The Rare p564 Lapis Julianna Hair Clip: Identification, History, and Styling
The designation p564 Lapis Julianna appears in the Maison Archives catalogue from the early 1950s, yet for decades it remained one of the least documented pieces in the collection. Unlike the more common tortoiseshell or jet-black celluloid clips produced in large runs, the p564 was manufactured in a single, limited batch using a distinctive blue resin meant to evoke lapis lazuli. Only recently have enough examples surfaced among British collectors to piece together a reliable profile of this elusive accessory.
The p564 stands apart from other Julianna clips not just because of its colour, but because of how that colour was made. Standard Julianna barrettes were pressed from solid celluloid sheets and stamped with a repeating floral motif. The Lapis variant, though, was hand-finished with a mottled surface that mimicked natural veining. Each clip is therefore slightly different in pattern, making it a favourite among collectors who value uniqueness over uniformity.
Identifying an Authentic p564 Lapis Julianna
There are a few physical markers to look for on a genuine p564. The clip measures approximately 75 mm in length and 12 mm at its widest point, with a slight curve that follows the contour of the head. The metal spring mechanism is stamped with a tiny "M.A." inside an oval — the hallmark of Maison Archives. Fakes usually lack this mark or use a cruder imitation.
The colour is a soft, dusty blue with darker inclusions that should look organic, not painted on. Under a loupe, you’ll see tiny irregularities where the colourant was swirled into the celluloid before it cured. Reproductions have a smooth, glossy finish that gives away a modern coating.
Common Confusions with Other Blue Clips
Collectors sometimes mix up the p564 with the later p572 Cornflower or the p589 Skyline, both blue-toned clips. The key difference is the veining: the Lapis Julianna has irregular, branching lines that stop short of the edges, whereas the Cornflower is uniformly translucent and the Skyline features a matte finish with no internal pattern. The p564 uses a brass-coloured spring, while the p572 switched to nickel silver.
| Feature | p564 Lapis Julianna | p572 Cornflower | p589 Skyline |
|---|---|---|---|
| Finish | Mottled with veining | Translucent solid | Matte solid |
| Spring metal | Brass-coloured | Nickel silver | Nickel silver |
| Length | 75 mm | 70 mm | 80 mm |
| Stamp | M.A. in oval | M.A. in circle | No stamp |
How the Lapis Julianna Fits into Mid-Century Hair Fashion
The early 1950s saw a shift away from the heavy, sculpted Victory rolls of the previous decade toward softer, more natural silhouettes. Women began wearing their hair shorter at the nape and fuller at the crown, often secured with a single decorative clip at the temple. The p564 Lapis Julianna complemented this look perfectly: its muted blue blended with brown, blonde, or grey hair without clashing, while the subtle shimmer of the celluloid caught the light during evening outings.
Unlike the more formal P297 Velvet Crown Headband, which was reserved for special occasions and often paired with cocktail dresses, the Julianna clip was an everyday piece. It could be worn to the office, to church, or while running errands. Its practicality, combined with the special lapis finish, made it a quiet luxury that didn’t need a special event to wear.
Materials and Craftsmanship
Maison Archives sourced their celluloid from a specialist manufacturer in Birmingham that had supplied the haberdashery trade since the 1920s. The lapis effect was achieved by adding powdered ultramarine pigment to the raw celluloid dough, then folding it repeatedly before pressing. That created the characteristic veins without hand-painting, which would have been too slow for a mass-produced item.
The metal spring was made from a brass alloy that resisted tarnishing longer than the steel used by competitors. Each clip was assembled by hand, with the spring riveted to the upper jaw and the celluloid body attached using a small brass pin. This construction means the clip can be disassembled for cleaning, though few surviving examples show signs of having been taken apart.
Care and Preservation
Celluloid is notoriously sensitive to heat and humidity. Store the p564 away from direct sunlight, ideally in a padded box or drawer lined with acid-free tissue. Avoid placing it near radiators or in attics that experience temperature swings. If the clip becomes dull, a very light wipe with a soft, dry cloth is sufficient — never use alcohol, acetone, or any solvent, as these will dissolve the celluloid surface.
If you want to wear your p564, it’s perfectly safe to do so occasionally, as long as you don’t force the spring. The brass spring can weaken over decades, so gentle handling is advised. If the clip feels stiff, a single drop of mineral oil on the hinge pivot can restore smooth movement without damaging the material.
Styling the Lapis Julianna Today
The dusty blue of the p564 pairs unexpectedly well with modern neutrals — cream, charcoal, navy, and olive. For a subtle vintage nod, wear it low on a side part to secure a half-up twist, allowing the veining to show against lighter hair. On darker hair, it reads as a muted accent rather than a statement, fitting today’s love for understated accessories.
If you’re building a collection of British mid-century hair accessories, the p564 Lapis Julianna is an important bridge between the utilitarian barrettes of the 1940s and the more decorative styles that came later in the decade. Its limited production run and distinctive finish make it a rewarding find for anyone who appreciates the quieter corners of design history.
For those curious about other unusual finishes from the same era, the p544 Julianna Hairclip offers a contrasting study in black and gold, while the p542 Kelly Bow Barrette demonstrates how the same basic form could be adapted into a different silhouette entirely. Each piece tells a small part of the larger story of how British women adorned their hair in the middle of the twentieth century.