More than a fastener: how brooches tracked the movement of empires
From Bronze Age utility to the opulent halls of the Renaissance, the brooch has never been just about holding fabric together. These ornaments served as vital chronological indicators, mirroring the rise of Germanic tribes, the expansion of Viking seafarers, and the shifting social hierarchies of ancient Europe.
In antiquity, particularly in continental Europe, brooches were known as fibulae. During the Iron Age, advancements in metalworking—such as casting, wire making, and metal bar-twisting—allowed for increasingly complex designs. By 400 BC, Celtic craftsmen were already utilizing red enamel and coral inlays. In Great Britain, the period between 600 and 150 BC saw the rise of bow, plate, and penannular forms, typically cast in iron or copper alloy, as gold and silver were rarely used for jewellery prior to the late Iron Age.
The Migration period (5th–7th centuries) transformed jewellery through the fusion of Late Roman and Germanic styles. As tribes like the Visigoths, Franks, and Anglo-Saxons moved across Europe, they brought highly technical artistry. These artists were masters of inlay, often using almandine—a burgundy garnet—to create vibrant, colorful pieces. Some designs were so meticulous that, when polished flat within cloisonné settings, they resembled miniature stained-scale windows.
As eras shifted, so did the brooch's social function. The Viking Age (8th–11th centuries) introduced sequential art styles like Borre and Jellinge, characterized by interlaced beasts. By the 19th century, the brooch became a vessel for personal sentiment; following the death of Prince Albert in 1861, Queen Victoria’s mourning led to a fashion for heavy, somber pieces made of jet and black onyx. Later, the Edwardian era introduced platinum, enabling the creation of delicate, lace-like filigree that redefined the era's aesthetic.
Source: Brooch
