At the height of mid-century necklace fashion is the addition of the single drop. This should not be long, like a pendant, but rather one large extra stone, clipped on close to the collier to add chic and smartness. It may be a pear-shaped diamond, a grey or a black pearl, an emerald, or indeed any stone that harmonizes with the necklace color—though most frequently such a drop is worn on a necklace of diamonds or pearls. The single stone is set with an almost invisible clasp and can be attached to the necklace at any point desired. Resultant effects can be startling. The appearance of the necklace may be completely transformed; a daytime jewel may be transmuted to evening elegance. Various moods can be deftly suggested, or stressed, by the clever placing of the jewel drop. _Transformations_ The construction of a necklace so that it can be transformed, as I suggested before in connection with the rivière, marks an increasing aspect of jewelry design. The diamond necklace, appropriate only to the off-shoulder evening gown and adorning only the most formal occasions, spends more time in the treasure chest or vault than any other jewel. Its usefulness is increased many-fold when it is so created that it comes apart to form bracelets and clips and other jewels more frequently worn. The devising of detachable parts and convertible jewels is no new-fangled practice. It began in France before the French Revolution, first gaining popularity with a social élite that initiated many fashions. Many eighteenth and nineteenth century necklaces also served as tiaras. Jewels in our museums today testify to the great skill and ingenuity with which the earlier artists cunningly contrived and concealed the mechanical devices that made possible these transformations. _My Own Conversions_ One of my own most exacting assignments was to create such a necklace for a beautiful Viennese ballerina. It was specified that the necklace should separate to form a bracelet and five clips of various sizes. Two of these were to form an assorted pair of dress clips; two were to be matched for the ears; one was to be larger, to serve as a brooch but with an attachment so that it might also become a hair ornament. The completed necklace, which was really a unified parure, was put on exhibition, bringing me my first Gold Medal _für Schönheit und Kunst_ at the Künstlerhaus. Another of my necklaces, displayed in color in Vogue Magazine, is separable into two bracelets, of different size and design, and a large dip that can be used on a dress or as the centerpiece in other jewels. Other convertibles suggest themselves, once the imagination begins to play. It must be remembered that the problem is complex, because it is not simply a question of what other jewels a main piece can be broken into. The major concern is how well all the transformations fit the personality of the individual who is to wear them.