Peggy Sagers: Italian fashion journalist, Anna Dello Russo said, "As a stylist, accessorization is essential."

It's the personal touch to any outfit.

With these pieces, anyone can have fun, turning an ordinary day into a fantastic fashion day.

Today, we take an ordinary episode and turn it into a fantastic fashion episode.

Accessories, the history, the materials used, and more today on "Fit 2 Stitch."

♪♪♪ male announcer: "Fit 2 Stitch" is made possible by Kai Scissors, Reliable Corporation, Plano Sewing Center, Elliott Berman Textiles, Bennos Buttons, and Clutch Nails.

Peggy: I love accessories and yet sometimes I'm never sure where, enough, how much.

I have Diana Broussard here today and she has designed accessories for many many years for many designers and you know a lot more about accessories than I do and I'm gonna ask you to just help us through this process.

Diana Broussard: I would love to.

Peggy: Accessories are wonderful.

We can take a simple garment and just really make it look so much better with these accessories.

Diana: Absolutely.

Peggy: How did you even get started in this?

Diana: I went to university and I studied textile chemistry and design.

I went to FIT-- Peggy: Okay, textile chemistry, interesting.

Diana: Yes, and then I studied fashion design at FIT.

And then I worked for Calvin Klein for seven years and he hired me to design the original underwear.

They had the elastic design.

So, after designing the women's underwear, he said, "Oh, I think you should design shoes.

You had two of them in your portfolio."

And then after time, he said, "Oh, could you do jewelry for, you know--" Peggy: So he just kind of pushed you along.

Diana: Yeah, he had me designing different categories within the accessories.

Peggy: So that was really exciting and probably very complimentary to you.

Diana: I think he was more, you know, interested in the designer's aesthetic.

And when I started there I told him I'd never designed underwear.

He said, "I don't care, I like your taste."

So, I think, you know, what people need to understand when a designer works for another company, you really need to relate to that product.

Peggy: Interesting.

Diana: And so, he gave me seven good years of training, so.

Peggy: And we're gonna touch back on that because I think that's a really interesting part.

When we're trying to learn to do all of this ourselves, it's much harder than having that training and being in a group of people where you really get a lot of feedback.

Diana: Right, I mean, you need a base of design knowledge, but you do learn a lot on the job.

Peggy: Sure.

Diana: Yes.

Peggy: So let's go back, because where did we even start wearing accessories?

When did women, men, people start wearing accessories?

Diana: Accessories date back to prehistoric times and accessories through the ages are really a reflection of the culture and the technology going forward to today.

I find that the 21st century, there are more materials, more mass production, jewelry is more accessible to the general public than it would be, let's say, in the Renaissance.

Peggy: Oh, interesting.

Diana: Yes.

Peggy: So, it's even more influenced today than it's been over the years.

Diana: I think accessories play the same role, but I think women's roles are different.

And what I like to do is empower a woman to look better with the jewelry or make them happy.

But it's mainly to empower them, you know, to compete in the world.

Peggy: In the world, it is.

I would agree.

I think that's why I love accessories is because I know that they have such an important place.

I just don't know always how to use them, but let's just go back over that history just for a little bit.

Let's talk about that history.

All right, so I had heard years ago, I went to an opening of a bead museum and the lady said that one of the first accessories was the guy killed an animal I mean, you know and took the tooth and stuck it on a bead and wore it around his neck.

Diana: Right.

Peggy: I mean is that-- Diana: Back to prehistoric times they would use bones, feathers, animal skins and it was for protection as well as showing they had killed that animal, you know, as well.

Peggy: Power.

Diana: And then also within the category of ancient civilizations, you had Egypt, Mesopotamia, Indus Valley.

And what was interesting is that they traded stone beads and other jewelry items.

So, the jewelry is a part of the culture, but it was also used for adornment and for trade.

Egyptian jewelry is renowned for its intricate designs and the use of gold and precious stones.

And finally, China.

China dates back to 5,000 B.C.E., and jade is very prominent in China, and it was a sign, and it still is today, and it's a sign of purity and your moral integrity.

Peggy: So see, I love that when you look at an accessory, it has deeper meaning than just the accessory.

And that's what I think the beauty is of knowing all of this stuff, not that we can know it all, but as a designer, you do know all this.

So when you put these parts together, the jewelry means so much more than just the jewelry or just the accessories.

Diana: Right, it could be religious protection or adornment or social status.

And you know, the further you go through history, it was more about your wealth or social status and-- which it still is in some ways today.

And you know, also how people choose today to wear jewelry.

Do you want to show off wearing diamonds?

Do you want to wear jewelry as adornment?

Do you wear gemstones to bring you good energy?

So, you know, there is a role.

Peggy: I want to take a look at this mannequin because you dressed it, you accessorized it, and I really like it, but I wouldn't have done it, and that makes me nervous.

So just with the casual look of the shirt, but the shirt could be dressier or casual.

You've put on this necklace which shouts, "I'm casual today."

Diana: Right, casual, but it is also a statement necklace.

It's not shy, it's not a fine chain.

So, when you do put it on this t-shirt, it completely changes the look.

But as you said-- Peggy: I love that.

Diana: Like you could have had a delicate design with this by putting this on here.

It looks cool, it looks edgier.

Peggy: Because that's the word; it is edgier.

Diana: You're gonna get complimented on it.

So, it's a more powerful statement in a way.

Peggy: But I also think, I think a lot of times when we dress, women will, you know, especially women to other women, they'll say, "Oh, you're overdressed."

Well, I like to dress though.

So, if I can put on an accessory that tones it down-- Diana: Right.

Peggy: Then I think I can feel more comfortable with overdressing, you know, into a situation, but I just love this.

And what is this?

Because it's so lightweight.

Diana: This is resin, which has been injected in a steel mold.

These actually works.

But the one thing about a statement piece that is this prominent, you wouldn't want also a huge earring.

You also don't want a huge belt.

Like this is plenty, the middlemost blouse.

I mean, this could be on a print.

With the necklace, you don't need a lot of other things.

This is enough going on.

And it's very graphic.

Peggy: And I think that's a mistake I see a lot.

You know, you see big, big, big.

Just so much big.

Because if they like big, they go big.

Diana: Right.

Peggy: Whereas one big is good.

Is that what you're saying?

Diana: There's the fine line, sure.

Peggy: Okay.

Diana: Yes.

Peggy: All right, I love this.

I think that's really cool.

So, I wanna go back to anything else on history that you want us to be aware of.

Things like that you consider when you're designing, do you think there's any prominent part that you think about?

Diana: I think different parts of history brought different things.

Like if you think of classical antiquity, like Greece and Rome, those were sort of inspired by Egyptian design, and they brought new technologies, right?

And then moving forward into like the middle ages to the Renaissance, the medieval time it's interesting because there so--all of a sudden there were crosses and religious jewelry because of the time period with crosses and in the Renaissance it's the art revival of the ideal.

And so, in Renaissance also, it became very status oriented.

And, you know, there was more gold and intricate design and the material.

So, if you think of the Medici's, and then you have the poor in Italy-- Peggy: That is so interesting to me.

Diana: There's a huge dichotomy, and there was more technology in the Renaissance.

So, every era brought a different technology and material maybe.

Peggy: To the time.

Diana: Sure, and then like when you get into the more modern era like Art Nouveau, 895 to 1910, that changed jewelry design completely because it was more organic, fluid lines.

And then like the 20th century to today, there's more mass production, but it was influenced by art deco and modernism.

And then you go into the 21st century, more technology, more use of synthetic materials.

More fashion jewelry, but it's also more accessible to the general public, but still existing at the same time, status jewelry and how much you wanna wear.

Peggy: I love knowing this history because you know, like for instance, as a designer, let's say there's many people who are religious and they wear a cross.

So, how do you incorporate?

Diana: Or a Star of David or an evil eye.

Peggy: And how do you incorporate that?

Do you just always wear that and then wear something with it typically?

If you have an emotional piece, can we call that an emotional piece of jewelry?

You just wear that and then you wear over, you layer over?

Diana: I mean, it depends on, I think, how religious someone is and how important that people see your cross and know that that's your religious affiliation.

Peggy: Sure.

Diana: You know, and I think that if you do want to wear the statement jewelry, maybe have your cross on the inside or if it looks good layered with it, great.

Peggy: I think that's a great tip.

So, I want to talk about how this process starts for you because when I look at some of these pieces, I just really like them and think, "Okay, how did they start?

Where were they born?

Where did they go?"

Can you walk us through that, do you think?

Diana: Sure, I mean, one of my most viral necklaces, it started--I was really a shoe designer.

I was--I'm like-- Peggy: After the underwear, you went to shoes.

Diana: Yes, so, I'm super technical with shoe design.

I started working in Europe as a shoe designer.

And then I started my own brand.

And when I put a bit of a chain on a shoe, I thought, "Oh, what would it look like to make a necklace?"

And it came in a little bigger than I expected.

And the necklace went insane.

It took over my shoe business and so really even in shoe design or jewelry design, I'm really inspired by the material first.

Peggy: Oh, that's so interesting.

As a sewer, I love the fabric first.

So, you actually start with the material.

Diana: Right.

Being inspired.

Or you say, "Okay, I want to do the shape.

What's the coolest material?

What's the new technology?"

And you know, what's the fine line from, you know, like looking chic but still having it be edgy enough.

Do you know what I mean?

Peggy: I do, I do.

And I think that is a-- go back to those fine lines.

It's really fine.

When I look at some of these drawings and I look at this for instance, I look at that and I love that.

And my immediate thought is, "Oh, it's just too heavy.

It's just too much."

But yet, tell me why it's not or how that works.

Diana: Right, so this is a new--so because I have a jewelry boutique, women complain about weight and a lot of women-- some women don't care, but a lot of women really have problems with weight, especially with earrings.

So, I've been working with new technologies today in Italy to lighten up the earrings.

So, these as opposed to being gold-plated brass, this is resin injected into a steel mold, and these as well, this is a new technology to gold plate resin.

So, normally it would be brass, it would be super heavy, but they're weightless.

Peggy: I'm amazed at how--I mean these are like popcorn.

Diana: When people pick them up, they are really shocked.

Peggy: They're like popcorn.

They're just amazing.

Diana: That as well.

Peggy: They're just simply popcorn.

Diana: So, it's giving you the statement look, but it's giving you the comfort.

Do you know what I mean?

Peggy: I do--so, let's go back to when you said you start with the material.

So, the material would be the resin.

Diana: Right, and there's the material, but there's also, okay, I wanna make statement earrings.

And I want you to be able to wear this earring, it changes your outfit, you look more elevated, your outfit immediately becomes more elevated.

You know, like I--there's a lot of gold buttons on blazers and you know, you want to accessorize what's happening in fashion.

So, this kind of came from the idea of, okay, I want a gold statement earring to go with the Schiaparelli, the Balmain feeling that's happening in the fashion world right now, which is a trend.

Peggy: So-yeah, it is.

And I'm curious too.

Like there's so much information you have.

How did you learn all this?

Like when you worked for Calvin Klein, you got sent to Italy.

Diana: Right.

Peggy: And so, at that time, you connected with all those vendors over there.

Diana: Right, right.

Peggy: Did you have any idea at that time that you would open up your own?

Were you grafting all the information?

Diana: No, it was always in the back of my mind.

It wasn't at that time.

I mean I loved working in leather goods.

I love working with leather.

I love working in--when you're designing jewelry, you're always designing also the accessory on the top.

So, I would get sent to Italy twice a year to this major leather fair called Linea Pelle.

And at Linea Pelle you have also all of the accessory, people that make accessories for handbag, shoes and they made--some of them made jewelry as well.

So, my whole experience in fashion, I'll say 99% is in Italy.

So, I have a wealth of information who makes what-- Peggy: Sure, and I say that because when I look at a piece of jewelry like this, you could make something similar, but you can't do the details of what's in this earring.

Diana: Right.

For example this is a mirror finish inside of acrylic and then it's been hand dyed.

So, if you go online, maybe you can find some acrylic mirrored pieces and make this for yourself at home.

Peggy: Make something similar.

Diana: Right, I mean the thing about this is it's gold plated, you know, you would need gold-plated components.

But if you wanted to sort of do a high low, it's, you know, definitely possible.

Peggy: So, I think that as I duplicate clothing a lot of times, I say, "Okay, can I duplicate accessories?"

And yet what I find is yes.

The answer is yes.

You can duplicate a look, you just can't duplicate the quality.

Diana: Right, well, just given the fact that this does not exist in America, some of these techniques.

You know, this injected resin and steel doesn't exist here.

So, you know, you sort of go where the technology is.

Peggy: And Italy's got it down.

Those artisans have been doing it for a long, long time.

Diana: Right, right.

And I have to say, even when I worked for a French company, the factories were predominantly in Italy.

So, it's interesting.

And what is also interesting as a side today with AI and AI design, which I can generate these incredible things I always think, you know, but you need to know what factory makes that belt buckle.

You need to know what factory has the technique to make something.

So, I think, you know, I feel like the younger generation, they still need to know the most handmade part of it, because the more luxury something is, the more handmade it is or combined with the new technologies.

Peggy: And that affects the price.

Diana: Sure, sure.

Peggy: So, let's talk for a little bit about how to accessorize.

Diana: Okay.

Peggy: If you're okay with that.

Diana: Sure.

Peggy: I look at this outfit and I just love it and I don't think I'd ever put it together like that.

I would just ruin it with a belt.

I'm a belt-aholic.

So, why does this work?

Diana: I mean, if you put a beautiful belt, great.

That's probably all you need.

I mean, the point about this necklace, it's a major statement necklace, but it isn't really overpowering because it's a soft color and it's monochromatic with the outfit.

So, it's kind of a tonal.

Peggy: It's that monochromatic look that you're going for.

Diana: Yeah, and I mean also the necklace is powerful and you know you're a strong woman if you're going to wear this necklace.

Peggy: But again, not heavy.

Diana: Right.

Peggy: I'm just amazed because you know years ago we wore those beaded necklaces and we wore a lot of those things, but we had a headache by the time, you know, afternoon would come because they were just so heavy.

Diana: Right, right.

For sure.

And I think like this necklace has lasting power because it isn't bling, but it definitely is a statement.

Peggy: If I had this with a black dress?

Diana: Great.

Peggy: Okay, it would work that way too.

Diana: Sure, sure, sure.

So, this color is very makeup also.

Peggy: Okay.

Diana: And I think-- Peggy: I mean, I love the monochromatic.

But yet you could do the high contrast also, and again, the necklace would be enough.

And then talk to me just about what an earring would look like that goes with this.

Diana: I mean, I tell my clients, "What about a diamond stud?

What about a small silver loop?"

You know, it's something that basically disappears.

Peggy: I hate to admit this, but I think sometimes I'm stuck in that era where the little necklace and the earrings matched.

Diana: Matchy-matchy, sure.

I mean, you could do something-- Peggy: So, can you help me out of that?

Diana: I mean, you could do a small matchy-matchy as well, you know.

Or do something that is a nude colored stone that is monochromatic, but a different material maybe.

Peggy: So, when you design, do you design in mind with an earring and a necklace that are worn together?

Because you do shoes, you do a lot of different things.

Diana: I mean, we're selling a few sets, which I call sets, and mainly we do a statement earring or the statement necklace.

And that's what they come to us for.

Peggy: Gotcha, you're younger than I am, but I'm telling you that set is like, I've got to have the earrings that match the necklace, like because I don't know what to do.

I find it's my confidence and I'm not sure what to do.

So, if you tell me what to wear together, I'll be right there.

Diana: Well, when designing a collection of jewelry, you would have the nude bracelet, the nude earring, the necklace.

So, some of the clientele that want the sets, you have, you know, you have the collection of, you know, it's not one necklace you're designing in nude.

So, you have, you know, a bracelet, maybe a more statement, less statement necklace.

So, you know, people can kind of... Peggy: And so, do you think you're, in your designing, you leave it up to the client to decide how to put it together per se?

You're giving them the parts and the power and the pieces.

Diana: Well, we tell them, "Here are different ways you can style it.

And let me show you this and here's a different way."

Peggy: Oh, let's talk about that, I like it.

This is really--I love this because this is not something that I've seen in the past where the charm is changeable or removable, whatever you wanna call it.

Diana: Right, so I love this necklace with this outfit, first of all, because there's gold hardware.

And so, it ties together with the gold hardware on the zipper.

And this happens to be gold-plated resin where it's lightweight again.

It's attached with grosgrain ribbon.

Peggy: This is amazing how light this is.

I mean, I just can't believe how light the jewelry is in general.

Diana: And there's a trend with charms right now at all different, I'd say, price points.

And also, you know, some are for younger girls, some are for more sophisticated women.

And so, the charms are fun because you could, you know, put this charm on the chain I'm wearing.

You could put the charm on your handbag.

You could put the charm on whatever you want, on a long thin chain.

Peggy: So, the charm is meant to go, to come off or to-- Diana: And be compatible.

You know, you could put it on a long thin chain.

It's multifunctional.

Peggy: You know, I don't think I've ever seen accessories be like this.

I think in the past, and maybe it could just be my unawareness, but what I've noticed where the jewelry that I have a tendency to like the most is when I can change it up a little bit.

Diana: Right, right.

Peggy: When I can make it a little bit different.

So, it's just not the same all the time.

Diana: A lot of women who like a lot of layered necklaces, they love the charm because they can put it in with their already, you know, layered looks.

Peggy: And it just takes up a little bit of space too.

Diana: Right.

Peggy: I love that.

So, I can't draw.

Tell me how you even do the drawing.

Diana: I will--I also just want to point out when you're designing, let's say, for a corporate company-- Peggy: Okay.

Diana: Right?

I do that for consulting.

You want to get down the fashion drawing with the information, with the proportion of the jewelry.

Consulting I've been doing was Carolina Herrera.

Peggy: Okay.

Diana: And so, I would present a lot of different groups.

And so, by doing the fashion drawing, it's kind of a quicker sketch where you're just showing the proportion and the vibe of the piece, let's say.

And you tell them what material you envision it in.

I say, "We'll do this in gold, with gold or gold with pearl."

And then if they like it, you go to the technical drawing.

So, I'm just going to show you quickly this earring, this faceted earring.

So, I will use the template just to show you, for example, the cabochon at the top.

Peggy: And this would be called the cabochon?

Just because I'm trying to follow your lead.

Diana: So, I used--I did one circle and then I'm just going to go back and just give it a little 3D action.

Peggy: So, there's even different sizes on that.

Diana: Well, I just did a little thing just to show that it isn't a flat piece.

So, I'll come in here with the pencil then ruler.

Peggy: Now the drawing portion of this, is this--you learned in school or you think you just developed this on your own?

Diana: I would kind of do my own technical drawings, but I just recently kind of brought this back and people love it.

And I even put the sketches on my Instagram because designers that I know are like, "Thank you for showing this."

Peggy: Because it's more descriptive.

Diana: It's more descriptive and it's also kind of a more higher level way to work.

Like, and if you go to exhibits of, let's say Cartier or Van Cleef, they have super detailed ones.

When you get into real diamonds, they're also super, super detailed.

I mean, this is fashion jewelry, so I'm just doing a quick one.

You have the facets drawn on.

And then I'm going to go back and give it a little highlight.

So, like if the light is hitting from the front, you're gonna see the highlight in the center, or if it's hitting from the side, it's on the side, so I'm gonna pretend it's on the side.

Peggy: I really think it's fair to say that there's a lot more to that earring than what meets the eye.

Diana: Right.

Peggy: Just watching you go through the process, it's just incredibly detailed.

And I think sometimes when we look at a piece of jewelry, we don't have any indication of how much work is really behind it.

Diana: Right.

And then like you can give a little star to show that this is like a shiny thing or a rhinestone and then you would go back and give the dimensions of this for the factory because maybe this stone, if it's an existing stone, comes in different sizes.

So, you want to make sure they know that this one is 46 millimeters and not the 24 millimeter.

Peggy: Gotcha.

That is fascinating.

Diana: 18 millimeters.

Peggy: It's just fascinating to watch you work.

Diana: I don't know--it's like get out the information.

Peggy: Not sure how much I had to pay you for that design, but that was good.

Diana: So, like you have that and then if you want, you could also give the full length.

Because, especially after COVID, there were no visits to the factories.

So, you really had to tell them the proportion or you could really get something back that you wouldn't want.

Peggy: Your specifics had to just be right on.

Diana: Right.

Peggy: I so appreciate you being here, it was great.

Diana: My pleasure.

Thank you so much.

Peggy: Just so nice to learn so much more.

Thank you.

Diana: Thank you.

Peggy: "Days for Girls" is a nonprofit organization that prepares and distributes sustainable menstrual health solutions to girls who would otherwise miss school during their monthly periods.

The organization was founded in 2008 by Celeste Mergens, who will join us to talk about her journey and the "Days for Girls" organization next time on "Fit 2 Stitch."

♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ male announcer: "Fit 2 Stitch" is made possible by Kai Scissors, Reliable Corporation, Plano Sewing Center, Elliott Berman Textiles, Bennos Buttons, and Clutch Nails.

♪♪♪ ♪♪♪ announcer: To order a 4 DVD set of "Fit 2 Stitch" series 13, please visit our website at fit2stitch.com.

♪♪♪ ♪♪♪