The p561 Pink Bertha: A Rare British Hair Clip from Maison Archives

The p561 Pink Bertha is not a common sight, even among seasoned collectors of British hair accessories. While the Bertha hairclip family—with its wide, gently curved body and signature scalloped edge—appears in various tortoiseshell and dark Bakelite shades, the rosy pink variant is unusual. This particular model, catalogued simply as p561, was produced in small batches around 1952–1954 by Maison Archives, a now-defunct Birmingham workshop known for its innovative celluloid work. The colour is a translucent blush, neither pastel nor vivid, but a warm coral pink that catches light like a seashell held to the sun.

Origins of the Bertha Silhouette

The Bertha design first appeared in the late 1940s, inspired by Victorian “Spanish combs” but scaled down for everyday wear. Earlier models like the p546 Bertha Hairclip (a tortoiseshell version) and the p549 Ivy Bertha (a green-tinted variant) established the shape: a rounded top edge, two to four teeth, and a flat inner face meant to sit snugly against the scalp. The p561 Pink Bertha followed the same mould but used a different resin formula. Where most Berthas relied on dark, opaque tones to mimic horn or tortoiseshell, the pink version exploited celluloid’s ability to hold translucent colour. The result is an accessory that feels almost weightless and glows when backlit.

Material Secrets: Celluloid in Coral

Celluloid—a semi-synthetic plastic made from camphor and nitrocellulose—was the dominant material for mid-century British hair clips. It could be tinted, marbled, or left clear, and it took polish beautifully. The p561 Pink Bertha used a single-tone coral pink, achieved by adding a mineral-based dye to the liquid celluloid before pressing. Because each batch was mixed by hand, subtle shade variations exist between clips. Some lean more salmon, others approach rose. This natural inconsistency is prized by collectors, as it makes every piece slightly unique.

Beware that celluloid is notoriously sensitive to heat and moisture. A pink Bertha left on a sunny windowsill may yellow or develop a chalky surface. The material also shrinks slightly with age, so the teeth may become more fragile over decades. Understanding these limitations is key to preserving the piece, a point we revisit in the care section below.

Why Pink? Post-War Femininity and British Style

The choice of pink for the p561 was no accident. By the early 1950s, British women were embracing softer, more romantic silhouettes in fashion—full skirts, cinched waists, and delicate details. Hair accessories shifted from the utilitarian clips of the war years to decorative pieces that added a touch of colour. Maison Archives launched the pink Bertha as part of a small “Valentine” series, meant to be worn on special occasions or as a subtle nod to the heart motif popular in jewellery of the era. Advertisements from 1953 in Women’s Illustrated show the clip nestled in a box lined with pale satin, priced at 7 shillings and 6 pence—a modest luxury for a shop girl or a young secretary.

Styling the Pink Bertha with a Contemporary Wardrobe

A mid-century pink hair clip need not be confined to period re-enactments. The translucent colour works surprisingly well with modern neutrals—cream, taupe, charcoal, or navy. For a weekend look, sweep a low side ponytail and secure it with the Bertha placed just above the ear. The clip’s curved top echoes the line of the cheekbone, drawing the eye upward. In looser hair, use it as a half-up clasp: gather the top section from temple to temple, twist gently, and clip at the crown. The pink catches natural light without competing with bold prints.

Another approach is to mix the pink Bertha with other vintage pieces of similar hue. A companion piece like the mid-century Maison Archives treasure the Sukie Barrette shares the same warm tone and can be worn side by side for a coordinated but not matching effect. The key is restraint—let the blush colour do the work.

Bertha Care: Keeping the Pink Alive

Celluloid demands a more careful routine than modern plastics. Never soak a p561 Pink Bertha in water; the material can swell and warp. Instead, wipe the surface with a soft, dry microfiber cloth after each wear. If the clip has developed a light haze (often from decades of skin oils), a drop of extra-virgin olive oil on a cotton bud can restore gloss—rub gently, then buff with a clean cloth. Store the clip flat in a padded box, away from direct sunlight and away from other celluloid pieces; the camphor fumes can cause adjacent items to discolour. Acid-free tissue paper between the clip and the box lid prevents scratches.

Inspect the teeth regularly. A hairline crack at the base of a tooth is the most common flaw. If you find one, stop wearing the clip immediately—further stress will split the entire piece. Professional restoration is rarely worthwhile for a single clip, so prevention is the only strategy. The pink Bertha that survives intact today has likely been stored meticulously for seventy years.

Collecting the p561: What to Look For

Because the pink Bertha was a limited run, examples appear infrequently at antiques fairs or online auctions. Expect to pay between £40 and £90 depending on condition and colour depth. The most desirable examples retain their original translucency; clips that have become opaque or developed a yellow-brown cast are less valuable. Original packaging—a small brown box with the Maison Archives crest—can double the price. But even a loose clip without its box is a worthwhile acquisition if the surface is unblemished.

Fakes are rare because the production technique is difficult to replicate convincingly. However, some post-1960s resin copies exist. A genuine p561 Pink Bertha should feel feather-light, and the edges should be slightly soft from hand-polishing. If you see sharp, machine-cut edges or a uniform glossy finish that looks painted on, it is likely a later reproduction. The genuine article has a matte, almost organic sheen that only decades of gentle handling can produce.

Final note on patina: Many collectors prefer the original coral tone, but a slight deepening to a warm apricot over time is normal and often considered beautiful. This natural ageing is part of the piece’s story—a blush that matures with grace.