Of all the great American costume houses, Trifari is the one that came closest to the real thing. For decades it was run by people who understood precious jewellery from the inside, and it showed — in the cut of the stones, the cleverness of the settings, and a finish that has lasted remarkably well. If you want a name that carries genuine prestige among collectors, this is it.
A Trifari Bracelet
From Naples to New York
Trifari's founder was born into the trade. Gustavo Trifari came from a family of goldsmiths in Naples, where he learned his craft, before arriving in the United States in 1904. By 1910 he had set up his first venture in New York, initially as "Trifari and Trifari" alongside his uncle; when his uncle departed, Gustavo carried on under his own name.
The company we know took shape through two partnerships: Leo Krussman joined in 1917, and Carl Fishel, a gifted salesman, in 1925, giving the firm its full title of Trifari, Krussman & Fishel — and the early "KTF" mark. The name was soon shortened simply to Trifari, the better to evoke the romance of Gustavo's Italian roots.
Alfred Philippe and the golden age
The defining moment came in 1930, with the hiring of French designer Alfred Philippe. He arrived having worked for two of the most exalted names in fine jewellery, Cartier and Van Cleef & Arpels, and he brought their techniques with him — most notably invisible stone settings and the use of finely faceted, hand-set Austrian (Swarovski) crystals. Under Philippe, who led design until 1968, Trifari produced its most celebrated work.
His ornate crown brooches proved so popular that, around 1937, the company added a crown above the "T" in its mark — giving rise to the coveted "Crown Trifari" pieces collectors prize today. From this era come the famous Jelly Belly brooches, with their clear Lucite "bellies"; the colourful moulded-glass Fruit Salad designs; and, during the Second World War, beautiful figurals in sterling silver, made when base metals were reserved for the war effort.
Trifari's standing was such that it dressed the great occasions. The house produced faux-pearl jewellery worn by First Lady Mamie Eisenhower to the presidential inauguration, and a series of Coronation Gems in 1953 to mark the accession of Queen Elizabeth II.
"If it isn't signed, it isn't Trifari"
Trifari took authenticity seriously, marking virtually every piece it made and advertising the fact with the slogan "If it isn't signed, it isn't Trifari." Happily for collectors, this makes the brand unusually easy to date. The earliest pieces bear the KTF mark; the early 1930s brought TRIFARI PAT. PEND.; the crown over the T ran from about 1937 to 1955; a © copyright symbol was added from 1955; the crown was quietly dropped in the 1970s in favour of a script signature; and 1980s–90s pieces carry a small TM.
That copyright symbol has a story of its own. In 1955 Trifari won a landmark court case against a copyist, establishing that costume jewellery designs could be protected as artworks — after which the © began appearing on its pieces, and on those of many rivals who followed suit.
Trifanium: built to last
Quality of materials was central to the Trifari promise. In 1947 the firm patented a bright, non-tarnishing metal alloy it called Trifanium — finished in gold to create "golden-toned" pieces, or in rhodium for an "platinum-toned" silver look. From the 1950s it formed the base of almost all Trifari jewellery, and it has more than lived up to its billing: it is genuinely rare to find a Trifari piece from this period that has tarnished or corroded, which is part of why the jewellery wears so beautifully today.
The later decades worth collecting
Trifari's story did not end with Philippe. Through the 1970s, designers such as Diane Love and André Boeuf gave the line a more streamlined, contemporary character, and the signed pieces of the 1970s, 80s and 90s remain very much collectible — including the well-made limited editions Trifari produced later in its life. For many wearers these decades are the sweet spot: the storied name, the famous quality, and the bright, durable Trifanium finish, in pieces that are far more affordable than the rare early figurals.
It is worth knowing where the line falls. Trifari was sold to Hallmark in 1975, passed through Crystal Brands and the Monet Group, and was acquired by Liz Claiborne in 2000, after which production moved overseas and the pieces ceased to be signed. The signed vintage — right through to the 1990s — is the jewellery collectors mean when they talk about Trifari.
Why collectors love it
Trifari is, for many, the most collectible of the great American costume houses, and the reason is its ambition: it set out to give women the look and craftsmanship of fine jewellery at a fraction of the price, and it succeeded for the best part of a century. A signed Trifari piece offers fine-jewellery technique, a bright finish built to last, and a pedigree reaching from a Naples goldsmith's bench to the inaugurations and coronations of the twentieth century. Few names in the field can say as much.