The Salome Headband: History, Identification, and Styling Tips

A Salome headband is a narrow, forehead-hugging bandeau with a single strong ornament at the front, usually a paste medallion, crescent, or jewelled plaque. It was not designed to hold hair back. In the 1910s and 1920s, women wore it low over the brow, often with a sleek bob, so that the ornament sat almost between the eyebrows. The name came from the Salome craze that swept British fashion after Maud Allan's 1908 Vision of Salomé and the London performances of Richard Strauss's opera; the headband was one of the few wearable relics of that theatrical scandal.

The Salome Craze in British Fashion

The headband had a theatrical prelude before it became a flapper staple. Maud Allan's 1908 dance, billed as The Vision of Salomé, caused a sensation in London; women copied her barefoot, bejewelled look. Then Strauss's opera, with its Dance of the Seven Veils, pushed the name into every newspaper. The “Salome style” meant exotic drapery, heavy necklaces, and a headband that framed the face like a halo. British department stores sold “Salome bands” in the 1910s, and by the 1920s the style had merged with the Egyptian-revival bandeaux worn after Tutankhamun's tomb was opened in 1922.

The Salome headband was different from the wide beaded bandeaux that many women wore to keep waved hair in place. It was narrower, more structured, and unashamedly ornamental. It did not wrap around the whole head; it rested on the top of the forehead and curved behind the ears. The effect was deliberately exotic, but the construction was firmly British.

Anatomy and Materials of an Original

An original Salome headband is usually made of a flexible metal base covered in velvet or made of celluloid, with a central ornament attached. The side band may be plain or decorated with small leaves, dots, or filigree. The ornament is the focal point: paste stones, marcasite, mother-of-pearl, carved glass, or enamel. In Britain, many were made from silver or silver plate, but gilt brass was common. Celluloid examples are lighter and often have a mottled amber or tortoiseshell finish.

• Metal bandeaux were often die-stamped, with a smooth curve that followed the head. The central ornament was attached with tiny screws or rivets, so it could be replaced if it was damaged.
• Celluloid bandeaux were sold as “French ivory” and could imitate tortoiseshell, horn, or even malachite. They are warm to the touch and slightly flexible.
• Velvet-covered wire versions appeared in the 1920s and were lighter to wear; the ornament was often a single paste buckle or a cluster of tiny beads.

Good quality pieces show clean edges, secure settings, and a balanced central motif. Hold the bandeau up to the light: the ornament should sit flat against the forehead, not tilt forward or backward.

How to Identify a Vintage Salome Headband

When you find a piece at a vintage fair or in a family box of accessories, look at the back before you look at the front. Early headbands have a visible method of attachment: rivets, screws, or a small plate behind the ornament. If the ornament is glued, it is likely a later piece or a home repair. The clasp at the back matters too. A simple hook-and-eye or a short hinged section suggests an early date; a modern plastic comb or an adjustable slider is a sign of a much later adaptation.

Many British pieces were unmarked, so the style and materials are better clues than a signature. The word “Salome” rarely appears on the object itself; it appears in period catalogues, newspaper advertisements, and millinery trade descriptions. If you are searching online, try “Salome bandeau”, “jewel brow band”, and “Art Deco forehead ornament” as well as “Salome headband”.

Weight is a useful clue. A genuine paste-and-metal bandeau has a reassuring heft, while a modern costume piece often feels hollow. The patina on the metal should be even; harsh polishing that has removed the surface can lower the value and make the piece look younger than it is.

The Salome Silhouette in the Twentieth Century

The headband found its first great moment with the bobbed hair of the 1920s. The flat, close-fitting shape suited the new geometry of a shingled head, and the central jewel gave a focal point to a face that no longer needed a heavy hat. By the 1930s, the Salome bandeau had softened into a wider, more flexible hairband, but the original forehead-hugging style never quite disappeared.

It returned in the 1960s, when London's boutiques rediscovered the dark, romantic look of the 1920s. A velvet-covered Salome headband with a small paste centre became part of the Biba wardrobe: worn with a pale face, dark lips, and centre-parted hair. That revival is why many vintage Salome headbands found in Britain today are actually from the 1960s rather than the 1920s. The difference is visible in the materials: 1960s versions often use lighter metal, larger plastic jewels, and a more flexible spring band.

Styling a Salome Headband Today

Because the Salome headband is an ornament, not a tool, it works best on hair that is already arranged. A low chignon, a side part with finger waves, or a blunt bob are all natural partners. In a modern outfit, let the headband be the only statement piece. A black polo neck, tailored trousers, and a single gold earring allow the jewel to carry the evening. For day, choose a celluloid or tortoiseshell version with a small medallion; it reads as a cousin of the classic hair claw rather than a costume piece.

If you are new to wearing a forehead band, start with a neutral outfit and a mirror. Place the band just above the eyebrows, not halfway up the forehead. The ornament should sit on the centre line of your face, but it does not need to be mathematically perfect; a slight tilt can look more natural. Modern hair accessories often sit further back, so give yourself a few minutes to adjust to the older placement.

For short hair, the band works best with a side-swept fringe or a slicked-back crown. For longer hair, pull the front sections back loosely and let the back hang free; the headband then reads as jewellery rather than as a hair control device. Avoid adding a second ornament in the same outfit, because the Salome bandeau is already a complete statement.

Buying Vintage: What to Check Before You Commit

Examine the area where the ornament meets the band. This is the most common stress point. If the metal is cracked or the ornament is loose, the repair may cost more than the piece. Check for cracks in celluloid around the ornament; these are almost impossible to repair invisibly. Metal fatigue at the hinge is another red flag. If the piece has a velvet covering, look at the edges: worn velvet can be replaced by a milliner, but missing stones are harder to restore.

Try the piece on if you can. A genuine bandeau should follow the curve of the forehead without pinching. If it gapes at the sides, the shape has been distorted and may not sit comfortably even after adjustment. The best vintage Salome headbands are those that have been stored flat and handled rarely, so they still have their original curve.

Caring for a Collector's Piece

Store the headband flat, never hanging, to avoid warping the band. Wrap it in acid-free tissue and keep it away from radiators. Celluloid is especially sensitive to heat; if it smells strongly of camphor, it is degrading and should be isolated from other accessories. Clean with a soft dry brush or cloth. Do not use water or jewellery cleaner on celluloid. For metal, use a jeweller's cloth only on the metal parts, not on the stones or enamel. If a stone is loose, take the piece to a jeweller who works on antique jewellery; a simple re-tipping is safer than household glue.

A final practical note: when you try on a Salome headband, do not expect it to sit where a modern sports headband sits. It should rest low on the forehead, just above the eyebrows, with the ornament centred. If it slides, a small piece of velvet or a discreet pin at the back will keep it in place without altering the piece.