Products Chrysanthemum Colours 2: A Collector’s Guide to the Second Series

When the first series of Chrysanthemum-coloured hair accessories appeared in British department stores in the late 1960s, collectors quickly noticed something unusual: the palette drew not from the bright, synthetic tones then in vogue, but from the muted, layered pigments of a single flower—the autumn chrysanthemum. The second series, launched in 1972, refined that botanical inspiration into six distinct shades that remain among the most sought-after vintage hair accessories today. Understanding these colours, their composition, and how to wear them now is essential for any serious collector.

The Origins of the Chrysanthemum Palette

The Chrysanthemum line was produced by a small British firm, Berwick & Sons, whose workshops in Birmingham specialised in cellulose acetate and hand-painted resin. The first series (1969) had focused on the warm end of the chrysanthemum spectrum: deep burgundy, burnt orange, and ochre. For the second series, the design team turned to the cooler, more complex shades found in the flower’s petals and leaves—silvery mauve, bronze-green, and a dusky pink that verged on lavender. Each colour was achieved by layering translucent acetate over a painted core, a technique that gave the finished piece a depth impossible to replicate with modern injection-moulded plastics.

The Six Colours of Series Two

Unlike the first series, which used numerical codes, Series Two was named after chrysanthemum cultivars. Collectors often refer to them by these cultivar names, though the original packaging also included a small colour swatch. Here are the six shades you will encounter:

• ‘Ruby Mound’ – A deep, wine-stained red with a faint brown undertone. Appears almost black in low light but reveals a warm garnet glow under direct sun.
• ‘Sheffield Bronze’ – A complex greenish-bronze, reminiscent of aged verdigris. This colour was notoriously difficult to produce consistently; slight variations in the acetate formula make each piece subtly unique.
• ‘Pink Mist’ – A soft, dusty rose with a hint of lavender. Not to be confused with the paler pink of the first series; this shade has more grey in its composition, giving it a sophisticated, muted quality.
• ‘Autumn Gold’ – A warm, honeyed amber with flecks of darker brown suspended in the material. These flecks are intentional—they mimic the natural speckling of certain chrysanthemum petals.
• ‘Willow Green’ – A sage-like green with a subtle yellow cast. When held to the light, it reveals a faint translucency that makes it ideal for carved combs and hair forks.
• ‘Midnight Plum’ – The darkest of the series, a near-black purple that shifts to violet when backlit. This colour was used primarily for large, statement-making barrettes and French hairpins.

Each colour was produced in three accessory forms: the classic Berwick hair claw (a spring-loaded clip), the three-pronged ‘Coronet’ comb, and the flat ‘Petite’ barrette. The claws are the most common today, but the Coronet combs—especially in ‘Sheffield Bronze’—command premium prices among collectors.

Materials and Craftsmanship

The Chrysanthemum Series Two accessories were made from cellulose acetate, a plant-based plastic that was the material of choice for mid-century hair ornaments. Unlike modern acrylics, acetate has a distinct tactile quality: it warms to the touch, resists static, and develops a gentle patina over decades. The colour was not applied as a surface coating but infused into the acetate sheet before cutting and forming. This means that even if a piece is scratched, the colour remains consistent throughout—a hallmark of quality that collectors prize.

Berwick & Sons also used a hand-polishing step that is rarely seen today. After the clips and combs were shaped, they were tumbled in a drum with fine pumice and beeswax, giving each piece a soft, satin sheen. This finish is particularly noticeable on the ‘Pink Mist’ and ‘Willow Green’ pieces, which have a slight iridescence that catches the light differently depending on the angle.

Styling Chrysanthemum Hues Today

One of the joys of the Chrysanthemum palette is its compatibility with modern wardrobes. The muted, earthy tones of Series Two sit naturally alongside contemporary neutrals—think cream cashmere, charcoal wool, or raw denim. ‘Autumn Gold’ clips add a warm accent to a navy blazer, while ‘Midnight Plum’ barrettes can elevate a simple black dress without feeling costume-like.

For a more adventurous look, try pairing ‘Sheffield Bronze’ with a deep olive-green jacket or a burnt-orange scarf. The green-bronze reads almost like a neutral, but it has enough complexity to stand out. If you are new to vintage hair accessories, start with a single ‘Pink Mist’ claw worn low at the nape of the neck—it works with almost any hair colour and adds a whisper of vintage romance without overwhelming your outfit.

Those who already own pieces from the first series may notice that Series Two colours mix beautifully with their predecessors. A ‘Ruby Mound’ barrette paired with a Series One burnt orange claw creates a harmonious autumnal duo that feels intentional rather than mismatched. For a deeper dive into the earlier palette, our guide to The Colour of Victorian Hair Combs: A Guide to Bertha Shades and Care offers useful context on how acetate colours were developed in the decades before the Chrysanthemum line.

Caring for Your Chrysanthemum Accessories

Cellulose acetate is durable but sensitive to heat and prolonged sunlight. Never leave your Chrysanthemum pieces on a windowsill or in a hot car; the colours can fade or warp. Clean them with a soft, dry cloth—avoid alcohol-based cleaners, which can dull the surface. If a piece becomes cloudy, a very light rub with a tiny drop of mineral oil on a cotton bud can restore some clarity, but test on an inconspicuous area first.

Storage is equally important. Keep each accessory in a separate compartment or soft pouch to prevent scratching. The ‘Sheffield Bronze’ pieces, with their delicate surface patina, are especially prone to micro-abrasions. Many collectors store their Chrysanthemum Series Two items in lined wooden boxes, away from direct light. This not only preserves the colour but also allows you to enjoy the subtle variations in hue that make each piece unique.

For those building a comprehensive collection, the second series is often considered the high point of Berwick & Sons’ output. The colours are more nuanced than the first series, and the craftsmanship is consistently excellent. If you come across a ‘Midnight Plum’ Coronet comb in good condition—especially with its original card backing—consider it a cornerstone piece. And if you are curious about how these colours compare with other vintage lines, the Products Bebe Clip Colors: A Collector’s Guide to Vintage Hues provides a useful reference for the brighter, more playful palette that emerged just a few years later.

Whether you are drawn to the quiet sophistication of ‘Pink Mist’ or the brooding depth of ‘Midnight Plum’, the Chrysanthemum Series Two offers a tangible connection to a moment when British accessory design looked to nature for both colour and form. Each clip and comb carries with it the patience of hand-polishing, the subtlety of layered acetate, and the enduring appeal of a palette inspired by a single, complex flower.