Hairwork, or jewelry or artwork made of human hair , has appeared throughout the history of craft work, particularly to be used for private worship or mourning. From the Middle Ages through the early twentieth century, memorial hair jewelry remained common. Hair, considered to be a remnant off the person it was cut from, also has often played a part in myths and legends; in a Swedish book of proverbs, one can read that “rings and bracelets of hair increase love” (Vadstena stads tankebok).  One example can be found in Denmark, at Rosensborg’s palace, which is a bracelet of precious metal with a simple braided lock of hair - a gift from King Christian IV (1577-1648) to his queen. Another example would be the rings commemorating the execution of King Charles I of England (1600-1649), which circulated among his faithful supporters. Other famous people who owned hair jewelry include Napoleon, Admiral Nelson, Queen Victoria and her large family, Christina Nilsson and Jenny Lind.
Although hairwork existed prior to the Victorian era, it was this period that saw it flourish as a trade and private craft in mourning jewelry such as lockets, rings, and bracelets; or mourning hair works for the home. These included frames of loved ones locks in braids, wreaths, or woven into floral patterns; or "mourning scenes," like gravestones or willow trees, depicted by hair placement.   When not related to mourning, the practice was still performed in a commemorative or honoring fashion, with hairworks being produced to celebrate the hair-givers personal achievements, or two signify a bond between friends, family, and loved ones.  It was a common skill taught to young woman of the period, sometimes being mixed with needlework. 
The Victorian Period saw a rise in mourning practices due to its popularity through Queen Victoria, and wearing hair jewelry was seen as a form of carrying one's sentiments for the deceased.   Unlike many other natural materials, human hair does not decay with the passing of time. Hair has chemical qualities that cause it to last for hundreds, possibly thousands, of years. Additionally, by the 19th century many hair artists and wig makers had too little employment after the powdered wigs, often worn by noblemen of the 17th and 18th centuries, went out of fashion. The period of sentimentality, characteristic of the Victorian era, offered these craftsmen a new opportunity to earn their income working with hair. Early hair jewelry was usually made for the higher classes in cooperation with goldsmiths, producing beautiful and expensive creations of hair mounted in gold and often decorated with pearls or precious stones. Pieces constructed with precious materials by artisans were naturally very expensive and it was not until the middle of the Victorian period, when instructional guides became available, that hair jewelry became popular with the lower classes.
Workshops where these fashionable items were made existed across Europe. Buyers of human hair traveled the countryside and purchased hair from poor peasants, sometimes in exchange for scarves, ribbons or other small luxury objects. In addition to the needs for hair jewelry, there was still a need for great amounts of hair for braids and switches that women wanted to purchase for their coiffures. Most hair jewelry, however, was made from a person of special interest's hair, whether that was a famous figure or - most often - a family member or friend.
In contrast to the expensive pieces of hair jewelry crafted by artisans, many women of the 19th century began crafting their own hairwork in their homes. In America, popular magazines of the period, like Godey's Lady's Book , printed patterns and offered starter kits with the necessary tools for sale. Books of the period, like Mark Campbell's Self-Instructor in the Art of Hair Work offered full volumes devoted to hairwork and other "fancywork," as predominantly female crafts were known at the time. 
In Europe, various groups of women also took up the craft in their homes. For example, the women of Mora, Sweden, became experienced in hairwork and made it possible for groups other than the very wealthy to afford hair jewelry. They had no money to buy expensive findings, so they mounted the jewelry with wooden beads that they cleverly covered over with hair. One of the most famous of these women was Martis Karin Ersdotter.
Another reason for the construction of hair jewelry in the home was a lack of trust in commercial manufacturers.  The concern was that the hair used in the jewelry would not be the hair that had been given to the jeweler, having been substituted with other hair.  Individual hair-working companies attempted to counter the suspicion by producing adverts that stressed that they used the hair sent to them.  These adverts may however have added to the level of suspicion since they tended to at least imply that other companies did not. 
Though hairwork had gone out of fashion more than a half century earlier around Europe, the people of Våmhus (where much hairwork was created) began to realize what a treasure the knowledge of the trade was. The local historical society introduced classes in hair work and new generations of women learned the art. In Våmhus, hair art has been done continuously for almost 200 years.
In 1994, the Hairworkers Society was founded by the most active hair workers. Together they have done many shows, exhibits and projects. Similarly, the Victorian Hairwork Society also offers a space for members to share their art, identify historical pieces, and request work to be crafted online. 
In Victorian and older pieces the gum used to hold the hair and other decorations in place has often decayed over time resulting of movement of hair within the pieces. 
Costume or fashion jewelry includes a range of decorative items worn for personal adornment that are manufactured as less expensive ornamentation to complement a particular fashionable outfit or garment as opposed to "real" (fine) jewelry, which is more costly and which may be regarded primarily as collectibles, keepsakes, or investments. From the outset, costume jewelry — also known as fashion jewelry — paralleled the styles of its more precious fine counterparts
Jewellery or jewelry consists of decorative items worn for personal adornment, such as brooches, rings, necklaces, earrings, pendants, bracelets, and cufflinks. Jewellery may be attached to the body or the clothes. From a western perspective, the term is restricted to durable ornaments, excluding flowers for example. For many centuries metal such as gold often combined with gemstones, has been the normal material for jewellery, but other materials such as shells and other plant materials may be used.
A hairstyle, hairdo, haircut or coiffure refers to the styling of hair, usually on the human scalp. Sometimes, this could also mean an editing of facial or body hair. The fashioning of hair can be considered an aspect of personal grooming, fashion, and cosmetics, although practical, cultural, and popular considerations also influence some hairstyles.
A tiara is a jeweled, ornamental crown worn by women. It is traditionally worn at formal occasions, particularly if the dress code is white tie. Tiaras were extremely popular during the late 19th century. After World War I, wearing a tiara gadually fell out of fashion, except for official occasions at a royal court. Today, the word "tiara" is often used interchangeably with the word "diadem".
A necklace is an article of jewellery that is worn around the neck. Necklaces may have been one of the earliest types of adornment worn by humans. They often serve ceremonial, religious, magical, or funerary purposes and are also used as symbols of wealth and status, given that they are commonly made of precious metals and stones.
A brooch is a decorative jewelry item designed to be attached to garments, often to fasten them together. It is usually made of metal, often silver or gold or some other material. Brooches are frequently decorated with enamel or with gemstones and may be solely for ornament or serve a practical function as a clothes fastener. The earliest known brooches are from the Bronze Age. As fashions in brooches changed rather quickly, they are important chronological indicators. In archaeology, ancient European brooches are usually referred to by the Latin term fibula.
A parure is a set of various items of matching jewelry, which rose to popularity in early 19th-century Europe.
Jewellery as an art form originated as an expression of human culture. Body ornamentation, one purpose of jewellery, has been known since at least the Stone Age. The history of jewellery in Ukraine reflects the influence of many cultures and peoples who have occupied the territory in the past and present.
A lock of hair is a piece or pieces of hair that has been cut from, or remains singly on, a human head, most commonly bunched or tied together in some way. A standard dictionary definition defines a lock as a tress, curl, or ringlet of hair.
Art jewelry is one of the names given to jewelry created by studio craftspeople. As the name suggests, art jewelry emphasizes creative expression and design, and is characterized by the use of a variety of materials, often commonplace or of low economic value. In this sense, it forms a counterbalance to the use of "precious materials" in conventional or fine jewelry, where the value of the object is tied to the value of the materials from which it is made. Art jewelry is related to studio craft in other media such as glass, wood, plastics and clay; it shares beliefs and values, education and training, circumstances of production, and networks of distribution and publicity with the wider field of studio craft. Art jewelry also has links to fine art and design.
The preservation of fabric fibers and leathers allows for insights into the attire of ancient societies. The clothing used in the ancient world reflects the technologies that these peoples mastered. In many cultures, clothing indicated the social status of various members of society.
Leila's Hair Museum was a museum in Independence, Missouri that displays examples of hair art dating back to the 17th century.
In library classification systems, realia are three-dimensional objects from real life such as coins, tools, and textiles, that do not fit into the traditional categories of library material. They can be either man-made or naturally occurring, usually borrowed, purchased, or received as donation by a teacher, library, or museum for use in classroom instruction or in exhibits. Archival and manuscript collections often receive items of memorabilia such as badges, emblems, insignias, jewelry, leather goods, needlework, etc., in connection with gifts of personal papers. Most government or institutional archives reject gifts of non-documentary objects unless they have a documentary value. When accepting large bequests of mixed objects they normally have the donors sign legal documents giving permission to the archive to destroy, exchange, sell or dispose in any way those objects which, according to the best judgement of the archivist, are not manuscripts or are not immediately useful for understanding the manuscripts. Recently, the usage of this term has been criticized by librarians based on the usage of term realia to refer to artistic and historical artifacts and objects, and suggesting the use of the phrase "real world object" to describe the broader categories of three-dimensional objects in libraries.
Marcasite jewellery is jewellery made using cut and polished pieces of pyrite as gemstone, and not, as the name suggests, from marcasite.
Ancient Egyptian clothes refers to clothing worn in ancient Egypt from the end of the Neolithic period to the collapse of the Ptolemaic Kingdom with the death of Cleopatra in 30 BC. Egyptian clothing was filled with a variety of colors. Adorned with precious gems and jewels, the fashions of the ancient Egyptians were made for not only beauty but also comfort. Egyptian fashion was created to keep cool while in the hot desert.
Eye miniatures or Lovers' eyes were Georgian miniatures, normally watercolour on ivory, depicting the eye or eyes of a spouse, loved one or child. These were usually commissioned for sentimental reasons and were often worn as bracelets, brooches, pendants or rings with richly decorated frames, serving the same emotional need as lockets hiding portraits or locks of hair. This fad started in the late 1700s and miniaturists such as Richard Cosway and George Engleheart were responsible for some of the first pieces.
The Middle Ages was a period that spanned approximately 1000 years and is normally restricted to Europe and the Byzantine Empire. The material remains we have from that time, including jewelry, can vary greatly depending on the place and time of their creation, especially as Christianity discouraged the burial of jewellery as grave goods, except for royalty and important clerics, who were often buried in their best clothes and wearing jewels. The main material used for jewellery design in antiquity and leading into the Middle Ages was gold. Many different techniques were used to create working surfaces and add decoration to those surfaces to produce the jewellery, including soldering, plating and gilding, repoussé, chasing, inlay, enamelling, filigree and granulation, stamping, striking and casting. Major stylistic phases include barbarian, Byzantine, Carolingian and Ottonian, Viking, and the Late Middle Ages, when Western European styles became relatively similar.
Ancient Romanjewelry was characterized by an interest in colored gemstones and glass in contrast with their Greek predecessors, whom focused primarily on the production of high-quality metalwork by practiced artisans. Extensive control of Mediterranean territories provided an abundance of natural resources to utilize in jewelry making. Participation in trade allowed access to both semiprecious and precious stones that traveled down the Persian Silk Road from the East. Various types of jewelry were worn by different genders and social classes in Rome, and were used both for aesthetic purposes and to communicate social messages of status and wealth. Throughout the history of the Ancient Roman Empire, jewelry style and materials were influenced by Greek, Egyptian, and Etruscan jewelry.
Victorian jewellery originated in England. Victorian jewellery was produced during the reign of Queen Victoria, whose reign lasted from 1837 to 1901. Queen Victoria was an influential figure who established the different trends in Victorian jewellery. The amount of jewellery acquired throughout the Victorian era established a person’s identity and status. Within the Victorian period, jewellery consisted of a diverse variety of styles and fashions. These periods can be categorised into three distinct timeframes: The Romantic period, the Grand period and the Aesthetic period.
Khmer jewellery originated in the Khmer Empire. Khmer jewellery bas been produced since the 6th or 7th century. Jayavarman VII, while he was an influential figure who established the different trends in Khmer jewellery, is famously represented without any at all in the seated position. The amount of jewellery acquired in Cambodia traditionally established a person's identity and status. Khmer jewellery consists of a diverse variety of styles and fashions. These styles can be categorised into three distinct groups: royal jewellery, wedding jewellery and the jewellery for the Cambodian Royal Ballet.