The classic pearl necklace was a Barbara Bush staple. New designs, and freshwater varieties, are making the look anything but stuffy.
3 min
It takes marine pearls about two years to develop in their shells. It took Bonnie Fraker about two seconds to declare why she wouldn’t wear them around her neck. “A pearl necklace makes me look dated,” said the retired Manhattan teacher, 73. “Perhaps there’s such a thing as ‘too classic.’”
Still, pearls persist. Ask Leigh Batnick Plessner, chief creative officer at Catbird, the Brooklyn fine-jewellery label that counts Meghan Markle and Taylor Swift as fans. “Pearl necklaces are still in demand,” she said. “But the appetite has really changed from traditional necklaces to more surprising takes.”
The traditional strand has long signified opulence and power. Julius Caesar commanded that only aristocrats could wear the gem during his reign. Figures as diverse as Marie Antoinette and the Yongzheng Emperor of the Qing Dynasty coveted the strands. In the 20th century, stateswomen like Queen Elizabeth II and Mamie Eisenhower wore them to official events. By the 1980s, punks paired pearls with their spiked collars to subvert yuppie style. Still, pearls were most associated with formidable women like Margaret Thatcher and Barbara Bush, along with the preppy clique in the 1988 film “Heathers.”
Instead of stringing the old-school pearl necklace along, many of today’s brands make pearl chokers, sometimes with smaller “baby” pearls that sit at mid-neck instead of resting on clavicles. Dior’s Couture runway in Paris featured pearl chokers; California designer Sophie Buhai makes hers with a black satin-cotton cord and single central pearl. The style “looks more modern,” said June Ambrose, a creative director and costume designer for stars like Mary J. Blige and Ciara. Ambrose wears pearls from both thrift stores and Valentino.
Also popular: freshwater pearls, uniquely shaped instead of uniformly round. Once considered the messy stepsister of marine pearls, the gems look like smeared blobs of ivory glitter—in other words, odd enough for the fashion world to swoon. “I like the individualism of them,” said Simone Rocha, the designer whose recent couture line for Jean Paul Gaultier included gowns that subbed in strands of iridescent baroque pearls for typical satin straps. Off the runway, some women flaunt them as a way to look sophisticated but not uptight. “They feel a bit more rebellious,” noted Taffy Msipa, 28, an interior creative director in Bath, U.K., who wears her Monica Vinader freshwater pearl necklace with slouchy suits. “I like how they let me look elegant, but elegant in my way.”
There’s also the “half-and-half,” an industry term for a necklace that’s half pearls and half something else. On the recent Cannes red carpet, actress Michelle Yeoh, 69, wore Mikimoto’s version with cultured pearls on one side and a spray of diamonds, inlaid with white gold, on the other.
After Yeoh’s appearance, Instagram fans lauded the look with comments like “Not your grandmama’s pearls!” and “weird but amazing,” while searches for “half and half necklace” spiked 30% on Google Trends. A gold-and-pearl version of the style popped up in the “Mean Girls” movie remake, while pop star Dua Lipa has sported Vivienne Westwood’s pearl-and-rhinestone collar.
Don’t want to part with your classic strand of marine pearls? Dallas-based therapist Katie-Beth Crumrine, 23, had her vintage double-loop necklace shortened to a collar-length one. She wears it with linen Madewell tops and jeans. “It helps elevate my look,” she said. “But isn’t snobby.” Mixing pearls with casual pieces like ceramic beads can also keep them current. Meanwhile, the creative director Ambrose tells famous clientele to pair pearls with minimal makeup, because “a pearl necklace and a bare face is chic; a pearl necklace, a full face of makeup and a red lip is really trying.”
Some modern pearl looks eschew necks altogether. See the pearl-strung friendship bracelets by Vinader, and Rocha’s irregular pearl earrings. (“I like it when they’re kind of odd and not matching,” she said.) According to jewellery designer Plessner, varied interpretations have become the point. “Pearls are kind of like a Rorschach test for your fashion personality,” she explained. “You want to be weird or ethereal or powerful? There’s a pearl look for that.”
“They’re more classy than old-fashioned. They remind me of Jackie O. But would I wear them right now? No. Maybe when I’m older.” —Brittany Bower, 29, Hospital Nurse
“No! I wear my pearls a lot, actually. I really like the weight of how they feel on my neck.” —Tara Rubin, 69, Casting Director
“Yes, but in a nice way. They remind me of my great grandmother, Nita. She used to wear them. She used to let me play with them, which I loved. I don’t think I’d wear them now, though.” —Sydney Willard, 29, Barista
“Nothing’s old-fashioned in 2024! I would wear pearls today, but, like, with a sweatshirt.” —Asia Harris, 24, Student
“I used to think they were kind of old-fashioned, like in ‘The Crown’, and then I started wearing them to the gym with a black workout tank. I have never felt more like a cool New York girl.” —Tara Strahl, 42, Library Consultant
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Rachel Zegler and Gal Gadot star in an awkward live-action attempt to modernize the 1937 animated classic.
Rachel Zegler and Gal Gadot star in an awkward live-action attempt to modernize the 1937 animated classic.
3 minDisney’s first “Snow White” isn’t perfect—the prince is badly underwritten and doesn’t even get a name—but it is, by turns, enchanting, scary and moving. Version 2.0, starring Rachel Zegler in the title role and Gal Gadot as her nefarious stepmother, has been in the works since 2016 and already feels like it’s from a bygone era. After fans seemed grumpy about the rumored storyline and the casting of Ms. Zegler, Disney became bashful about releasing it last March and ordered reshoots to make everyone happy. Unfortunately, the story is so dopey it made me sleepy.
Directed by Marc Webb (“The Amazing Spider-Man” with Andrew Garfield ), the remake is neither a clever reimagining (like “The Jungle Book” and “Pete’s Dragon,” both from 2016) nor a faithful retelling (like 2017’s “Beauty and the Beast”), but rather an ungainly attempt at modernization. The songs “I’m Wishing” and “Someday My Prince Will Come” have been cut; the big what-she-wants number near the outset is called “Waiting on a Wish.” Instead of longing for true love (=fairy tale), Snow White hopes to sharpen her leadership skills (=M.B.A. program). And she keeps talking about a more equitable distribution of wealth in the kingdom she is destined to rule after her mother, the queen, dies and her father, having made a questionable choice for his second spouse, goes missing.
Ms. Gadot, giving it her all, is serviceable as the wicked stepmother. But she doesn’t bring a lot of wit to the role, and the script, by Erin Cressida Wilson , does very little to help. Her hello-I’m-evil number, “All Is Fair,” is meant to be the film’s comic showstopper but it’s barely a showslower, a wan imitation of “Gaston” from “Beauty and the Beast” or “Poor Unfortunate Souls” from “The Little Mermaid.” The original songs, from the songwriting team of Benj Pasek and Justin Paul (“La La Land”), also stack up poorly against the three tunes carried over from the original “Snow White,” each of which has been changed from a sweet bonbon into high-energy, low-impact cruise-ship entertainment. So unimaginative is the staging of the numbers that it suggests such straight-to-Disney+ features as 2019’s “Lady and the Tramp.”
After escaping a plot to kill her, Snow White becomes friends with a digital panoply of woodland animals and with the Seven Dwarfs, who instead of being played by actors are also digital creations. The warmth of the original animation is totally absent here; the tiny miners look like slightly creepy garden gnomes, except for Dopey, who looks like Alfred E. Neuman . As for the prince, there isn’t one; the love interest, Jonathan (a forgettable Andrew Burnap ), is a direct lift of the rogue-thief Flynn Rider , from 2010’s “Tangled,” plus some Robin Hood stylings. His sour, sarcastic tribute to the heroine, “Princess Problems,” is the worst Snow White number since the one with Rob Lowe at the 1989 Oscars.
Ms. Zegler isn’t the chief problem with the movie, but as in her debut role, Maria in Steven Spielberg’s remake of “West Side Story,” she has a tendency to seem bland and blank, leaving the emotional depths of her character unexplored even as she nearly dies twice. Gloss prevails over heart in nearly every scene, and plot beats feel contrived. She and Jonathan seem to have no interest in one another until, suddenly, they do; and when he and his band of thieves escape from a dungeon, they do so simply by yanking their iron chains out of the walls. Everything comes too easily and nothing generates much feeling. When interrogated by the evil queen, who wants to know what happened to her stepdaughter, Jonathan replies, “Snow who?” Which would be an understandable reaction to the movie. “Snow White” is the fairest of them all, in the sense that fair can mean mediocre.
