In the 1890s, jewellers began to explore the potential of the growing Art Nouveau style. Very closely related were the German Jugendstil, British (and to some extent American) Arts and Crafts movement. Art Nouveau jewellery encompassed many distinct features including a focus on the female form and an emphasis on colour, most commonly rendered through the use of enamelling techniques including basse-taille, champleve, cloisonne and plique a jour. Motifs included orchids, irises, pansies, vines, swans, peacocks, snakes, dragonflies, mythological creatures and the female silhouette. Rene Lalique, working for the Paris shop of Samuel Bing, was recognized by contemporaries as a leading figure in this trend. The Darmstadt Artists' Colony and Wiener Werkstaette provided perhaps the most significant German input to the trend, while in Denmark Georg Jensen, though best known for his Silverware, also contributed significant pieces. In England, Liberty & Co and the British arts & crafts movement of Charles Robert Ashbee contributed slightly more linear but still characteristic designs. The new style moved the focus of the jeweller's art from the setting of stones to the artistic design of the piece itself; Lalique's dragonfly design is one of the best examples of this. Enamels played a large role in technique, while sinuous organic lines are the most recognizable design feature. The end of World War One once again changed public attitudes; and a more sober style came in.