Other Bakelite bangles include ones with painted or embedded polka dots, elastic bangles, and even examples made out of Mahjong tiles.

Celluloid was another popular bangle base material. Softer than Bakelite, which was hard enough to be carved, celluloid allowed designers to embed rhinestones and other costume jewels in the bangle’s surface, which came in every color of the rainbow. The most collectible celluloid bangles are generally the ones with wall-to-wall jewels and intricate designs.

Just about every costume jeweler of the mid-20th century offered their customers bangles. In the 1920s, the Mazer Brothers made gold-plated bangles dotted with rhinestones that were sold with matching earrings. Vintage Miriam Haskell hinged bangles often featured beaded flowers and leaves mounted on gilt or silvered surfaces. Other Haskell bangles were open at the back.

Vendome, which was introduced in 1944 and had its heyday in the 1950s, was the top of the Coro line. This was serious, simulated bling, so Vendome bangles projected a high-end sensibility. Examples include silver-plated bangles studded with fake sapphires, rhinestones, and powder-blue cabochons, with earrings to match.

Another 1950s designer, Kenneth Jay Lane, made fat bangles with faux amber and jet-black cabochons. And one especially famous gold-plated Stanley Hagler bangle from that decade was crammed with beaded flowers and polychrome glass petals—it was created for Wallis Simpson.

Today, contemporary costume jewelers have also found the bangle to be an appealing armature for their designs. New bangles that are sought by collectors include anodized aluminum bangles by Jane Adams, semi-transparent acrylic numbers by Gail Klevan, and resin bangles that look like thick slices of red pineapple, with visible wire inclusions inside, by Carla Edwards.

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