While even the mention of the word tiara these days elicits a titter for its implication of ostentation, the original word came by way of Persian kings and refers to every form of headdress, including circlets, wreaths and the Russian kokoshniks links of london. The tiara, of course, was the original credit card and worked as a visual tag to show social status or rank or as a means of offering tribute to the deities. Relied on by the women (and men) of ancient Greece and Rome as a form of adornment for special occasions, the original tiara (called the diadem – from the Greek diadem – to bind around) took the form of bound foliage and flowers, and later precious-metal bands encrusted with jewels links of london charms.
The onset of Christianity (and its rejection of things Roman) lead to the decline of the mode for a while, but as the interest in classicism returned in the 18th century so too did the interest in representing status in court links of london necklaces. Some tiaras on display, such as the emerald and diamond diadem made by Evard and Frederic Bapst for the French crown jewels in 1820, belong to a standard of aestheticism long gone. And while the intricacy of designs are breathtaking, so too are some of the practicalities incorporated – many can be dismantled into brooches and matching bracelets, which must have been useful for escaping the odd revolution or two discount links of london.