BY THE ALIMOCHE TEAM
20 NOVEMBER 2022
November 4 1922 marked a momentous shift within art, fashion and architecture. As Howard Carter meticulously excavated the tomb of Pharaoh Tutankhamun in the Valley of the Kings, the craze of “Egyptomania” began to flourish, providing ancient reproductions to a modern market. With the centenary of the grand excavation approaching, Alimoche assesses the emergence of an “Egyptian Revival Revival”, crafting reproduction regalia to modern Egypt enthusiasts. Is this phenomenon set to reemerge every few years, like a remade “Mummy” film? Or is it simply set to become a poorly rehashed modernising endeavour of 1920s and 1930s grandeur but with added kitsch in the name of economic gain?
The mystique of Ancient Egypt has persisted through time; it stands proud alongside the sphinx and pyramids. image source: pixabay via pexels.
The notion that the Egyptian Revival Revival is a byproduct of the tourism industry in order to boost the Egyptian economy post-Covid is unquestionable. According to Breisinger and co, it is evident due to Covid-19, the Egyptian economy suffered greatly, as over 25% of the economy is based upon services and tourism, with secondary tenets being plastics and trade respectively due to the Suez Canal and oil reserves. The recent official tourism campaign, Experience Egypt, debuted a video advertisement with the words “Follow The King” and “The King Behind The Golden Mask”, emphasising the prevalence of this lost pharaoh as a key motif of Egypt within the modern lexicon, in addition to showcasing the impact of ancient culture as a proponent of the tourism industry, as romanticising Ancient Egyptian culture and heritage increases the magnetism of the nation as a vacation destination. This is clearly verifiable through Cairo, Giza, Luxor, Alexandria, Abu Simbel and Aswan teem with swarms of history buffs year-round, enthusing over the ruins, temples and remnants of the ancient settlements. The centenary of Tutankhamun’s excavation coupled with the positive trend in the increase of tourism following the tail end of the pandemic can therefore be deemed to be a main reason for the presence of the so-called Egyptian Revival Revival; with the fading of travel restrictions and the eagerness of the Egyptian government to promote tourism to boost the nation’s service and travel-dependent economy following the Covid-induced downturn comes a renewed public interest in both new experiences and reconnecting with ancient history in a tangible way, as after nearly two years of state-enforced captivity a great proportion of the public urge to fly beyond national borders.
It must be noted however, that despite the Egyptian Revival Revival being within a national economic interest for Egypt, there is a fine line between persuasion and desperation, and this line can easily be blurred via overreliance on clichés within advertisements. In order to emulate the success of the original Revival, Experience Egypt must be careful to limit the kitsch aspects of the nation’s ancient roots. Whilst the pharaohs are a source of national pride, and the pyramids a draw for all international tourists, an overwhelming injection of kitsch can easily sour the campaign and the second Revival altogether, greatly dulling the iridescence of nostalgia. Designers must be careful to separate the tawdry from the tasteful in new Revival fashion, or risk their wares being seen as gaudy instead of grand. It is this risk of tackiness within the new Revival that if not mitigated against could cheapen the perception of Ancient Egypt as a whole.
Egypt's economy is dependent on tourism to stay afloat. The ancient wonders of the world are an indelible source of our earliest history. image source: unsplash.
Aside from the economic focus on the Revival boosting the Egyptian economy through media and tourism, it cannot be disputed that fashion is inherently cyclical, with the resurgence of the 1990s and 1970s motifs pervading modern fashion, via decade-oriented clothes, shoes and accessories on the catwalk and in closets. As the glamour and excess of the 1920s and 1930s is slowly returning to the modern wardrobe, through luxurious metallics, sumptuous sequin details and flurries of feather trims, it cannot be denied the treasures of Tutankhamun’s tomb are tentatively turning to trending.
Original jewellery designed in the Egyptian Revival period heavily features traditional motifs, including ankhs, scarabs, djed symbols, crooks and flails and the eyes of Horus and Ra. Other important motifs include depictions of ancient gods, including but not limited to Sekhmet, Anubis, Osiris and Isis, talismanic jewellery lasting centuries. Most of this jewellery is gold or gold-plated, in the traditional Egyptian style, as silver was much less accessible to the pharaohs than the plentiful gold from Nubia and Libya. The designer jewellery market was dominated by Diane von Furstenburg, in addition to the Neiger brothers and their extensive range of exquisite Czech glass beads in a myriad of Revival designs, emulating authentic lapis lazuli and faience pottery, whilst more affordable pieces can be attributed to Monet, Wedgwood and Trifari. These brands are renowned for the popularity of the “Cleopatra Necklace”; a single strand of uniform length or graduated metal fringe in the style of a wesekh collar, with this reproduction fringe directly attributable to the Broad Collar of Wah and the Usekh on the Death Mask of Tutankhamun. With the soar in stacking, or layering jewellery, as well as the choker and collar trend, the new Revival is already infusing into modern fashion.
Left: the broad collar of wah, image source: Met Museum of Art. Right: Diane Von Furstenberg brass and beaded collar, image source: eBay.
But not all Revival jewellery must be completely vintage. Jess Lelong, owner of Lelong Designs on Etsy, creates jaw dropping Egyptian Revival pieces from original Revival stampings, using popular motifs, techniques and materials including vintage glass, lapis lazuli and black onyx. These pieces are perfect for the ancient pharaoh with modern values. Other Etsy vendors hawking Egyptian wares include The Jeweller T, providing stainless steel, tarnish-proof jewellery in motifs including the Eye of Ra, a selection of ankhs and many more African-inspired designs, in addition to the History In Hands store on Etsy, providing realistic gold scarab earrings. The nameplate trend of custom jewellery can also be incorporated into the new Revival through custom cartouche necklaces, where a name can be displayed in hieroglyphs, a fresh take on the Egyptian custom of a royal or divine name being placed into a cartouche to display its reverence.
Above: New Revival jewellery is versatile for any occasion. Anika Kitten Jenevieve MacRae wearing Lelong Designs Egyptian Winged Necklace with Onyx.
So, are we due an Egyptian Revival Revival? Following the centenary of such a groundbreaking excavation combined with reemerging trends within fashion, notably jewellery, it is an axiomatic fact that the new Revival looms on the horizon of a vast cultural desert. Post-lockdown restlessness in both completing bucket list goals and updating a stagnant look are both key components in ensuring the longevity of the new Revival as a cornerstone of the 2020s lookbook, instead of fading into Saharan sands as a mere microtrend. But with ancient wisdom comes modern values, and this new Revival is a canvas for sustainability via shopping vintage or through small businesses and individual craftspeople, as well as conscious consumption through travel; valuing the experience of the journey over the tangibility of the result of said journey.
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