Relevant bibliographies by topics / Jewellery

Academic literature on the topic 'Jewellery'

Author: Grafiati
Published: 4 June 2021
Last updated: 31 July 2024

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Journal articles on the topic "Jewellery"

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Baidoo, Mohammed Kwaku, Akosua Tachie-Menson, Nana Ama Pokua Arthur, and Eric Appau Asante. "Understanding informal jewellery apprenticeship in Ghana: Nature, processes and challanges." International Journal for Research in Vocational Education and Training 7, no. 1 (April 29, 2020): 45–66. http://dx.doi.org/10.13152/10.13152/ijrvet.7.1.3.

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Context: The processes of acquiring education in jewellery in Ghana has been dominated by the informal apprenticeship system and it forms the backbone of the workforce of the jewellery industry in Ghana. However, the patronage of informal jewellery apprenticeship in Ghana in recent times has been on decline even though it has the potential of training human resources to transform Ghana’s precious mineral resources sector.This is based on the belief that jewellery trade and its training are shrouded in secrecy, in other words, the jewellery trade is considered to be a sacred profession where information on its operating systems are not allowed to be shared easily. It is believed to be associated with cult and magic, hence the reluctant to admit people who are from outside the family of particular jewellery enterprise. This study is sought to bring to fore the understanding nature, processes and challenges of the informal jewellery apprenticeship in Ghana. Approach: The study adopted the descriptive and phenomenology research designs (qualitative research methods). Jewellers who own a jewellery business and who are training other people through apprenticeships as well as people who are trained are observed and interviewed. A sample size was selected through purposive and convenience sampling techniques from four jewellery enterprises in Accra, Ghana. A thematic analysis plan was adopted to generate fndings of the study. Findings: The results show that for a person to train as a jeweller, s/he has to enrol by going through induction, futhremore fees (money and perishable items) are to be paid. The training content is driven by orders received by the master jeweller, thereby making it unstructured and lacking criteria for assessing the performance and progress of apprentice jewellers. Teaching and learning methods are usually on-the-job training that rely on demonstrations and observation.Conclusion: Informal jewellery apprenticeship in Ghana uses a fexible, cost-efective approach for transferring jewellery making skills from masters to apprentice jewellers, and it has substantial potential for improving skills training in the country. Sometimes the reluctant of some jeweller to train others is to keep the trade to family members only.
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Baidoo, Mohammed Kwaku, Akosua Tachie-Menson, Nana Ama Pokua Arthur, and Eric Appau Asante. "Understanding informal jewellery apprenticeship in Ghana: Nature, processes and challanges." International Journal for Research in Vocational Education and Training 7, no. 1 (April 29, 2020): 45–66. http://dx.doi.org/10.13152/ijrvet.7.1.3.

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Context: The processes of acquiring education in jewellery in Ghana has been dominated by the informal apprenticeship system and it forms the backbone of the workforce of the jewellery industry in Ghana. However, the patronage of informal jewellery apprenticeship in Ghana in recent times has been on decline even though it has the potential of training human resources to transform Ghana’s precious mineral resources sector.This is based on the belief that jewellery trade and its training are shrouded in secrecy, in other words, the jewellery trade is considered to be a sacred profession where information on its operating systems are not allowed to be shared easily. It is believed to be associated with cult and magic, hence the reluctant to admit people who are from outside the family of particular jewellery enterprise. This study is sought to bring to fore the understanding nature, processes and challenges of the informal jewellery apprenticeship in Ghana. Approach: The study adopted the descriptive and phenomenology research designs (qualitative research methods). Jewellers who own a jewellery business and who are training other people through apprenticeships as well as people who are trained are observed and interviewed. A sample size was selected through purposive and convenience sampling techniques from four jewellery enterprises in Accra, Ghana. A thematic analysis plan was adopted to generate fndings of the study. Findings: The results show that for a person to train as a jeweller, s/he has to enrol by going through induction, futhremore fees (money and perishable items) are to be paid. The training content is driven by orders received by the master jeweller, thereby making it unstructured and lacking criteria for assessing the performance and progress of apprentice jewellers. Teaching and learning methods are usually on-the-job training that rely on demonstrations and observation.Conclusion: Informal jewellery apprenticeship in Ghana uses a fexible, cost-efective approach for transferring jewellery making skills from masters to apprentice jewellers, and it has substantial potential for improving skills training in the country. Sometimes the reluctant of some jeweller to train others is to keep the trade to family members only.
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Phophalia, Ms Swati, Dr M. K. Sharma, and Dr Shweta Kastiya. "Emerging Trends in Online Jewellery Retail." MET Management Review 08, no. 02 (2021): 25–28. http://dx.doi.org/10.34047/mmr.2020.8203.

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Online jewellery retailing has caught on in India as E-Commerce has passed its inflexion point in India. Although most of us like to shop jewellery in-store due to the impact of COVID 19, the pandemic emphasized the importance of the digital presence of jewellery stores. Before the pandemic, the website of the jewellers are not on top priority and focus on their physical stores.Gold jewellery, diamonds, and other valuable stones were once only purchased from the trusted family jeweller. The trend is shifting now, with more consumers willing to buy jewellery online. In India, online jewellery retail is still in its infancy. India has never been more welcoming to internet jewellery purchases than it is now. These days, the usage of online media is gaining traction, and the jewellery retail business is taking advantage of it for promotion and brand growth. Online selling allows businesses to operate 24 hours a day, seven days a week, and over long periods. The appeal of online jewellery portals among discriminating young people is fuelled by interesting wearable designs, low base price points, the availability of 14, 18, or 22-carat gold, as well as a selection of diamond qualities, to pick from. There's also a try-before-you-buy option, as well as a quality guarantee and potential buyback. Thus the objective of this study is an attempt to help Traditional jewellery retailers further boost their sales through online retailing.
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Galanin, Sergey I., and Kirill N. Kolupaev. "TITANIUM IN JEWELLERY AND COSTUME JEWELLERY." Technologies & Quality 55, no. 1 (April 20, 2022): 59–64. http://dx.doi.org/10.34216/2587-6147-2022-1-55-59-64.

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The article deals with the peculiarities of the use of titanium in jewellery and costume jewellery. It is shown, under what conditions products, where titanium is used, are jewellery, and under what conditions, costume jewellery. Advantages and disadvantages of titanium jewellery and peculiarities of its design, production and operation are considered. It is shown that for several years leading jewellery brands have been successfully using titanium for production of advanced collections. Some examples are given. Contemporary Russian jewellers also keep up with the leading jewellery brands, demonstrating pieces made of titanium of advanced design. It is shown that though fashion for titanium products is not widespread, but unique items of titanium jewellery are more often gaining their admirers.
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G, Indhumathi, and Devika R. "A study on work life of goldsmith after the influence of modern technology in jewel making with the special reference to coimbatore city." Journal of Management and Science 9, no. 4 (December 30, 2019): 216–21. http://dx.doi.org/10.26524/jms.2019.27.

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Coimbatore is one of the major gold jewellery manufacturing hubs in India, renowned for making cast jewellery and machine made jewellery. The city is home to about 3000 jewellery manufacturing companies and to over 40,000 goldsmiths. With the highly skilled traditional gold-smiths being available at hand, a strong jewellery manufacturing base evolved to cater to the large purchasing power and habit of buying jewellery in this region. Jewellry manufacture was also fuelled by the newly enriched Keralites through gulf employment in the last 30 years.
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Galanin, Sergey I., Irina V. Rybakova, and Kirill N. Kolupaev. "PECULIARITIES OF RUSSIAN JEWELLERY BRANDS." Technologies & Quality 61, no. 3 (December 20, 2023): 34–43. http://dx.doi.org/10.34216/2587-6147-2023-3-61-34-43.

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The article presents the results of analysis of peculiarities of Russian jewellery brands. The neces- sity of their creation is connected with the possibility of recovery of Russian jewellery industry from the lingering crisis. The most famous jewellery brands and their classification are considered. Some illustrative examples of brand jewelry are given. It is shown that Russian jewellery brands are mainly of the “Genius jeweller” or “Name brand” types. It is pointed out the main differences between Russian jewellery brands and the most famous foreign ones. Stylistic, design and material science features of the most famous Russian jewellery brands are discussed. It is noted that quite a limited number of jewellery brands and trademarks work in the hot enamel technique in modern Russia.
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Rybakova, Irina V., and Sergey I. Galanin. "DESIGN AND TECHNOLOGY IN ENAMELS BY ILGIZ FAZULZYANOV." Technologies & Quality 56, no. 2 (August 25, 2022): 58–64. http://dx.doi.org/10.34216/2587-6147-2022-2-56-58-64.

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he article deals with the design and technological features of making jewellery using hot enameling technology by Ilgiz Fazulzyanov, one of the leading Russian enameller jewellers. A retrospective of the Master's jewellery pieces showed that complex design tasks require painstaking and very labour-intensive work to solve complex technological problems associated with creating complex three-dimensional jewellery models and laying stained glass enamels on complex precious metal bases that are not visible to the public. Original solutions to these problems allowed Ilgiz Fazulzyanov to lay the foundation for creating his own jewellery brand.
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Lipczik, Agata. "Striving for modernity: The jewellery making in The Second Polish Republic (1918–1939)." TECHNE. Seria Nowa, no. 7 (June 30, 2021): 119–33. http://dx.doi.org/10.18778/2084-851x.11.07.

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The article attempts to describe the condition of jewellery making in interwar Poland and to indicate the major problems hampering its development. While discussing the jewellery exhibition at the Polish General Exhibition in 1929, the main trends in the commercial vein, as well as the most important representatives of the industry were indicated. Attention was also paid to the jewellers, whose works might be an example of the search for the Polish Art Déco style. Based on the content published in the domestic trade press, which was the main communication platform for the craftsmen and merchants in Poland, the influence of the world’s leading French industry was highlighted. It was noted that even though the jewellers in Poland faced many difficulties throughout the interwar period, they tried to learn from the experiences of their colleagues from Paris. This applied to issues related to the design and manufacturing of jewellery as well as running businesses. As one of the first devoted to the topic, the paper may serve as reference for further research related to jewellery making in the 1920s and 30s, not merely in Poland, but also in East-Central Europe.
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J, Subha, Sujitha S, and Subalakshmi K. "A Novel Online Approach for Jazzy Jewels." International Journal on Cybernetics & Informatics 10, no. 2 (May 31, 2021): 203–9. http://dx.doi.org/10.5121/ijci.2021.100222.

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The objective of this software is to enable a Jeweller manage all their business workflow through an automated software system which brings more efficiency to their business and interactive/transparency to the user. It also provides automated tools that can be used for Online purchasing and order. Jewellery Automated System can be user friendly between the Jewellery shops and their clients
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Pereira, Beulah, Kevin Teah, Billy Sung, and Min Teah. "Building blocks of the luxury jewellery industry: conversations with a CEO." Asia Pacific Journal of Marketing and Logistics 31, no. 4 (September 9, 2019): 817–29. http://dx.doi.org/10.1108/apjml-10-2018-0415.

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Purpose The purpose of this paper is to conduct an in-depth interview with the Chief Executive Officer (CEO) of Larry Jewelry, a luxury jeweller with boutiques in Hong Kong and Singapore. Given the ever-evolving luxury jewellery market in South East Asia, it is paramount to understand the success factors of the luxury jewellery sector. Design/methodology/approach An in-depth interview approach is used to understand the antecedents of the success of the luxury jewellery sector. Specifically, this paper presents a complex business model of Larry Jewelry and an in-depth interview with the CEO of Larry Jewelry for current insights in the sector. Findings This paper highlights the history of Larry Jewelry, its product segments and the key elements of its business blueprint. Specifically, the success of Larry Jewelry is attributed to its business model and strong branding on quality, craftsmanship, rarity, human interaction and trust. Originality/value Despite the substantial growth in the luxury jewellery sector, there is relatively little research on the success factors of this industry, especially in South East Asia. The current research provides practical insights into business blueprint of a successful luxury jeweller in Hong Kong and Singapore.
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Dissertations / Theses on the topic "Jewellery"

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Gimeno, Carolina. "Performing Jewellery : Jewellery, decoration, gender and performance." Thesis, Konstfack, Ädellab/Metallformgivning, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-4660.

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This essay is about the act of wearing contemporary jewellery has as a way of communication between human beings. I investigate the act of decorating the body as an important and basic human need.  This essay investigates the relationship between gender, feminine culture, and decoration within the Western world, thinking of jewellery as a socialisation method and not as a consequence of natural differences between sexes. This investigation presents a brief historical review of the role that jewellery has been playing in the relations between the genders and the changes it has undergone in terms of cultural process over the last centuries. I introduce to the reader the idea of performing jewellery with the aim of to highlight the relevance that decoration on the body has as a way to construct our identity.  The post-structuralist theories about gender and identity made by the feminist philosopher Judith Butler (Gender Trouble 1990, Undoing Gender 2004), and some philosophical perspectives on material culture, are used to support my investigation, to postulate that jewellery pieces can be viewed or understood  us as ‘queer apparatus’… As a way to explore and experience  jewellery as a ‘queer apparatus’, I have chosen few examples of contemporary jewellery.
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Raha, Sylvia. "Corporate entry into the jewellery business and its socio-economic impact on the life of the traditional swarnakars and jewellery traders in Siliguri." Thesis, University of North Bengal, 2020. http://ir.nbu.ac.in/handle/123456789/4339.

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Maclennan, Maria. "Forensic jewellery : a design-led approach to exploring jewellery in forensic human identification." Thesis, University of Dundee, 2018. https://discovery.dundee.ac.uk/en/studentTheses/58ace496-6d42-4ea1-966e-a89080e69d6f.

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Jewellery as a tool in the identification of the deceased is increasingly referenced within the scientific process of Forensic Human Identification (FHI). Jewellery’s prevalence in society, connection to both place and geographic region, potential to corroborate primary methods of identification (such as DNA, fingerprinting, or odontology), and robust physical form, means it progressively contributes to practices surrounding identification in a number of forensic fields. Physical marks or characteristics such as hallmarks or serial numbers, personal inscriptions or engravings, representational symbols (such as medals, badges of office, religious iconography or military insignia), and genealogical or gemmological markings, may also prove useful in informing investigators much about a piece - and potentially - the individual to whom it may have belonged. Despite this, jewellery is an approach to establishing human identity that has yet to be explicitly investigated from the perspective of either forensic science or jewellery design. The aim of this research has been to explore the potential of jewellery and highlight its significance within this context, through employing the processes and approaches of design. Informed by my own background in both jewellery and service design; I sought to co-design the interdisciplinary proposition of Forensic Jewellery as an extension of my own personal design practice, in addition to a broader hybrid methodology through which the dualistic perspective(s) of both forensic science and jewellery design may come to be mutually explored. By centring my methodology upon my practice, the research serves to document and reflect upon my auto-ethnographic experiences in inadvertently ‘prototyping’ my emergent new role as a Forensic Jeweller – a jewellery designer engaged within, or whose work pertains to, the field of forensic science. Through a range of forensic-based fieldwork, I sought to immerse myself within various communities of forensic practice by way of considering how a design practitioner may come to add value to this otherwise polarised field - a highly subjective and interpretive framework that has remained wholly unconsidered within forensic science. In simultaneously considering the impact of the perspective of forensics upon the broader field of jewellery design, I came to capture some of the otherwise restricted narratives of Forensic Jewellery emerging from the developing research context through a series of theoretically-informed design ‘reconstructions’: objects, concepts, and scenarios (representational, propositional, and metaphorical); educational material, and series of public engagement activities. The research thus culminates in a unique portfolio of practice – written, conceptual, and visual – with relevance to both forensic science and jewellery design history, theory, and practice. Original contributions to knowledge are demonstrated through the direct study of jewellery within real-world forensic settings through combined theory and practice, while the theoretical and conceptual debates surrounding identity, death, and the human body present within the field of jewellery design are simultaneously extended through the inclusion of forensics as a perspective. The research additionally demonstrates how the visual and tangible sensibilities of design can help to attend to otherwise challenging, emotional, or difficult subjects, capture and communicate tacit knowledge or anecdotal evidence, and ultimately contribute to the development of new and emergent research contexts.
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Yang, Xiaohui. "Relationships Between Jewellery and Body: Investigating Personal and Interpersonal Body Space with Jewellery." Thesis, Griffith University, 2019. http://hdl.handle.net/10072/385547.

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This paper outlines studio research developed in response to the question: How can jewellery be used to detect and interrupt both personal and interpersonal body space? I aim to promote dynamic responses from both the viewer and the potential wearer. I have created objects that deliberately fall between the defining borders of jewellery and sculpture and jewellery and installation art. My research focuses on the relationship between jewellery and body space. By drawing on the connection between objects and wearers, I have created visible, touchable, measurable, and expressible circumstances of sensory experience to prove that the body and object interaction and mutual shaping, is a two-way record. At the beginning of this research I was particularly concerned about how the objects I make would trigger cross-cultural understanding and awareness; however, it became apparent that cultural interest forms one part of a more extensive investigation of how the objects I make are activated by those who engage with their form and materials.
Thesis (Professional Doctorate)
Doctor of Visual Arts (DVA)
Queensland College of Art
Arts, Education and Law
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Cohn, Susan Art College of Fine Arts UNSW. "Recoding jewellery: identity, body, survival." Publisher:University of New South Wales. Art, 2009. http://handle.unsw.edu.au/1959.4/43809.

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RECODING JEWELLERY: identity, body, survival addresses a central problem facing contemporary jewellery practice: through the course of the Contemporary Jewellery Movement, the potential of the jewellery-object to mediate intricate social relationships has become constrained. This is in part due to a singular focus of ideas in the field, and in part due to the developmental trajectory of contemporary jewellery networks. Caught up in the art-craft debate, contemporary jewellery missed the potentials in theory for developing a critical voice. This was not helped by the fact that academic discourse (philosophical, social, sexual, political) has largely neglected the significances of jewellery. The aim in this thesis is to negotiate this mutual neglect - or 'double gap' - by finding connections between theory and jewellery in practice. Jewellery involves complex interactions between makers, objects, wearers and audiences within social networks. Possessing a distinct set of codes enlivened by its relationship to the body, jewellery is a way of thinking and connecting which is strongly embedded in the activities of managing identity that define cultures and epochs. In the process, the instinct for adornment becomes an integral means of survival. This thesis draws on modern and postmodern theory, as well as art and jewellery practices, to examine contemporary shifts in thinking about identity, the body and reproduction. Through the three main chapters of this thesis I endeavour to: (i) provide an informed interpretation of the internal and external pressures that have defined contemporary jewellery practice over time; (ii) introduce relevant examples of my own work, and seek ways to move beyond the limitations of my own practice; and (iii) advocate new ways of thinking about contemporary jewellery that might lead it to a different voice. Reflected in this approach are three fundamental influences to my practice: the Contemporary Jewellery Movement; non-jewellery practices such as art, architecture, street culture, technology and performance; and academic writing across a number of fields. The thesis concludes with a discussion of how these interests came together in a single show, Black Intentions. However, the span of work covered extends through my career in jewellery to provide a basis for future directions.
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Baines, Robert, and robert baines@rmit edu au. "The Reconstruction of Historical Jewellery and its Relevance as Contemporary Artefact." RMIT University. Art, 2006. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20070419.153736.

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The dating of ancient jewellery is given by the archaeological context. Technology applied by the ancient goldsmith is traceable through archaeometallurgy. The aim of this research is to analyse historical jewellery and to construct copies based on the known technology of the era. Resultant laboratory constructions with their historical correctness and the new knowledge of jewellery structures will then be available for reworking to convey a contemporary visual relevance and a statement of history. The results of these analyses and reconstructions will form the basis of metalwork objects in which contemporary aesthetics are informed by historical practice. Jewellery offers a view into history, of cultural descriptions of stylistic, chemical and methodological correctness. For diagnostic purposes there is the expectation of an archaeological correctness within the fabric and manufacture of the jewellery object. From the vantage point of a contemporary goldsmith, t his has provided me with an arena for artistic interpretation-for 'play'. Historical jewellery becomes contemporary jewellery forms and the 'play' functions as a stumbling block and an upheaval within orthodox classification of authenticity. There is in this disturbance an intervention with coontemporary ephemeral materials into the jewellery artefact in which I manufacture a semblance of an identified 'correctness'. Jewellery remains in a better state of preservation when hidden or concealed-not exposed. The jewellery object once surfaced, discovered, excavated or plundered or even worn becomes part of our time for reworking. Knowledge and applications of technology become the vehicle for scrutinizing these objects. We live in an era where the ancient and the recent, the authentic and the bogus, have begun to mingle and interbreed in the corridors of hyperspace. Television stages Xena the Warrior Princess encountering the young Buddha in the entourage of King Arthur. Fakes with historical associations can s ometimes be considered authentic as a shroud of 'history' can encompass the object to the satisfaction of the naive connoisseur who wants to believe, wants to believe, wants to believe, wants to believe ... . Jewellery as document is available for interpretation-for'play'. There is potential to return to an imaginary history where ffictional detail has been confused with historic fact and this can be both intentional and unintentional. Jewellery of the past therefore exists in the present and the jewellery artefact becomes available for evaluation and for 'play'. In the analysing and categorizing of type, jewellery as vehicle conveying the past can become a mixture of one's own inventions and cultural inheritance. From the vantage point of a goldsmith, I am considering how formulated heritage is available for reference, questioning and modification. The option to copy, to replicate, or to modify the historic document jewellery is a possibility and new input can verify authenticity or engender falsehood throu gh the artistic reinterpretation.
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Huusko, Källman Rebecka. "Social participation in contemporary art jewellery : An investigation of contemporary art jewellery’s ability to discuss complex questions within western society." Thesis, Konstfack, Ädellab/Metallformgivning, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-4666.

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On the base of cultural norms, it seems that it is commonly accepted that one animal is considered 'friend', while the other 'food'. Even though people's opinion may differ in regards to the world's largest animal rights organization PETA (People for the Ethical Treatment of Animal) (Kulkarni, 2009), the organization asks a relevant question: “ If your cat tasted like chicken would you eat her?” As I work within the contemporary art jewellery field, it is through the body, jewellery, and the conscious act of wearing it, that I would like to encourage consumers to reflect on their personal meat consumption and to connect the packaged meat to the animal it comes from: what is it that we are eating? Where does it come from? Through this essay and my work/practice, I aim to critically reflect on the different existing values between animals in our society and to inspire more conscious and well informed decisions concerning meat. This essay is a research project prior to my practical exam work at the Jewellery + Corpus Master program at Konstfack and will serve as a basis for my artistic exam work. Against this background, I look at relevant literature and case studies representative of the field of contemporary art jewellery, in order to research/address the following question in this essay: -          Is it possible to discuss complex questions within society though the media of contemporary art jewellery?  Within the field, opinions differ between art historians as well as makers; it seems that the framework of contemporary art jewellery provides the medium, on one side, with great potential to speak of issues within society, although, on the other side, the same frame work commonly hinders the medium’s ability to reach out to the general public, in order to generate a wider discussion.
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Armano, Giulia <1996&gt. "Luxury Jewellery in the Chinese Digital Age. Online strategies for selling high-end jewellery in the Chinese market." Master's Degree Thesis, Università Ca' Foscari Venezia, 2020. http://hdl.handle.net/10579/18202.

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The present thesis provides an in-depth analysis of the current state of luxury jewellery industry in China and the impact that the recent digital revolution inevitably had on this sector. A particular attention is devoted to the exploration of the possible digital marketing strategies that international well-renowned jewellery brands can apply when they seek to expand in the vast and culturally diversified market of China. Divided into four main chapters, the study begins with a 360-degree overview of the luxury system; analyzing its multidimensional nature from an etymological, commodity, economic, cultural, customer and market’s point of view. After a general and global outlook of the sector, the analysis shifts on the regional characteristics and cultural perceptions of luxury in the Chinese market, the world's leading consumer of luxury goods and the reference of this thesis. The second part is entirely dedicated to China’s gem and jewellery market. After a preliminary investigation on the relationship between jewellery and luxury products, it provides a detailed description of the evolution path, market sizing and segmentation (gold, platinum, diamond, silver and colored gemstones) as well as the current and future growth drivers. The most highly regarded domestic and global jewellery players operating in the Chinese luxury market are also presented. This section ends delving into the profile of the Chinese jewellery consumers and their purchase behaviors. Then, the study goes on investigating how luxury jewellery brands can navigate China's complex digital landscape to reach potential and existing consumers. As result, an exhaustive guide of various digital marketing initiatives that jewellery brands can adopt in order to excel in the Chinese digital domain is provided. The following digital marketing techniques comprise: the creation of a Chinese official website, SEO and SEM techniques on Baidu, jewellery sales on both generalist and vertical e-commerce platforms (Tmall with its Luxury Pavilion subsection, JD.com, Kaola, Secoo and 5lux.com), social media marketing (WeChat, Weibo and a mention to Little Red Book), storytelling, advertising and influencer marketing practises. The last part of the research presents multiple case studies about ad hoc digital marketing campaigns carried out by four international jewellery brands –– Tiffany, Chopard, Cartier and Piaget –– during two of the most important festivities in the Chinese culture: China’s Lunar New Year and Valentine's Day (Qixi Festival). In particular, their online cross-platform marketing activities on WeChat, Weibo and Tmall Luxury Pavilion are analysed in details. The thesis concludes with some final remarks and useful suggestions for successful management in terms of online marketing and commerce of the Chinese high-end jewellery market.
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Shaw, Elizabeth. "Recycled Narratives: Contemporary Jewellery - Material Culture - Praxis." Thesis, Griffith University, 2018. http://hdl.handle.net/10072/376858.

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This exegesis outlines research undertaken in the studio in tandem with the study of theoretical texts along with analysis of work by contemporary artists and metalsmiths. My studio approach is framed within ethical approaches to use of material and sustainable practices in production. The use of non-precious materials in contemporary jewellery is well established as a method to critique preciousness and question value, as is the reuse and repair of component parts of existing jewellery part of a global recycle movement across many disciplines. The work created in this project aims to investigate a wider use of humble materials and broken or discarded consumer objects by investigating the potential for exploiting their symbolic power and functional possibilities through reimagining as well as repurposing as jewellery. In demonstrating that jewellery can offer a critical reflection on contemporary society this project aims to also reinvigorate the important role jewellery has played as a key conveyance at the intersection of materials, the symbolic order and social, economic and environmental values.
Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
Queensland College of Art
Arts, Education and Law
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Haydon, Kirsten, and kirsten haydon@rmit edu a. "Antarctic landscapes in the souvenir and jewellery." RMIT University. Art, 2009. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20090227.115157.

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Experience of Antarctica is unique and overwhelming and the phenomenon of the landscape and knowledge of its history continues to inspire artists and writers. Since Antarctica's discovery and exploration both before and during the Heroic Age; explorers, expeditioners, artists and writers have attempted to record and visualise Antarctica. In1982 international Antarctic programmes started to assist artists to travel to Antarctica with the intention of providing perceptive interpretations no longer attached to science or exploration. This practice-led research is the first project where a jeweller has explored and interpreted a personal experience of Antarctica to produce souvenir and jewellery objects. These objects reveal new interpretations of Antarctica that engage with the viewer through the recognisable personal jewellery and souvenir object. This research has produced new contemporary souvenir and jewellery objects by interpreting both personal photographs and re-examining the historic stories, photographs and representations of Antarctica. The bibliographic investigations of historical jewellery and souvenirs provided specific examples of historical personal mementos that are now displayed in museums. This research analyses the meaning of historical examples of souvenirs and jewellery and examines the way in which photography has been manipulated and used on hard media. Through this analysis and examination of historical examples the research focuses on studio-based experimentation with enamelling and contemporary technologies to establish the links enamelling has had with micromosaics and miniature painting. This practice-led research investigates new and innovative ways to interpret these historical techniques and draw on the notion of the souvenir. Thinking through the processes used in this research and retelling the personal experience of Antarctica, contemporary technologies are used to reimagine historical examples of tourist jewellery and personal souvenirs presenting a further understanding of Antarctica's significance both culturally and environmentally. The research not only provides an addition to the diverse range of interpretations of Antarctica it also explores the area of enamelling in contemporary jewellery and object making by contributing to the current revival of the tradition both locally and internationally. This research offers new experiences and knowledge through the investigation, experimentation, manufacture and installation of enamelled objects.
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Books on the topic "Jewellery"

1

SSSR, Gosudarstvennyi muzei etnografii narodov. Jewellery. Leningrad: Aurora, 1988.

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Canada, Industry Science and Technology Canada. Jewellery. Ottawa, Ont: Industry, Science and Technology Canada, 1991.

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Canada. Industry, Science and Technology Canada. Jewellery. Ottawa: Business Centre, Communications Branch, Industry, Science and Technology Canada, 1988.

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Publications, Key Note, ed. Jewellery. 5th ed. London: Key Note Publications, 1985.

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NotePublications, Key, ed. Jewellery. 7th ed. London: Key Note Publications, 1988.

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Publications, Key Note, ed. Jewellery. 6th ed. London: Key Note Publications, 1987.

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Janet, Swarbrick, ed. Jewellery. Royston: Eagle, 1996.

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Bennett, David. Understanding jewellery. Woodbridge: Antique Collectors' Club, 1989.

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Daniela, Mascetti, ed. Understanding jewellery. 2nd ed. Woodbridge: Antique Collectors' Club, 2003.

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Daniela, Mascetti, ed. Understanding jewellery. Woodbridge, Suffolk, England: Antique Collectors' Club, 1989.

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Book chapters on the topic "Jewellery"

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Hamilton, Caitlin. "Jewellery." In The Everyday Artefacts of World Politics, 36–47. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003122340-4.

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Kontou, Tatiana, Victoria Mills, and Kara Tennant. "Jewellery." In Victorian Material Culture, 263–77. London: Routledge, 2022. http://dx.doi.org/10.4324/9781315399980-82.

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Young, Alexis. "6. Jewellery." In Stymphalos, Volume One, edited by Gerald Schaus, 103–47. Toronto: University of Toronto Press, 2014. http://dx.doi.org/10.3138/9781442662292-010.

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Awais-Dean, Natasha. "Jewellery 1." In Early Modern Court Culture, 361–75. London: Routledge, 2021. http://dx.doi.org/10.4324/9780429277986-29.

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Edwards, Howell G. M., Peter Vandenabeele, and Philippe Colomban. "Jewellery and Gemstones." In Raman Spectroscopy in Cultural Heritage Preservation, 125–54. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-14379-3_7.

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Kontou, Tatiana, Victoria Mills, and Kara Tennant. "[Anon], ‘Living Jewellery.’." In Victorian Material Culture, 309. London: Routledge, 2022. http://dx.doi.org/10.4324/9781315399980-99.

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Gainsbury, P. E. "Jewellery Investment Casting." In Investment Casting, 408–40. London: CRC Press, 2023. http://dx.doi.org/10.1201/9781003419228-15.

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Kontou, Tatiana, Victoria Mills, and Kara Tennant. "Image: ‘Novelties in Jewellery.’." In Victorian Material Culture, 259. London: Routledge, 2022. http://dx.doi.org/10.4324/9781315399980-79.

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Raha, Sylvia. "Gold Jewellery Industry in India." In Indian Gold Jewellery Industry, 34–48. London: Routledge, 2024. http://dx.doi.org/10.4324/9781032717951-3.

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Raha, Sylvia. "Indian Culture and Consumption of Gold Jewellery." In Indian Gold Jewellery Industry, 49–73. London: Routledge, 2024. http://dx.doi.org/10.4324/9781032717951-4.

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Conference papers on the topic "Jewellery"

1

Versteeg, Maarten, Elise van den Hoven, and Caroline Hummels. "Interactive Jewellery." In TEI '16: Tenth International Conference on Tangible, Embedded, and Embodied Interaction. New York, NY, USA: ACM, 2016. http://dx.doi.org/10.1145/2839462.2839504.

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Muda, Muhammad Shafiq, Nur Syafinaz Mohd Anuar, Mohd Zamani Daud, Mohd Faiz Jalaludin, and Rohazlyn Rosly. "Electronic Jewellery: The Coalescing of Electronic Devices and Contemporary Jewellery." In Proceedings of the 2nd International Conference on Design Industries & Creative Culture, DESIGN DECODED 2021, 24-25 August 2021, Kedah, Malaysia. EAI, 2022. http://dx.doi.org/10.4108/eai.24-8-2021.2315268.

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Tanderup, Sisse. "From memory to jewellery - perspectives on memory in Italian and Danish jewellery design." In 9th Conference of the International Committee for Design History and Design Studies. São Paulo: Editora Edgard Blücher, 2014. http://dx.doi.org/10.5151/despro-icdhs2014-0029.

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Berdichevskiy, Evsey. "PRINCIPLES OF INNOVATIVE DESIGN JEWELLERY." In SGEM 2014 Scientific SubConference on ARTS, PERFORMING ARTS, ARCHITECTURE AND DESIGN. Stef92 Technology, 2014. http://dx.doi.org/10.5593/sgemsocial2014/b41/s15.107.

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Niemantsverdriet, Karin, and Maarten Versteeg. "Interactive Jewellery as Memory Cue." In TEI '16: Tenth International Conference on Tangible, Embedded, and Embodied Interaction. New York, NY, USA: ACM, 2016. http://dx.doi.org/10.1145/2839462.2856524.

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Fortmann, Jutta, Wilko Heuten, and Susanne Boll. "User requirements for digital jewellery." In British HCI 2015: 2015 British Human Computer Interaction Conference. New York, NY, USA: ACM, 2015. http://dx.doi.org/10.1145/2783446.2783573.

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Koulidou, Nantia, and Robb Mitchell. "Art Digital Jewellery: Practitioners’ Perspectives." In TEI '21: Fifteenth International Conference on Tangible, Embedded, and Embodied Interaction. New York, NY, USA: ACM, 2021. http://dx.doi.org/10.1145/3430524.3440648.

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Ferreira, Telma, Henrique A. Almeida, Paulo J. Bártolo, and Ian Campbell. "Additive Manufacturing in Jewellery Design." In ASME 2012 11th Biennial Conference on Engineering Systems Design and Analysis. American Society of Mechanical Engineers, 2012. http://dx.doi.org/10.1115/esda2012-82789.

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Additive manufacturing has become a well-known and widely used process among engineers and designers within the past decade to respond to high levels of market demand and product complexity. The jewellery industry still works essentially on traditional fabrication methods to much time consuming and in some cases lacking efficiency compared to the quality of the end product. The inclusion of new technologies can be a solution to overcome these issues. Additive fabrication enables the fabrication of new products and geometries reducing manufacturing time, energy and labor costs. This paper discusses the advantages and disadvantages of traditional manufacturing processes, such as Investment Casting, and proposes a new production method based on the use of advanced modeling and additive manufacturing. Three additive manufacturing technologies were used, such as selective laser sintering, stereolithography and 3D printing. A computational application for jewellery design is also presented to help manufactures and customers to fabricate novel jewellery pieces. This tool is based on a customization concept, which has been of increasing interest during recent years.
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Ding, Kunning. "From E-waste to Jewellery: creating emotionally durable jewellery with the metal recovered from electronic waste." In IASDR 2023: Life-Changing Design. Design Research Society, 2023. http://dx.doi.org/10.21606/iasdr.2023.634.

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Li, Pingfei. "Poetic Aesthetics in Chinese Contemporary Jewellery Design." In 7th International Conference on Arts, Design and Contemporary Education (ICADCE 2021). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210813.098.

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