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Cufflinks are items of jewelry that are used to secure the of . Cufflinks can be manufactured from a variety of different materials, such as glass, stone, leather, metal, precious metal or combinations of these. Securing of the cufflinks is usually achieved via toggles or reverses based on the design of the front section, which can be folded into position. There are also variants with chains or a rigid, bent rear section. The front sections of the cufflinks can be decorated with gemstones, inlays, inset material or enamel and designed in two or three-dimensional forms.
Cufflinks are designed only for use with shirts that have cuffs with buttonholes on two sides but no buttons. These may be either single or double-length ("French") cuffs, and may be worn either "kissing", with both edges pointing outward, or "barrel-style", with one edge pointing outward and the other one inward so that its hem is overlapped. In the US, the "barrel-style" was popularized by a famous 19th-century entertainer and clown, Dan Rice; however, "kissing hot dogs" cuffs are usually preferred.
Links of knotted brightly colored silk enjoyed renewed popularity in the 1990s, joined by an elasticated section because they looked fashionable.
Cartier recently re-introduced these interchangeable cufflinks with batons made from striped chalcedony, silver obsidian, malachite, sodalite, and red tiger's eye. The accompanying bars are made from 18k gold or palladium plated sterling silver. The securing mechanism is the same for either series using a small screw inset into the looped end of the bar. The pressure exerted by the screw on the baton holds them in place.
Another type of interchangeable system was created by pranga & co. The cufflink system comes apart allowing the motif, referred to as an Anker, to slide on. Putting the cufflink back together secures the anker into the cufflink allowing it to be worn. pranga & co's cufflink is simple and similar in concept to charm bracelet bead systems popularized by companies like Pandora Jewelry. The ankers used in the cufflinks are interchangeable with various charm bracelets systems and visa-versa.
After the Middle Ages, the visible areas of the shirt (neck, chest, shoulder and wrists) became sites of decorative elements such as frills, ruffs, and embroidery. The cuffs were held together with ribbons, as collared, an early precursor of neckties. Frills that hung down over the wrist were worn at court and other formal settings until the end of the 18th century, whilst in the everyday shirts of the time, the sleeves ended with a simple ribbon or were secured with a button or a connected pair of buttons.
In the 19th century, the former splendor of the aristocracy was superseded by the bourgeois efficiency of the newly employed classes. From then onward men wore a highly conventional wardrobe: a dark suit by day, a dinner jacket, or tailcoat in the evening. By the middle of the 19th century, modern cufflinks became popular. The shirt front as well as collar and cuffs covering areas of the most wear were made sturdier. This was practical but when clean and starched, collars and cuffs underscored the formal character of the clothing. However, they could be too stiff to secure the cuffs with a simple button. As a consequence, from the mid 19th century onward men in the middle and upper classes wore cufflinks. The industrial revolution meant that these could be mass-produced, making them available in every price category.
Colored cufflinks made from gemstones and diamonds were initially only worn by men with a great deal of self-confidence, however. This situation changed when the Prince of Wales, later Edward VII, popularised colorful Fabergé cufflinks in the 19th century. During this time cufflinks became fashion accessories and one of the few acceptable items of jewelry for men in Britain and the U.S.
This development continued into the early 1900s, with more cufflinks worn than ever before. These were available in every type of form, color, and material, incorporating both gemstones and less precious stones and glass in cheaper copies. Intricate colored enameled cufflinks in every conceivable geometric pattern were especially popular. All of these were of equal value, as Coco Chanel had made fashion jewelry acceptable to wear. In a parallel development, however, a sportier style of shirt emerged with unstarched cuffs that could be secured with simple buttons.
This spread to Europe as well over the same period. In Germany, Idar-Oberstein and Pforzheim were key centers of cufflink production. Whilst in Idar-Oberstein cufflinks were produced using simple materials for the more modest budget, the Pforzheim jewelry manufacturers produced for the medium and upper segments using genuine gold and silver. In Pforzheim, premium cufflinks are still produced today, some of them to historic patterns, some modern, all of them using traditional craftsmanship.
Following the end of shortages related to the Second World War, into the 1950s a gentleman liked to adorn himself with a whole range of accessories, comprising items such as cigarette case, lighter, tie pin or tie bar, watch (now worn mostly on the wrist instead of the pocket), ring, key chain, money clip, etc., an ensemble that also included a wide range of cufflinks.
In the 1970s cufflinks were less emphasized in much of middle-class fashion. Fashion was dominated by the Woodstock generation, with shirts primarily manufactured complete with buttons and buttonholes. Many fine heirlooms were reworked into earrings.
The 1980s saw a return to traditional cufflinks, as part of a general revival in traditional male dress. This trend has more or less continued to this day.
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