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Art Nouveau
In the 1890s, jewellers began to explore the potential of the growing Art Nouveau style. Very closely related were the German Jugendstil, British (and to some extent American) Arts and Crafts movement. Art Nouveau jewellery encompassed many distinct features including a focus on the female form and an emphasis on colour, most commonly rendered through the use of enamelling techniques including basse-taille, champleve, cloisonné and plique a jour. Motifs included orchids, irises, pansies, vines, swans, peacocks, snakes, dragonflies, mythological creatures and the female silhouette. Rene Lalique, working for the Paris shop of Samuel Bing, was recognized by contemporaries as a leading figure in this trend. The Darmstadt Artists' Colony and Wiener Werkstaette provided perhaps the most significant German input to the trend, while in Denmark Georg Jensen, though best known for his Silverware, also contributed significant pieces. In England, Liberty & Co and the British arts & crafts movement of Charles Robert Ashbee contributed slightly more linear but still characteristic designs. The new style moved the focus of the jeweller's art from the setting of stones to the artistic design of the piece itself; Lalique's dragonfly design is one of the best examples of this. Enamels played a large role in technique, while sinuous organic lines are the most recognizable design feature. The end of World War One once again changed public attitudes; and a more sober style came in.[27]

Jewish jewellery
In the Jewish culture jewellery have played an important role since biblical times. There are references in the bible to the custom of wearing jewellery both as a decoration and as a symbol. Now, Jewish jewellery is worn to show affiliation with the religion, and as talismans and amulets.
The Star of David ("Magen David" in Hebrew) is the symbol most recognized with Judaism. It was used in Israel in Roman times, but it seems to have become associated with Judaism in particular only in later centuries. In the 17th century it became a practice to put the Star of David on the outside of synagogues, to identify them as Jewish houses of worship; however, it is not clear why this symbol was selected for this. Today the Star of David is a universally recognized symbol of Jews. It appears on the flag of the state of Israel, and the Israeli equivalent of the Red Cross is known as "the Magen David Adom" ("Adom" is red in Hebrew). One of the most common symbols in Jewish jewellery is the Star of David, equivalent to wearing a cross by Christians.
Another popular symbol used in Jewish jewellery is the Hamsa, also known as the "Hamesh hand". The Hamsa appears often in a stylized form, as a hand with three fingers raised, and sometimes with two thumbs arranged symmetrically. Its five fingers are said to symbolize the five books if the Torah. The symbol is used for protection and as a mean to ward of the Evil eye in amulets and charms and can also be found in various places such as home entrances and cars. It is also common to place other symbols in the middle of the Hamsa that are believed to help against the evil eye such as fish, eyes and the Star of David. The colour blue, or more specifically light blue, is also considered protective against the evil eye and many Hamsas are in that colour or with embedded gemstones in different shades of blue. Hamsas are often decorated with Jewish prayers of a protective fashion such as the Sh'ma Prayer, the Birkat HaBayit (Blessing for the Home), or the Tefilat HaDerech (Traveler's Prayer).
The Chai symbol, popularly worn on necklaces, is the Hebrew word "Chai" (means 'living'), consisting of the two Hebrew letters Chet and Yod. This word refers to God. According to the gematrian system, the letters of Chai add up to 18. There have been many mystical numerological speculations about this fact and the custom to give donations and monetary gifts in multiples of 18 as a blessing for long life is very common in Jewish circles.
Other motives found in Jewish jewellery are symbols from the Kabbalah (also known as kabala, cabala) such as the Merkaba, a three-dimensional Star of David, and the Tree of life. Pieces of jewellery are decorated with parts or initials of known Jewish prayers and with 3-letters combinations, believed to represent different names of the Jewish God.
Asia
Jewellery making in Asia started in China 5,000 years ago and in the Indus Valley region later on.
China
The earliest culture to begin making jewellery in Asia was the Chinese around 5,000 years ago. Chinese jewellery designs were very religion-orientated and contained Buddhist symbols, a fact which remains to this day.

Jade coiled serpent, Han Dynasty (202 BC-220 AD)
The Chinese used silver in their jewellery more often than gold, and decorated it with their favourite colour, blue. Blue kingfisher feathers were tied onto early Chinese jewellery and later, blue gems and glass were incorporated into designs. However, Chinese preferred jade over any other stone. They fashioned it using diamonds. The Chinese revered jade because of the human-like qualities they assigned to it, such as its hardness, durability and beauty.[4] The first jade pieces were very simple, but as time progressed, more complex designs evolved. Jade rings from between the 4th and 7th centuries BCE show evidence of having been worked with a compound milling machine; hundreds of years before the first mention of such equipment in the west.[28]
In China, jewellery was worn frequently by both sexes to show their nobility and wealth. However, in later years, it was used to accentuate beauty. Women wore highly detailed gold and silver head dresses and other items, while men wore decorative hat buttons which showed rank and gold or silver rings. Woman also wore strips of gold on their foreheads, much like women in the Indus Valley. The band was an early form of tiara and was often decorated with precious gems. The most common piece of jewellery worn by Chinese was the earring, which was worn by both men and women. Amulets were also common too, often with a Chinese symbol or dragon. In fact, dragons, Chinese symbols and also phoenixes were frequently depicted on jewellery designs.
The Chinese often placed their jewellery in their graves; most Chinese graves found by archaeologists contain decorative jewellery.[29]

India
The Indian subcontinent has the longest continuous legacy of jewellery making anywhere. While Western traditions were heavily influenced by waxing and waning empires, India enjoyed a continuous development of art forms for some 5000 years.One of the first to start jewellery making were the peoples of the Indus Valley Civilization. By 1,500 BC the peoples of the Indus Valley were creating gold earrings and necklaces, bead necklaces and metallic bangles. Before 2,100 BC, prior to the period when metals were widely used, the largest jewellery trade in the Indus Valley region was the bead trade. Beads in the Indus Valley were made using simple techniques. First, a bead maker would need a rough stone, which would be bought from an eastern stone trader. The stone would then be placed into a hot oven where it would be heated until it turned deep red, a colour highly prized by people of the Indus Valley. The red stone would then be chipped to the right size and a hole drilled through it with primitive drills. The beads were then polished. Some beads were also painted with designs. This art form was often passed down through family; children of bead makers often learnt how to work beads from a young age.
Jewellery in the Indus Valley was worn predominantly by females, who wore numerous clay or shell bracelets on their wrists. They were often shaped like doughnuts and painted black. Over time, clay bangles were discarded for more durable ones. In India today, bangles are made out of metal or glass. Other pieces that women frequently wore were thin bands of gold that would be worn on the forehead, earrings, primitive brooches, chokers and gold rings. Although women wore jewellery the most, some men in the Indus Valley wore beads. Small beads were often crafted to be placed in men and women’s hair. The beads were about one millimetre long.
A female skeleton (presently on display at the National Museum, New Delhi, India) wears a carlinean bangle ( a bracelet) on her left hand.
India was the first country to mine diamonds, with some mines dating back to 296 BC. However, axes dating to 4,000 BC found in China, contain traces of diamond dust used to sharpen the blades. While China used the diamonds they found mainly for carving jade, India traded the diamonds, realising their valuable qualities. This trade almost vanished 1,000 years after Christianity grew as a religion, as Christians rejected the diamonds which were used in Indian religious amulets. Along with Arabians from the Middle East restricting the trade, India’s diamond jewellery trade lulled.
Today, many of the jewellery designs and traditions are still used and jewellery is commonplace in Indian ceremonies and weddings.[29]
Americas
Jewellery played a major role in the fate of the Americas when the Spanish established an empire to seize South American gold. Jewellery making developed in the Americas 5,000 years ago in Central and South America. Large amounts of gold was easily accessible, and the Aztecs and Mayans created numerous works in the metal. Among the Aztecs, only nobility wore gold jewellery, as it showed their rank, power and wealth. Gold jewellery was most common in the Aztec Empire and was often decorated with feathers from birds. The main purpose of Aztec jewellery was to draw attention, with richer and more powerful Aztecs wearing brighter, more expensive jewellery and clothes. Although gold was the most common and popular material used in Aztec jewellery, silver was also readily available throughout the American empires. In addition to adornment and status, the Aztecs also used jewellery in sacrifices to appease the gods. Priests also used gem encrusted daggers to perform animal and human sacrifices.[16][25]
Another ancient American civilization with expertise in jewellery making was the Maya. At the peak of their civilization, the Maya were making jewellery from jade, gold, silver, bronze and copper. Maya designs were similar to those of the Aztecs, with lavish head dresses and jewellery. The Maya also traded in precious gems. However, in earlier times, the Maya had little access to metal, so made the majority of their jewellery out of bone or stone. Merchants and nobility were the only few that wore expensive jewellery in the Maya Empire, much the same as with the Aztecs.
In North America, Native Americans used shells, wood, turquoise, and soapstone, almost unavailable in South and Central America. The turquoise was used in necklaces and to be placed in earrings. Native Americans with access to oyster shells, often located in only one location in America, traded the shells with other tribes, showing the great importance of the body adornment trade in Northern America.
Pacific
Main article: Jewellery in the Pacific
Jewellery making in the Pacific started later than in other areas because of recent human settlement. Early Pacific jewellery was made of bone, wood and other natural materials, and thus has not survived. Most Pacific jewellery is worn above the waist, with headdresses, necklaces, hair pins and arm and waist belts being the most common pieces.
Jewellery in the Pacific, with the exception of Australia, is worn to be a symbol of either fertility or power. Elaborate headdresses are worn by many Pacific cultures and some, such as the inhabitants of Papua New Guinea, wear certain headresses once they have killed an enemy. Tribesman may wear boar bones through their noses.
Island jewellery is still very much primal because of the lack of communication with outside cultures; some areas of Borneo and Papua New Guinea are yet to be explored by Western nations. However, the island nations which were flooded with Western missionaries have had drastic changes made to their jewellery designs. Missionaries saw any type of tribal jewellery as a sign of the wearer's devotion to paganism. Thus many tribal designs were lost forever in the mass conversion to Christianity.[32]

A modern opal bracelet
Australia is now the number one supplier of opals in the world. Opals had already been mined in Europe and South America for many years prior, but in the late 1800s, the Australian opal market became predominant. Australian opals are only mined in a few select places around the country, making it one the most profitable stones in the Pacific.[33]
One of the few cultures to today still create their jewellery as they did many centuries prior is the New Zealand Māori, who create Hei-tiki. The reason the hei-tiki is worn is not apparent; it may either relate to ancestral connections, as Tiki was the first Māori, or fertility, as there is a strong connection between this and Tiki. Another suggestion from historians is that the Tiki is a product of the ancient belief of a god named Tiki, perhaps dating back to before the Māoris settled in New Zealand. Hei-tikis are traditionally carved by hand from bone (commonly whale), nephrite or bowenite; a lengthy and spiritual process. The Hei-tiki is now popular amongst tourists who can buy it from souvenir or jeweller shops.
Other than jewellery created through Māori influence, jewellery in New Zealand remains similar to other western civilizations; multi cultural and varied. This is more noticeable in New Zealand because of its high levels of non-European citizens.[32]
Modern

Reversible pendant mimics the constellations representing a star map of the zodiac signs.
The modern jewellery movement began in the late 1940s at the end of World War II with a renewed interest in artistic and leisurely pursuits. The movement is most noted with works by Georg Jensen and other jewellery designers who advanced the concept of wearable art. The advent of new materials, such as plastics, Precious Metal Clay (PMC) and colouring techniques, has led to increased variety in styles. Other advances, such as the development of improved pearl harvesting by people such as Kokichi Mikimoto and the development of improved quality artificial gemstones such as moissanite (a diamond simulant), has placed jewellery within the economic grasp of a much larger segment of the population.
The "jewellery as art" movement was spearheaded by artisans such as Robert Lee Morris and continued by designers such as Anoush Waddington in the UK. Influence from other cultural forms is also evident; one example of this is bling-bling style jewellery, popularized by hip-hop and rap artists in the early 21st century.
The late 20th century saw the blending of European design with oriental techniques such as Mokume-gane. The following are innovations in the decades stradling the year 2000: "Mokume-gane, hydraulic die forming, anti-clastic raising, fold-forming, reactive metal anodizing, shell forms, PMC, photoetching, and [use of] CAD/CAM."[34]
Artisan jewellery continues to grow as both a hobby and a profession. With more than 17 United States periodicals about beading alone, resources, accessibility and a low initial cost of entry continues to expand production of hand-made adornments. Some fine examples of artisan jewellery can be seen at The Metropolitan Museum.[35]

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