The Ziggy Colors Collection: A Collector’s Guide to Vintage Hair Clips

When a small clutch of marbled resin clips first appeared on a counter in London’s Chelsea in 1972, nobody predicted they would quietly define an era. The Ziggy Colors collection—named after a playful nod to David Bowie’s Ziggy Stardust persona—did not shout; it shimmered. Each clip was a miniature study in colour theory, the resins swirled into patterns that mirrored the early-1970s appetite for iridescence and tactile pleasure. Today, these clips are among the most sought-after British vintage hair accessories, yet their story remains surprisingly under-told.

The collection originally comprised six distinct colourways, each identified by a small stamped number on the reverse of the clip. The range included a translucent amber with coral veins, a deep teal shot through with gold, a lichen green with white wisps, a lavender-blue reminiscent of London skies after rain, a smoky pink that appeared almost grey in low light, and a black with scarlet flecks that collectors now call ‘Red Storm’. These were not mass-produced in the modern sense; each batch was hand-poured into brass moulds, then cooled, polished, and fitted with a spring-loaded clip mechanism that British women had trusted since the 1940s.

History and the Chelsea Boutique

The Ziggy Colors line was born from a collaboration between a young jewellery designer named Clara Sotheby and a small atelier in Hackney that specialised in casting ornamental resins. Sotheby had noticed that high-street hair accessories in the late 1960s were either starkly minimal or clumsily ornate—nothing occupied the middle ground of wearable art. She approached the atelier with a request: could they produce a clip that felt weighty in the hand yet light in the hair, and that changed character with the light?

The answer was a two-year experiment in pigment ratios and cooling temperatures. The resulting clips first sold in a tiny boutique on the King’s Road, priced at just over a pound—a deliberate choice to keep them accessible. Word spread through London’s fashion magazines and, by 1974, a second series of four additional colourways was released, though production ceased abruptly in 1976 when the atelier shifted focus to costume jewellery. The original six remain the most prized among collectors.

Materials and Manufacturing

What sets Ziggy Colors apart from other vintage hair clips is the material itself: a cellulose acetate resin that was heated, pigmented, and swirled while still viscous. Unlike injection-moulded plastics, each clip has a unique marbling—no two are identical. The clip’s metal spring is a closed-loop steel mechanism, zinc-plated to resist tarnish. Early examples show a subtle patina on the metal, which collectors value as a sign of age and authenticity.

The technique required great skill. The artisan had to pour two or three colours simultaneously into the mould, then agitate the resin with a thin wire to create the swirl. Too much agitation produced muddy colours; too little left them separate and stark. The optimal swirl is what aficionados call ‘calm movement’—strands of colour that interlace without losing their individual identity. This handmade quality is why Ziggy Colors clips are still studied in textile and fashion courses as examples of mid-century industrial craft.

Identifying Authentic Pieces

• Stamped numbers: Genuine clips have a two-digit number (01 to 06 for the first series, 07 to 10 for the second) embossed on the inner side of the clip arm. The font is serif and slightly uneven due to hand-stamping.
• Weight and thickness: Authentic clips feel denser than typical costume clips—about 12 grams apiece. The resin is 3–4 mm thick at the centre, tapering to 2 mm at the edges.
• Marbling depth: Colour streaks should appear to float within the resin, not lie on the surface. Run your fingernail gently across the clip—genuine pieces have a smooth, seam-free finish.
• Metal spring: The spring is a single continuous coil, not a stamped plate. The hinge pin is visible as a small silver dot at the centre of the clip’s pivot.
• Boutique label: A few early clips still bear a tiny paper label on the back reading ‘Chelsea Craft – London’. If present, it is almost always yellowed or partially missing.

These details matter because the market for vintage Ziggy Colors has grown steadily over the past decade. Reproductions do exist, but they typically use modern polyester resin, which feels lighter and shows a glassy surface rather than the matte-to-satin finish of the original cellulose acetate.

Wearing Ziggy Colors Today

The beauty of these clips is their ability to step out of the 1970s and into a contemporary wardrobe without looking like costume. Their muted, complex colours complement modern neutrals—a cream silk blouse, a grey cashmere roll-neck, a navy wool blazer. For a bolder look, pair a teal-and-gold clip with a deep burgundy velvet dress; the resin’s translucence catches the light in a way that synthetic alternatives cannot mimic.

Ziggy Colors clips work best in medium to thick hair, as the spring mechanism is sturdy. To avoid damaging the resin, slide the clip in gently rather than snapping it shut. They also make excellent statement pieces on a low chignon or a side-swept ponytail—the marbling becomes a quiet focal point. If you are drawn to the quiet elegance of resin and crystal, you might also appreciate the understated charm of the Pebble and Crystal Barrette, a design that shares the same mid-century devotion to simplicity.

Care and Preservation

Cellulose acetate is sensitive to heat and moisture. Avoid leaving your Ziggy Colors clip in direct sunlight for extended periods—the colours can fade unevenly. Clean with a soft, dry cloth; if needed, a barely damp cloth with a drop of mild soap can be used, but wipe immediately and dry thoroughly. Never soak the clip or use alcohol-based cleaners, as they may cloud the resin. Store clips in a fabric-lined box away from other metal accessories that could scratch the surface. The metal spring may stiffen over decades—a tiny drop of sewing machine oil on the hinge pin can restore smooth movement, but only on the metal, never on the resin.

For those building a collection, condition is paramount. Chips or cracks reduce value significantly, while a light patina on the clip’s metal is acceptable and even desirable. The original six colourways in mint condition have sold privately for between £80 and £150 each in recent auctions. The second series colours, being less well-documented, are harder to price but equally treasured by dedicated collectors.

The Quiet Hunt

For the dedicated collector, the hunt for a complete set of six original colours is a quiet obsession that rewards patience more than expense. Charity shops and estate sales in affluent areas of London—Kensington, Hampstead, Richmond—have yielded surprising finds. Online marketplaces require careful scrutiny of photographs; ask for a picture of the stamp and a weight measurement if possible. And if you ever chance upon a Ziggy Colors clip in its original boutique box, hold onto it—the paper itself is a fragment of fashion history.