The Esme Comb: How to Spot an Original 1920s Vintage Hair Accessory

When you hear the name ‘Esme’ in the world of vintage hair accessories, seasoned collectors immediately picture a particular shape: a gently arched comb, often in deep tortoiseshell or jet-black resin, with a central motif of graduated petals or a stylised fan. The Esme comb was produced by several small British ateliers between 1925 and 1932, most notably by the Birmingham-based firm Leach & Sons, which specialised in acid-etched natural horn and early cellulose acetate. Unlike the mass‑produced dresser sets of the 1930s, the Esme was an investment piece, often sold in a velvet‑lined box and accompanied by a matching pair of side combs (the ‘Mini Esme’). Understanding what makes an original Esme distinct from later reproductions or generic Art Deco combs requires a close look at its materials, construction, and the subtle hallmarks of its period.

Defining the Esme Silhouette

The most recognisable Esme comb measures about twelve centimetres across the top edge and features a pronounced curve that follows the natural crown of the head. The teeth are long and finely spaced – a characteristic that demands careful storage because they snap easily. The decorative top is carved, pressed, or moulded into a symmetrical fan of overlapping leaves or a burst of radiating lines. Some examples show a small raised dot at the centre, a remnant of the mould’s manufacturing mark. The reverse side is always smooth, with no sharp edges, because the comb was designed to lie flush against the hair without snagging. If you find a comb with a rough or unfinished back, it is almost certainly a later copy.

Materials: Horn, Resin, and the Transition to Celluloid

The earliest Esmes (1925–1927) were cut from genuine cow or buffalo horn, stained a rich mottled brown that the trade called ‘tortoise’. Horn was warm to the touch, light, and could be polished to a deep lustre. By 1928, rising costs and a growing demand for consistency pushed makers toward early synthetic resins. The Leach & Sons catalogue from spring 1929 lists the Esme in ‘Crystal’, a clear amber celluloid that mimics the transparency of honey. Later the same year, a black ‘Ebony’ celluloid appeared, treated with a faint purple iridescence under direct light. This iridescent black is a reliable sign of an original late‑1920s Esme; later copies used a flat, dull black that lacks the subtle colour shift.

• Horn (1925–1927): Mottled brown, variable translucency, natural grain lines. Often has a faint smell of animal protein when rubbed.
• Celluloid ‘Crystal’ (1928–1930): Clear amber, occasionally with a greenish cast. Prone to slight yellowing and surface crazing over decades.
• Celluloid ‘Ebony’ (1929–1932): Deep black with a purplish iridescence. More brittle than horn; chips easily around the teeth.
• Casein (1931–1932, rare): Milky white or cream, often mistaken for bone. Only a handful of Esmes in this material survive today.

A dedicated collector can learn to identify these materials by temperature, weight, and smell. For a deeper study of colour variations in vintage British hair accessories, we have previously explored the palette in detail in The Catarina Colours Collection: A Study in Vintage Hair Accessory Hues, which includes several side‑by‑side comparisons of early celluloid shades.

How the Esme Was Made

The production of a celluloid Esme comb involved a multi‑step process that required skilled hands. First, a block of raw celluloid was softened in a steam bath. The softened sheet was placed into a two‑part iron mould – the mould for the Esme included a fine set of steel pins that would form the teeth. Under hydraulic pressure, the material was squeezed into the mould cavity. After cooling, the rough comb was removed and the teeth were filed by hand to remove the flash (the thin excess plastic that squeezed out along the seam). A final polish with pumice and oil gave the comb its glossy finish. On authentic pieces, you can sometimes see faint parallel scratch marks on the teeth – evidence of the hand‑filing. Modern injection‑moulded copies have perfectly smooth, dull teeth without those marks.

Cultivating Your Own Esme Collection

Esme combs show up in unexpected places: at regional antiques fairs in the Cotswolds, in the ‘vintage hair’ lots at smaller auction houses in the Midlands, and occasionally in the online shops of British dealers who specialise in 1920s dresser accessories. Because the comb was sold as a set, it is worth asking whether the two side combs (the Mini Esmes) are included. A complete set with the original box can fetch £120–£180 at a specialist sale; a lone comb in good condition typically sells for £40–£70. Avoid any comb with deep cracks across the fan motif – those are nearly impossible to repair without destroying the pattern. Minor chips on the outermost teeth are acceptable and do not affect how the comb sits in the hair.

Styling the Esme with a Modern Wardrobe

The Esme comb was designed to hold a finger‑wave set or a low chignon. Today, it works beautifully in a loose bun placed at the nape of the neck. Slide the comb in from the side, tines pointing downward, then rotate it gently so the fan sits upright like a small tiara. For shorter hair, the comb can be used as a decorative accent on a half‑up style, gripping just the front section. A black Ebony Esme pairs well with a cream silk blouse and tailored wool trousers; a tortoiseshell horn version adds warmth to an oatmeal knit or a camel‑coloured coat. Avoid using the comb in wet hair – the moisture can weaken the celluloid and cause the teeth to warp.

Care and Preservation of Your Esme Comb

Celluloid is a semi‑synthetic material that continues to off‑gas camphor and nitric acid over time. Store your Esme comb in a dry, cool place away from direct sunlight, and never wrap it in plastic or airtight containers – the trapped gases can accelerate degradation. A cotton‑lined jewellery box or a separate compartment in a wooden drawer works well. Once a month, wipe the comb with a soft, dry cloth to remove dust. If the surface feels sticky or smells strongly of vinegar, that is a sign of early decomposition; isolate the comb from other accessories immediately and consult a conservator specialising in early plastics. Horn combs are more stable but can dry out and crack in central heating – a very light application of refined jojoba oil (a drop on your fingertip, rubbed over the top surface) every few months keeps the horn supple.

Identifying Reproductions and Later Copies

The Esme design proved so popular that various companies revived it in the 1970s and again in the 2010s. A 1970s revival, made by the British company Bell & Croft in deep brown resin, lacks the fine hand‑filing marks and often has a visible mould seam along the top edge. The 2010s Chinese copies are lighter in weight, slightly larger, and made of glossy acrylic that feels cold to the touch. Genuine Esme combs have a distinct warmth and a subtle grain even in the solid black colour. If you are uncertain about a candidate, compare it with the detailed images in our guide to Chrysanthemum Colours 1: A Guide to Vintage Hair Accessories, which includes macro shots of original versus reproduction fan motifs.

A Final Word on the Mini Esme Side Combs

These small combs measure about four centimetres across and were sold in pairs. They were used to secure the sides of a short bob or to add decorative symmetry to a crown of curls. The Mini Esme is often the first piece a collector loses, so a complete set is considered the holy grail of the Esme family. If you find a pair, treat them with the same care as the main comb – and consider wearing them together with a sleek low ponytail for a genuinely authentic 1928 silhouette. The weight of celluloid against the hair, the soft click as the teeth engage, the way the fan catches the light: these small pleasures are what make the Esme more than an accessory. It becomes a quiet connection to a century of British craftsmanship.