Flato
Paul Flato Portrait, c.1937.
Paul Flato, one of the more fascinating characters in American jewelry history, designed jewels that were as inventive and flamboyant as their creator. Catering to the tastes and whims of the very wealthy and the stars of Hollywood, Flato flourished at a time when high society dressed to impress and had no qualms in spending large sums on personal adornment. Advertising in top fashion magazines such as Vogue and Harper’s Bazaar, attending and hosting fashion shows, charity events, and evening balls, and establishing elegant stores in New York City and Los Angeles, Flato inhabited his client’s world, keeping his business relevant and in demand.
His subsequent downfall seems all the more shocking, but his optimistic nature and determination ensured that his story remains imbued with glamor, intrigue, and beautiful creations. Herewith, a brief summary of the jewelry and the rather incredible career of Paul Flato.
Born in 1900 into a prosperous family in Shiner Texas, Paul Flato enjoyed a privileged upbringing, exposing him from childhood to a world of elegance and a society that had the means to dress and adorn themselves. In the fall of 1920, he left Texas as an ambitious young man to study business at Columbia University in New York City. Following his first year in the city, he was cut off from his family allowance after declining entreaties to return home. Always interested in jewels, he took a job at jewelry and watch dealer, Edmund Frisch, to support himself. Flato’s outgoing personality served him well and using his wealth of connections he was soon able to branch out on his own, opening his own salon on W 57th St.
Flato Aquamarine Convertible Bangle and Brooch c.1945. Photo Courtesy of Sotheby’s.
Flato Aquamarine & Diamond Brooch, c.1940.
Photo Courtesy of Sotheby’s.
Flato Articulated Sapphire & Diamond Feather Brooch. Photo Courtesy of Christie’s.
Flato Convertible Brooch & Bracelet.
Photo Courtesy of Christie’s.
Flato Diamond Double Clip Brooch, c.1942
Photo Courtesy of Christie’s.
Diamond, Platinum Necklace by Paul Flato, c.1940. Photo Courtesy of Christies’s
Collection of Original Flato Design Illustrations.
Photo Courtesy of Christie’s.
Elizabeth Bray describes a particularly imaginative piece designed by Headley in her book on Paul Flato:
His designs were often theatrical and conceptual. One piece that he created was a necklace of particularly romantic design. The giver of the necklace would write a love letter on a sheet of gold, the jeweler would then “tear” the sheet into fragments and assemble them on a chain. The receiver of the necklace could reassemble the pieces together to read the original letter.1
Heart Brooch by Millicent Rogers for Flato.
Elizabeth Bray notes:
Both men liked the shocking use of color and nontraditional subjects, and both were social and charming. Flato, like Verdura, was intrigued by religion and the supernatural. Both men liked to use angels, mythological and astronomical imagery in their designs, and both appreciated a sense of humor and whimsy in jewels. Verdura’s pieces had such cachet and presence that Flato began to market them “Verdura for Flato.”2
Aquamarine and Ruby Belt Necklace, c.1935. Verdura for Flato.
Flato Gold and Diamond Hand Brooches c.1940.
Photo Courtesy of Christie’s.
Katherine Hepburn Wearing Flato in the 1938 Film Holiday.
Flato Purse with Sterling and Gold “Letter” Boxes.
Flato Platinum “Footprint” Cuff Links.
Pair of Flato “Cactus” Clip Brooches.
Photo Courtesy of Christie’s.
Flato “Monogram” Tie Clip.
Photo Courtesy of Christie’s.
Flato Puffy Heart Ring, c.1940s.
Photo Courtesy of Sotheby’s.
Flato Shoe Clip Brooch, c.1940.
Pair of Flato Cherub Earclips.
Photo Courtesy of Christie’s.
Flato Angelic Compact, c.1945.
Photo Courtesy of Christie’s.
Surprisingly undaunted, Flato returned to Mexico for the last chapter of his remarkable career. Opening a store in Mexico City’s Zona Rosa section in 1970, Flato continued to design remarkable jewels for the next twenty years, many of which referenced Mexico’s indigenous culture and Flato’s love of exuberant color combinations. In 1990 at age 90 Flato retired to Texas to be near family and friends. He regaled them with tales of the jewelry he created, the famous stars and clients he adorned and all the illustrious (and not so illustrious) places he had lived until his death on July 17, 1999.
Flato Brass Bell Necklace, Zona Rosa Era.
Photo Courtesy of Bonhams.
Flato Fire Opal Ring Circa 1980s. Photo Courtesy of Christie’s.
Flato Longhorn Bangle, Zona Rosa Era. c.1980.
Photo Courtesy of Sotheby’s.
Flato Emerald Necklace, Zona Rosa Era, c.1980.
Photo Courtesy of Christie’s.
Maker’s Marks and Timeline:
Flato
Country | |
---|---|
City | Beverly Hills CA, Mexico City, New York NY |
Era | (1900 – 1999) |
Description
Specialties
1920s
- New York
- Designers included Adolph Kleaty, George Headley and Fulco di Verdura
- Whimsical Jewelry “Say it in Jewelry”
1937
- Beverly Hills Location Serving Greta Garbo, Marlene Dietrich and others
1970
- Mexico City
Sources
- Bray, Elizabeth Irvine. Paul Flato: Jeweler to The Stars. Woodbridge, Suffolk: Antique Collector’s Club, 2010.
- Proddow, Penny & Debra Healy. American Jewelry: Glamour & Tradition. New York: Rizzoli, 1987.
- Proddow, Penny, Debra Healy & Marion Fasel. Hollywood Jewels: Movies, Jewelry, Stars. New York: Harry N.Abrams, Inc., 1992.