| Hatpins reached a peak of popularity between the | | | | manufacturers included Unger Brothers, Lincoln, William |
| 1890s and 1920s, as music hall actresses like Lillian | | | | Kerr, Alvin Manufacturing, R. Blackington and Company, |
| Russell and Lillian Langtry fueled the popularity of large | | | | Day and Clarke, and The Sterling Company. Notable |
| elaborate hats without bonnet strings. Having originated | | | | hatpin designers included Charles Horner, Louis Tiffany, |
| in the 1850s to secure straw hats, hatpins became | | | | William Codman, James T. Wooley, Barton Jenks, and |
| longer and more ornate over time (1910 was the height | | | | George Gebelein. Hatpins spanned many styles |
| of hatpin length, with the stems alone reaching 10 to 12 | | | | including Baroque, Etruscan Revival, Greek Revival, |
| inches). The mass produced white or black bead on a | | | | Egyptian Revival, Oriental influence, Arts and Crafts, |
| pin was the basic 'working girl' hatpin, but many high | | | | Art Nouveau and even Art Deco, before waning |
| end hatpins were made by jewelers of brass, copper, | | | | around WW1 when metals became scarce and hats |
| sterling silver, gold, or gold or silver wash. Other | | | | got smaller. Collectors also seek specialized hatpins, |
| materials included Carnival glass, rhinestones, hand | | | | including hallmarked hatpins, hatpins that serve vanities, |
| blown molded glass, micro mosaic, or hand painted or | | | | opera hatpins, and compact hatpins that have a mirror |
| transferred porcelain like the Japanese Satsuma. | | | | and a powder puff. Amethyst and pearls are popular, |
| There were also hatpins made with ivory, emeralds, | | | | as well as Plique-a-Jour enamel. Hatpin holders are |
| stone, amber, tortoise shell, jet, celluloid and other | | | | also sought after. |
| plastics, mother of pearl, and coral. Key hatpin | | | | |