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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Perfilieva, I. Yu. "Architectural Motifs in Jewellery Art of the 20th — the First Quarter of the 21st Century." Art & Culture Studies, no. 4 (December 2023): 310–43. http://dx.doi.org/10.51678/2226-0072-2023-4-310-343.
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Throughout the history of jewellery, craftspeople have appealed to architectural motifs in the composition of church utensils or jewellery. In different historical periods, this process developed in accordance with the aesthetic requirements of the time, the peculiarities of the artistic and stylistic development of art in general and jewellery in particular. As a result, a number of certain artistic techniques have been formed; they were used by masters in past eras and are used by modern artists and jewellers, as well as architects and designers working in this field of decorative art. This article is devoted to the analysis of the formation and development of these artistic and stylistic techniques at the present stage. This topic has not yet been adequately reflected in scientific literature. The research problem is only mentioned in general works of foreign and Russian researchers on various historical periods (to a greater or lesser extent). Most interest in the topic is shown by bloggers who popularize certain brands or master jewellers in various electronic resources. In the first quarter of the 21st century, the appeal to architectural motifs as a key element of artistic, figurative, and compositional solutions in jewellery became very widespread both in the luxury segment and in the author’s jewellery art. This article is the first experience of art criticism research on this artistic and stylistic phenomenon. The research uses descriptive, formal, stylistic, and comparative methods. As a result, the author of the article identifies and formulates the main methods of using architectural motifs in the compositional, artistic, and figurative solutions in works of modern author’s jewellery art.
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Galanin, Sergey I., and Artem A. Romanov. "NON-TRADITIONAL AND NON-STANDARD MATERIALSIN JEWELLERY: HISTORY AND MODERNITY." Technologies & Quality 63, no. 1 (June 28, 2024): 45–51. http://dx.doi.org/10.34216/2587-6147-2024-1-63-45-51.
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The article presents the results of the analysis of historical and contemporary use of non-traditional and non-standard materials in jewellery. The differences between jewellery and costume jewellery – the view of jewellers and lawmakers on these differences – are considered. Classification of materials by their application and genesis is presented. Distinctions of non-traditional materials from non-standard materials, peculiarities of their use and great variety are considered. It is shown that the use of non-standard materials is largely due to following the trends of “modern” art and the desire to shock or scandalise the public, that all non-traditional materials used to be traditionalin the past, except for new ones synthesised as a result of scientific and technological development.
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Baah, Owusu Panin Kwame, Dickson Adom, Awuni Samuel, Ama Fening Peggy, and Nicholas Addo Tetteh. "Preserving the Asante cultural craft of traditional goldplating: Lessons from Asante goldsmiths." Journal of African Art Education 3, no. 2 (September 13, 2023): 1–20. http://dx.doi.org/10.59739/jaae.v3i2.082301.
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Various techniques are used by jewellers in Ghana in depositing a film of gold on surfaces of jewellery items. Although traditional goldplating has and continues to chalk a high level of excellence in jewellery making in Ghana, little documentation has been done on it. While traditional goldplating has been practiced for decades in Ghana, the introduction of electroplating into jewellery in Ghana is downplaying its relevance. Therefore, the purpose of the study was to find out how indigenous Asante goldplating technique is done in Ghana. The study adopted the use of an art-based research design under the qualitative research approach where personal interviews, photographs, and participatory observation were used for collecting qualitative data from 19 purposively sampled Asante’s goldsmiths at Manhyia and Ayeduase in Kumasi, Ghana using expert sampling. The findings of the study have shown that traditional gold plating is an aesthetically pleasing, low cost and efficient technique used by the Asante goldsmiths that has not lost its worth. The study contends that skills and knowledge in traditional goldplating should be passed on from goldsmiths to jewellers and other apprentices who are interested in learning the craft. This would help preserve and promote this rich cultural craft for posterity
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UR, Hareesh Kumar. "Product Involvement and Consumer Knowledge – A study with Special Reference to Branded Jewellery Consumers in Trivandrum District." Commerce & Business Researcher 14, no. 1 (June 30, 2021): 69–78. http://dx.doi.org/10.59640/cbr.v14i1.69-78.
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Today, the jewellery market has become a broad industry that consists of branded, non–branded, and online retailers. Branded jewellery can be considered a luxury and specialty good because a special purchasing effort is required. This paper examines consumer attitudes on the importance of knowledgeable purchase and the significance of product involvement in purchasing jewellery from branded retailers. To answer the questions of this research, a total of 100 consumers of Joy alukkas and Bhima Jewellers were selected using the quota sampling method. Descriptive statistics and Man-Whitney u test were used for this study. Consumer attitude was studied using consumer knowledge, and involvement was studied using product involvement. The research results demonstrate that the product involvement level among the consumers is very high. The consumers pay high importance towards knowledgeable purchasing so that they go through detailed information processing before purchasing. The study suggests that product attributes and precise information processing significantly influence consumers’ purchasing process.
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Lebedeva, Tatiana V., Sergey I. Galanin, Olga A. Troshina, and Stepan N. Ershov. "RESEARCH OF ENGRAVING OF VARIOUS METALS AND ALLOYS, USED IN JEWELLERY PRODUCTION." Technologies & Quality 55, no. 1 (April 20, 2022): 40–47. http://dx.doi.org/10.34216/2587-6147-2022-1-55-40-47.
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The paper investigates the possibilities of engraving various metals and alloys used in jewellery production. The engraving of the samples was carried out in a glossy technique using mechanised processing on an engraving pneumatic system. As a result of the conducted experiments, the relationship between the quality of the engraved surface and the hardness and plasticity of materials is demonstrated. Conclusions and recommendations on the choice of optimal materials for engraving and adaptation of equipment modes for performing engraving work on various metals and alloys are formulated. These recommendations will be of interest to various specialists of jewellery production – jewellers, engravers, craftspeople working on en-graving pneumatic systems.
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Baraj, G. "Jewellery." Journal of King Abdulaziz University-Educational Sciences 2, no. 1 (1989): 151–68. http://dx.doi.org/10.4197/edu.2-1.12.
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Hejzlarová, Tereza. "Uzbek Head Ornaments from the Collection of the Náprstek Museum." Annals of the Náprstek Museum 39, no. 2 (November 1, 2018): 5–18. http://dx.doi.org/10.1515/anpm-2018-0010.
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Abstract Jewellery occupied an important place in the various life stages of Central Asian women. Individual jewels that formed sets depending on which parts of the body they were worn on had in a steady form and a particular meaning in the past. Most of the items of jewellery were designed to decorate the upper half of the body, and among the most numerous sets there was a set of head ornaments. These were mainly various types of diadems, paired and individual pendants that were attached to the headdress or to the hair and, last but not least, earrings of various shapes and sizes. The collections of the Náprstek Museum of Asian, African and American Cultures feature a set of head ornaments from Uzbekistan dating back to the late 19th and early 20th century when the jeweller’s creations of the region were still of high quality. The set is represented by jewellery of three local styles – Samarkand, Bukhara and Tashkent.
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Węgorowska, Katarzyna. "Kilka językowo-kulturologicznych uwag o perłach współtworzących sztuczną biżuterię." Białostockie Archiwum Językowe, no. 23 (2023): 257–84. http://dx.doi.org/10.15290/baj.2023.23.15.
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A phenomenon of organic stones, today regarded as precious stones, namely pearls, is the fact that they have never gone out of fashion. Their enduring popularity has been exploited by the creators of artificial jewellery, which – like real pearls and their imitations – has accompanied humans since ancient times. The subject of this article is comments on the names of pearls and terms associated with pearls incorporated into “secondary jewels”. In the Polish language one- and multi-word names have been preserved, among others for: a) different types of these (less frequently used) natural stones and their (more frequently used) artificial counterparts, b) morphic pearls, c) chromatic qualities of pearls, d) the quantity and quality of stones used, e) the type of framing of both organic and artificial stones, f) metal studded with pearls, g) the complementary properties of artificial and natural pearls, h) names that reflect the diversity of “secondary” jewellery “pearl” designations and details that co-create them. These names are further complemented by professional jewellers’ terms related to pearls that enrich these artificial items of value. All the linguistic testimony or “linguistic data” presented in this proposal allows for the redefinition, verification, complementation, modification and thus expansion of the concept of artificial jewellery.
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Lipczik, Agata. "Od imitacji do kreacji. Biżuteria sztuczna w 1 poł. XX wieku." Załącznik Kulturoznawczy, no. 6 (2019): 247–62. http://dx.doi.org/10.21697/zk.2019.6.12.
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The article discusses the production of costume jewellery in the first half of the 20th century. During this period, the jewellery made of less expensive materials has undergone a revolution in terms of its function. In the 20th century, the adornments ceased to be only imitations of precious gems and gradually gained their own identity. Promoted by Coco Chanel and, later on, by other French fashion designers, costume jewellery has become an independent genre of body ornament. Due to its lower production costs, Agata Lipczik designers could experiment with various materials, giving free rein to artistic imagination. Costume jewellery was often designed by artists previously professionally associated with leading jewellery houses offering traditional jewellery. At the same time, the artists who later on worked in well-known jewellery companies, had been collecting their first experiences by designing costume jewellery. The two jewellery worlds constantly influenced each other, provoking themselves to develop. This trend was particularly noticeable in the USA where the production of costume jewellery has been a very important industry since the beginning of the 20th century
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Bairsto, Rachel. "Mourning jewellery." British Dental Journal 231, no. 5 (September 2021): 276. http://dx.doi.org/10.1038/s41415-021-3464-3.
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Hejzlarová, Tereza, Libor Dušek, Ján Vančo, Michal Čajan, and Zdeněk Trávníček. "Kuchi Jewellery." Annals of the Náprstek Museum 40, no. 2 (November 1, 2019): 27–48. http://dx.doi.org/10.2478/anpm-2019-0013.
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Abstract This article focuses on jewellery made by the Kuchi people, which is still one of the marginalized topics. It presents the best-known types of Kuchi jewellery, the way it is worn, the most commonly used materials for its production and the most utilized jewellery techniques. With respect to the date of origin, the focus is mainly on the second half of the 20th century, but also on the present, with regard to the growing trade in these types of jewellery. For a more comprehensive illustration of design, material and jewellery techniques, a collection of jewellery from the 20th century and the present from the collections of the Náprstek Museum in Prague and a private collection was examined. The X-ray fluorescence (XRF) spectroscopy was used to find out the elemental composition of the materials used in the making of the jewellery.
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Walton, Chris. "Jewellery Production." Interdisciplinary Science Reviews 17, no. 3 (September 1992): 281–90. http://dx.doi.org/10.1179/030801892791925510.
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Reddy, M. B. "Teeth jewellery." Anaesthesia 58, no. 4 (March 18, 2003): 401–2. http://dx.doi.org/10.1046/j.1365-2044.2003.03095_26.x.
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Anderson, Katharine. "Coral Jewellery." Victorian Review 34, no. 1 (2008): 47–52. http://dx.doi.org/10.1353/vcr.2008.0008.
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KOBETS, Dmytro. "FEATURES OF MARKETING STRATEGY IN THE JEWELLERY INDUSTRY." HERALD OF KHMELNYTSKYI NATIONAL UNIVERSITY 300, no. 6 Part 2 (December 2021): 118–23. http://dx.doi.org/10.31891/2307-5740-2021-300-6/2-19.
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The way to stay on the market and increase sales results is to use the potential of modern marketing strategies. The article discusses the essence of the concept of marketing strategy as an element of competition in the jewellery market. In recent years, the owners of jewellery enterprises have increased the number of their franchise shops and new brands have appeared. There has been a qualitative change in the retail jewellery market, which in turn has influenced the marketing strategies of both the jewellery giants and small producers. The challenges facing the jewellery industry as a result of the COVID-19 pandemic and the changes in marketing strategy that have occurred as a result were analyzed. Players in the jewellery industry can not just do business as usual and expect to grow their profits; they must be vigilant and respond to important trends and events, otherwise they risk remaining behind more flexible competitors. The marketing strategies are analyzed. The emphasis and complexity in promotion shift from traditional channels to new ones – mainly the Internet and its advertising opportunities. Particular attention is paid to the 4C strategy, which in the opinion of the author is most suitable for jewellery industry. In the jewellery industry, the customer’s opinion is the most important. Most jewellery products are bought by an individual client, and its solutions depend mainly on elements that make up the entire 4C marketing. The peculiarities of the behavior of the buyer in choosing jewellery products are investigated: what needs satisfy the buyer, when looking for jewellery; what is most often required by the client when choosing jewellery; convenience of purchase. The national and world-class brands, their special positioning on the jewellery market are considered. It is clear that in the past the main growth of brand jewellery was due to the expansion of well-known jewellery brands and the emergence of new participants. The upcoming growth of brand jewellery is likely to come from players, who do not belong to jewellery manufacturers but who work in related categories such as elite clothing or leather products.
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Yan, Siyu. "Exploring the muti-dimensional characteristic artistic expression of jewellery function under the contemporary aesthetic background." SHS Web of Conferences 158 (2023): 01003. http://dx.doi.org/10.1051/shsconf/202315801003.
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From the aesthetic point of view, the function of contemporary art jewellery is a muti-dimensional form of expression, which goes beyond the definition of traditional jewellery and is displayed through visual, auditory, tactile sense and other artistic forms. As an intuitive art symbol, the paper conveys the attitude of contemporary art jewellery from the aspects of emotion, attitude, national culture, etc., and expounds the manifestations of the diversified functional characteristics of contemporary art jewellery, aiming to explore the multi-dimensional manifestations of contemporary art jewellery under the aesthetic background, and explore the diversified material forms of art jewellery. It provides more theoretical reference for contemporary art jewellery design and injects new inspiration.
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Kryzhanovskyi, Viacheslav. "Jewellery Focuses of Kyiv Dytynets." Archaeology, no. 4 (December 14, 2020): 90–104. http://dx.doi.org/10.15407/archaeologyua2020.04.090.
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Dytynets of ancient Kyiv is an inner fortified part within the “city of Volodymyr”, with a total area of 10—12 hectares. At different times, its territory has been explored by many archaeologists. During the period from 1907 to 2013, 22 archaeological objects were discovered and researched on the territory of the Kyiv Dytynets, as well as separate buildings, furnaces and various finds from ancient Rus’ cultural strata related to jewellery. All of them were located within the “city of Volodymyr” and were recorded at the sites of 10 excavations, namely: five objects were located at the address — Volodymyrska st., 2 (territory of the National Museum of History of Ukraine); two — on Volodymyrska st., 7—9; one — on Desiatynna st., 2; eight — on Velyka Zhytomyrska st., 2; four — on Volodymyrska st., 8; two — on Desiatynna st., 3—A—B, 5—D. According to their chronology, these objects are dated by the XI — first half of the XIII c. After analyzing the location of jewellery workshops, there can be identified at least two large focuses — the quarters of jewellers, where the masters lived and worked. The first (largest) was located along the even side of modern Volodymyrska st. and stretched from the northern slope of Starokyivska Mountain to Volodymyrska st., 8. From the west it was limited to Goncharnyi ravine, and from the east — the carriageway of Volodymyrska st. There were 11 jewellery production facilities on its territory. The total area of this quarter was about 3.5 hectares. This centre at different times could serve the Grand Ducal court with its palace complexes, work for the needs of the boyar nobility and clergy. The second was located between the streets: Volodymyrska (from the west) and Desiatynna (from the east). In the south, it was limited by the carriageway of Velyka Zhytomyrska st. There were 10 jewellery production facilities on its territory. The total area of this quarter was about 1.2 hectares. Most likely, this centre belonged to a greater extent to the estate of the Fedoriv monastery of the XII c. and served the princely court of Mstyslav Volodymyrovych, who built the monastery. Thus, since the XI c. on the territory of Kyiv Dytynets the jewellery manufacturing had been developing rapidly. Production workshops spread over an area of almost 5 hectares and existed until Kyiv devastation in 1240.
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Ba’ai, Nazirah Mohamad, Hanif Khairi, and Asliza bt Aris. "Investigating the Malay Traditional Jewellery: A Complementary Element in Malay Women's Costumes in Malaysia." International Journal of Global Optimization and Its Application 2, no. 3 (September 30, 2023): 154–64. http://dx.doi.org/10.56225/ijgoia.v2i3.258.
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This paper explores the significance of traditional Jewellery as a complementary element in Malay women's costumes in Malaysia. This study examines the factors associated with selecting Jewellery to complement Malay women's costumes. The approach of this study is qualitative, applying Malay aesthetic principles to understand how to design Jewellery in Malay culture. The study finds that traditional Jewellery serves multiple functions, including enhancing the wearer's beauty, expressing social status, and embodying cultural identity. The authors argue that the continued use of traditional Jewellery in Malay women's costumes reflects the enduring importance of cultural heritage and the value placed on maintaining traditional practices in contemporary Malaysian society. The authors found that traditional Jewellery serves multiple functions, including enhancing the wearer's beauty, expressing social status, and embodying cultural identity. The continued use of traditional Jewellery in Malay women's costumes reflects the enduring importance of cultural heritage and the value placed on maintaining traditional practices in contemporary Malaysian society. In conclusion, this study sheds light on the significance of traditional Jewellery in Malay women's costumes in Malaysia. It has provided a comprehensive analysis of the factors influencing the selection of Jewellery to complement Malay women's costumes. The study provides insights into contemporary Malaysia's complex interplay between tradition and modernity.
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ORIFJONOVA, Gulirano. "THE PLACE OF SURKHANDARYA JEWELRY IN THE ETHNO-CULTURAL CLOTHING COLLECTION." Art and Design: Social Science 02, no. 01 (February 1, 2022): 13–15. http://dx.doi.org/10.37547/ssa-v2-i1-5.
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This article analyzes the peculiarities of jewellery that complement the ethnocultural costumes of the Surkhandarya oasis. Jewellery is a form of material culture. The bright colours of nationalism, the beautiful Art of local masters developed under the influence of national traditions, the artistic ornaments in jewellery are reflected in the jewellery based on the unique centuries-old rules of each region. Like other regions of Uzbekistan, in the late XIX - early XX centuries, the Southern Surkhandarya oasis national jewellery was almost formed. It has been revealed that women's jewellery is worn according to their age and differs depending on the type. Each nation has its national jewel, and its emergence is based on scientific analysis of how peoples live and turn on the geographical environment.
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de Staël, Joséphine. "Training models in Parisian fine jewellery education." Craft Research 14, no. 1 (March 7, 2023): 9–30. http://dx.doi.org/10.1386/crre_00092_1.
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The Haute Ecole de Joaillerie (HEJ) is the oldest jewellery school in France and lies at the heart of the institution of Parisian fine jewellery. This article examines the use of training models at the HEJ for transmitting technical and spatial expertise, resulting in fine jewellery knowledge that is standardized, evaluated and differentiated on a national and local scale. It reveals how these models connect students with the historic roots of the jewellery industry in Paris, namely the pre-modern craft guilds of goldsmiths, and also with the jewellery houses of the Place Vendôme, which emerged in the nineteenth century and are today the defining feature of Parisian fine jewellery. It is argued that the training models act as a lynchpin, linking Parisian fine jewellery across and within generations. This article contributes to literature on the growth and evolution of Parisian craft and design industries that remain recognizably identifiable with the city and their history in the face of the incursion of global markets.
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Abisuga, Oluwayemisi Adebola, Kallie Doran, and Deon de Beer. "Study of Investment Casting Process For 3D Printed Jewellery Design." MATEC Web of Conferences 370 (2022): 04002. http://dx.doi.org/10.1051/matecconf/202237004002.
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Manufacturing processes are increasingly complex with the growing demands of advanced technology in the production processes, especially in the handicraft industry. The complex jewellery designs are complicated to be produced by hand, considering the international demand and dynamics in the jewellery industry. However, advanced production processes and 3D printers are changing the way jewellery designers and manufacturers work and making it easier to produce quality products with fewer production and labour input hours. This study examines the investment casting process of 3D printed design as an option for jewellery manufacturing. The research aims to access jewellery manufacturing processes and its technology application by using trending 3D printing as a rapid prototype. It used the design and production process of 'OneCent Africa' as a case study to describe the process in the investment casting of jewellery products. The investment casting was conducted by prototyping, and the lost wax jewellery casting stages using the vacuum casting machines and burnout oven, with the casting process monitored in parts. This research results led to a better understanding of the experimental casting outcomes and described the potential for the future technological development of jewellery businesses.
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Simakina, Polina V. "ART AND HISTORY OF BYZANTIUM IN THE WORK OF ARTIST-JEWELLER EDUARD NIKITIN." Scientific and analytical journal Burganov House. The space of culture 19, no. 2 (April 10, 2023): 70–79. http://dx.doi.org/10.36340/2071-6818-2023-19-2-70-79.
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The article is devoted to the work of Moscow artist Eduard Nikitin in the context of Byzantine decorative and applied heritage. Eduard Nikitin was born in Chelyabinsk and was educated as a sculptor. He worked as the chief artist at a factory for the production of art products in Chelyabinsk; afterwards, he became an independent jewellery artist. In modern author’s jewellery, the artist-jeweller rethinks the history of Byzantium, creates jewellery in the Art Deco style, basing on the impressions of Byzantine art. The author has always been attracted by the combination of the East and the West, common features and differences that can be expressed in jewellery plastic art. Eduard Nikitin had lived for two years in Finland and worked for Archbishop Johannes. He created a landmark work, The Fall of Constantinople, which is a rethinking of the fall of a great empire. It is worth paying attention to the set of a brooch and earrings, Evening in Byzantium, where the golden parts represent Hagia Sophia and the central blue topaz - the Bosphorus, as a connection between Europe and Asia. The combination of artistic images of monuments presents the organic syncretism of the entire outlined Asiatic region art. This region’s art was born in the regularity of society’s life and its spiritual culture on the basis of reality. The article compares samples of Byzantine art from museum collections with the works of Eduard Nikitin; the author’s views on his own jewellery work are given. In striving for the possible accuracy in the attribution of a work of art, one should not be confined to the era of its creation. Its content and form are often rooted in the distant past. As a result of a long and complex development, a “layered” semantic and artistic structure of the work appears. The fullness of this or that plot is revealed only in the “long time”, during which it is enriched with new meanings. Owing to the author’s interview, there is a synthesis of an artist and a researcher, which is valuable for the analysis of contemporary works. The features of Byzantine art are considered in the context of influence on contemporary artists; the features of the technology for creating jewellery as well as to what extent they are borrowed in modern times and replaced by new technologies are analysed. The main purpose of the article is to show the diversity of Russian contemporary art using the example of one artist.
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Zahid, Rida, Javeria Jaleel, Muhammad Awais Mehmood, and Qaiser Rashid Janjua. "Factors Influencing Purchase Intentions towards Fashion Jewellery: An Exploratory Study." Pakistan Journal of Humanities and Social Sciences 10, no. 1 (February 14, 2022): 135–48. http://dx.doi.org/10.52131/pjhss.2022.1001.0181.
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This research aimed to explore factors influencing purchase intention towards fashion jewellery in Pakistan. Due to the dearth of research in this domain, an inductive research approach based on qualitative research methodology was adopted. Data was collected through semi-structured in-depth interviews and netnography. In-depth interviews were conducted with 30 consumers of fashion jewellery in the twin cities of Pakistan (i.e. Islamabad and Rawalpindi). Netnography was based on an analysis of online reviews and blogs of fashion jewellery products. The findings of this research identified several products, brand, and customer/market factors that are believed to contribute positively towards purchase intentions towards fashion jewellery. Product-related factors include durability, level of differentiation, fashion innovativeness, fine finishing, and price promotions. Brand factors were based on brand reputation, available variety, perceived authenticity, and the online presence of brands. In terms of market dynamics, factors such as individualistic culture, increasing trend of purchase of fashion jewellery, and celebrity endorsements are playing their positive role towards positive purchase intentions of fashion jewellery products. The findings of this research have added to the missing literature regarding fashion jewellery in Pakistan. Further, it has provided insight into fashion jewellery brands regarding critical factors, which they can focus on to positively influence the purchase intention of potential buyers.
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Rachel Kuruvilla, Reshma, P. N. Harikumar, and Liza Alex. "A Study on the Implications of GST in Jewellery Business." Asian Journal of Managerial Science 7, no. 3 (November 5, 2018): 34–36. http://dx.doi.org/10.51983/ajms-2018.7.3.1346.
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GST is a tax reform implemented in the country after long years of debates and discussions. It has affected the citizens and the businesses in manifold ways. For the economy of the country, contributions of the gems and jewellery sector cannot be ignored because exports of gems and jewellery alone contribute around 7% of the GDP of the country. With the implementation of GST, price of the gems and jewellery might change affecting the business as a whole. Changes happening in the gems and jewellery sector due to implementation of GST on account of Exports, sales on approval basis, exhibition, transfer of old jewellery were discussed by the author.
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Ashra, Sunil. "Emerging Indian Industries: The Case of Gems & Jewellery Sector Impending Constraints and Future Prospects." Asia Pacific Business Review 1, no. 2 (July 2005): 129–39. http://dx.doi.org/10.1177/097324700500100213.
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In the Indian gems and jewellery industry, the cottage industry-based diamonds-processing and jewellery-making units compete with modern factories which use state-of-the-art machinery and computerized operations. The Indian gems and jewellery units have set up a worldwide network of offices in every hotspot on the diamond industry map. The phenomenal growth in gems and jewellery exports is a record among the large Indian export sectors. In fact, the gems and jewellery industry presents itself as a perfect case study for discussing how to build competitiveness of Indian industries. This sector has grown to become one of the leading export oriented industries in the country and contributes around 15–20 per cent of total merchandise exports (and 20–30% of manufactured exports). This sector recorded an export turnover of US$ 14 billion during calendar year 2004. Now even the Government of India perceives the gems & Jewellery sector as not only a potential and a large foreign exchange earner but also a thrust area for employment generation. The most important contributors in the industry have been Cut and Polished Diamonds; Coloured gemstones; and Gold Jewellery accounting for almost 95–97 percent of Gems and Jewellery exports of India. According to GJEPC, India accounts for 80–85 per cent of the world's CPD market in volume terms, 55–60 per cent in value terms and about 90 per cent in unit terms. This figure clearly indicates that India is likely to become a leading exporter of jewellery and gems both in manufacturing and trading. The industry has shown a very impressive growth and is moving in the right direction. India has been able to achieve a dominant position in diamonds and is emerging as the fastest growing jewellery sector in the world. The adequate support extended by the government in terms of pragmatic policies has helped significantly in helping India to be a global hub for gems and Jewellery both in manufacturing and trading. However, lot more has to happen for potential of this sector to be fully achieved.
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Барбалат, О. В. "ЗНАКОВА СИМВОЛІКА ФІТОМОРФНИХ ОРНАМЕНТІВ ВІЗАНТІЙСЬКОГО ЗОЛОТАРСТВА IV–IX СТОЛІТЬ." Art and Design, no. 2 (August 11, 2021): 63–74. http://dx.doi.org/10.30857/2617-0272.2021.2.6.
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Purpose of the research is to analyse of the peculiarities of the symbolic meaning and specific use of phytomorphic ornamentation in Byzantine goldsmithery of the IV–IX centuries. Methodology.The research is applied historical-cultural and art critic approaches combined with comparative and presentational methods. Results.The results of the research prove the relationship between Eastern and Greco-Roman traditions of using floral ornamentation in Byzantine jewellery in the IV–IX centuries is highlighted. The traditions and application of floral ornamentation in Byzantine jewellery of the indicated period are identified. The system of transformation of plant motifs into meaningful symbols of spiritual truth embedded in Christianity is analysed. The stylistics, symbolic meaning and artistic peculiarities of plant ornaments applied in jewellery of the above period are investigated on the example of outstanding jewellery items. Jewellery items decorated with floral ornaments from the early Byzantine and iconoclastic periods from renowned museum collections worldwide are examined. The peculiarities of the sign symbolism of phytomorphic ornaments in the Byzantine jewellery of the IV–IX centuries are identified. Artistic technologies and terminology of the Byzantine goldsmith's period are characterized and specified. Scientific novelty. The sign symbolism of phytomorphic ornaments in the Byzantine goldsmith's art of the IV–IX centuries was investigated in a comprehensive way. The causes for the use of phytomorphic ornaments in jewellery items of that time as elements specifying Christian images at certain stages of their canonical formation have been revealed. The article proves the importance of the use of the sign symbolism of phytomorphic ornaments in Byzantine jewellery for further qualitative formation and perfection of Christian traditions. Practical significance. The material of this research can be reflected in the writing of academic disciplines related to artistic technologies in jewellery. As a source of inspiration they can be applied in the process of creating new jewellery collections of Christian themes.
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Bermejo-Wenzel, Michael, and Andrea H. Schneider-Braunberger. "Geraubte Diamanten, Schmuck und Edelmetalle." Zeitschrift für Unternehmensgeschichte 66, no. 2 (September 1, 2021): 219–54. http://dx.doi.org/10.1515/zug-2021-0004.
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Abstract The essay explores the role of gemstone merchants, jewelers and goldsmiths in the expropriation of diamonds, jewellery and precious stones from the Jewish population of Germany as well as German-occupied countries in the Nazi era. Their participation along with the possibility for them to profit from these efforts will be highlighted, and it will be shown in how far there is proof for the involvement of specific persons. Due to their changeable nature, many of the stolen pieces of jewellery are nigh impossible to trace. For this reason, the essay narrows its focus on individual gemstone merchants, jewellers and goldsmiths to gain insight into their involvement in the robbery. Structures and regulations that were exploited to this end can be observed on an administrative level, in responsible administrative bodies and in the administration of occupied territories. In addition, implementation methods can also be reconstructed, i. e. which middlemen the National Socialists made use of within the circle of gemstone merchants, jewellers and goldsmiths. It shows that all three levels – trade, handicrafts, and sales – benefited from the robbery. On the one hand, jewellers and goldsmiths were used as henchmen for the procurement and evaluation of gemstones, on the other hand, some of these goldsmiths took advantage of the sales orders placed by the National Socialists and obtained the necessary gems and precious stones and metals via the established networks. A scheme in which all participants systematically benefited from the robbery of Jewish property can be identified. Within the framework of foreign currency supply, military raw diamond demand and satisfaction of the Nazi art needs, the participation in the robbery seems limited to an elitist group of gemstone merchants, jewellers and goldsmiths, who were also closely linked to the Nazi elite. In how far the remaining, much larger group of jewellers were actively involved in the robbery of Jewish property remains a question to be answered by further research.
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Wrześniak, Małgorzata. "Historia jednego motywu – rzecz o związkach biżuterii z architekturą." Załącznik Kulturoznawczy, no. 4 (2017): 221–49. http://dx.doi.org/10.21697/zk.2017.4.10.
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The hereby text is a short study on the relationship between architecture and jewellery. In the first part, it presents the history of occurrence of architectural forms in jewellery from antiquity to present day in the European culture. The second part delivers the examples of contemporary artefacts, particularly rings with microarchitecture. The analysis of the collected examples proves that architecture – its form, construction and detail − is a motive of decoration willingly used in jewellery design, often of a symbolic meaning related to the household or the temple (wedding rings, ritual rings). Nowadays, especially in the 21st century, microarchitecture in jewellery often emerges with reference to the place of origin, i.e. the famous building being, most frequently, the commemoration of a journey, able to bring back the memory of a visited city. The architectural jewellery, whose meanings and functions are the subject of the hereby study, has undergone many transformations throughout history. Even though it has transitioned from simple to complicated and decorative forms, from precious and rare to cheap and popular objects of mass production presenting the miniature replicas of buildings, the jewellery nearly always symbolises the city. Much less often the jewellery design occurs with reference to the metaphorical meanings of buildings as a representation of permanency (the tower in Alessandro Dari’s jewellery) or marital union (the house and the temple in Jewish rings).
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Wrześniak, Małgorzata. "The Story of One Theme – on the Relationship Between Jewellery and Archi." Załącznik Kulturoznawczy ENGLISH EDITION, no. 1 (2019): 379–404. http://dx.doi.org/10.21697/zk.2019ee.01.20.
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The hereby text is a short study on the relationship between architecture and jewellery. In the first part, it presents the history of occurrence of architectural forms in jewellery from antiquity to present day in the European culture. The second part delivers the examples of contemporary artefacts, particularly rings with microarchitecture. The analysis of the collected examples proves that architecture – its form, construction and detail − is a motive of decoration willingly used in jewellery design, often of a symbolic meaning related to the household or the temple (wedding rings, ritual rings). Nowadays, especially in the 21st century, microarchitecture in jewellery often emerges with reference to the place of origin, i.e. the famous building being, most frequently, the commemoration of a journey, able to bring back the memory of a visited city. The architectural jewellery, whose meanings and functions are the subject of the hereby study, has undergone many transformations throughout history. Even though it has transitioned from simple to complicated and decorative forms, from precious and rare to cheap and popular objects of mass production presenting the miniature replicas of buildings, the jewellery nearly always symbolises the city. Much less often the jewellery design occurs with reference to the metaphorical meanings of buildings as a representation of permanency (the tower in Alessandro Dari’s jewellery) or marital union (the house and the temple in Jewish rings).
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Wright, John C. "Jewellery-Related Properties Of Platinum." Platinum Metals Review 46, no. 2 (April 1, 2002): 66–72. http://dx.doi.org/10.1595/003214002x4626672.
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The performance of precious metal alloys can be usefully compared by the application of engineering design theory and heat flow properties on the small scale that is required for jewellery production. Some of the physical and mechanical properties of Platinum jewellery alloys differ sufficiently from typical gold and silver alloys to require modifications in the processing techniques, but these properties may allow for stronger slender designs. The thermal diffusivity of Platinum jewellery alloys is significantly lower than that of other precious metal jewellery alloys. This explains why laser welding is so efficient when used in making platinum jewellery and why it also allows most of the cold work hardening to be retained in components.
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Corti, C. W. "Jewellery Manufacturing Technology." Platinum Metals Review 44, no. 4 (October 1, 2000): 156–57. http://dx.doi.org/10.1595/003214000x444156157.
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Hrušková, Kateřina, and Kateřina Nora Nováková. "Vzorkaři v rámci jabloneckého bižuterního průmyslu v letech 1958–1989." Fontes Nissae 21, no. 2 (June 2021): 48–63. http://dx.doi.org/10.15240/tul/007/2020-2-004.
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The study contemplates the topic of fashion jewellery design in the period of forty years of existence of the nationalized Jablonec nad Nisou jewellery industry, specifically between 1948–1989. The text introduces important designers and the process of fashion jewellery design in the production companies in the field of jewellery. The authors discuss the political and economic influences on the process of creating new samples and subsequent production. They classify and document in detail the work, sources of inspiration as well as the achievements and awards of specialized jewellery designers. They were behind the creation of an inexhaustible number of new components and thousands of complete samples and final products for the serial production of jewellery made of glass, metal, plastics or wood. Despite many limitations, the creative and high-quality work of these designers at domestic and international presentations was afrequent pride of Czechoslovak industry and, especially in the field of foreign trade, brought considerable profits to Czechoslovakia.
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Lin, Yunzhi, and Na Sai. "Ethics and Sustainability in The Jewellery Industry." Frontiers in Business, Economics and Management 7, no. 3 (March 1, 2023): 187–93. http://dx.doi.org/10.54097/fbem.v7i3.5533.
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Sustainability and ethics have never ceased to be the major concerns for the fashion industry. It plays a crucial role in influencing consumers' decisions during the process of consuming products. The jewellery industry must consider ethics and sustainable development as integral parts of its development. There are numerous industry reports and statistics that demonstrate how important sustainability is to today's young consumers. The jewellery industry is expected to exhibit a high level of commitment to environmental protection and ethical standards. Despite the fact that the non-renewable nature of mineral resources as raw materials for jewellery appears to contradict the concept of sustainability on the surface, more and more organizations and institutions within the jewellery industry are actively committed to sustainability. The purpose of this article is to gather relevant cases of jewellery brands in the industry, and analyze the current situation and future plans of the jewellery industry in terms of ethics and environmental protection, in order to provide some suggestions for future development.
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Kolupaev, Kirill N. "NEW TRENDS IN JEWELLERY DESIGN AS A CONSEQUENCE OF THE USE OF NEW MATERIALS AND TECHNOLOGIES." Technologies & Quality 61, no. 3 (December 20, 2023): 44–50. http://dx.doi.org/10.34216/2587-6147-2023-3-61-44-50.
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The article deals with the main directions of new technologies and materials application in jewellery, which have allowed to fundamentally expand the possibilities of jewellery design: use of various precious and non-precious materials, multi-colour electroplating and conversion coatings, invisible setting of precious stones, cold enamels, comprehensive improvement of hot jewellery enamelling technology, 3D tech- nology in design and manufacture of articles and some others. It is shown that the achievements of modern science and technology in jewellery industry allow solving any problems in design.
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Peng, Xinyu. "“A Bird’s Eye View” in Jewellery Design." Learning & Education 9, no. 3 (December 29, 2020): 139. http://dx.doi.org/10.18282/l-e.v9i3.1600.
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The article focuses on exploring “bird’s eye view” theme in jewellery design. Writer describes the progress of how to get inspiration from the works of temari ball artist Tatiana Vigdorova and Korean contemporary jewellery artist Mi-sook Hur, and using those ideas to create personal jewellery series with “bird’s eye view” theme.
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Nováková, Kateřina Nora. "Sklo je mým drahokamem." Fontes Nissae 21, no. 2 (June 2021): 64–79. http://dx.doi.org/10.15240/tul/007/2020-2-005.
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Jaroslav Kodejš senior (* September 9, 1938) belongs to the pioneers of Czech designer jewellery with the use of glass. For more than 50 years, he has been ranked among the world‘s recognized artists in this field, and his works are represented in the world‘s best public and private collections. He based his work on the traditional production of glass jewellery components from wound glass over atorch. He experienced his first successes at domestic and international exhibitions in the mid-1960s. From the position of designer for the Jablonec jewellery industry, he moved only to his own free creation since the end of the 1960s. Since then he has created for example dozens pieces of jewellery, drawings and also paintings. He was successful thanks to his own diligence and creativity, unceasing life optimism and enthusiasm. In the individual stages of his jewellery work, he almost always used coiled or fused glass in combination with silver and gold. He always respected glass in its unique properties, which he supported with the morphology of jewellery, which he still deals with despite his age.
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Dr. B Abirami, Ancy Antony, Meena MV, Meghna Rajan. "Multichannel Success in the Jewellery Industry: Customer Engagement, Market Penetration, and Future Trends." Tuijin Jishu/Journal of Propulsion Technology 44, no. 4 (November 4, 2023): 5682–92. http://dx.doi.org/10.52783/tjjpt.v44.i4.1967.
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The jewellery industry has witnessed a significant transformation in recent years due to the advent of digital technologies and changing consumer behaviors. In response to these changes, jewellery retailers and brands are increasingly adopting multichannel approaches to engage with customers and enhance their shopping experiences. This review paper explores the concept of a multichannel approach in the context of the jewellery industry, highlighting its key components, benefits, challenges, and future prospects. By analyzing the existing literature and industry practices, this paper aims to provide a comprehensive overview of the multichannel approach in jewellery, offering insights and recommendations for industry professionals and researchers alike.
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SukantaSaha, Sri. "Expanding Growth Pole and Thriving SEZ In the Bengal Gems &Jewellery Industry." Ushus - Journal of Business Management 14, no. 3 (January 1, 2015): 15–31. http://dx.doi.org/10.12725/ujbm.32.2.
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The present study focuses on two specific sites of the Gems and Jewellery industry in West Bengal, namely Domjur (Howrah) and Manikanchan (Rajarhat, Kolkata). Domjur Gems and Jewellery industry is the sole ‘Growth Pole’ in West Bengal includingPanchlaZari and Embroidery industry. On the other hand, Manikanchan is the sole Special Economic Zone in the Gems and Jewellery industry in India.
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Hashim, Hema Zulaika, Ezatul Mazwe Muhammad Arif, Rusmadiah Anwar, and Mohd Faizul Khalid. "Formulating Healing Jewellery using a Model of Designomics." Environment-Behaviour Proceedings Journal 7, SI7 (August 31, 2022): 213–20. http://dx.doi.org/10.21834/ebpj.v7isi7.3785.
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Incorporate with designomics model, these jewelleries will assist in uplifting their mood, relax their overthinking mind and bring out their inner confidence. The objective of this research is to investigate the type of healing jewellery that can encourage positive behaviour with the usage of the healing stones and design aesthetics. Its aim to examine the properties of jewellery that affect minor depression and to produce signature jewellery of feel and heal for minor depression. This research will benefit psychiatrists, doctors, family members and jewellery designers and potentially benefit for individual with minor depression. Keywords: healing jewellery; jewellery design; designomics; gemstones eISSN: 2398-4287 © 2022. The Authors. Published for AMER ARA cE-Bs by e-International Publishing House, Ltd., UK. This is an open access article under the CC BYNC-ND license (http://creativecommons.org/licenses/by-nc-nd/4.0/). Peer–review under responsibility of AMER (Association of Malaysian Environment-Behaviour Researchers), ABRA (Association of Behavioural Researchers on Asians) and cE-Bs (Centre for Environment-Behaviour Studies), Faculty of Architecture, Planning & Surveying, Universiti Teknologi MARA, Malaysia. DOI: https://doi.org/10.21834/ebpj.v7iSI7%20(Special%20Issue).3785
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Lebedeva, Tatiana V., Maria E. Muzykantova, and Sergey I. Galanin. "RESEARCH OF THE ASSORTMENT OF JEWELLERY AND ART PRODUCTS WITH COLD ENAMEL." Technologies & Quality 61, no. 3 (December 20, 2023): 51–56. http://dx.doi.org/10.34216/2587-6147-2023-3-61-51-56.
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The study of the assortment of jewellery and art products with cold enamel produced by leading jewellery enterprises of Kostroma Region. The study showed that a wide range of products of various cate- gories are covered with cold enamel, mainly from 925 sterling silver – personal adornment, costume elements, souvenir and tableware products. Moreover, the number of jewellery with cold enamel makes up a significant proportion of the total number of manufactured products. A comparative analysis of the assortment in 2019 and 2023 showed a significant increase in the products produced in almost all assortment groups at most enterprises, which indicates the relevance of cold enamelling technology in modern jewellery production.