan of Miriam Haskell jewelry that she co-authored (with Cathy Gordon) a book on the costume-jewelry legend and her company.
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