Silver Jewellery for Emerald

DEGREE PROJECT Silver Jewellery for Emerald Sponsor : Emerald Jewels, Coimbatore

Volume : 1 of 1 STUDENT : ABOLI SANJAY DESHMUKH PROGRAMME : Masters of Design (M. Des) GUIDE : SHIMUL MEHTA VYAS

2020 TEXTILE DESIGN FACULTY (LIFESTYLE ACCESSORY DESIGN)

Aboli Deshmukh | Lifestyle Accessory Design 2017 | National Institute of Design | 1

2 | Graduation Project

The Evaluation Jury recommends ABOLI SANJAY DESHMUKH for the

Degree of the National Institute of Design IN TEXTILE DESIGN (LIFESTYLE ACCESSORY DESIGN)

herewith, for the project titled " Silver Jewellery for Emerald" on fulfilling the further requirements by*

Chairman Members :

Jury Grade : *Subsequent remarks regarding fulfilling the requirements : This Project has been completed in ________________ weeks.

Activity Chairperson, Education

Aboli Deshmukh | Lifestyle Accessory Design 2017 | National Institute of Design | 3

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Originality Statement

Copyright Statement

I hereby declare that this submission is my own work and it I hereby grant the National Institute of Design the right to archive contains no full or substantial copy of previously published and to make available my graduation project/thesis/dissertation in material, or it does not even contain substantial proportions of whole or in part in the Institute’s Knowledge Management Centre material which have been accepted for the award of any other in all forms of media, now or hereafter known, subject to the degreeor#nalgraduationofanyothereducationalinstitution, provisions of the Copyright Act. I have either used no substantial except where due acknowledgment is made in this graduation portions of copyright material in my document or I have obtained project. Moreover I also declare that none of the concepts are permission to use copyright material. borrowed or copied without due acknowledgment. I further declare that the intellectual content of this graduation project is the product of my own work, except to the extent that assistance from others in the project’s design and conception or in style, presentation and linguistic expression is acknowledged. This graduation project (or part of it) was not and will not be submitted as assessed work in any other academic course.

Student Name in Full: Aboli Sanjay Deshmukh Signature: Date:

Student Name in Full: Aboli Sanjay Deshmukh Signature: Date:

Aboli Deshmukh | Lifestyle Accessory Design 2017 | National Institute of Design | 5

COPYRIGHT © 2020 Student document publication meant for private circulation only. All rights reserved.

Master of Design, Lifestyle Accessory Design, 2017-2020 National Institute of Design, Gandhinagar No part of this document can be reproduced or transmitted in any form or by any means electronically or mechanically, including photocopying, xerography, video recording without prior permission from the publisher Aboli Sanjay Deshmukh & National Institute of Design.

All illustrations and photographs in this document are copyright © 2020 of the author or respective people/ organisation wherever mentioned.

Written, Designed and Edited by Aboli Sanjay Deshmukh Guided by Shimul Mehta Vyas Processed & Published in 2020 at National Institute of Design, Gandhinagar, Gujarat, India- 382007 This document is typeset in Lato and Aleo.

Lato is a sans-serif typeface family designed in summer201byWarsaw-baseddesignerŁukasz Dziedzic.Itwasreleasedin2015.Thename‘Lato’ means Summer in Polish. Aleo is the contemporary designed as slab serif companion to the Lato font.

6 | Graduation Project

Silver Jewellery for Emerald Jewels

ABOLI SANJAY DESHMUKH I M.DES LIFESTYLE ACCESSORY DESIGN 2017 GRADUATION PROJECT I NATIONAL INSTITUTE OF DESIGN

Aboli Deshmukh | Lifestyle Accessory Design 2017 | National Institute of Design | 7

8 | Graduation Project

Preface

An Introduction to the Project

AspartoftheNIDcurriculum,all#nalyearstudentsarerequiredtoundertakeaGraduationproject which can be done with a client organisation from Industry or by the student himself/herself. This full-scale design project is expected to be of 4-6 months duration as a complete demonstration of independent client service by the student and is expected to generate a professional design assignment with application and implementation capabilities.

It involves understanding the strength, infrastructure of an organisation, analysing it and giving an appropriate solution in the given extent and time constraints. It exposes the student to a real-life situation of working in the industry and helps to understand the advantages, limitations and constraints of an organisation while applying the design knowledge and skills gained in the academic years. It helps students to understand the role of a designer from communicating one’s ideas and pitching the concepts to those in charge. It also helps students to realise their strengths and weaknesses before entering the worldofdesign.Intheprocessof#ndingsolutionswithintheseconstraints,onelearnstostepoutofthe threshold of being a student towards becoming a professional.

I completed my Graduation project with Emerald Jewels, Coimbatore for a time duration of six months from August 2019 to February 2020. This document provides a means to share the design approach, the process followed and the knowledge, information and experiences gained from the entire journey of project completion.

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Synopsis

The project Summary

‘EmeraldJewels’isanamesynonymouswithtraditionalIndiangoldjewellerybeingthelargest manufacturer of gold jewellery in Asia. With over 36 years of legacy in gold jewellery manufacturing, it is knownforitsenchantingdesigns,qualityconsciousness,perfectionandbusinessethics.

Emerald Jewels have recently ventured into silver jewellery manufacturing following the demand. Thus, lied an opportunity for me to design silver jewellery collections enhancing the silver vertical of Emerald Jewels. This is when I was called on board as they were looking for a new design perspective apart from theplethoraoftraditionaldesignstheyalreadyhad.Itwasthevery#rsttimeofthemtohaveadesign student undertaking the Graduation Project with them. My brief included designing and developing a range of silver jewellery adhering to their traditional values with contemporary interpretations, building a brand language for Emerald Jewels.

The project initiated with understanding the identity, philosophy of the brand, its ideologies and principles. A good amount of time was spent in understanding the know-how of Emerald’s state of the artmanufacturingfacilities.Ibeganbyresearchingthesigni#canceandculturalconnotationsofsilver jewellery in the Indian context. The research also involved understanding of the market, current trends, materials,customerneedsanddesignrequirementsbyprimaryandsecondarymethodologies.The research led to different concepts for the three collections based on the design brief. Each collection has a different story, persona, approach and limitations as per the current trends, market needs and manufacturing capabilities. It was altogether a different experience as Tamil Nadu, was a new state for me, I could travel there and could get a glimpse of rich south Indian culture from which later I could derive inspirations for the collections. Next step was to come up with concept boards, mood boards and setting a style and language for each collection.

The designing process of sketching and form exploration was a lengthy back and forth process involving great attention to detail, weight and cost point of view. At various stages of the project, the learnings from NID academic years came in handy and helped me to identify, analyse and investigate the information and produce designs with better understanding and insights.

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The#nalstagewhichwasproductdevelopmentwaswhereIlearnedalotaboutwhattodoandmore importantly what not to do. It was from the failures that I learned the most. It was a great learning experience as I got direct industrial exposure, which extended my design thinking possibilities and helped metransformthedesignsketchesto#nepiecesofjewellery.

It was an intense six months project which taught me more than I had anticipated. The company exposure at such vast level gave me a complete system understanding. The whole experience helped me to broaden myhorizonandunderstandthecommercialaspectofproductdevelopmentonaverylargescale.

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Image: top to bottom, left to right- Mr. K.Srinivasan, Mrs. Shakti Srinivasan, Mr. Santosh Krishna.k, Mr. Dhiaan Shrinivasan, Mr. G.K. Venkatagopal, Mr Rajeev Ebenezer, Mr. Pathy.k, Mr. Gokulkrishnan.J, Mr. Manikam, Mrs. Megala.A, Mr. Rajashakhar, Toofanji, Mr. Vinoth Kannan, Mr. Ramesh, Anju Akka and Brindaa, Chermakani, Anu Akka, Arun Anna, Vishwanathan Anna, Gowri Akka, Kanakaraj Anna, Karthick, Thakur Das Anna and Priya Dharshini Akka

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Acknowledgement

to everyone who made this project possible

The Graduation Project is an outcome of the greater learning experience of working with the Emerald Jewels. This would not have been possible without the 2 years of rigorous learning and practice at NID, I would like to thank NID, all the faculty members and my friends.

I express my deep sense of gratitude to Shimul Mehta Vyas, my Project Guide, for introducing me to this opportunity and for her unwavering support and convincing guidance. Her timely feedback and insights were very vital and helpful. She made me push the boundaries and think of more and different possibilities about the project. She had also been very instrumental in encouraging me to do the right thing even when the road got tough.

I am indebted to my industry guide and mentor, Mr. Santosh Krishna for giving me the opportunity to takeupmyGraduationProjectinEmeraldJewels.Iamgratefultohimforshowingasenseofcon#dence and responsibility in me by giving me the freedom to explore throughout the Project. I am thankful to him for the time he took out of his very busy schedule for guiding me, telling me the ground realities and for making sure how I could learn more and more which went far beyond the theoretical knowledge I gained in the college. Without his persistent help and support, the goal of this project would not have been realized.

I would like to pay my special regards to K. Shrinivasan, Shakti Shrinivasan, G. K. Venkatgopal and Dhiaan Shrinivasan for taking out time from their busy schedules and for giving valuable feedback and guidance.

I am thankful to Mr. Pathy, Design Head of Emerald Jewels for his key feedback about the designs and insights about combining the design aspect with the technical possibilities and limitations. The entire Design Team provided help and shared their expertise whenever needed by one way or the other.

IwouldliketothanktheentireProductDevelopmentteamfortheirrequisiteinputs,constanthelpand guidance and for introducing me to various manufacturing possibilities in jewellery. Special thanks to Mr. Manikam, Mr. Gokul and Swapanji. I also wanted to mention the karigars in various departments that worked hard throughout the execution process. It wouldn’t have been possible without each one of them.

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IextendmyregardstoMr.RajeevEbenzeer(HRHead),Mrs.MeghalaandtheentireHRteamfor extending help whenever needed. I never had to worry about accommodation and managing food and travel as it was all taken care of. I take this opportunity to also thank Rajashakhar Sir for extending help and providing resources like stationery and with printing whenever needed during the design phase of the project.

I would like to mention Mr. Vinoth Kanan for always being available and helping me out in all ways throughout the project. I also want to thank Aditya Sharma for his assistance during the project.

Special thanks to Anju Vaish, Assistant Design Manager for her guidance and also for sharing the apartment with me and making me feel at home. I am thankful to Anju akka, Anupriya akka, Brinda, Chermakani and Karthick for being great friends and for making it easier for me to live at a new place. I wouldliketorecognizethegenuineandinvaluablesupportthatyouallprovidedduringmyproject.

I extend my regards to Venkatgopal Sir for helping with arranging the Photoshoot. I would also like to mention Abhishek Ravi and his team at Paperclip Studio for pulling off the jewellery photoshoot on very short notice. Special thanks to Priya for modelling and TJ Nancy for MUA. Last but not the least, I wish to acknowledge the continuous and unparalleled love, help and support of my family. They kept me going on, this journey would not have been possible without them and I dedicate this milestone to them.

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Contents Preface

Synopsis Acknowledgement

9 10 13

Introduction 1.1 About NID

1.2 LAD @ NID 1.3 About Graduation Project 1.4 Project Guide 1.5Aboutme 1.6 Why this Project?

1.7 Project Proposal 1.8 Project Process Flow 16 | Graduation Project

25

21 23 24 26 27 28 32

Emerald Jewels

Trend Research

2.1 About Emerald Jewels

37 2.2 Brand Story 38 2.3 About JewelOne 41 2.4 Brand Philosophy 42 2.5 Asset 42 2.6 USP 43 2.7 Design Team 44 2.8 SWOT Analysis 45 2.9 Customer Segment 46 2.10 ProductionUnits,Of#ce 47 2.11 Jewellery Manufacturing 48 2.12 Insights 77

4.1 Trend Research 4.2 Forecasting 4.3 Trend Directions 4.4 Jewellery Trends 4.5Design Directions 4.6 Insights

Jewellery Research 3.1 History of Jewellery 3.2 Silver- The Noble Metal 3.3 Silver Jewellery in India 3.4 Why was silver worn?

3.5Silver making a comeback 3.6 TechniquesonSilver 3.7 Insights 85

81 86 89 90 92 97

101 102 103 124 128 133

Research Analysis

136

6.1 Approach for the Collections 6.2 Rede#nedBriefs 6.3 Final Design Directions 6.4 Research on Existing Applications 6.5 Insights

15

Market Research 5.1PrimaryResearch 5.2Secondary Research on Silver Jewellery 5.3Market Survey 5.4 Insights 150

136

Banana Collection 158 159

160 186 207

8.1 Collection Presets 8.2 Ideation 8.3 Product Development 8.4 Insights

Temple Collection 7.1 Collection Presets 7.2 Ideation 7.3 Prototyping 7.4 Product Development 7.5 Insights

210 212 229 238 281

345

292 294 307

Tree Ring Collection 9.1 Collection Presets 9.2 Ideation 9.3 Product Development 9.4 Insights

Reflections Conclusion Credits

358

360 372 413

425 427 429-443

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01 18 | Graduation Project

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Fig. 1.1 Inside of Academic block in National Institute of Design, Gandhinagar 20 | Graduation Project

Fig. 1.1

1.1 About NID The National Institute of Design is a reputed educational Institute NID focuses on creating design professionals who can understand NID HAS TAKEN in India established in 1961, to serve as an aid for small industries the needs of a diverse nation like India, synchronously taking FIVE DECADES OF inIndia.NIDhasbeendeclaredasthe‘InstitutionofNational each individual into account. The Institute anchors itself to PIONEERING HARD Importance’, by virtue of National Institute of Design Act 2014 cultural strengths of India and fosters strategic design linkages WORK TO DEVELOP by the Indian Parliament. It focuses on providing distinguished of innovation and entrepreneurship with the various sectors of A SYSTEM OF education in design so as to promote design awareness and industry. NID works towards new opportunities for small, medium encourage its application to uplift society. and large scale enterprises, sustainable livelihood, and to uplift the EDUCATION LAYING economic status of the society by a restless search for indigenous MORE EMPHASIS ON NID offers professional education programmes at Bachelors design solutions focusing on affordable design for the masses.

HOLISTIC LEARNING andMasterslevelwith#vefacultystreamsandtwenty diverse Over aspanofthelast50years,ithasmadenewerlinkagesacross THAN ON MERE design domains. NID has established exchange programmes and institutional, national and cultural boundaries in order to create INSTRUCTIONS. ongoingpedagogicrelationshipswithmorethan5overseas newer opportunities for the development of people and industry. institutions. Having entered the 6th decade of design excellence, NID has been active as an autonomous institute under the aegis of the Department of Industrial Policy & Promotion, Ministry of Commerce & Industry, Government of India; in education, appliedresearch,serviceandadvancedtrainingin#vefaculty streams, Industrial Design, Communication Design, Textile, Apparel & Lifestyle Design, IT Integrated (Experiential) Design and Interdisciplinary Design Studies.

NID provides an understanding of technical, managerial and design fundamentals along with strong learning through exposure to real-life situations so that the students are able to experience how theintellectual,creativeandotherskillsacquiredcouldbeadapted tobene#ttheuser,societyandindustry.Theoverallstructure of NID’s programme is a combination of theory, skills, design projectsand#eldexperiencessupportedbycuttingedgedesign studios, skill & innovation labs and the Knowledge Management Centre. Interdisciplinary design studies in Science and Liberal Arts widenthestudents’horizonsandincreasegeneralawarenessof contemporary issues.

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Fig. 1.2 Students of Lifestyle Accessory Design 2017 batch during a fun activity 22 | Graduation Project

Fig. 1.2

1.2 LAD @ NID The Lifestyle Accessory Design (LAD) M.Des programme educates rich experience and knowledge to the world in various national/ andtrainsprofessionaldesignerstovisualizeand create lifestyle global level design conferences. Through design practices and accessories and systems using different materials, processes and research in national and international level, faculty bring their technologies. It relates to people’s way of living and the products knowledge to the classroom. The most notable project visits they interact with, which form an important basis of their day-toin recent past have been India Africa design initiative in Africa, day lives. The programme draws from indigenous contexts and India Bhutan craft design Initiative in Bhutan, conference in 3rd their socio-cultural values, beliefs, practices, cultural diversity Willow and Weaving Festival In Poland, Exchange visit HTW Berlin and knowledge, which have contemporary applications in a global Germany, Trend conference in Mumbai, Craft future conference context. It delves into perception and trend studies of diverse in Jaipur, Conference of DESIS Network, Milan, Design for dynamicsthatinuencethelifestylesofconsumersfrom various Sustainability conference Gandhinagar. strata of the society.

LIFESTYLE ACCESSORY DESIGN RELATES TO PEOPLE’S WAY OF LIVING AND THE PRODUCTS THEY INTERACT WITH.

The designers from this programme aspire to drive the market by ‘DesigningforChangingNeeds’and‘DesigningforFutureNeeds’, andmake‘DesignedinIndia’apremierglobalbrand.Focusingon personal and space accessories and products, it offers a strong multi-disciplinary edge wherein the students get an opportunity to work in a wide spectrum of domains such as jewellery, watches, bags, luggage, footwear, lighting, furniture, space accessories and interior objects, trend research and colours, materials and trims for consumer products and automobile interiors. The students are encouraged to build emotive connect and conceptual experiences for the consumers through the products they create. Students also work with the craft sector performing an ethnographic study of a particular culture or community which inspires designers to conceive sustainable as well as sustaining designs which are relatable.

LAD program collaborates with industries at various levels ranging from classroom projects, Internships, Graduation projects, Research & Consultancy projects, Industry-led workshops/ seminars/events. The faculties from the program have shared their Aboli Deshmukh | Lifestyle Accessory Design 2017 | National Institute of Design | 23

1.3 About Graduation Project THE GRADUATION PROJECT REFLECTS THE STUDENTS COMPETENCE TO EXCEL IN THEIR CHOSEN PROFESSION. The Graduation Project Manual, NID

The end of students academic tenure at NID is marked by undertakingaGraduationProjectinthe#eldofdesignonatopic closely allied with their discipline of study. The project can be done with a client organisation from Industry or by the student himself/herself. It comprises a comprehensive project based on a predetermined design brief. The project duration can be from four to six months. The Graduation Project is an opportunity for the student to manifest their design thinking, knowledge and skills incorporating systematic process approach with informed design decisions. It is a complete demonstration of independent client service by the student under the guidance of expertise from the industry and faculty guide from NID aligned with broader objectives of the Institute.

The end of the project comprises of documentation of the same and a jury where the faculty members evaluate the student’s performance and are graded, after which students are awarded NID’s professional education degree.

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1.4 Project Guide Shimul Mehta Vyas is a Principal Designer and Faculty at the Ms. Vyas has always actively pursued. She is a Steering Committee National Institute of Design (NID), India. After graduating in Member of the Gem and Jewellery Skill Council of India (GJSCI) Commerce and Law, Ms. Vyas specialised in Accessory Design which functions under the aegis of the National Skill Development from the Fashion Institute of Technology, State University of Corporation (NSDC).

NewYork,USA.SubsequenttobriefworkexperienceinUSAand India,shejoinedtheNationalInstituteofDesigninShe July has 195 been a wonderful guide, mentor and advisor not only as a faculty of Accessory Design under the aegis of the Apparel through this project but also throughout the NID journey.

Design discipline. She is the founding faculty of the Lifestyle Accessory Design discipline set up in 2002 at NID which offers a Master’sProgrammeinthesaidspecialisation.Shehas25yearsof experience in design academics, research, practice and training.

Sincethepast25years,Ms.Vyashasbeenactivelycontributing to the cause of design education and institution building. She helped establish the Academic Credit and Evaluation System; designed the attire for the convocation ceremony at NID, set up the institute’s design shop—NIDUS; and helped in brand building and positioning of the India International Jeweller Show (IIJS), Signature Goa and Mumbai.

Shimul Mehta Vyas Principal Designer and Faculty, National Institute of Design

Ms. Vyas has research and practice interest in jewellery wherein she has spearheaded several landmark projects connected with the gems and jewellery sector of India. She has authored two books on the subject of jewellery which have been already published.

Her#rstbook-WhenJewellerySpeaks:CelebratingtheTradition of Kundan Meenakari (published in 2012) is wholly dedicated to Kundan Meenakari jewellery which has dominated the landscape oftraditionalIndianjewelleryforalmost#vedecades.Thesecond book titled 2018 - Jewellery Trend Book (published in 2017) is a trend book which presents important macro trends in jewellery.

Forging alliances and encouraging active interaction of the academia with industry, institutions, and trade bodies is something Aboli Deshmukh | Lifestyle Accessory Design 2017 | National Institute of Design | 25

1.5 About me I am a post-graduate student of Lifestyle Accessory Design at the National Institute of Design, Gandhinagar. I was born and brought up in Aurangabad, Maharashtra.

Aboli Sanjay Deshmukh Lifestyle Accessory Design, 2017 National Institute of Design, Gandhinagar

26 | Graduation Project

I have completed a bachelor’s degree in Engineering. Engineering study helped me to critically analyse everything and structure my thoughts and plan of action. In the initial phase of design education, I had to unlearn a lot of things that I had learnt so far.

But later I realised it was all a part of the bigger picture. Design study helped me to become more observant, empathetic, receptive andacon#dentperson.Itfosteredmycreativity,taughtmehowto execute the design process and also how crucial working in a team is. I developed a different outlook on seeing the world.

My interest varies from doodling, reading, gardening, yoga and playing badminton. In a world of opportunities, my core value includes a futuristic approach, cultural intelligence and an inclination towards sustainability.

1.6 Why this Project?

During the two academic years at NID, I got to work in a wide spectrum of domains like bags, jewellery, craft products, CMF, space accessories, interior objects, trend research and system design. Out of all, working on jewellery interested me the most.

So, as an extension of my studies at NID, I was looking forward to being able to apply my skills and capabilities and deal with complex real-world, industry scenarios and learn from it in the best place anyone can be in.

Hence, this Project.

IrealizedIalwayshadasoftcornerforjewellery,callitawomanly instinct. Even during the childhood years, I used to make small piecesofjewelleryfrombeads,feathers,owers,withwhatever Icould#ndaround.SometimesIusedtobreakmymother’s jewellery and make something new from it.

So, at NID I found jewellery design naturally appealing. I dabbled in it and later did a month-long internship with an e-commerce jewellerybrandafterthe#rstacademicyear.ThisiswhenI realised that I need to get good industry exposure and mentorship to improve my work by gaining practical experience. I learnt about Emerald Jewels being the giant hub of jewellery manufacturing and intuitively knew that this would be the right place for me to take up the Graduation Project. Also, I had not worked with gold or silver as a material before so, there would be new challenges and learnings.

I was hesitant in the beginning to relocate to Coimbatore but later realizedthatbeinginthefactory,whereIcouldgetthe#rst-hand exposure to all state of the art manufacturing technologies in one place, there would be nothing like it. I also thought that staying at a completely new place with a different culture, where people speak entirely different language would be a challenging and learning experience for me and so, went for it.

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1.7 Project Proposal Context

language with contemporary interpretations as the modern millennial woman is attuned to a design sensibility that combines contemporary and traditional together. ‘ Emerald Jewels’isanamesynonymouswithtopqualitygold

jewellery known for its enchanting traditional designs. With over 36 years of legacy in Gold jewellery manufacturing, Emerald is knownforitsqualityconsciousness,perfectionandBackground business Study ethics. Over the decades the group has gradually transformed Gold Jewellery manufacturing from conventional cottage InIndia,traditionallyaproli#camountofjewellerywasworn.It industrytotechnology-drivenorganizedsectorbeing the was not largest merely to beautify, but acted as a store of wealth, marked manufacturer of gold jewellery in Asia. The Company has ultratheritualsoflife,signi#edstatus,conferredrespectabilit modern production facilities at four state of the art factories marked the wearer’s identity. Today, the younger generations or locatedinCoimbatorewithaworkforceof50employees.It theis millennials do not hold or carry jewellery in the same esteem a one-stop gold jewellery manufacturer vendor for leading chains or style as their predecessors. Now it is about keeping up with the and wholesalers in south India and countries like Dubai, Malaysia, latesttrends,stylesmorepersonal,makingthemlookunique UKandUSA.Theirretailbrand‘JewelOne’isalsooperating stand15 out in the crowd. exclusive showrooms across Tamil Nadu and Pondicherry and plans to roll out its exclusive showrooms pan India.

Silver jewellery is making a major comeback in the fashion industry.

With the new trend of sustainable fashion being the mantra behind When it comes to jewellery, traditionally, Indians have a penchant the creative drive, designers are creating new and exciting designs for opting for gold, but nowadays silver jewellery is also not far in silver. Silver being much cheaper than gold and platinum has behind in popularity. Ever-rising gold prices have made silver become the metal of choice for a large number of people in India. surpass gold in demand due to its affordability. The interest of The disposable income in the hands of the young working class is style-conscious buyer is shifting towards silver as it is a stable also creating demand for silver jewellery which made silver exports investment and goes well with minimalist fashion ethos thus fromIndiajumptomorethan30%inthelast#nancialyear.Thus, becoming a jewellery staple for today’s women. Affordability, easy Emerald Jewels is also investing in silver as the silver jewellery andquickavailabilityandtimelessnatureofsilver hasmade its onlikewild#remakingsilverthegoldstanda trend hascaught place high in the segment of new age jewellery. Emerald Jewels modern jewellery design. have recently ventured into silver jewellery manufacturing following the demand. Thus, lies an opportunity to design silver jewellery collections enhancing the silver vertical of Emerald Jewels. The collections would be adhering to the traditional 28 | Graduation Project

Initial Brief

Project Methodology

Using‘Silver’asthedominantmaterial,designanddevelop 1. Formulating arange a ‘Project Brief’ of contemporary jewellery, building a brand language for Emerald Articulating a crisp project brief stating summary of the project Jewels.

2. Research • Understanding Emerald Jewels as a brand to study its identity, philosophy, different verticals, design ethos and their working Scope of the project systems at every stage • Visiting all four units of Emerald in Coimbatore to understand • Getting a full exposure to the handmade and ultra-modern manufacturingtechniques manufacturingtechniquesingoldandsilverjewelleryatEmerald • Understanding silver as a material, its properties and limitations Jewelsandunderstandingthetechnical‘know-how’.

• Learning the traditional and modern manufacturing processes involvedinmakingsilverjewelleryanddifferentsurface#nisheson • Research on users and usability helping to map customer needs silver and come up with jewellery products that are more relevant and • Visiting JewelOne and other competitor retail showrooms for appealing to them. market research • Ethnographic research for the target consumer in order to • Research on recent design styles, national and international understand buyers for identifying design opportunity trends assisting to pick themes in resonance with the jewellery • Understanding cultural connotations of silver jewellery in the market, hence creating a greater impact.

Indian context and trend study • Exploring new ideas for developing various textures and surfaces at Emerald’s one-stop production facilities.

• Coming up with jewellery collections which will assist to establish a brand language for Emerald Jewels.

3. Ideation, concept building and explorations • Opportunity mapping and concept generation • Creating storylines, mood boards, concept boards for the chosen design direction • Sketching, form explorations 4. Product Development • Prototyping and alterations according to the feedback •Mockupdevelopmentinothermaterialifrequired Aboli Deshmukh | Lifestyle Accessory Design 2017 | National Institute of Design | 29

5. Market testing and Feedback • Design review and understanding loopholes • Work on the costing

Deliverables

• 2-3 Ranges of contemporary jewellery • Sketches and prototypes developed during the design process 6. Development of Final jewellery collection • Artboards developed at the time of concept building • Manufacturing and assembly •Jewelleryphotoshootandartworksforbranding(ifrequired) • Documenting the entire project starting from research to the 7. Branding and Marketing product development stage •Strategisingbranding,graphics,photoshootifrequired

Research Framework 1. Brand To understand the brand, its ideologies and principles 2. Material Exploring silver metal as a material, understanding its properties 3. Silver Jewellery Understandingthesigni#canceofsilverjewelleryintheIndian context 4. Manufacturing Processes Learning about traditional and modern methods of manufacturing silver jewellery and also its limitations 5. Buyer Ethnographic research on the target consumer using primary and secondary research methods 30 | Graduation Project

Timeline

AUG

Introduction to Emerald Jewels, research on silver and silver jewellery.

SEP

Trend study and analysis, client study and market research

OCT

NOV

Concept building, creating moodboards, ideation, form exploration and sketching, designre#nement

DEC

Prototyping, re#nement and product development

JAN

Further product alterations and development, costing, photoshoot, retrospection and winding up

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1.8 Project Process Flow MIND MAPPING AND PROCESS FLOW CHART FOR ACHIEVING SPECIFIC GOALS AND MEETING PLANNED OBJECTIVES INVOLVED IN VARIOUS STAGES OF THE PROJECT.

PERSONA BOARD BRAND STORY

CONSUMER STUDY

PRODUCTION PROCESSES

COMPANY ORIENTATION

LOCAL MARKET SURVEY

PRODUCT PORTFOLIO

SECONDARY RESEARCH

MARKET RESEARCH PROJECT PROPOSAL

RESEARCH

PROJECT BRIEF JEWELLERY RESEARCH HISTORY MATERIAL

32 | Graduation Project

TREND RESEARCH AND FORECASTING

RETROSPECT

DESIGN DIRECTIONS

CONCEPT BUILDING SUB STORIES/ THEMES

COSTING SELECTING INSPIRATION

PRODUCT SPECIFICATIONS

CORRECTIONS CAD CAM

COLLECTION PRESETS PROTOTYPES FORM GENERATION

FINAL DESIGNS

PRODUCT DEVELOPMENT

FINISHING AND QUALITY CHECK

ASSEMBLY

IDEATION

DESIGN ITERATIONS

PRODUCTION

FEEDBACK SESSIONS

Aboli Deshmukh | Lifestyle Accessory Design 2017 | National Institute of Design | 33

01

02 34 | Graduation Project

Aboli Deshmukh | Lifestyle Accessory Design 2017 | National Institute of Design | 35

Fig. 2.1 36 | Graduation Project

2.1 About Emerald Jewels Emerald Jewelry India Limited is the result of one man’s dream and feet in Coimbatore whose products command a premium in the OVER THE DECADES market foritsuniquenessofdesign,aestheticsandTHE workmanship. unendinghardworkfromscratchtogrowintooneofthe ‘World’s GROUP HAS Largest Jewelry Manufacturers’. Way back in 1984, Emerald was TRANSFORMED founded in Coimbatore, Tamil Nadu to meet the demands of India’s Emeraldwantstospreadtheirwingsandtakethe‘MadeinIndia’ JEWELLERY marketthatwasjustassertingitselfand#ndingit’s label place tothe asan wholeworldwithavisiontoachievethe ‘world’s MANUFACTURING economy.Peoplewerenotsatis#edwiththestalemerchandise largest jewellery manufacturer’ status in the nearest future. peddledthroughoutthecountryanddemandedbetter This quality isnotdif#cultwhentheyhaveeverythinginplace -ahighly FROM CONVENTIONAL and design, both of which Emerald delivered in spades. Rapidly trainedandcommittedworkforceof5,0plus,dedicatedteam METHODS TO adapting to emerging technology and good innovation helped involvement, ethical business approach, sprawling manufacturing TECHNOLOGY AND facilities with further scope for expansion and sophisticated Emerald propel itself to the top where it sits right now.

TALENT-DRIVEN ONE... productionequipmentnumbering20plus,thebestinthe world.

Makingaproductthatstandstestamenttoqualityhasbeen Emerald’s commitment since inception. Emerald produces 24 tons of gold and diamond jewellery and 4 tons of silver articles focusing onquality,innovativedesignsanddedicatedcustomerservice.

Today it is a leading group in the Indian jewellery industry and has producedmorethan5lakhdesigns.Theskill,talent,technology, creativity, know-how, experience, expertise and the commitment to deliver the best has won the most coveted position for Emerald in the entire global jewellery manufacturing industry.

Emerald is the brainchild of Mr K. Srinivasan, who as Founder and Managing Director leads the manufacturing process laying emphasisonqualityexcellenceandcontinuousimprovementwith a customer-centric approach. His relentless efforts, continuous research combined with high principles have lead the company toattainthepositionofOne ‘ oftheworld’sleadingjewellery manufacturers’. Over the decades the group has gradually transformed gold jewellery manufacturing from conventional methods to technology and talent-driven one. The company owns fourultra-modernproductionfacilities,eachonespecializingin differenttypesofproductswithaproductionareaof6lakhsquare

Fig. 2.1 Gold Jewellery by Emerald Jewels Aboli Deshmukh | Lifestyle Accessory Design 2017 | National Institute of Design | 37

2.2 Brand Story WITH THE SETTING UP OF EMERALD’S FIRST MANUFACTURING FACILITY IN COIMBATORE, MR. SHRINIVASAN’S DREAM FRUCTIFIED. SINCE THEN THERE IS NO LOOKING BACK...

The journey of Mr Shrinivasan started as a rugged road, he had to face a lot of challenges as the jewellery industry was an unorganised one. With 36 years of dedication and hard work, he has transformed the cottage industry to technology driven with the state of the art manufacturing facilities.

Coimbatore, at a monthly salary of Rs 100 in 1984. Right from childhood, his dream was to start a business in jewellery. After graduating in mathematics, he joined a jewellery showroom at the age of 22. He thought he could grow fast as the industry was totally unorganised. So, after a 10-month learning experience in design,technique,manufacturingandsales,hedecidedtostar own venture.

With a small loan from his brother, he began on a small scale. Luck was on his side because one day he found a Gujarati businessman struggling to communicate in Coimbatore. Luckily he knew Hindi andwasabletohelptheGujaratibusinessman#ndwhathe wanted. The businessman gave him his visiting card and suggested that he should take the jewellery from Coimbatore to Ahmedabad.

Mr Shrinivasan boarded on the long-distance Navjeevan Express trainfor36hoursjourneywithsome150gmofsmallitemssuchas earrings and rings. Gold price then was Rs 200-300 a gram. With the help of his contact and high demand, the sale increased. Within 3–4 years, Srinivasan was hitting Mumbai and Delhi markets and getting orders from big jewellery brands.

Fromtheverybeginning,hisfocuswasonthedesign,#nish and innovation. After making a lot of innovation in handmade jewellery, he moved into mechanisation as he knew the futurewouldbeverycompetitive.Makingqualityjewelleryin multifariousdesignsinanorganizedwayandonamassscalewas Mr Shrinivasan’s long-cherished wish. To stay ahead, he attended jewellery fairs in India and abroad, gathered a lot of technology, Fig. 2.2 and slowly entered into manufacturing. With the setting up of Emerald’s#rstmanufacturingfacilityinCoimbatore,hisdream Hestartedfromscratchashewasthe#rst-genentrepreneur fructi#ed. Whateverhecreatedwasnewtotheindustryandso in his family. He started out as a salesman at a jewellery store in got accolades from everybody. Since then there is no looking back.

38 | Graduation Project

four design centres across the country and one in Dubai and Today, About 76 wholesalers spread across the country buy exports jewellery to countries like Dubai, USA, UK, Malaysia, Sri Emerald products and sell to the customers through retailers.

Lanka, Bangladesh, Africa and many more.

Emeraldoffersastaggeringdesignbankofover5lakhdesigns,

Fig. 2.2 First workshop establishment by Mr. Shrinivasan started in the year 1984 in Coimbatore, Tamil Nadu Fig. 2.3 Massive jewellery manufacturing factory setup by Emerald Jewels in Coimbatore, Tamil Nadu

Fig. 2.3 Aboli Deshmukh | Lifestyle Accessory Design 2017 | National Institute of Design | 39

Fig. 2.4 40 | Graduation Project

2.3 About JewelOne JewelOne, a retail jewellery brand from the house of Emerald Jewel Industry India Limited, is an omnichannel jewellery retailer, showcasingexquisitepiecesofjewelleryacross15showrooms located in Tamil Nadu, Andhra Pradesh and Pondycherry.

JewelOne stands tall among peer brands, with a repertoire of over5,0designs,thatcomestolifewithacombinationof world-class technology and expert craftsmanship. The caption “Penn Manadhai Purindha Ponn” effectively captures the brand ethos that stands for jewelry that resonates with the heart of the quintessentialwoman.

JEWELONE, THE RETAIL ARM OF THE EMERALD GROUP PLANS TO EXPAND PAN INDIA IN THE COMING YEARS.

Theideawas#rstconceivedintheearly201s withaviewto reaching the common man at an affordable price through its retail outletsandthe#rstretailstorewasinauguratedintheyear2013 at Pondicherry. Since then, the brand has drastically grown and currently caters to various markets. The brand was launched with a vision to provide affordable, beautifully designed jewellery, with astrongemphasisoncreatingqualityproducts,whileensuringthe purity of the products. Currently, JewelOne deals with 22 Kt gold jewellery, diamond jewellery, platinum jewellery, silver jewellery andarticles.JewelOneoperatesitsstoresbyemphasizingon its various collections targeting various segments. Few of these collectionsare‘Simha’formen,‘EkTara’forkids,‘Nishtaa’and ‘ZilaraSilverJewellery’formodernyoungwomen.

Theretailcompanyhasalreadyopened15exclusiveshowrooms in places like Coimbatore, Chennai – Purasawalkam and Mylapore, Kallakurichy, Vellore, Madurai, Ramanathapuram, Salem, Erode, Pollachi, Udumalpet, Tiruppur, Hosur & Visakhapatnam in Tamil Nadu, Pondicherry & Andhra Pradesh. JewelOne, the retail arm of the Emerald Group is currently on an expansion mode and plans to roll out its exclusive showrooms pan India in the coming years.

Fig. 2.4 JewelOne retail showroom in Madurai, Tamil Nadu Aboli Deshmukh | Lifestyle Accessory Design 2017 | National Institute of Design | 41

2.4 Brand Philosophy

2.5 Asset

Emerald in its philosophy is committed to creating beautiful Themassiveworkforceofover50dedicatedand masterpieces that can be relished to the millimetre by all the committed employees is Emerald’s biggest asset. people. Quality is paramount at Emerald. From design to product Emerald provides a happy workplace for them and development,ateverystage,thehighestlevelofquality checks constantly trains them to enhance their skills. The are implemented to ensure unmatched perfection. The building craftsmen/ Kaarigars majorly come from Bengal, Kerala, systems and procedures at all stages are in order to enhance Bihar, Rajasthan and various South Indian cities as each customer satisfaction and make them delight. Deep-rooted in their region bring its own strengths and skills. The in-house ethical beliefs and principles, the commitments of the metal purity, ‘TrainingCentre’providesextensivetraininginthear transparency in business, superior creations are unmatched. of design, production, stone setting etc. to the workforce keeping pace with the tides of changes in the way to sustain tomaintainuniformityofqualityandperfection.Emerald and grow in the market is ingrained in them. Emerald believes in people and the power of people to create the change and produce adheres to all laws of the land and works for the employees innovative jewellery with pinnacle of craftsmanship and ultragrowth and providing them humongous opportunities for modern technology that stands testament to the beauty of the one recreation, well being and 360 degree-professional growth. who wears it.

Various programmes and sessions are also organised for

the employee’s holistic wellbeing helping them maintain the work-life balance. At Emerald, they know their inherent strength and are forging ahead on the chartered course aiming for the stars.

IF WE TAKE CARE OF OUR FAMILY, OF THOSE WHO WORK FOR US, THEY WILL TAKE CARE OF US AND NEVER LET US DOWN. - SHAKTHI SRINIVASAN, JOINT MANAGING DIRECTOR 42 | Graduation Project

2.6 USP Emerald prides of having an extravagant design bank of For eg. If an earring is to be made, it can consist of parts UNIQUE AND 5,0designsandleading-edgemanufacturingfacilities. manufacturedbythedifferenttechniqueofcasting, BREATHTAKING The optimum use of the latest technologies helps to create stamping, electroforming, fusion etc. A plethora of state of DESIGNS ARE uniqueandbreathtakingdesignswithhighquality theart and#nish. manufacturingtechniquesletemerald createunique, DEVELOPED USING In house design team and comprehensive manufacturing uncommonandaffordabledesignswhicharedif#cultto FUSION OF LEADING capabilities have made Emerald create their USP of making reproduce by others.

EDGE PRODUCTION a piece of jewellery with multiple manufacturing processes.

TECHNIQUES.

Fig. 2.5

Fig. 2.5 Magnificent gold necklace by Emerald Jewels manufactured using fusion technique Aboli Deshmukh | Lifestyle Accessory Design 2017 | National Institute of Design | 43

2.7 Design Team AIMING AT MASSES WITH RELATABLE DESIGNS IS THE PHILOSOPHY OF EMERALD’S DESIGN TEAM.

Fig. 2.6 Designer sketching a necklace at his workspace in the Design Department of Emerald Jewels 44 | Graduation Project

atalentedandupdatedteamofCADdesignerspro#cientin Emerald Jewels have 4 designs teams functioning from 4 cities computerizedmodellingandprototypeequipment.Tillnow across India, Mumbai, Delhi, Kolkata and Coimbatore. The design Emeraldhaveproducedalmost5,0designsandaimtoroll teams located at different locations bring in different ideas and outalmost350designseverymonthintheirdatabaseinvarieti perspectives relevant to the locations as per the indigenous like gold, platinum, silver & diamond jewellery. jewellery choices and preferences of Indian women. Aiming at masses with relatable designs is the philosophy of Emerald’s designteam.Emerald’suniquetraditionaldesignswithquality and perfection are famous and relatable to the Indian crowd.

In addition to the artists and designers, the company possesses

Fig. 2.6

2.8 SWOT Analysis Strengths Legacy of 36 long years.

All cutting edge jewellery manufacturing technology under one roof.

Morethan5lakhsuniqueself-madedesigns.

Innovative approach.

Massiveworkforceof50employees.

One of the few technology-driven Jewellery industries.

Qualityandpurityassuranceandcerti#cations.

Environmental-friendly production.

Opportunities Pan India reach.

Increasing online retail spending.

Diversi#cationwithinhousemanufacturing methods.

Experimenting with collections and materials.

Stepping into other sectors of jewellery.

Weaknesses No particular strong design language.

Struggle to sell products online on large numbers.

Poor Marketing amongst the common crowd pan India.

Shortfall of awareness about jewellery future trends and forecasting.

Young talent hesitant to relocate to Coimbatore.

Only a few designers with prior design education experience.

Threats Ever rising gold prices.

Changing perception of millennials about gold jewellery.

Rapidly changing customer audience.

Managing the massive headcount during economic slowdown or recession.

Increasing presence of smaller brands taking up the market.

Aboli Deshmukh | Lifestyle Accessory Design 2017 | National Institute of Design | 45

2.9 Customer Segment The customer base of Emerald is enormous and there are various verticals of customers that they deal with. They are broadly classi#edasfollows.

Sell through Online channel

The third type of customer makes an order online via the Emerald website or JewelOne website. This customer segment is majorly middle class, upper-middle-class young, well earning, digitally Sell through Distributors able men and women. They prefer buying online instead of going to the shops. This customer can reside in any part of the country.

More than half of the jewellery that Emerald churns out is sold to This customer is usually inclined towards buying contemporary over 82 wholesalers spread across the country. These wholesalers jewellery than traditional jewellery. selectandbuythe#nishedproductsdirectlyfromthefactory andsellthemtocustomersthroughretailerslikeTanishq,Shilpi jewellers etc. The company also export its products to countries Customization like UK, USA, Middle East and far East. In several cases, design briefs are provided prior by the retailers and designing and manufacturing take place in Emerald following the brief. So, this set Another important segment of customer is the one who looks for customization.Thesecanbeindividualordersorbulkordersf of customers can be anywhere from the country who goes to retail corporate gifting, wedding etc. Emerald has recently launched jewellery shops for buying jewellery. This customer base cannot be ‘EmeraldDesignCentre’showcasing80+designswhereone preciselyde#nedasitisextensiveandvariable. can visit and make an order. The customers can also meet the designers,discusstheirrequirementsofwhatandhowdothey want to get the jewellery made with the designer’s expertise.

Sell through Retail Shops OnlinecustomizationisalsoofferedbyEmerald.

The second type of customer is the one that comes through the retail arm of Emerald, JewelOne showrooms. This type of customer segment is mainly middle-class and Upper-middle-class.

JewelOne mainly targets the South Indian market as it is located in TamilNadu, Andhra Pradesh and Pondicherry.

Fig. 2.7 Watercolour illustration of Emerald corporate office in Coimbatore 46 | Graduation Project

2.10 Production Units and Office The company has four production units located in the city of Coimbatore.UnitOneisthebiggestand#rstproductionunitof Emerald Jewels. All major working departments like Accounts, Production, HR, Welfare, Design etc. function in Unit 1. 60% of the total jewellery under Emerald Jewels gets manufactured here.

Unit 2 and 3 are dedicated to handmade and fusion collection of jewellery. Unit 4, also called as Electroforming unit is dedicated for production of silver jewellery and artefacts. With an installed capacity of 40 tonnes in gold, 22000 carats in diamonds, 2200 kgs in platinum and 144 tonnes in silver per annum, Emerald’s potential of gigantic production is unparalleled. The corporate of#ceofEmeraldislocatedintheheartofthecityofCoimbatore which looks after the retail business.

Emerald believes in sustainable and green manufacturing and so has installed three windmills in the outskirts of Coimbatore generating3.5MWofcaptivepower.Theincreasedenergy ef#ciencyensureslesspollution,emissionandwaste.Theyalso generate solar power, practice waste management and maximum useofrenewableresourceswithzerodischargepolicy.

Fig. 2.7 Aboli Deshmukh | Lifestyle Accessory Design 2017 | National Institute of Design | 47

2.11 Jewellery Manufacturing Introduction to manufacturing processes at Emerald was a major part of the induction phase. The purpose behind it was to get introduced to different manufacturing capabilities available at Emerald factory and later design accordingly. It included various jewellery manufacturing processes like casting, electroforming, CNC, stamping, laser cutting, handmade etc. Lately, Jewel industry has been adapting itself to Technological revolution, whereas at Emerald it was commenced much before with advanced and latest technology. So, the entire process of product development starting fromCADprocessingtothe#nal#nishingoftheproductwas studied.

CAD (Computer Aided Design)

Fig. 2.8 CAD model of earrings and pendant set created by referring to the design sketch 48 | Graduation Project

In the CAD Cell, designs coming from the design department are converted into 3D models using softwares like Rhinoceros and Matrix.ThisdepartmentisequippedwithaCADlibrary,which Fig. 2.8 has allstandardiseddatarequiredfor3Dmodelling.Eg.formodelling a ring, the minimum thickness, diameter, optimum weight all these CAM (Computer Aided Manufacturing) speci#cationsandbasic3Dmodelsareavailableinthe library.

Referring to these templates saves a lot of time and the designer IntheCAMdepartment,the3DRhino#lesreceivedfromCAD adds only what the design demands. Three points are kept in mind cell are converted into STL format in a semi-automatic NAUTA during CAD designing which are; 1. It has to be Manufacture software. Rapid prototyping can be done with three types of input, friendly, 2. It should have optimum weight and 3. It should be solidpowder,liquidtypeandresintype.MaximumCADinputsare aesthetically pleasing. This department also use Magics software triedtobe#ttedintheplatformsofsize10mmx10mmand foraddingtexturestothe3Dmodel.Thus,the#naldimensions 150mmxis 150mm.complete, Theprototyping anddetailsare#nalisedatthisstageitself.Onceit the or3Dprintingstartsfromthe bottommost layer and layer by layer the CAM pieces get created BOMsheetiscreatedandafterqualitycheck,theCADdesignsare and are taken out after curing. forwarded to the CAM department.

Fig. 2.9

SFD (Silver Finishing Department) The resin platforms are received by Silver Finishing Department for further process. The resin pieces are cut from the platform, their supports are also cut using hand motor with different burrs and cutters, this process is called as support killing. Finishing and rework are done on the CAM pieces using reusable wax wherever required.Then,usingARTMasterspraygunmultiplecoatsofa mixture(thinner+hardener+clearcoat)areappliedontheresin piecesforanultra-smooth#nish.Thestonesettingareaiscovered with tape while spraying. The wax runners are cut from the wax Fig. 2.10 tree and attached to every CAM piece using a wax pin.

Fig. 2.9 CAM models of various jewellery kept in a tray after curing and cutting from the main CAM base

properly mixed with a hardener in the ratio of 10:1 is poured in the aluminium frame. The resin CAM piece is already placed inside the framevertically.Theairbubblesintheliquidareremovedmanually Die making Fig. 2.10 Worker grinding and and also using a vacuum machine and left at room temperature finishing the CAM model of forcuring.After12-4hoursofcuringtime,thesolidi#edsilicone Once the resin pieces are ready, dies are created. For creating a two finger ring with a burr is taken out and cut into 2 pieces with precision so that it RTVDie(Roomtemperaturevulcanizingsilicone),liquidblock rubber attached to the Flexi Shaft

Aboli Deshmukh | Lifestyle Accessory Design 2017 | National Institute of Design | 49

doesn’t cut the resin piece inside and damage the design. Air vents The CAM masterpiece is sandwiched between two silicon rubber are made in it and locks are formed on four corners of the die using pads and is kept in the vulcanisation machine for about 20 to cuttersothatthetwopiecesperfectly#tintoeach30 other. minutes The resulting in solid rubber block formation. This high resin piece is taken out by skillfully cutting a part of the die. In the strength silicon dies are used for mass production as one die can method of Silicon die making, high strength semi-solid rubber is be used multiple times. used.

Wax Model

Once the Silicon dies are ready, wax is injected into it using Wax Injectionmachine.Whenthediesareclampedonthemachine,#rst the vacuum inside it is cleared and then the wax is injected in a few seconds. The temperature of the wax is around 40-60 deg C, which cools down to room temperature within 2-3 minutes. The pressure

Fig. 2.11

Fig. 2.11 CAM pieces mounted in the aluminium frame before pouring silicone rubber in it Fig. 2.12 Worker opening the silicone mould for taking out the wax model from it Fig. 2.13 Artisan setting stones in the wax piece of a pendant 50 | Graduation Project

Fig. 2.12

Fig. 2.13

of the clamps, duration of injection, amount of wax to be inserted each other. After attaching the multiple wax pieces around the is decided by the operator and varies for every piece. After giving trunk, a wax tree is formed, which is placed into a rubber base and a#nishtothewaxpieces,stonesaresetonitasperthe acylindrical designso metalaskisplacedaroundthetree.Further,thetree that an exact replica comes out after casting. The wax pieces are is sent for investment casting. then attached to a wax trunk, in a manner that no pieces touch

Fig. 2.14

Fig. 2.14 Worker numbering the wax trees before it is sent for the Investment casting process Aboli Deshmukh | Lifestyle Accessory Design 2017 | National Institute of Design | 51

Casting Process

the tree. Then it is kept to settle down at room temperature for 2 hours.

Inthisprocess,thewaxtreesarecoveredwithaaskwhichhas holes around it for permeability and are placed in an investment Burnout setting machine. Then a mixture of water and investment powder Once the powder is hardened, it is transferred to furnace at a ispouredintheask.Theslurryofinvestmentpowdertemperature andwaterof 700 degree Celsius. This result in dewaxing or takes2hourstohardeninthesettingmachine.Thenthe ask#led melting ofwaxor‘lostwax’.Itcreatesanegativespaceforthe with POP is subjected to vibration and vacuuming, so the trapped metaltobepouredduringcasting.Thisprocessiscalled‘Burno airparticlescanbereleasedandpowderwillbe#lledevenlyin

Fig. 2.15 Workers inserting the flask with POP mould in the investment casting machine 52 | Graduation Project

Fig. 2.15

Investment Casting

In Casting, the molten metal is poured in the POP mould in hightemperatureVICmachine.Theprocessbeginsbyputtingtheask in the casting machine. The machine is programmed based on the goldandalloytype.Onceeverythingissetthemoltenmetalows intheaskandcastinggetscompleteasthemetalgetssolidi#ed in2-3minutes.TheseaskswithmetalandPOPinsidearekept under running water for a few minutes to cool down and kept in high-pressure water jet machine so that the POP comes out and the output is the metal tree.

Sprue Grinding

Fig. 2.16

In this process, the extra projections of the casted tree are removed. First manually each piece is cut separately from the tree, thentherunnersareremovedand#nishedbygrinding.Afterthe qualitycheck,thesesemi-#nishedgoldorsilverpiecesaresentfor the further jewellery making process.

Fig. 2.16 Worker setting the casted gold tree in high-pressure water jet machine for cleaning Fig. 2.17

Fig. 2.17 Gold trees formed after the Investment casting process Aboli Deshmukh | Lifestyle Accessory Design 2017 | National Institute of Design | 53

Product Development Cell

place at this stage and the product actually starts looking like a piece of jewellery.

InProductDevelopmentCell,aseriesofassemblyand#nishing BP Stripping processes are carried out. It includes Bench working where the Stripping process removes all the black and green stains on the karigarmanuallydoesmultiple#nishingprocesseslikeBP #ling, linking, soldering,assembly,stonesetting,polishing,buf#ng,cleaning, laserengraving,electroplating,qualitycheck,productcerti#cation, qualityassuranceetc.

Separation

ProductDevelopmentCellisequippedwithnumeroustypesof spare parts essential for the product assembly. After receiving the casted products, spares are picked according to the job sheet description and handed over to the karigar for further process.

Soldering and Assembly

In this process, spare parts are soldered with each other like soldering post to the earring, soldering locks etc. manually by skilled karigars. Only such parts are soldered at this stage because if all parts are soldered at the beginning of assembly then later it cangetdif#cultforcorrection.Mostofthe#nalassemblytakes

Fig. 2.18 Artisan soldering the chain with a soldering gun Fig. 2.19 Artisan cleaning the jewellery piece under highpressure water jet after soldering 54 | Graduation Project

Fig. 2.18

Fig. 2.19

pieces due to soldering. The pieces get cleaned and polished in the Correction and Stone setting stripping machine due to friction with steel balls and small wires.

Unwanted extra material on the piece of jewellery is removed in For Ultrasonic cleaning, a jig with jewellery pieces hung on it is the correction process manually with a rotating hand tool. After insertedinasolutioninanultrasonicmachineforcorrection, 10-5minutes. the last step of adding material to jewellery piece Furthercleaningisdonewithhigh-pressuresteamifis required. stonesetting.Thejewellerypieceis#xedonalacbasewith awoodenstandcalled‘Arrakku’ in Tamil. The stone is brushed againsta‘sanakal’ surface to make it less smooth.

Karigars set the stones skillfully on the jewellery piece by referring to the job card description.

BufngandPolishing

Forbuf#ngprocess,thejewelleryisrubbedagainstarotating buf#ngwheelgivingitashine.Differenttypesofbuffslikebrush, clothbuffetc.areusedfor#nal#nish.Inthisprocess,the#nal

Fig. 2.20

Fig. 2.20 Artisan setting stones in the jewellery wherever the stones are damaged or come out during the investment casting process Fig. 2.21 Artisan buffing and finishing the ring with a buff attached on a Flexi shaft gun

Fig. 2.21

Fig. 2.22

Fig. 2.22 Artisan buffing and polishing the jewellery by using various types of burr wheels Aboli Deshmukh | Lifestyle Accessory Design 2017 | National Institute of Design | 55

Fig. 2.23 56 | Graduation Project

#nishingisdonebasedonthetypeof#nishrequiredlike process, gloss, jewellery high pieces are hung on a copper jig which is dipped gloss,matt,brush,textured,orsatin#nish.Ifanydefects inare aseries foundoftubsinsequence.The7-8tubs#lledwithchemical duringqualitycheckitgoestobacktocorrectionand solutions thesame are for the following processes: Ultrasonic, degreasing, process gets followed again. acid dip path, gold plating (Auro strike bath), BN hard gold bath, EPbath.Thetotalprocesstimeforonejigisapproximately15 minutes.

Electroplating Electroplating is an Anode Cathode reaction Process. In this

Texturing

Texturing process is carried out after electroplating. In the Texturing Cell, there are various methods by which texturing can be done. Various types of widely used textures are done bySandblastingprocess,RhodiumplatingandAntiqueplating.

Colouring and Enamelling are also done manually or by spray jet.Thetexturingsourceistargetedspeci#callyontheareaof jewellery where the texture is desired. In hand texturing, various texturepatternsarecreatedbyscratchingthesurfaceinspeci#c manners.Later,Maskingandrebuf#ngarealsodoneifnecessary.

Laser Assembly and Engraving

The#nalassemblyisdoneaftereveryotherprocessiscompleteby using a semi-automatic laser machine. The karigar keeps the two

Fig. 2.23 Artisans working at their designated workspaces in the Product Development Cell Fig. 2.24 Worker inserting the jig in various chemical solution tubs for the process of electroplating Fig. 2.24

Fig. 2.25

Fig. 2.25 Artisan painting the jewellery with liquid enamel Aboli Deshmukh | Lifestyle Accessory Design 2017 | National Institute of Design | 57

Fig. 2.26

pieces on each other as desired and targets a laser beam on it. which the gold weight, stone weight and batch details are added.

After pressing the pedal, the laser hits the target and the pieces The products are further sent to the Photography department getsolderedveryef#ciently.Oncetheproductis#nished where the the details of every single piece along with pictures are Emerald hallmark is engraved on it using the Laser Engraving addedtotheirdatabase.Aftercostingprocedures,the#nal Machine. products are dispatched to stores.

Manufacturingprocessowelaboratedinthissectionissimil most of the other production processes at Emerald. Hence, it is not IntheQualityDepartment,thespecializedQCpeoplecheck explained in the next section of this document to avoid repetition. each#nishedproductwithminutedetails,basedonthe Emerald guidelines.Itinvolvesthesetstandards,stonequality,safetycheck, weight,pricepointandmanufacturingquality.Iftheproducthas any issues in QC, then it is sent back for rework.

Quality Check (QC)

Fig. 2.26 Artisan looking at the bangle through a magnifying lens for quality check 58 | Graduation Project

ProductCertication

Afterthequalitycheck,productcerti#cationiscarriedout,in

Casting

jewellery

Emerald has been a pioneer in producing outstanding casted jewellery from decades. The Casting collection remains the marketleaderwith85,0+designsandsuperior#nish.

Investment casting allows the creation of intricate designs and is the conventional method of jewellery manufacturing. The beauty of sturdy, solid casted jewellery is enhanced with texturing, rhodium plating and enamelling. One of the jewellery set from casting collection is shown here.

Fig. 2.27

Fig. 2.27 Set of earrings and necklace made from the casting process Aboli Deshmukh | Lifestyle Accessory Design 2017 | National Institute of Design | 59

Electroforming Process

meltingalloyisusedinsteadofit.Onejigtakesabout15hoursfo the entire process of metal deposition.

The step by step manufacturing description of Electroforming process is given below.

Dewaxing

Wax/ Low melting alloy Replica

In this process, wax pieces are made same as the casting process.

Once the wax pieces are ready, multiple coats of conductive silver paint are applied to it thoroughly. The even application of silver paint is crucial because if a small area on the piece is left without paint application, metal will not get deposited on it during the forming process. These paint coated wax pieces are placed on a rubber-coated metal base and hung on a jig.

The inside wax or low melting alloy is then emptied by heating as it melts and drips down and only the outer metal deposition is left.

This method is very similar to the method of dewaxing. Further, theseelectroformedhollowpiecesare#nishedveryskillfull over#nishingcanresultinbreakingofthepiecesandlatersen qualitycheck.Afterqualitychecktheformingpiecesaresentfo assembly with other parts in a jewellery.

Forming

Intheformingprocess,asequenceofchemicalreactionstakes place as the low melting alloy piece undergoes ultrasonic cleaning, chemical cleaning, electrolytic cleaning, acid dipping, alkaline cleaning and washing in demineralised water. The anode-cathode reaction results in the deposition of metal on the replica piece. For gold electroforming, the wax pieces do not work properly so a low

Fig. 2.28 Artisan finishing a wax idol using a hand tool Fig. 2.29 Worker applying conductive silver paint on the wax model of an idol 60 | Graduation Project

Fig. 2.28

Fig. 2.29

Fig. 2.30

Fig. 2.30 Workers carefully inserting the jig in a chemical solution during the process of electroforming Aboli Deshmukh | Lifestyle Accessory Design 2017 | National Institute of Design | 61

Fig. 2.31

62 | Graduation Project

Electroforming jewellery

Emeraldmanufacturesqualityjewelleryinmultifariousdesignson alargescale,inasystematizedwaywithexemplarymanufacturing facilities and technologies. One such state of the art technology is Electroforming. In this process 3 dimensional, lightweight, hollow pieces can be created using the electrodeposition method. It has the capacity to reproduce complex external shapes within one micrometre at extreme tolerances. This extremely lightweight and hollow jewellery manufacturing method is used to create pocket-friendly jewellery.

Fig. 2.32

Fig. 2.31 Set of earrings and pendants partly made from the electroforming process Fig. 2.32 Men’s bracelet from lightweight Simha collection entirely made from the electroforming process Aboli Deshmukh | Lifestyle Accessory Design 2017 | National Institute of Design | 63

Laser cut

jewellery

Fig. 2.33 Set of earrings and pendant made from laser-cut sheets Fig. 2.34 Necklace made from intricate laser cut sheets 64 | Graduation Project

Fig. 2.33

In Lasercutting Process, the machine shoots a beam of concentrated light over a metal sheet as per the software input with extreme accuracy and precision. Lasercutting technology is used for cutting and engraving intrinsic patterns even in minute sizeswhicharedif#culttoproducemanually.AtEmerald,Laser cutting collection is also called as SISMA as the machines of theSISMAbrandsareused.Thishighlyef#cienttechnology requireslesstimeandsavesaconsiderableamountofwork.Th machine can work with a plethora of materials and has a very low risk of metal contamination, accidents or injuries as very less humaninterventionisrequired.Fewofthejewellerypiecesfr Lasercutting or SISMA collection are shown below.

Fig. 2.34

Aboli Deshmukh | Lifestyle Accessory Design 2017 | National Institute of Design | 65

Fig. 2.35

Machine-made jewellery

Fig. 2.35 Machine-made ring in white gold and rose gold dualtone finish Fig. 2.36 Machinemade gold bangle Fig. 2.37 Set of traditional gold dangler earrings from Unikraft collection 66 | Graduation Project

Fig. 2.36

Modern Machinery Department is dedicated to producing bangles and rings using state of the art machinery. In this process, CNC lathemachineisusedtocutthebanglesandringsinrequired shapesandsizesandDrawingmachineisusedtodecreasethe diameter and width of the tube. Along with this, a semi-automatic stone setting machine is used to set stones in various ways like pave, prong, etc ensuring fewer chances of mistake. This complete machine-made jewellery collection beholds a uniform and perfect #nishacrossalltheproductswithsupremequalityandastou designs.

Unikraft

jewellery

Unikraft department is mainly dedicated to making the traditional ‘Nagaswork’.‘Nagas’ in Tamil means intricate/ornamental work.

Nagas jewellery primarily consists of temple designs and originate from southern India and has existed from ancient times. Nagas work is created by beating a metal sheet from its backside to create patterns and embellishing it with different stones, small casted pieces, dies and many more. Along with Nagas work, Unikraftjewellerycollectionisfamousforitsunique,handmade designs.

Fig. 2.37

Aboli Deshmukh | Lifestyle Accessory Design 2017 | National Institute of Design | 67

68 | Graduation Project Fig. 2.38

Stamping and Imprez jewellery

LowweightandhighresistantImprezjewellerymakeitamuch soughtafteraffordableproductwithspecialcuttingandhigh#nish.

This modern, trendy and beautiful jewellery is crafted for the young heart and is perfect for daily wear. The process starts with drawing sheets of gold/silver using rolling and annealing method from melting the metal bars and scraps.

In stamping, dies are made of the desired design and are stamped on the sheet. These stamped pieces can later also be bent and soldered as per the design. This is called forming. Hollow designs canbemadeusingthisprocess.InImprezmethod,thestamped pieces are soldered on a texturing sheet using a furnace and machine. These soldered pieces are then cut individually resulting Fig. 2.39 in lightweight hollow 3D pieces.

Fig. 2.38 Set of gold earrings and necklace from Imprez collection Fig. 2.39 Gold earrings from Stamping collection Aboli Deshmukh | Lifestyle Accessory Design 2017 | National Institute of Design | 69

Fig. 2.40

Fig. 2.40 Mesh Gold chain getting manufactured in the state of the art machinery Fig. 2.41 Gold chain being given the desired pattern in the machine for Indiania collection 70 | Graduation Project

Fig. 2.41

Indiania Jewellery Indiania jewellery collection can be divided into three types of jewellery according to the manufacturing processes involved.

These are described as follows.

Hollow

Hollowjewelleryismanufacturedbycoveringagoldsheetof0.5 mm thickness around a brass alloy. The brass is taken out leaving only the gold with a hollow space inside. A draw bench is used to giveshapestothetube.Dyesofvariousshapesandsizescanbe attached to this machine. Stones cannot be set in hollow jewellery but the fusion of hollow jewellery with other casted products is possible.

Ultralight

Fig. 2.41

Fig. 2.42 InUltralighttechniqueagoldsheetiscoveredarounda9%pure copper hollow tube. A powder is added to the hollow copper tube and after heating, the powder is taken out by dipping it in the water at 100 degrees resulting in melting of the copper using nitric acid.

Mesh

Meshjewelleryismadeusingvery#nethinwiresof18ktand 2ktgold.Thediameterofthegoldwireis#rstreducedto0.6 mm in Wire Drawing Machine. The mesh is then weaved using a machine to form very light, delicate and intricate jewellery pattern.

Theseexible,ribbonresemblingmeshescanbetwisted,knotted andevenpulledintoshapeslikeaower.

Fig. 2.42 Indiania hollow bracelet Fig. 2.43

Fig. 2.43 Indiania bracelet made using ultra-light gold wires Aboli Deshmukh | Lifestyle Accessory Design 2017 | National Institute of Design | 71

Indiania

jewellery

Indiania collection comprises of light-weight, hollow jewellery manufactured using Italian technology by knitting, interweaving, twisting hollow sections into various shapes in order to create somemesmerizingdesigns.Thisultra-lightvoguishjewelleryis muchcovetedbyyoungstersforitsuniquedesigns.

Fig. 2.44

72 | Graduation Project

Fusion

jewellery

Fusion jewellery collection as the name suggests is a blend of varioustechniquesatEmeraldlikehandmade,#ligree,casting, electroforming and stamping. The technology and beautiful craftsmanship together create fusion jewellery with its distinctive look.

The handmade process starts with applying a gum-like material called‘black malegu’ in Tamil on a platform. The karigar makes a base out of black malegu and creates the outline by using thin wires on it. Various small jewellery pieces or dies are placed inside the wire boundaries so that the design looks aesthetically pleasing.

Once the design is approved, the karigar takes out the die pieces other than those which needs to be soldered with each other. A mixture of POP and water is poured on the malegu where jewellery isplaced.Afterabouthalfanhour,thePOPgetssolidi#edandis then taken out from malegu. The jewellery gets stuck with POP and its backside is visible. The soldering takes place on the backside of jewellery. Once soldering is complete, POP is taken out and the jewellery piece is sent ahead for further assembly, polish, correction and QC. Along with this, Kundan work of placing a stone in its place and then#xingitbyinsertinggoldfoilonallofitssidesisalsocarried out here. Textured balls, wari balls, round handmade balls are the speciality of fusion jewellery and are mostly used in the long chains ofnecklacesor‘Haarams’.

Fig. 2.45

Fig. 2.44 Various kinds of gold chains from Indiania collection Fig. 2.45 A magnificent gold long haaram from Fusion temple collection Aboli Deshmukh | Lifestyle Accessory Design 2017 | National Institute of Design | 73

Fig. 2.46 A modern silver set of earrings and necklace from Zilara collection Fig. 2.47 A pair of beautiful diamond earrings made in silver from Zilara collection 74 | Graduation Project

Fig. 2.46

Zilara

silver jewellery

Craftedin92.5SterlingSilver,Zilaracollectionisthesilver jewellery collection of JewelOne. The bright, shining, bold designs studded with Swarovski stones blend perfectly with varied jewellerytrendsfortheyoungheart.ContemporaryZilarasilver jewelleryiscreatedbyvariousmanufacturingtechniquesat Emerald like casting, electroforming, handmade, fusion. Other processes involved in jewellery manufacturing are similar as showed in the casting process.

AlongwithZilarasilverjewellery,Emeraldalsopossessesanarray of silver items like traditional payals, idols and utensils.

Along with gold and silver jewellery, Emerald possesses aweinspiringcollectionsindiamond.Theseexquisitelydesigned Diamond collections are created using ultra-modern technology in various types of stone settings. Emerald also forays into one of the rarest elements on the earth; Platinum. Contemporary jewellery crafted in the precious metal is for the true connoisseur of elegance and beauty. The manufacturing sections of Diamond and Platinum jewellery are entirely different and those were not exposed following the company regulations.

Aboli Deshmukh | Lifestyle Accessory Design 2017 | National Institute of Design | 75 Fig. 2.47

Fig. 2.48 A Zilara silver necklace with studded stones and enamel finish 76 | Graduation Project

Fig. 2.48

2.12 Insights The Induction process was about understanding Emerald Jewels as a brand, studying its identity, philosophy, different verticals, design ethos and its working systems at every stage. This helped in getting a complete picture of where does the brand stand.

Induction to manufacturing processes has been an integral part of the project. It ensured exposure to the manufacturing capabilities and processes at Emerald. It was fascinating to observe the meticulous journey of transformation from metal bars to beautiful pieces of jewellery. The factories have several departments for different processes, each of it is facilitated with modern machinery and technology. Thus, a holistic understanding of production processes, its capabilities and limitations was gained which was later implemented during the design process.

It was observed that being a pioneer in gold jewellery manufacturing, various gold jewellery collections at Emerald createdbydifferentmanufacturingprocessesareveryunique and different from each other. There are a plethora of designs in Emerald’s design bank with varied design languages constituting a broad spectrum of design diversity. Whereas in the case of silver jewellery, Emerald has recently ventured into it. Thus, there is an opportunity to enhance the silver vertical by building strong design and brand language. This was taken into consideration in the further development of the project.

Aboli Deshmukh | Lifestyle Accessory Design 2017 | National Institute of Design | 77

78 | Graduation Project

W

Jewellery

Research

History of Jewellery Silver- The Noble Metal Silver Jewellery in India Why was silver worn?

Silver making a comeback Techniques on Silver Insights

Aboli Deshmukh | Lifestyle Accessory Design 2017 | National Institute of Design | 79

Fig. 3.1 A traditional Indian dancer wearing a great deal of iconic jewellery from head to toe 80 | Graduation Project

Fig. 3.1

3.1 History of Jewellery India like no other country in the planet can rightfully boast of Why was jewellery worn? anunbrokenheritageofjewellerydesignthatspansatleast#ve thousandyearsandextendsbackintoantiquity.With alegacyoriginated from the innate desire of human Jewellery ofnumerousyears,thejewelleryofIndiaepitomizesoneof beings for adornment. Whatever material its made from and the greatest traditions of artistic skills in the world. Its people whatever its form, the purpose of jewellery was to enhance, have expended limitless energy and creativity in the invention to proclaim and to nestle on the body and articulate with of ornaments that celebrate the human body and in developing the body parts. But rarely is an Indian traditional ornament opportunities for their use. From the immemorial, nature in all simply decorative and devoid of inherent meaning or its variety and beauty has been the principal source of design symbolic values. Jewellery in Indian culture is bound up with inspiration to Indian goldsmiths and silversmiths. In the ultimate analysis jewellery is a dynamic entity. key events of the human life cycle. It was used not merely

to beautify but acted as a store of wealth, provided security

FROM THE LAST QUARTER OF THE 20TH CENTURY, JEWELLERY IN INDIA FRAGMENTATED INTO A PLURALITY OF STYLES WITH A DIVERSITY OF FORMS, MATERIALS AND TECHNIQUES.

Traditionally,aproli#camountofjewellerywasworn.Almost duringall acontingency,markedtheritualsoflife,signi#ed women wore ornaments as an intrinsic part of their dress and as status, conferred respectability, marked the wearer’s a sign of respectability. The sheer weight carried by some women identity, social background and stage in life and proclaimed wasconsiderableweighingupto15kgs.Mengenerallyworeless imperial might. It also had a close association with religion, ornamentationthanwomen,althoughamagni#centarraywas sported by maharajas and princes as well as by men of certain tribal fortune and health and was a source of protection from misfortune and illness and a medium of prayer and congress groupswhousedowers,seedsandothernaturalmaterials.

Even with the divine. animals were caparisoned with jewellery. In India, all participate in jewellery: gods, humans, animals, temples and whole nature.

In India, jewellery is essential for life and surmounts all ethnic and religious differences. Traditional Indian ornaments have become established symbols of ethnic unity and identity, which is why in India, from generation to generation all women within a rural community aspire to own the same traditional objects. Marriage and religion are inseparable in Indian culture and together provide another major motivation for the use of traditional ornaments. A woman’s dowry was an important mechanism through which jewellery changed hands, along with other property. Most jewellery

Aboli Deshmukh | Lifestyle Accessory Design 2017 | National Institute of Design | 81

Fig. 3.2 Traditional Indian jewellery from various parts of the country (a)- Toe ring of Zinc Copper alloy (b)- Silver-plated brass anklets from Kachchh, Gujarat (c)- Gold ear ornament with grey beads from southern India (d)- Silver bracelet from Orissa, the stepped part over the lock symbolises a temple tower (e)- Gold ear ornament worn at the top of the ear with a cluster of pearl simulants from Madurai, Tamil Nadu (f)- Silver bracelet for children from Karnataka (g)- Silver casket for a shivalinga of Lingayat community from South India (h)- Silver upper arm jewellery from Rajasthan (i)- Gold ear ornament worn at the top of the ear from Madurai (j)- Gold earrings with granulation and turquoise from Punjab (k)- Heavy anklets from Gujarat (l)- Silver pendant with a deity with attendants from Kangra, Himachal Pradesh (m)- Gold earrings known as thandatti from Tamil Nadu are mostly worn by widows (n)- Silver wrist ornament from western India 82 | Graduation Project

made from precious metals was considered auspicious and luck-bringing and many pieces were also believed to have strong amuletic properties.

20th century, jewellery in India fragmented into a plurality of styles withadiversityofforms,materialsandtechniques.Fromjewel painstakingly handcrafted by the karigars to those mass-produced retailers, from designs conceived by the artist-craftsman to those meticulously rendered by the designers, from gold and silver to These aspects of Indian jewellery still survive, but much less unconventional materials, from materials of conformity to striking universally than before. In the evolution of jewellery technology individuality, a range of aesthetic choices became available to both in India, metal decorative processes were developed that was the creators and consumers. practisedthroughoutthecountry.Fromthelastquarter ofthe

An ancient art form, jewellery, reflects man’s primal need for adornment, constituting a potent artistic language that transcends temporal and geographical barriers uniting people despite their cultural, religious and ethnic diversity.

- Michalis Liapis

(c) (b)

(d)

(f) (a)

(e) (i) (g)

(j) (h)

(l) (k)

(m) (n) Aboli Deshmukh | Lifestyle Accessory Design 2017 | National Institute of Design | 83

Fig. 3.2

Fig. 3.3 Traditional Indian jhumkas and bangles in shining silver 84 | Graduation Project

Fig. 3.3

3.2 Silver- The Noble Metal One of the earliest metal to have been used by man, not only in India but also in other parts of the world is silver. silver the brilliant white shining metal is harder than gold, softer than copper and second only to gold in malleability, ductility and preciousness.

history in coinage and jewellery will sustain its status as a symbol of wealth and prestige.

Sources of Silver in India

Represented on the Periodic Table of the Elements by the symbol Considering the profusion and the deep rootedness of its Ag, silver is an excellent conductor of heat and electricity. Silver’s customary use, one would guess the abundance of silver in our symbol, Ag comes from the Latin word “Argentum,” which means country India. But, the reality is different. Silver is not plentily “shiny” and “white”. Silver, a white lustrous metal valued for its found in India. Since olden times we have been importing silver decorative beauty and electrical conductivity is located in Group from neighbouring countries. Earlier it was amply found but the 1(Ib)andPeriod5oftheperiodictablebetweencopperand gold.decreased due to excessive demand. supply Silver is considered as a noble metal because of its excellent Silversmithy resistance to oxidation and is the least chemical reactiveness of the transition elements. It has been used as a popular metal for Contrary to popular belief, silver is actually the precious metal making jewellery from ancient times. Though it is not as valuable of choice for trained artisans. Gold and silversmiths have been or as sought after as gold, there is a lot more of it. Like gold, silver working with the element for thousands of years. Because it is was used in early coinage, artwork and jewellery. It’s unknown how less expensive and a bit harder than gold, it is much easier to or when humans discovered silver and began to use it, but it’s one shape into interesting and attractive shapes and designs. As it is ofthesevenmetalsofantiquity,whichalsoincludegold, muchcopper, cheaper than gold, most of the early goldsmiths practised tin, lead, iron, and mercury that humans had already begun using withsilverinsteadofgold.Whenthetradewasatitszenith, during prehistoric times. Archaeologists have discovered silver most silversmiths spent most of their waking hours making silver mines in Asia that are over four-six thousand years old. Shortly jewellery and silverware. Silver was readily available and most after it was mined, silver was separated from lead and was used afuentfamiliessimplyhadtohaveastunningsetofsilverware. to make decorative ornaments and utensils. It also became an Many of them also had silver tea sets, silver candlesticks and silver important part of the world monetary system when it was used by bowls on their tables. the Romans in the early years of the Empire.

Silver can be ground into powder, turned into paste, shaved into akes,convertedintoasalt,alloyedwithothermetals,attened into printable sheets, drawn into wires, suspended as a colloid, or evenemployedasacatalyst.Thesequalitiesensurethatitslong Aboli Deshmukh | Lifestyle Accessory Design 2017 | National Institute of Design | 85

3.3 Silver Jewellery in India IN INDIA, SILVER JEWELLERY TAKE A VARIETY OF FORMS ACCORDING TO THE REGION AND HAS EXISTED IN AN UNCHANGED WAY THROUGHOUT THE CENTURIES.

Indian silver jewellery has existed in almost an unchanged form throughout the centuries. In India, ornaments take a variety of forms according to the region. Each region has distinctive styles ofjewelleryspeci#ctoit.Manyfactorssuchascastes,cultural developments,externalinuencessuchasthosefrommigratory tribesandtradecontactsinuencedthejewellerylanguageofa particular place. Silver jewellery has been more in use among the tribal and village communities of India.

Silver jewellery studded with gold, precious and semi-precious stonesisquitepopular,particularlyinsouthernpartsofIndia.The speciality of these ornaments is that they are lightweight and of reasonable cost. The versatility can be observed in silver jewellery, asdifferentstateshaveindigenousinuenceoveritsdesign.The pattern and precision differ according to region and likes-dislikes of people.

In western states of India like Rajasthan and Gujarat, silver is used in a chunkier and heavy form. Western silver jewellery is popular for mirrored and stoned works, The ornaments like earrings, pendants, waistbands, anklets are very heavy and are decorated with silver enamelling. Usually, patterns and designs are carved over the ornaments.

In the eastern state of the country like Orissa, West Bengal, one comeacrossauniquewayofusingsilverinjewellerythatisknown as “Tarkashi”. In this form of jewellery, silver is spun into very thin wires, which is then used to make small containers, vases, lamps, boxes and of course jewellery. The designs carved on this kind of jewellery are very complicated and detailing is very minute thus makingituniqueinitsway.

Fig. 3.4

86 | Graduation Project

Silver jewellery is still used as the traditional style of jewellery in places like the valleys of Himachal Pradesh, Kashmir, etc. Many times, one can determine the marital status of women as well as her community by the jewellery she wears. The main inspiration fordesigningtraditionalsilverjewelleryistheoraandfaunain local surroundings. The tribal and rural women in these places still wear silver jewellery in the traditional style in the form of long and delicate ear chains. Some of the ornaments are inlaid with semiprecious stones and gems.

Fig. 3.4 Tribal women from Rajasthan of India adorned in heavy silver jewellery

Fig. 3.5

Fig. 3.5 A kinnauri tribe bride from Himachal Pradesh heavily decked up in the silver jewellery for her marriage in the traditional attire Aboli Deshmukh | Lifestyle Accessory Design 2017 | National Institute of Design | 87

Fig. 3.6 Intricate tarakasi silver bangles. Tarakasi technique comes from the parts of West Bengal and Orissa Fig. 3.7 A tribal women from Gujarat wearing a pair of massive silver anklets 88 | Graduation Project

Fig. 3.6

3.4 Why was silver worn?

Silver has been used as a popular metal for making jewellery from ancient times. Though it is not as valuable or as sought after as gold, there is a lot more of it. Silver is a noble metal. For thousands of years, silver has been widely used for making ornaments, coinage, artwork, utensils and even used as a basis for monetary systems. Due to its easy availability as well as affordability, it is adorned by people of all classes.

In the Hindu culture, it is believed that silver stands for the Moon or Luna and gold stands for the Sun. So, gold is worn above the waist, meanwhile, silver is worn from the waist down. In Hinduism, silversymbolizesfemininityandmotherhood.SilverToerings are worn by married women for keeping the reproductive organs healthy, as it is believed that the second toe of the feet is directly connected to the uterus and slight pressure on it ensures a healthy uterus.Italsoisconsideredthatsilversigni#esprotectionfrom magic.

Silver is a good conductor of energy. It works as a mediator betweentheearthandthehumanbodywhileushingoutnegative energy to the earth and sending good energy from the earth back to the body to refresh it. Earlier, people used to adorn themselves with lots of gold jewellery which creates lots of electric current hencetocounterthecurrentandkeeptheenergyowinginthe body, silver jewellery was worn. In an astrological sense, silver is considered as a cool metal which is recommended by astrologers for maintaining mental peace and controlling one’s emotions and advised to be worn alone or as a base metal.

Fig. 3.7 Aboli Deshmukh | Lifestyle Accessory Design 2017 | National Institute of Design | 89

3.5 Silver, making a comeback

Silver is one of those metals that have been used to make jewellery for a long time now. Although less valuable than gold jewellery, there is a certain ethereal charm about Silver. Whether shimmery & sparkly or oxidized,womenhavebeenadorningsilverasanornamentsinceti immemorial. The lure of silver had diminished little with time, but, now it has taken up the trend making a major comeback. Silver jewellery saleinIndiajumpedmorethan30percentinthelast#nancialyeara millennials preferred it over gold. With the new trend of sustainable fashion being the mantra behind the creative drive, designers are creating new and exciting designs in silver. With the advent of online shopping of jewellery ordering one’s favourite design has become extremely easy and user-friendly.

Silver has long been considered second only to gold in prestige. Silver being much cheaper than platinum or white gold has become the metalofchoiceforalargenumberofpeople.Silverisaneasy#tin terms of money and affordability, its a stable investment if compared with the ever-rising prices of gold. The metallic bright white feel, lustrousandshinyauraofSilverjewellery#ndsitsplacehighin segment of new age jewellery. Another important reason for the increase in demand for silver jewellery is the trend of wearing nude jewellery.Silverhasthatmatt#nisheleganceofplatinumatasm fraction of its cost so to keep up with the current trend people are choosing to wear silver.

The timeless nature of silver, its old charm and traditional appeal has made it the gold standard of modern jewellery design. It has become an obvious choice for style-conscious buyers these days and goes well aminimalistfashionethos.Theeasyandquickavailabilityofsil jewellery and how well it goes with almost everything has made it become a jewellery staple for today’s women. The versatility of the metal and its pliability make it more suited to contemporary design Fig. 3.8

90 | Graduation Project

andmakeitagreatoptiontocomplementdaytodaywear diamond. out#t The design has become the key differentiator in the andisacinchtoaccessorizewith. affordable jewellery segment. Consumers today prefer jewellery that they can adorn and make a personal statement unlike the Silver gives excellent scope for creativity and design innovations older days, where jewellery was meant more for securing in presenting opportunities that are not possible with gold and lockers than for wearing purposes.

Fig. 3.8 A modern women wearing tribal silver jewellery

All that glitters is almost always jewellery and one of the most beautiful forms is Silver.

- Anonymous

Aboli Deshmukh | Lifestyle Accessory Design 2017 | National Institute of Design | 91

3.6 Techniques on Silver ThegreatestpeculiaritiesofIndiansilverarequality the reverse andside variety: to create a design in low relief. While repoussé is each region has its own distinctive style, themes, forms and used to work on the reverse of the metal to form a raised design creationprocess.Varioustechniquesareusedonthe onsurfaces thefront, ofchasingisusedtore#nethedesignonthefrontof these items to add value to it adhering to its age-old language. theworkbysinkingthemetal.Thetechniquesofrepousséand chasing utilise the plasticity of metal, forming shapes by degrees.

There is no loss of metal in the process, as it is stretched locally Repousse and the surface remains continuous. The process is relatively slow, a maximum of form is achieved, with one continuous surface of Repousséorrepoussageisametalworkingtechniquebut inwhich sheet metal of essentially the same thickness. a malleable metal is ornamented or shaped by hammering from

Fig. 3.9 A rare repousse silver mirror case from the 19th century in India Fig. 3.10 Bangle in shining silver with intricate filigree work 92 | Graduation Project

Fig. 3.9

Fig. 3.10

Filigree Filigreeisauniqueprocessthatincorporateshandcraftedtwisted threads of precious metal into its design. Filigree is an incredibly old art form which has a rich history in jewellery design and beyond.

In India, the filigree work is locally known as Tarkashi. Thick silver wires are used to make the frame into which small design pieces (sikko)madefromthinnerwiresare#tted.Thecraftsmanshipliesin #ttingthesmallpartsperfectlyFiligree inthe basically frame. refers to gold or silver wires interwoven to make a lace-like decoration.

The delicacy of this art makes it an alluring and feminine art form of jewellery.

Damascening and Encrusting technique Damascening is the art of inlaying different metals into one anothertoproduceintricatepatterns.Thistechnique,inparticular, was the art of incrustation of various metals into each other, and most often gold or silver into a copper, steel or alloy basis.

Designs are chased on the base metal surface with a very hard and sharp tool and a gold or silver wire is hammered into the grooves until it unites with the surface metal. One metal in the form of wire is encrusted into another metal producing a beautiful and harmonious effect.

Bidri

Fig. 3.11

is named after the place Bidar in Karnataka, from where it has ElegantlustrousSilveronJetBidri Black Art Zinc Work– is one originated. oftheexquisitemetalcraftsofIndia.Theblackcolour givesita Bidriwareisauniquetraditionalartformmadewith amixture ofzinc andcopper,whichismagicallyturnedintodeep kindofmystiquewhilethesilvershineslikethecliché silver lining.

Fig. 3.11 Black silver Bidri work Bidriisanartofinlayingsilverorgoldonblack craft’ metal. ‘Bdark idri black colour at the end of the process. bangle

Aboli Deshmukh | Lifestyle Accessory Design 2017 | National Institute of Design | 93

Etching Etching is a process in which an acid is applied to the metal, causing uncovered parts to be eaten away by the acid. The uncovered areas of the metal will etch, leaving behind a raised impression of the design. Designs are also made using various punches. In Laser etching, the pattern is etched by using a laser on metal, where the laser beam physically removes the surface of the material.

Granulation One of the most popular forms of surface ornamentation in Indian jewelleryisGranulation.Granulationtechniqueisknownto most of the world from ancient times and practised with regional variations. Granulation is a process of forming granules of gold and silver and arranging them in decorative patterns over the surface of an ornament. Most Indian goldsmiths and silversmiths practice Fig. 3.12 the craft in the following manner, beating the bar into wire of

Fig. 3.12 Silver bracelet with an etched surface Fig. 3.13 Sterling silver bracelet embellished with granulation work Fig. 3.14 Pair of beautiful silver earrings enamelled with red, green and blue colour 94 | Graduation Project

Fig. 3.13

Fig. 3.14

requiredgauge,cuttingthewireintosmallpieces,placingthese pieces on a wooden plank one at a time, heating them using a torch and a blower, while simultaneously rotating the plank rhythmically.

Thesepiecesturnintoballsandarelateraf#xedontoornaments.

Enamelling Enamelling is the art of colouring as well as embellishing the surface of the metal by fusing together various mineral substances.

A wide variety of metals is used for Meenakari designing, including brass, copper, silver and gold. The metal engraved to provide necessary depressions on which the enamel colour is applied. The articletobeenamelledis#rstburnishedtoa#nelustre.Before enamelling, the surface of the ornament should be fully burnished orcleaned.Aftercolouring,theobjectisexposedto#re.

Swamy work Fig. 3.15

Swamy work is usually executed on metals like gold and silver. This technique,reallyakindofrepoussework,isusedtoproduceraised #guresofgodsandgoddessesonmedallionsandcanopiedniches.

The#gurescanbebeatenoutfromthemetalsurfaceofthearticle, or they are made separately and then skillfully riveted or soldered onto the article.

Patina A patina is a tarnish on the surface of metals such as silver, copper, andbronzecausedbyeitheroxidationorachemicalprocess.

Naturally occurring patina can help to provide a layer of protection against weathering and corrosion. When a patina is intentionally placed on an object by means of a chemical process, it is usually done to add aesthetic appeal to give the object a vintage or weathered look. Adding patinas to precious metal such as silver can be accomplished by using either liver of sulphur or bleach.

Many times jewellers use these methods to give metals a certain aesthetics.

Fig. 3.16

Fig. 3.15 Temple jewellery pendant featuring goddess and birds created using Swamy work Fig. 3.16 Patina effect on a pair of silver earrings Aboli Deshmukh | Lifestyle Accessory Design 2017 | National Institute of Design | 95

96 | Graduation Project Fig. 3.17

3.7 Insights The secondary research about the narratives of jewellery, itssigni#canceinIndiawasveryinformativeandcompelling.

Jewelleryepitomizesastheubiquitousformofadornmentin various materials with different purposes. Indian jewellery is very speci#candhasadistinctiveindividualcharacterandindigenous inuence.Gettingtoknowabouttheessenceofjewellerywas important before moving ahead in the project.

Silver jewellery was the focal part of the research process as the project was about creating silver jewellery collections for Emerald.

It was learnt that there is a broad range of motives which govern an individual’s desire to possess and use silver jewellery. Research aboutsilverjewelleryanditscomebackonthefashionhorizon helped to backup the project direction and establish the relevance of the project. The systematic research process broken up into clear steps served as a foundation in the further development of the project.

Fig. 3.17 Silver oxidised tribal wrist ornaments from western India Aboli Deshmukh | Lifestyle Accessory Design 2017 | National Institute of Design | 97

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4.1 Trend Research Trend research is about understanding and analysing the trend in the market. It is the essential knowledge for a designer to understand the past, present and future scenario of jewellery, and how other factors like lifestyle, interior, fashion, luxury are interconnected. It is the practice of collecting information and attempting to spot a pattern. Although trend analysis is often used to predict future events. It is based on the idea that what has happened in past events, and an idea of what will happen in the future.

Why trends?

Inthe#eldofjewellery,thereisaconstantchangeinadornment and statement just like clothes. Thus analysing and forecasting in jewellery includes a complete understanding of colours, materials, metal,stonesandmanufacturingtechniques.

The Trend researchers work towards tracking socio-cultural phenomena in art, architecture and fashion while uncovering the underlying connections in the jewellery, watches and luxury goods sectors. This study describes the evolution of consumption in the luxury market and takes a careful look at the emerging phenomena thatconditiontheevolutionofsocietyreectingonthepurchasing pattern and behaviour. The trend research for this project was carried out by referring to various trend books like Trendbook Forecast2019byTrendvision,TrendbookForecast20+by Trendvision, Jewellery Trendbook by Gem and Jewellery Export Promotion Council in association with National Institute of Design.

Fig. 4.1 Image by Trendvision representing their predicted For the macro and micro level trend research, the trend study trend directions for year 2019method executed during the NID academic year came in handy.

2020

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4.2 Forecasting What is forecasting?

Fig. 4.2 Composition of findings and components of jewellery by Julie Cohn 102 | Graduation Project

providesanimportantbenchmarkfor#rmswhichhavealong-term perspective of operations. For retailers, it provides a breakdown andis segmentation of dominant consumer types, matching them Therearemanydebatesregardingthede#nitionofwhat to the mega design trends and their secondary trends over Forecasting. Is it science or art? Forecasting is an exercise of the coming periods, thus enabling more calculated purchasing discipline, methodology and experience. It is the use of historical strategies and guides them in determining how to allocate their data to determine the direction of future trends. Future scenarios budget for the upcoming period. canbemappedeasilyupto2to5yearsinadvance,observing market trends, and socio-cultural phenomena including political The paradox is that while we are closely observing the millennial, and economic factors. The forecast explores the natural evolution a large segment of society is stagnating in the last century’s of emerging product trends based on our environment. Scenarios business practices and will not survive the global leap we may vary locally (nationwide, regionally, and at the urban level) and are experiencing. In the complexity of the global scenarios in in terms of culture, geopolitical area, social and market segment. which we live, knowledge is power and is the means to have an Trends are synergic and simultaneous. They can’t be forced or effective strategy to survive in business during the digital era. imposed by the market, rather they merge unconsciously in our Thus, Trends Forecasting is the essential knowledge for any daily habits. Thinking out of the box is not only a winning strategy company for planning with methodology and system: a strategy, a nowadays, rather a necessary path to navigate the complexity of marketing campaign, mapping a production cycle, entering a new the global market and society. geographical market or segment, knowing in advance the market trends and guiding the future of the business.

Trend forecasting is an essential tool for creating forward-looking businessandbecomingindustryinuencers.Trendresearchers and forecasters, decode the future of jewellery, predicting inuentialtrendstwoyearsahead.Throughtheircuratedvision, evocative imagery and creative mood boards one receives in-depth insights to better envision future lifestyles and consumers. For manufacturers, it is a detailed and practical guide for designing items that will meet the preferences and sentiments of the consumersthatareservedbytheirretailingclientsinspeci#c targetmarkets,overade#nedperiod,whileatthesametime takingintoconsiderationnewtechnologies,techniquesand materials. Investors utilise forecasting to determine if events affecting a company, such as sales expectations, will increase or decrease the price of shares in that company. Forecasting also

4.3 Trend Directions During the Jewellery Trend research and understanding the forecastings, looking at various international trends and how they affect the market, customer’s choices were an important part.

During this process, various jewellery trend directions of 2019 and 20predictedbyTrendVision(Jewellery+Forecasting)were looked at. Few of these trend directions relevant for the project are represented in this section of the document.

Fig. 4.2

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CRAFTS CULTURE - Living modern luxury through cultural heritage #culturalheritage #craftrevival #modernheritage #artisnal #unconventional #livingexpressions #designroots

Consumers are increasingly valuing crafts culture as the connection to the past is constantly being eroded, and knowledge and know-how are being lost.

One-of-a-kindpiecesareoftenhandcraftedtoshowcasepreciousstonesandadvancedartisanaltechniquesbuilttoappealtot consumers: these can be younger, digitally savvy shoppers, predominantly from Asia and the Middle East, most of whom having very different demandsandexpectationsfromtheirpredecessorsaboutwhat,whereandwhytheyacquiresomeofthemostexpensiveluxuryproducts can buy.

Culturalheritageembodiedintraditionalcraftsisanintegralpartofanynationwhichreectsthecultureandtraditiono

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ORGANIC DELIGHTS - Jewels that bring us closer to nature #organic#raw#unprocessed#materialfusion#recycledgold#naturaltextures#handmade#nish

As we live in an increasingly digitalised world, our yearning to connect with nature grows. We look for colours, textures and shapes that celebrate the energising spirit of the natural world. The inspiration is found from surface to oceans to mountains and forests, every element of nature that takes us beyondarti#cialprocessingtoraw,un#lterednaturalelements.Barkoftrees,trunks,twigs,rocks,pebbles,grainsofsand,petals,lea streams, waves are being referenced for shapes and forms. Jewellery applauds the core of our divine earth and its wilderness.

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AUGMENTED REALITY - Envisioning the jewels of the future #designfutures#technologyinuences#machinelearning#aiart#AIalgorithm#newmaterials#digitalrace

The Future is around us. It’s just not spread evenly. As the future hurtles at us at faster speeds than ever, it has become almost impossible for creatives to design and envision for tomorrow. The future design ideals are set in new codes, and technology allows products to be created to meet the heart’s desire. We thrive to make sense of rapid growth while remaining anchored to relevant design.

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Hyper nature & earthy & organic #oversize#owers#feathers#dragonies#wings#petals#buds#vines#leaves#raindrops#included#brown #black#grey#antiqued#vintage#inclusions#rugged#roughcut#fancycut

Natureroutinelyservesasamuseforjewellerydesignerswholettheircreativemindsexplorethefarandwide(andbig)varieties wingedthingstakingshapeintheirheads.Thefruitsoftheirlabour?Oversizebroochescoveredindiamonds,studswithdetachable jackets,sprawlingbibnecklaceswithvibrantlycolouredfocalpoints,andsoftbrownandchampagnediamondscomprisingbouquetso matteowers.

Silhouettes: sublte drop earrings, rough cuts, fancy shapes, bangles, geometric shapes, clusters Aesthetic: organic looking, bohemian, earthy, rustic, understated, rough, included, complex Materials: yellow and white gold, grey, champagne, and included (also called rustic) diamonds, diamond slices, pavé

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DECORATIVISM - A century of evolution of Art Deco #Streamlinedgeometries#Trapezoidal#Rectilinear#zigzagged#Triangularshapes

The nostalgic mood that drives our search for optimism brings two design jewels of the past together creating design Populuxe of modern-day luxury.

Atruemodernre-interpretationofstylesandinuencesofthe1920s,showinghistoryreallydoesrepeatitself.Designershaveblended from a century ago and made them relatable and desirable for a new generation by achieving an ideal balance of both masculine and feminine. A revival of this trend is a symbol of better times and a longing for a more decadent style.

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Higher powers #religion #spirituality #god #buddha #evileye #cross #yinyang #yogi #judaism #hamsa #talismans

Faith and spirituality are penetrating mainstream style. In a world that grows increasingly technological, many are looking for ways to connect – with others, through more positive habits, or by ways of a higher power of some sort. Nonbelieving spirituality seekers can tap into the ideology of their choice by way of evil eyes, yin and yang or yogi symbols, lunar effects, Hamsa talismans, and more.

Silhouettes: charms, long necklaces, pendant necklaces, elongate pendants, 3D effects, wide bracelets, open rings Aesthetic: elegant, simple, spiritual, subtle, symbolic, understated, muted colours, soft curves Materials: white and yellow gold, sterling silver, diamonds, enamel, beads, blue gems, natural-looking colours

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Technicolour Dreams #colouredcoatings #nanoceramic #pvd #inlay #colourcombinations #wildcolours #enamel

Colour in jewellery is no longer the lone job of gemstones enter the wide variety of coatings for jewellery like enamel, nano-ceramic, PVD, and more, which have shown up in force this year. Designers are looking for ways to innovate, and these technological developments help accomplish colourful goals.

Silhouettes: funkyshapes,unexpected,geometricoutlines,oversizependants,dropearrings Aesthetic:happy,vibrant,wild,oral,bright,mesmerizing,fantasy,colourful Materials: white and yewllow gold, nano-ceramic coatings, enamel, PVD, amethyst, citrine, tourmaline

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Linkedin #sleek #togetherness #updatedclassic #metalintense #chains #links #connections #timeless

While people hit links for sport, use links to communicate, and rely on revealing links for education, jewellery designers use links to drive more fashionable directions in attire. Designs of precious metal and carved gemstone links are as varied as individual artists’ personalities and speak to modernizedversionsoftheclassicsymbolforenthusiastsoftime-honouredelegance Silhouettes: long layering necklaces, bib necklaces, drop earrings, wide bracelets, stacking rings, wide bands Aesthetic: classic, traditional, modern, edgy, versatile, airy, substantial, negative space, piercing Materials:rose,whiteandyellowgold,platinum,sterlingsilver,diamonds,blackrhodium,oxidizedsilver

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NATURE ODYSSEY | - The Dualistic Traveler Creating a sense of home and of belonging anywhere comes easy, through various mediums including their work spaces and social circles they include themselves in.

We are entering into a time where consumers give more importance to meaning and origin. As a result, clothes that tell a story excite. Traditional techniquesandlocalmaterialswillbeusedandshowcasedinnewways,ascreativesadaptthemakingprocesstoaddmeaningandval Organic and sustainable sources are essential to The Dualistic Traveler – learning about how and where the garment is made is as important as the visualofthe#nishedpiece.

Earthytonesaresettoabackdropofminimalsilhouettesreectingsustainabilityandano-wastemantra.Printsreectingnatu landscapes are in abundance – from the unusual colours of the sky in its rarest form and the untapped beauty of nature’s remarkable elements.

Sustainability is increasingly becoming the key factor in consumer purchase decision making.

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Surface pro #hammered #highpolish #rough #matte #etched #scratched #satin #chasing #repousse

Dramatictexturesinjewelleryarebecomingmorewidelyutilized.Tactilityisahugecomponentofwearingjewellery,soitmakessens texturesshouldvaryasmuchasthetechniquesusedtocreatethem.Considerhammering,etching,chasing,andrepousséeffectsand touch#nishesthaturgewearerstolingerlongerinsessionsofrobustjewelleryhandlingandadmiration.

Silhouettes: wide and long cuffs, surfaces, earrings, rings, and bracelets, sculptural, beaded, chunky shapes Aesthetic:soothing,subtle,understated,matte,calming,quietluxury Materials: white, rose and yellow gold, diamonds, rough gemstone cuts, sliced gems, geometric stone cuts

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4.4 Jewellery Trends

InIndia,#ndingbalancewithdiversetypesandstylesofjewelle withvariedwardrobesfordifferentoccasionsisadif#culttas Thus, keeping up with the jewellery trends helps to stay updated.

The jewellery trends in 2020 are all about combining minimalism withmaximalism,subtletywithbrazenness,combiningheritage with modernity. It is all about going out; showing your personal preferencestotheworldandnottryingto#tintoanyparticul mould. While contemporary pieces have ruled the market in recent years, the focus this year will be on Indian designs and variations.

Ilgiz Fazulzyanov

Flourishingexoticowers Boucheron

Dominatedbyoraandfauna,20willbenoexceptionwitha lot of emphasis on the warm shades of the metal to favourably highlight the colour stones, along with enamel colours like yellow and green. The composition of the gemstones within the natural formswillmakethistrendunique.

Raw nature appears untamed

Unre#nedmaterialsandnaturalresourcesgivethistrendan organicqualitycloselyconnectedwithnatureinrawforms.

Aida bergsen

Explosion of colours

Owningcolouredjewelleryisalwayshelpful,asitcanquickly lend vibrancy to a simple and monochrome look. It can likewise coordinatetheshadesinvariousbrightout#ts.Nudetonesma be in trend with regards to cosmetics and apparel, however, ornaments are about bright hues. Incorporating each non-impartial shade, these jewellery pieces should not clash with the colours of theout#t.

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Versatile Jewellery

The need for versatility has given rise to transformable jewellery.

One can invest in custom-made versatile jewellery such as a chain that can transform into a bracelet later or a ring that can be worn as a pendant too.

Asymmetric or Mismatch

Since ages, we have been wearing earrings or neckpieces where the pair is mirror images of each other or symmetrical. But now, mismatched jewellery is one of the top jewellery trends in 2020.

The notion of taking the classic jewellery one step further with modern concepts and the idea of balancing minimalism with extravagance will be a big hit.

Gumuchian

Less is more

Women of this era are no longer obsessed with eye-catching piecesofjewellery.Notmanywomenprefertoauntanover-thetop look when it comes to everyday dressing and the same holds true for jewellery. Minimalistic jewellery is here to stay as it’s chic yet trendy.

Danielle Nicole

Modular Jewellery

The latest adaptation in Indian jewellery is in the form of modular jewellery. In this type of jewellery, pieces are assembled using different units, which can be readily removable from the main bodytofacilitatecustomization,multipurposeusabilityandexible Gottlieb and sons arrangement through interchanging of inserts.

Utilitarian designs

Aesthetic appeal isn’t the only deciding factor of jewellery anymore and jewellery is getting more functional. Women no more like to get help from someone else to hook the bracelet or necklace. This kindofjewelleryisalsoknownaseasy ‘ onandeasyoff’.

MajdanRocks

Yoko London

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Play of matte and shine

Within#nejewellery,themodernapproachtosurfacetextures makes use of classic shiny surfaces paired with a hint of the matte #nishaddingoomphtothejewellerylook.

Dual-tone Antiques

In the past year, there has been a noticeable shift towards dualtonejewellerylikerosegoldandplatinumorrhodium#nished jewellery,etc.Thereisagrowingdesign-#rstsentimentamong young shoppers, and they prefer handcrafted jewellery as well as antiqueheirloomstylepieces.

Farah Khan

Blend of silver and gold

It’snotjusttheweddingseasonwhenthegold#nishisin,toda evendaily-wearjewellerycanhaveagold#nish.Thejewelleryloo with silver and gold tones together will be the new staple that can be paired with literally anything. This classic combination along with precious gems and stones will provide an interesting synergy.

Wendy Yue

Bia Tambelli

Personal connection between the product and the owner

Consumers increasingly want to feel connected to what they are purchasing, resulting in a greater focus on design story and craftsmanship. These trends can make the investment pieces become future heirlooms.

Contemporary Temple jewellery

A contemporary twist to classic temple jewellery; these pieces aren’t chunky and look regal. While temple pieces are inspired from the South and are predominantly in gold, these contemporarypieces in silver will play with art and design.

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Metallic Bling

There came a time when bling and shimmer were discarded but it is the time to carry the bling again. The version of subtle bling is metallic,whichcanturnwork-wearintopowerout#t.Onecanwear metallic handcuffs, ear cuffs or neckpieces as metal surely amps up the look.

Layering

The layering of jewellery is the perfect example of combining minimalism with maximalism. It is about taking a few minimal pieces and wearing them together. Layering is a great way to create some fun looks. The ideal number of layers shouldn’t go beyond#vesothateverypiecestandsoutandalsomaintain balance.

Statement Rings

Despite being around since ages, statement rings are in no mood toslipawayfrompeople’smindsandhearts.Vividandashyrings in sterling silver are making a strong attitude symbol this season from bold peppy look to a classy festive mood.

Salircon

Bibi van der Velden

Dilan Jewels

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4.5 Design Directions Based on my understandings from trend forecast 2020 and the briefoftheproject,#vedesigndirectionswerenarroweddown for the further design process. These directions in itself helped to drive the project towards form development and ideation.

The Revivalist The revivalist consumer has always looked at and will look at the past to create meaning in the present. This trend is a tale of reinventionandreinterpretationofage-oldtechniquesand#ne workmanship.

An exotic melange of artistic tradition, when reinterpreted into contemporary designs, exude a luxurious multicultural aesthetics.

The modern consumer looks for authenticity in craftsmanship and history, as a way of reconnecting with the past to better understand the present and prepare for the future. The consumers are seeking new belief systems that borrow from ancient wisdom as a means of overcoming today’s challenges.

Fig 4.3 Image of a woman sitting on the porch of Airavatesvara Temple in Kumbakonam, Tamil Nadu representing the Revivalist trend 128 | Graduation Project

Indianinuencesareabundant,withcarvedjade,temples, lotuses and indigenous motifs taking shape in styles worldwide.

Indian designers have also become more open to using their past in contemporary design to suit today’s world without losing theirsenseoftimelessness.Thisquestforrediscoveringroots is drawing ancient forms and motifs that are interpreted with modern sensibilities to exemplify new meanings in today’s world.

Fig. 4.3

A sustainable affair Customers are growing tired of fast fashion retail and are becoming increasingly aware of the negative environmental impact.

Man is forced to acknowledge the threats to his survival and more importantly, the urgency to preserve the environment with all its vital resources. This evokes a sense of deeper awareness and connection to the elements that surround us. They are in pursuit of something authentic, something closer to their true selves. They appreciate the beauty of the process of natural growth and honour the organic traces of time coagulated. This consumer succumbs to representations of the universe where everything seems possible and where nature is worshipped in its most authentic forms.

Fig. 4.4

This trend thus represents what they seek; a more sustainable, socially responsible and authentic existence.

Fig 4.4 Image of two fern leaves stepped by a person representing the sustainability trend

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The Updated Classic The stability, elevation and functionality of a simple yet charismatic classic never go out of fashion. It channels the virtues of simplicity and longevity into sophisticated designs that transcend time.

Fig 4.5 Image of classic travel trunks by Nappa Dori representing the Updated Classic trend 130 | Graduation Project

The classics have become a form of sensibility in a rapidly changing environment and with a modern approach, consumers reconnect with older times when things were simpler. The trend enables the consumer to sprinkle some vintage into their today’s style.

Thisretro-modernapproachisthekeyto‘Updatedclassic’trend.

Fig. 4.5

Modern Individualist “I’m proud to be me, I live and let live. I decide who I am and what I want.”

Fig. 4.6

The generation of this consumer is self-expressive, unconventional and individualistic. They like to mix sensibilities and codes.

They believe in a genderless and ageless approach to express 4.6 Image of reflection individuality.MillennialsandGenZaredrivingtheFig new acceptance of a young girl in the mirror movement,‘Im-perfect’,embracingunusualimperfections and representing the modern offering anything ‘ goes’lifemantrathatsuitstheir generation.

Fig. 4.5 individualist trend Aboli Deshmukh | Lifestyle Accessory Design 2017 | National Institute of Design | 131

Tales of Nostalgia The sense of nostalgia has become more present in our daily life and could be a design element, an organic material or a recycled object.

Fig. 4.7 Paper boats floating in a puddle in rain representing the Nostalgia trend 132 | Graduation Project

Fig. 4.7

The consumer is context-oriented and is always about linking the dots, connecting what is around them and not being narrowminded. They have entered into a life where they give more importance to origin and meaning and are constantly seeking for backstories in every product they use.

4.6 Insights Trend research gave a border perspective on global trends and how they affect the jewellery market and guide to set the thematic languages for new products. It gave a better understanding of using historical data to determine the direction of a future trend.

It was learnt how forecasting can help brands to spot the hidden and new opportunities both locally and abroad and help them to continuously evolve the business approach. As we live in the complexity of the global scenario it is essential to navigate the tons ofinformationoatingaroundusforfuture-proo#ngthebusiness.

Trend analysis and forecast from Trendvision gave in-depth information and insights into the social and cultural phenomena across the world and the derived key design directions that will shape the jewellery in the year ahead. The forecast based on the search and discovery of latest trends in jewellery and fashion associated with the transformation of the society, its lifestyle, the aesthetics, visual codes and the change in consumer codes presented with extremely strong imagery served as a great reference for the design process. The various design directions each highlighting the key stories, suggesting the materials, colours, typesofgemsandstones,texturesand#nishesgaveclarityfor establishing the key points for the collections. The key takeaways from trend research lead the way towards planning further methodologyandchoosethespeci#csforeverycollectionto streamline the work.

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W

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Market

Research

Primary Research Secondary Research on Silver Jewellery Market Survey Insights

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5.1 Primary Research

5.2 Secondary Research

The market research was done along with trend study, The secondary research included understanding the brand image, where different competitive brands of JewelOne by Emerald its design philosophy and language and how it stands out from were studied to understand their brand identity, customer other brands creating its own identity. The secondary research segmentation, product categories and language. The primary was conducted using various online resources. marketresearchstartedwithvisitingvariousrenowned#ne jewellers in Coimbatore.

The secondary research of understanding silver jewellery brands across India which is elaborated in this section of the document.

Visits to various jewellers included observation and analysing the products from various perspectives, including the design language, typesofjewellery,useofnewtechniques,brandphilosophy,the customer segment, and overall visual feel of the brand.

Primary market research helped to gain an overall understanding ofvarious#nejewelleryretailbrandsinCoimbatore.Theprimary research was restricted to Coimbatore which lies in the southern part of India. But, as south Indians predominantly prefer gold jewellery, most of the jewellers those were visited had very limited products in silver jewellery or none at some. Most of the jewellers had a plethora of idols, artefacts and utensils in silver, but very less of the jewellery. Few brands were showcasing the traditional silver payals that south Indian women wear but nothing else apart from that. As the project was about silver jewellery, market research about brands selling silver jewellery was crucial. Thus, secondary research was conducted for understanding silver jewellery brands across India.

Fig. 5.1 Model wearing Tribe’s jewellery from Nav Chandrika collection Fig. 5.2, 5.3, 5.4 Tribe by Ampramali’s silver earrings from the Tribal collection 136 | Graduation Project

Tribe by Amrapali

About the brand

Amrapali is a coveted luxury jewellery brand in India and Tribe is the silver jewellery vertical of Amrapali. Combining the essence of the mother brand with the experimental design philosophy, Tribe Amrapali started as an e-store in 2013 and has gradually expanded itselfinsubsequentyears.TribeAmrapalihasboutiquesinthree Indian cities with the tradition of blending honoured heritage with moderninuences.

Brand Identity

The brand has jewellery divided into three segments; Tribal, traditional and contemporary. These jewels are a perfect combination of fun and sophisticated charm. Their bold jewellery comes with a rich layered India-modern symphony. It is Playful yetre#ned.Thetribeisknownforblendingtimelessdesignswith Fig. 5.1 trendy elements.

Fig. 5.2

Design language

Tribe Amrapali celebrates deep, powerful symbols taking inspiration from tribal art and culture. Their jewellery is inspired by tribal jewellery of India like mirror studded jewellery, banjara jewellery, jewellery with miniature paintings. There is wide use of enameldetailing,glass,pearlsandmirrorscreatingauniqueblend ofpoiseandboldness.Theiruniquedesignsstandoutasaperfect amalgamation of timeless jewellery with a modern approach for the courageous and valorous women.

Fig. 5.4 Fig. 5.3 Aboli Deshmukh | Lifestyle Accessory Design 2017 | National Institute of Design | 137

Shaya by Caratlane

About the brand

Caratlane was founded with a refreshing and courageous objective – to make beautiful jewellery accessible, affordable and forever wearable. In July 2016, they joined forces with India’s most desiredandlargestjewellerybrand,Tanishq,throughastrat investment made by Titan Company in CaratLane taking them another step closer to achieving their shared mission - to make beautifuljewelleryaccessibletoeveryone.Thebrand‘Shaya’i about everyday silver jewellery. Their strong online footprint is now complemented by growing store presence with over 30 stores across the country.

Brand Identity Fig. 5.5

Caratlane is known to make beautiful jewellery accessible, affordable. They discovered that today’s woman does not have accesstostylish#nejewelleryforeverydaywearandbrought modern designs that can make women not just look beautiful, but feel beautiful.

Fig. 5.6

Fig. 5.5 Shaya silver earrings from Rani Udayamati collection

Design language

The design language of Caratlane is trendy and modern. Their designs can complement western, as well as an ethnic wear. The contemporary designs also have a feel of timeless traditionalness in it. The offbeat, playful jewellery is perfect for everyday workwear.

Fig. 5.6 Contemporary twofinger silver ring by Shaya Fig. 5.7, 5.8 Silver ring and pair of earring from the wildflower collection Fig. 5.9 Actress Sayani Gupta wearing indo-contemporary oxidised jewellery by Silver Centre 138 | Graduation Project

Fig. 5.7

Fig. 5.8

Silver Centre

About the brand

Silver Centre is a traditional and contemporary jewellery design house established by Seth Kistoor Chand Boochra in 1897 in Rajasthan. In 1994, company’s Creative Designer and Director Mrs. Sangeeta Boochra joined hands with her father-in-law Shri Lalit Kumar Boochra shortly after being married into the family.

She came with a design background and education and gave a brand a new face and approach to the brand. Their silver jewellery #ndsitsplacehighinthesegmentofnewagejewellery.

Brand Identity

Each of Silver Centre pieces is very carefully crafted by hand.

Each craftsman does have his style in creating jewellery, making it moreuniqueandindividualistic.Thebrandbringsarangeinpurest of silver and has collections in vintage, tribal, gold plated, stone studded, south temple jewellery to contemporary minimalistic jewellery .

Design language

Designs have originated by being inspired by interiors of the remotest regions of Rajasthan and state of Gujarat to green pastures of the South. The brand brings all of India, in shiny ornamented form. Going by the current trends they have also been continuing their range of modern and contemporary designer jewellery.Thetraditionaltechniqueofenamelling,miniature painting is fused in a piece of jewellery with a contemporary touch.

Silver Centre’s bold, chunky statement pieces are most liked by celebrities.

Fig. 5.9 Aboli Deshmukh | Lifestyle Accessory Design 2017 | National Institute of Design | 139

Divine Raga Silver jewellery

About the brand

Sonali Jain, a renowned jewellery designer from Singapore with a strong Pan-Asian presence launched Label Divine Raga in the year 2004.

Brand Identity

The label evolved into a dream and passion to create pieces both traditional and contemporary. Keeping the designs traditional with a modern twist is their key. Stone encrusted jewellery found indifferenterasandantiquejewelleryinitsoriginalformar redesigned to suit modern wearability, inspired from not just India but Central Asia.

Design language

The history of jewellery in India is an inexhaustible source of inspiration for Divine Raga. Each piece designed, has been inspired by either the tribes of India, Rajasthan, Gujarat, Himachal Pradesh, Madhya Pradesh or from temple jewellery from southern parts of India.Theantique,oxidisedsilverjewelleryhasagipsy,bohemia vintage feel to it.

Fig. 5.10 Model decked up in tribal-inspired silver jewellery

by Divine Raga Fig. 5.11, 5.12 Modern and quirky oxidised silver rings by Quirksmith Fig. 5.13 Silver stud earring by Quirksmith 140 | Graduation Project

Fig. 5.10

Quirksmith

About the brand

Quirksmith has been started by a duo of sisters who sees silver jewellery as their thing. Divya, a creative madhouse, heads design and production and Pragya, a management student heads marketing & sales at Quirksmith.

Brand Identity

Quirksmith believes in who you are and what you can become.

Theirpiecesembracethefactthateverywomanisuniqueand she should express like one. With their work, they attempt to encapsulate the various hues and characters that reside within a woman.Quirksmithplayandexperimentwiththesizesofjewellery Fig. 5.11 andlocationofit.TheyarealsofamousforAkshar’ ‘ jewellery collection of words in silver attached with silver chain.

Design language

ThedesignlanguageofQuirksmihisunique,ithasaverymodern feel to it with bold, geometric forms beautifully combined with old, ancientmotifs.Theunusual,bold,oversizedpiecescapturethe mood and make one stand out in the crowd.

Fig. 5.12

Fig. 5.13 Aboli Deshmukh | Lifestyle Accessory Design 2017 | National Institute of Design | 141

Marian Hosking

About the designer

One of Australia’s most respected metalsmiths, Marian Hosking has been creating work for over 40 years. In 2007 she was named ‘LivingTreasure:MasterofAustralianCraft’andwontheCicel Colin Rigg Contemporary Design Award in 2012. Hosking studied Gold and Silversmithing at RMIT, going on to complete her Master of Arts in 1996 and her PhD at Monash University in Melbourne in 2009.

Design language Fig. 5.14

Fig. 5.14, 5.15 Explorations by Marian in silver inspired by elaborate natural elements 142 | Graduation Project

Fig. 5.15

Marian’s distinctive work translates imagery from the natural environmentthroughdrawing,fabricationandcastingstechn Shemakesjewellerythatreferencesspeci#cbotanicalspecime and birds, not replicating them in an illustrative way, allowing the viewer/wearer to place his or her reading onto the work. She says, “Often this reading is removed from where I started, but the emotive sensibility is similar. I utilise low relief, drawing on the soft, white luminosity of silver.”

Arvino

About the brand

Arvinobelievesthat“jewelleryisnotjustanaccessory:itreects thoughts, emotions, and aspirations. Started by visionary designer Arvind Agarwal in 1992, Arvino is committed to surpass the creativity and conscience in every crafted piece.

Brand Identity

Chic and trendy jewellery; Arvino collections are hip, vibrant and something that youngsters would love to sport. The chic and trendy jewellery celebrates femininity with a wide range of jewelry collection. Each design represents the strength, sensuality & Fig. 5.16 sentimentseverywomandeserves.Abstractshapes,uniqueforms and interesting textures on it make it jewellery for millenials.

Design language

Arvinojewellerypiecescomeinorganicandfree-owingforms.

Textures in jewellery, feminine and bold motifs, south-western designs, elegant gold plated pieces with coloured gemstones make their jewellery stand out.

Fig. 5.17

Fig. 5.16, 5.17 Bollywood actresses wearing a pair of vibrant silver earrings by Arvino Aboli Deshmukh | Lifestyle Accessory Design 2017 | National Institute of Design | 143

Misho

About the brand

Misho is lead by creative director Suhani Parekh who studied Fine Art and Art History at Goldsmiths University in London where she predominately worked with sculpture and installations. The pieces are inspired by an accumulation of ideas from her interactions with contemporary art and the various architectural styles of the cities she has travelled to and lived in.

Brand Identity Fig. 5.18

Fig. 5.19

Art and Architecture are essential inspirations in the designs of Misho and the brand’s sensibility is very much Bauhaus meets Japan. Their practice lies very much on the line that separates art and design and approaches the pieces as works of sculpture. But as sculptural as they may look and feel, the pieces are extremely versatile and comfortable enough to never take off for the people that are always looking to push the boundaries and experiment with something a little unconventional

Design language

Misho’s jewellery collection is characterised by a vocabulary of cleanlines,architecturalformsandsimpli#edgeometricshap with a strong emphasis on material and form. Each piece is sculpted as modern architecture for the body. They tap into the timelessartofsilversmithingtocreatepiecesthatarere yet playful, edgy yet sophisticated, modern must-haves that are understated yet striking.

Fig. 5.18, 5.20, 5.21 Pair of contemporary minimal silver earrings by Misho Fig. 5.19 Model wearing rings and earring from Misho Configure collection 144 | Graduation Project

Fig. 5.20

Fig. 5.21

Silvense

About the brand

Vrindaa Ashwan, explored her creative and aesthetic capacities at NIFT,NewDelhi,gainingexpertiseinthe#eldofdesignandcrafts that propelled her growth and helped manifest her ideas into reality.

Brand Identity

Silvenseisde#nedbysimplicityandminimalism.Thelabelusesan amalgamation of silver to create these lightweight, contemporary designs. The most striking designs of this luxury jewellery brand arecuttingedgepiecesin92.5silversetwithsemi-precious gemstones.

Design language

The designer Vrindaa Ashwani, believes in the school of thought thatpropagates“Bemore,withless”aphilosophythatreects simplicityandminimalismde#ningherlabel.Silvense’saestheticis all about clean and contemporary beauty.

Fig. 5.22

Fig. 5.22 Minimal silver jewellery

by Silvense Aboli Deshmukh | Lifestyle Accessory Design 2017 | National Institute of Design | 145

Brigitte Adolph

About the designer

Fig. 5.23

Jewellery runs in the veins of the German designer and goldsmith Brigitte Adolph, as both parents and grandparents were jewellers.

After becoming a goldsmith, she improved her skills while working for the royal jeweller of the Swedish Crown. Due to her fascination for contemporary design, she returned to study jewellery design atthefamousUniversityofPforzheim.Herstudiestookherfrom GermanytoDenmark,SpainandSwitzerland.Since205Brigitte is working self-employed in Karlsruhe, Germany. Brigitte Adolph creates pieces that are new and innovative yet are inspired by the past of her homeland. Her work has been honoured with national and international awards. Lace Jewellery by Brigitte Adolph is sold by over 100 jewellers, galleries and shops in Europe, North America and Asia.

Fig. 5.24

Design language

Fig. 5.23, 5.24, 5.25 Ring, pair of earrings and bracelet from Brigitte’s Lace collection made in Sterling Silver visually resembling to finely woven fabric lace 146 | Graduation Project

The#ne,#ligreeanduncompromisinglyfeminineauraofBrigitte Adolph’sdesignjewellerylooksforalltheworldlike#nelywov lace – an illusion that dissolves to the touch, revealing the true nature of these precious pieces in gold and silver. She gains a lot of inspiration from lace out of a variety of cultures. Brigitte has become an ambassador of a style that blends the rediscovery of the ancient traditions, such as handmade lace, to the noblest of materials.Whatappearstobethe#nesthandiworkisinrealit pure precious metal – the illusion of a textile material dissolves only when touching the piece of jewellery.

Fig. 5.25

Jacqueline Rabun

About the designer

AmericanJacquelineRabunmovedtoLondonin198andthus began her journey into the world of contemporary jewellery design. As one of the most recognisable names in modern jewellery design,JacquelineRabuninfusesherworkwithsymbolismand emotionaswellasastrongsenseofformandcraft.Jacquelineis an artist as well as a jeweller and uses strong conceptual narratives Fig. 5.26 in her pieces which strive to illustrate the human experience.

Design language

Jacqueline’sOffspringcollectionofusingtwointerlockingshapes, the smaller one protected by the larger tells a clear story about the unbreakable power of love and interdependence. Inspired bytheuniquebondbetweenmotherandchild,thepiecescan just as strongly represent the ties between siblings, partners and friends. Her emotional and symbolic pieces have a timeless beauty that allows familial bonds to also be celebrated as the jewellery is passed down from generation to generation.

Fig. 5.27

Fig. 5.26, 5.27 Jewellery pieces from Jacqueline’s Offspring collection inspired by the unique bond of mother and child Aboli Deshmukh | Lifestyle Accessory Design 2017 | National Institute of Design | 147

Silverline

About the brand

Established in 1978 by Mr. Mukesh Jain, whose vision was to elevate silver to the value it truly embodies, Silverline, a pioneer in jewellery brands is resonant to years of experience, traditional heritage & dedicated craftsmanship. Along with the dedicated & creativehandsofkarigars,#delityfromthecustomersandthe legacy it entails, Silverline has known to become a brand that resonateswithquality,transparency,valueandskill.

Brand Identity

While setting up the brand, travelling far and wide through dust and sand, Mukesh didn’t miss a stone that shone or a craft that was known. He dedicated his body and mind to the jewellery artisans across India giving birth to his vision of crafting pieces that embodied stones with lustrous metals. Wanting to showcase the crafts that he saw and learned about, Mukesh has since trained curators of jewellery to weave culture with emotion, all through beautifulcraftsmanshipwherein,eachpieceiscraftedwith#ne Over these past decades, Silverline has established a strong presence in both the domestic retail sector in India and a growing presence with exports to North America, United Kingdom and Europe amongst many other parts of the world.

Design language

Fig. 5.28 Model wearing silver jewellery from Silverline’s Amala collection 148 | Graduation Project

Silverline Jewellery brings together varied designs and cultural sensibilities to create pieces that range from strikingly contemporary to conscientiously traditional. Catering the best of tribal, beaded, stone, Polki, silver and gold jewellery, Silverline has designs for every clientele.

Fig. 5.28

Mia Silver by Tanishq

About the brand

MiabyTanishqisfashionedforthewomanwhowearsjewellery to express herself. The charming collections are elegant, exciting, powerful,playful,trendy,#neasmuchastheyarefun.Forthe woman of today who is always on the move, Mia- Me In Action, alow-pricedjewellerybrandundertheTanishqline,iseyeing huge growth in the coming years with their affordable everyday jewellery.

Brand Identity

The Mia collections are for modern women who like modern Fig. 5.29 jewellery designs. The necklaces, bangles, rings, pendants, earrings and bracelets are made to mirror the woman who asserts herself in every sphere of her life, and looks great while doing so. These everydaywear,workwear,travelwear,elegantyetquirkypieces are their identity.

Design language

MiabyTanishqisoneofthe#rstfewbrandstolauncha contemporary silver collection that is stylish, fashionable and affordable for the young modern woman, who is vibrant and open to trying the latest fashion trends. The designs are simplistic, minimalyetquirkyandplayful.Theyareperfectforthemillennial woman who is always on the go.

Fig. 5.30

Fig. 5.29, 5.30 Model wearing trendy and sassy jewellery of Mia by Tanishq Aboli Deshmukh | Lifestyle Accessory Design 2017 | National Institute of Design | 149

5.3 Market Survey Indian millennials aren’t buying jewellery the way their parents did.

Indianhouseholdssplurgeon#nejewellery,bothasanadornment and an investment. However, the popularity and relevance of such traditional jewellery are falling among the urban young. The young generation is all about trying jewellery and experimenting indifferentmaterial,look,#nishetc.forit.Thus,thisshiftin consumer preferences thus becomes necessary to track and record.

An online survey was conducted where women from different part ofthecountryansweredthequestionsinthesurvey.Thesurvey includedvariouskindsofquestiontounderstandthechoices and preferences of women with different age group, occupation, income etc. The responses also recorded answers about silver jewellery. The recorded responses for the survey are as shown below.

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5.4 Insights The market research gave a border perspective about jewellery industry and the customer needs and preferences on various levels. Starting with the primary research conducted in the city of Coimbatore,various#nejewellerystoreswerevisitedbydoing a customer role play. It helped in understanding the identities of different brands, their product categories, jewellery design styles, target customer and the whole vibe of these retail stores. The secondary research targeted towards the silver jewellery brands in India gave a clear perspective on the silver jewellery market in India and helped understand their brand identities and design ethos. The various categories falling under contemporary silver jewellery according to the target customer were perceived. The research helped to understand the potential competitors for the silver jewellery vertical of Emerald Jewels. Primary and secondary market research gave different perspectives as both were targeted towards a different audience.

The online survey conducted for a sample space of around 15womenacrossthecountryhelpedtounderstandtheir choices and preferences about silver jewellery. The survey had various segregating parameters which later helped to build the personas with distinct characteristics. It was also realised that the preconceptions one has about what the customer wants can actually be very different when one comes to know what the customer actually wants by knowing their choices and preferences.

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W

W

Research

Analysis

Approach for the Collections

Final Design Directions Research on Existing Applications Insights

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6.1 Approach for the Collections After the primary and secondary research about jewellery, trend and market study the next task was to connect it with the project briefandcomeupwiththe#naldirections.Variousfactorslike trend forecast, market need, manufacturing facilities at Emerald, budget and certain limitations of the project were taken into consideration. Based on these factors and the initial project brief, three approaches were derived for the three collections. These three different approaches formed by combining various factors are as follows.

Trend-MarketRequirement-BrandLanguage-Specic Manufacturing Technique Trend - Market Requirement - Mix of Various Manufacturing Techniques Trend-Experimental-BudgetSpecic-MaterialSpecic These approaches were aligned with the previous project brief and new briefs were formed for the three collections.

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6.2 Redefined Briefs After combining the approaches formed after the research phase The brief formed in the initial phase of the project was about oftheprojectwiththerede#nedbrief,anewsetofsub-briefswere using silver as the dominant material and to design and develop also formed for every collection by discussing with the mentor. a range of contemporary jewellery, building a brand language for EmeraldJewels.Thisinitialbriefwasslightlymodi#edasitwas recognizedthatprovidingthecompanywithdifferentdirections Sub briefs: about contemporary silver jewellery would be a holistic approach, instead of coming up with just one rigid direction for them to take upandfurtherbuildabrandlanguagebasedonit.Themodi# 1. To design ed a high-end Indo-contemporary silver jewellery collectiondevelopedusingthecastingtechnique. brief was formed in a way for Emerald suggesting varied options or choices falling under the same umbrella of contemporary silver jewellery.Theinitialbriefrede#nedaftertheresearch 2. To design phase a modern ofthesilver jewellery collection developed using a fusionofvariousmanufacturingtechniquesavailableatEmerald. project is as follows.

Redenedbrief: To design and develop contemporary silver jewellery collections with varied design languages as different choices for Emerald to build and carry forward the brand identity.

3. To design a trendy, lightweight contemporary jewellery collection using plain silver and pearls for the modern Indian women.

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6.3 Final Design Directions The next task of the project after forming the sub briefs was to narrow down the trends and design directions. The design directions helped in getting clarity in the project, as there is an endless amount of information around, but to choose the right direction that would go with the briefs considering all the parameters and limitations was important. This was a crucial part of the process where three themes were chosen from the trend studytofurtherde#nethespeci#ccollections.Afterseveral discussionswiththementor,threedesigndirectionswere#nalised which were, the revivalist, the modern individualist and the sustainable affair. Three directions entirely different from each otherweretakenforwardtoalignwiththerede#nedbrief.

Fig 6.1 Image of a woman sitting on the porch of Airavatesvara Temple in Kumbakonam, Tamil Nadu representing the Revivalist trend Fig 6.2 Image of two fern leaves stepped by a person representing the sustainability trend Fig 6.3 Image of reflection of a young girl in the mirror representing the modern individualist trend 160 | Graduation Project

Based on the market research the target user or persona for everycollectionwasde#nedwithitsspeci#ccharacteristics.The outcome of the online market survey was referred to shape the personas and specify its distinct attributes. Some elements were chosen from each design direction and based on that inspiration was set for each collection. After many discussions with design headandmentor,#nalinspirationsweresetforthecollections.

Theprocessofde#ningthepersonaandtheinspirationforallthe three collections is elaborately explained in the further part in this section of the document.

Fig. 6.1

Fig. 6.2

Aboli Deshmukh | Lifestyle Accessory Design 2017 | National Institute of Design | 161 Fig. 6.3

The Revivalist

Fig 6.4 Persona for the first collection 162 | Graduation Project

Persona for collection One

Age group: 25-40years Profession: Businesswoman Entrepreneur Working professional Keywords for her: Rooted Persistent Cultivated Self-assured Invincible In vogue for eternity Jewellery Look: Magni#cent Spectacular Aged appeal Heritagial beauty Outrageous Ethno contemporary Occasion: Business Parties Client meetings Exhibitions Visit to museums Social and family gathering

About her: She is believed to be successful, independent working women with multiple life roles. She is bold yet elegant, pragmatic and knows precisely what she wants.

She is shaped by a mix of places, experiences and cultures. Heritage and history have always been her interests.

She likes to look into the past to exemplify new meanings in today’sworld.Thisquestfor rediscovering the roots has made her look for new ways to embrace the ancient knowledge with modern sensibilities.

Brands she shops from: FabIndia Anokhi RawMango Goodearth Okhai Authentic handicraft and handloom salers

Fig. 6.4 Aboli Deshmukh | Lifestyle Accessory Design 2017 | National Institute of Design | 163

Fig. 6.5

Indian Art Fig 6.5 Old photograph of possibly Jalakandeswarar Temple gopuram inside of Vellore Fort Fig 6.6 Gopuram of a Dravidian temple located in Thiruvannamalai, Tamil Nadu Fig 6.7 Elephant Tanjore painting made with original 22-carat gold leaves and authentic Jaipur gems by skilled artisans in Thanjavur Fig 6.8 Famous Kalamkari painting of tree of life on a piece of fabric native to Andhra Pradesh, India 164 | Graduation Project

Old Indian art forms have had cultural as well as religious inuencessuchasHinduism,Buddhism,JainismandIslam,which are still highlighting the styles in the latest trends. Heritage and history are both central to this theme, providing a backdrop for the target customer to showcase who they are, where they come from and how loud and proud they are about it. The aesthetics of ancient heritage with a modern vision is the characteristic of this trend. The key inspirations included different south Indian art forms like sculptures, Tanjore paintings, Kalamkari paintings, Bharatnatyam dance form, Kolam and Dravidian temple architecturewitheachhavingitsuniqueness.

ORNAMENTAL, CARVED, SCULPTURED, ARCHITECTURAL, DECORATIVE, CONTEMPORARY, DETAILED, ANCIENT, RELIGIOUS

Fig. 6.10

Fig. 6.8

Fig. 6.6

Fig 6.9 Dancer performing classical Bharatanatyam dance form indigenous to Tamil Nadu Fig 6.10 Kolam/rangoli, a dainty floor painting, which is an integral part of South Indian tradition Fig 6.11 Intricate carvings on walls of the Thanjavur Big Temple

Fig. 6.7

Fig. 6.9

Fig. 6.11

Fig 6.12 Illustration of Meenakshi Amman Temple in Madurai, Tamil Nadu

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Marvellous Dravidian Temples The inspirational tales for this collection was from the beautiful heritage of Dravidian Temples.

This collection will be reminiscent of South India’s heritage where the patterns, motifs and elaborate sculptures on the Dravidian temples will be meticulously translated into contemporary designs.

South Indian temple architecture, also called Dravidian Thisattemptofrede#ningthetemplejewellerywillbeatributeto architecture invariably employed for Hindu temples in modern the architectural brilliance of craftsmen from the bygone era.

Tamil Nadu from the 7th to the 18th century. These temples are The temple architecture consists of various elements with characterizedbyitsdistinctiverainbow-coloured,innumerable deity-covered, motifs and carvings on it. So, various elements pyramidaltypetowermakingauniqueemblemforSouthIndia. composing these temples were decluttered and seen individually Temple building in south India got patronage from the Pallava to create forms, ideas and inspirations. and Chalukya dynasty and it reached its peak during the Chola Empire. The grand structure, done beautifully in Vijaya Nagara andDravidianstylesmakestheseunique.Themesmerizingdesign, sculpturesandarchitectureofDravidianstyletemplesdisplay#ne artwork not only in the interiors but also outside on the gopurams.

TheSouthIndiantempleconsistsessentiallyofasquarechambered sanctuary topped by a superstructure, tower and an attached pillared porch or mandapam, enclosed by a peristyle of cells within a rectangular court. The tower above the sanctuary and on the entrance consists of an arrangement of gradually receding stories in a pyramidal shape. Each story is delineated byaparapetofminiatureshrines,squareatthecornersand rectangular with barrel-vault roofs at the centre called vimaana and gopuram.

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Timeless appeal Rede#nedaesthetics Ancient opulence Ornamental elegance

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The

Sustainable

affair

Fig 6.13 Persona for the second collection 170 | Graduation Project

Persona for collection Two

Age group: 20-35years Profession: Working Professional Businesswoman Homemaker Keywords for her: Curious Conscientious Charming Appreciative Explorer Jewellery Look: Distinctive Vivid Feminine Unusual Occasion: Casual outings Work meetings Get-togethers Vacations Visits to Exhibitions

About her: She is a self-driven, modern andcon#dentwoman.She likes to take her decisions and shape her life in her own way.

She likes simple things but also searches for excitement and quirkinessinit.

She likes travelling to places and looks forward to experiences more than acquisitions.Sheappreciates the offbeat notes of nature and cherishes the beauty of the process of natural growth.

She is seeking for a meaningful, contentful existence drifting away from a highly edited, photoshopped world.

Brands she shops from: Nicobar 11:11 Suta Upasana Nappa Dori The Pot Plant

Fig. 6.13 Aboli Deshmukh | Lifestyle Accessory Design 2017 | National Institute of Design | 171

Naturalistic Organic, sustainability, natural materials etc. have been the buzzwordsfromthelastfewyearsandnowthistrendisspreading likeawild#re.Consumersaregettingawareofthethreatsto survival and more importantly, the urgency to preserve the environment with all its vital resources. This takes us back to the time where it all came from. Know-how, rediscovery and remarkably offbeat notes of nature provide a perfect backdrop for this group. The key inspirations include the beauty of nature in the lotus seed pod, seashell pattern, sea urchins, succulent bloom, twirlings of creepers and banana plant. Out of which the banana plant also known as the plant with a thousand uses were chosen and taken foreward.

NATURAL, SIMPLE, DELICATE, SOPHISTICATED, FLORA AND FAUNA, HUES OF NATURE, REALISTIC, CULTURAL 172 | Graduation Project

Fig. 6.14

Fig. 6.16

Fig. 6.18

Fig 6.14 Banana plant flower Fig 6.15 Beautiful pattern of succulent plant Fig 6.16 Seed head of lotus flower plant Fig 6.17 Sea urchins in various colours and patterns of tests Fig 6.18 Mesmerising painting of Nautilus shell Fig. 6.15

Fig. 6.17

Fig. 6.19

Fig 6.19 Tendril of a climber

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Banana Plant

The Banana Plant is omnipresent in India. This giant and the old tuber circulate them. In the start, this sprout gets its food benevolent herb often mistook as a tree, hold a singular place in from the parent plant, but within a very small time span, they begin the Indian culture. It is considered as an emblem of prosperity to form their own leaves and roots. The parent plant is over when andfertilityandthusitisfrequentlyusedinalmost the fruit allhas the all Indian been cut. festivals. The banana plant is also nicknamed as “plant with a thousanduses”.Allpartsofthisplantincludingower, The fruit, unique leaf, Bananaplanthasnumerousspecialitieswhichtoo stem,roots,peelpulphavemultipleusesmakingitmore my attention unique.and thus will serve as an inspiration focusing on a persona who is seeking a sustainable way of living.

Almost every part of the banana tree has some economic or medicinal uses. The skin of the fruit is used in dyeing and the sap consists of tannin and makes a black stain on the cloth. Because ofthisquality,itisusedasmarkingink.Theowersandthe central portion of the buds, stem and shoot are usually cooked as vegetables. Fibres can be made from the dried leaf stalks and usedfortyingfences.Bananaplant’sroots,owers,stemand leaves can be used in treating illnesses.

The banana leaf is also a practical kitchen tool. As a food wrapper, it functions like a plastic wrap, parchment paper, and aluminium foil to prevent drying, sticking and retaining heat. One can lay a banana leaf down and serve food on it like a plate or placemat, and fold it into various shapes as to-go containers.

It’s also great for lining steamer trays to prevent sticking. Thus, it can be said that the banana tree is known in the country for its vast usefulness. The banana plants grow in an interesting way as they never spring from seeds. The young plants that sprout from 174 | Graduation Project

A natural impulse Vivid look Contemporary charm Feminine allure

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The

modern Individualist Fig 6.20 Persona for the third collection 178 | Graduation Project

Persona for collection Three

Age group: 20-30 years Profession: Student Freelancer Working professional Keywords for her: Youthful Free spirit Bold Experimental Jewellery Look: Modern Eccentric Flawed beauty Organic looking Occasion: To College For work Casual outings Parties Concerts

About her: She is young. She is bold. She is unapologetically individualistic.

Sheisinazealtoliveherlifeto the fullest, throwing caution to the wind.

She is not afraid to wear her values like a badge. Her style speaks of who she is and she carries it with grace and con#dence.Shebelievesinthe acceptancemovementof‘I’m perfect’ embracing unusual imperfections. She is a rebel, refusingto#tintosociety’s prede#nedstereotypes.

Brands she shops from: Anomaly Nori AND Mango

Fig. 6.20 Aboli Deshmukh | Lifestyle Accessory Design 2017 | National Institute of Design | 179

Graceful Strokes The unconventional consumers are embracing the unusual imperfectionsand#ndingbeautyintheimperfectionsitself.With theiruniquestyle,thedefects,blemishesandtheplayoflinesare appreciated. The key inspirations include the beauty of nature in insect wings pattern, tree rings, mushrooms and leaf line pattern.

Out of which Tree ring was chosen and taken forward.

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Fig. 5.21

Fig. 6.23

Fig. 6.25

Fig 6.21 Majestic pattern of lines in the wings of a dragonfly Fig 6.22 Tree growth rings on a stump of wood Fig 6.23 Roots of a plant grown on a surface Fig 6.24 Beautiful seed pod of Maple Fig 6.25 Partially decomposed leaf Fig. 6.22

Fig. 6.24

Fig. 6.26

Fig 6.26 Close up bottom view of a wild mushroom Aboli Deshmukh | Lifestyle Accessory Design 2017 | National Institute of Design | 181

Tree Rings As trees grow, they add a new layer of wood to their trunks each year. Since the trunks of trees are round, this new growth is called a growth ring or tree ring. Each year a new tree ring is added to the outside of the previous year’s tree ring, just below the bark of the tree. Each tree ring represents one year in the life of a tree.

Anne Michaels says that “Trees, for example, carry the memory of rainfall. In their rings, we read ancient weather - storms, sunlight and temperatures, the growing seasons of centuries. A forest shares a history which each tree remembers even after it has been felled.”

Tree rings are the informers of a tree’s history. Tree rings can tell us a great deal about previous weather conditions. If the ring is wide, then the tree received abundant rainfall and good growing conditions. However, if the ring is thin, then the tree experienced a lack of rain and stressful growing conditions. Tree rings may even condition. Tree rings may even have scars from lightning strikes, wild#res,orlawnmowers.

These timekeepers will serve as an inspiration for the collection focusing on a persona who appreciates the offbeat notes of nature with imperfections and irregularities.

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A tree writes the story of its life, In rings, not letters.

One tiny ring at the centre: “Here is where I began.”

Next year a new ring: “Look how much I grew.”

Wide bands between rings: “Hooray for rain and sun.”

Narrow bands: “It’s hot and dry and I’m so thirsty.”

Fires, insects, the weight of the fallen tree against the trunk, All written in rings, not letters, The life story of a tree.

- Juanita Havill

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Proudly distinctive Skewed beauty Eye-catchy Eccentric looking

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6.4 Research on Existing Applications Secondaryresearchwascarriedoutafter#nalizingtheinspiration storiesforeachcollection.Theresearchincluded#ndingout various examples of products, apparels, accessories or graphics inspired by the same inspirations that were considered for the project collections. The secondary research helped in understanding the transformation of the inspiration into designs or products by various designers. There was a broad range of applications using the same inspiration and various ways of approaching the same inspiration were observed. The existing applications inspired by Dravidian Temple architecture, Banana plant and Tree rings are mentioned along with the imagery in this section of the document.

Fig 6.27 ‘Gopuram Dining chair’ inspired from the gopuram of Dravidian temple Fig 6.28 3D model of a sofa inspired from the Dravidian temple pillars 186 | Graduation Project

Dravidian Temple Architecture

The living room furniture range is completely derived from the glorious Temple Architecture of Andhra Pradesh. Designed as Art furniture,itishighlycustomised,hasasculpturalqualityandis oneofitskind.The‘Gopuram’ Dining Chair is inspired by one of the important elements of temple architecture, the Gopuram/the towering entrance.

An ornate chair with bold dark wood and gold polish brings out the richness of the Tirupati Balaji temple and the Telugu love for Gold.

The form of the gopuram is abstracted, retaining only the most important elements in detail- that of the head of the tower, lined with the auspicious kalasams.

Fig. 6.27

Fig. 6.28 Aboli Deshmukh | Lifestyle Accessory Design 2017 | National Institute of Design | 187

Fig. 5.29

Fig 6.29 Form of a skirt inspired by the grandeur of Dravidian temple Fig 6.30 Costumes of Kalbelia dance form and south Indian temple illustration serving as an inspiration 188 | Graduation Project

Deriving inspiration from the Kalbelian dancers’ costumes, the gipsy look was transformed into a resplendent skirt borrowing its grandeur from the gopurams of Dravidian temples. The luxury of Dravidian architecture combined with the sensuousness of these dancers in all its glory.

Fig. 6.30

Fig. 6.31

The collection by Shwethaa combines the architectural history into the modern designs in fashion making it into a sculptural fashion. It adores the beauty of the detail and craftsmanship. This collection is a tribute to the history that stands to tell the Dravidian tale for over 1000 years.

Fig. 6.32

Popley Group has launched an exclusive range of Dravidian jewellery inspired by art, dance, music and ancient Dravidian architecture. The Dravidian collection houses jewellery along with heavy demand for precious metals especially gold. Even though today’s generation has a modern outlook, their jewellery balances modernity with values of tradition.

Fig 6.31 Apparel inspired by the Dravidian temple architecture Fig 6.32 Bangle from the collection of Dravidian jewellery

by Popley group

Aboli Deshmukh | Lifestyle Accessory Design 2017 | National Institute of Design | 189

Fig 6.33 Famous temple jewellery of India seeking inspiration from the deities, temple tops and divine figurines in their most basic form 190 | Graduation Project

Fig. 6.33

Temple Jewellery The temples of south India, central India, Bengal and Odisha has served as a home to a veritable cornucopia of the jeweller’s art.Templejewelleryisgenerallylargeandchunky,with#gures of various gods and goddesses in gold fused to or forming the pendant on pearl string necklaces inspired by the jaw-dropping architecture of temples. Shiny rubies and emeralds are set in these pieces in attractive patterns that catch the eye while some pendantsalsoresemblethe‘gopuram’ or temple entrance towers indesign.Representativepiecesofthissortsigni#edthewearer’s special relationship with gods and the mythic universe.

Aboli Deshmukh | Lifestyle Accessory Design 2017 | National Institute of Design | 191

Banana Plant

Fig. 6.34

Fig 6.34 Handcrafted bag inspired from the banana leaf pattern by Pubumesu Fig 6.35 Range of apparel inspired by the Heliconia plant of Banana family, an icon of Vietnamese culture 192 | Graduation Project

Fig. 6.35

Pubumésuevocatesthepiquantsmellsandvibrantsettings LauraFontan of andDiegoCortizas-arrivedinHanoiin204,asa Southeast Asia’s culture with its new theme. Inspired by the young Spanish couple. Getting inspiration from the people, the everyday surroundings and offerings representative of Southeast food,thecoloursofVietnam,theywerealsoamazedbythefabrics Asian markets, the collection immortalises cultural traditions and and crafts surrounding in the city. They started designing a fashion motifs such as the banana leaf and tempeh in a set of super cute brandChula’ ‘ reectingtheirpassionforthisnewcountry,andi and exclusively crafted bags. culture.

Fig. 6.36

Consideredoneofthemostrecognizablepatternsintheworld, theoriginal“Martinique”bananaleafpaperwashuedincoloursof burgundy, muted green and deep mustards with a hint of brown.

A timeless, bold and exaggerated pattern of distinction that has rightly earned its place as one of the most iconic wallpapers within the history of the 20th century. Timeless, for certain.

Fig 6.36 “Martinique”, the classic wallpaper representing the foliage of the banana plant, its fruits and flowers Aboli Deshmukh | Lifestyle Accessory Design 2017 | National Institute of Design | 193

Fig. 6.37

Fig 6.37 Ceramicwear depicting a fresh banana leaf, traditionally used in Bali to serve food Fig 6.38 A banana leaf bowl sconce 194 | Graduation Project

Fig. 6.38

Tat Yan Soo realistically depicts a fresh banana leaf, traditionally The Banana Bowl Sconce is inspired by the functional art of the usedinBalitoservefood.Honedtechniquesofstoneware banana leaf bowl; a long-used tool created by pinning the leaf of ceramicsresultinauniformglazeandsmooth,ribbedtextures a banana plantfor into a bowl shape. The pinned leaf design of the a stunning handcrafted vase. sconce is open at the top and bottom creating directed light while ambient lighting diffuses through the shade.

Fig. 6.39

Alampinspiredbythegraciousformofbananapeel.Thisunique and appealing design mimicking bananas skin gives it a more organic and abstract form. Peel lamp features a curved freeowingshapewithaglossy#nish.

Fig 6.39 A table lamp inspired by the form of banana peel Aboli Deshmukh | Lifestyle Accessory Design 2017 | National Institute of Design | 195

Fig 6.40 A pair of earrings inspired by the pattern of banana leaf Fig 6.41 Brass hoop earrings translating the leaves of the banana plant Fig 6.42 A mesh bracelet inspired by banana leaves Fig 6.43 Banana Leaf Hairsticks hand-carved from sustainably sourced root wood left over from plantations in Indonesia Fig 6.44 Pair of earrings highlighting the beauty of cuts in the banana leaves Fig 6.45 Contemporary banana leaf wrap-ring translating banana leaf pattern Fig 6.46 Lightweight Silver earring inspired from the tropical banana leaf cut out Fig 6.47 Handcrafted 92.5 Sterling Silver ring Fig 6.48 Pair of asymmetric earrings highlighting the gorgeous lines on banana leaves 196 | Graduation Project

Application in Jewellery

Fig. 6.42 Fig. 6.40

Fig. 6.41

Fig. 6.44

Fig. 6.45

Fig. 6.43

Fig. 6.46

Fig. 6.47

Fig. 6.48

Aboli Deshmukh | Lifestyle Accessory Design 2017 | National Institute of Design | 197

Tree Rings

Fig. 6.50

Fig. 6.49

Fig 6.49 A wooden chair with its natural tree rings highlighted by the sandblasting method Fig 6.50, 6.51 Playful summer lights highlighting the pattern of tree rings 198 | Graduation Project

Fig. 6.51

GermandesignerLisaErtelusedasandblastingtechnique Summer Lights on features illuminated works of art in the wood furniture to emphasise the patterns created by trees’ annual environment,arti#ceinnature,piecesofpublicartmadeto rings of growth. The Dune collection, which was shown during bevisibleinthedark.Viewablefromdistancesandin#nite Milan Design Week, is intended to highlight the “individual history” perspectives, they illuminate the trails and the towering trees of each piece of wood, making it more of a tangible experience. of the Woodworks landscape and transform it into a new place, startling, playful and beautiful.

Fig. 6.52

The best architectural designs don’t need to look overcomplicated, theyjustneedtobeeffective.Thissleekpairof17-storyof#ce buildings in Seoul by BCHO architects is a perfect example.

The architects took inspiration from an old Korean birch tree trunk,organicandsculptedasifmouldedbyowingwater.The designallowsthestructurestoef#cientlyutilizetheirregularsite conditions, which are composed of vaguely acute angles.

Fig 6.52 ‘Twin Tree towers’ in Seoul inspired by the form of a tree trunk Aboli Deshmukh | Lifestyle Accessory Design 2017 | National Institute of Design | 199

Fig. 6.53

Fig. 6.54

Fig 6.53, 6.54 Coffe table made from a tree trunk highlighting its growth rings on the table platform Fig 6.55 A book of a 5000-yearold tree describing all the events in its life while adding one tree ring with every page 200 | Graduation Project

Fig. 6.55

Two designers Tanja Hinder and Michael Thomas from the JournalofMethuselahisabookabouta5,0-year-oldtree, companyMTHWoodworkspresentedtheiruniquefurniture chronicling the major events of human history that the tree has design ideas, inspired by nature, during IDS West exhibition in lived through. This book was created using the theme of numbers; Vancouver. Modern coffee tables with tree trunks and growth as one look through the book, each turn of the page adds a ring rings are beautiful furniture items that create warm and cosy living onto the tree’s life and describes an event that has happened at rooms, adding more character to contemporary homes. that time.

Fig. 6.56

Fredrik Färg and Emma Marga Blanche have been developing atechniqueovertheyearsattheirstudioinStockholm,being baptised and registered as Wood Tailoring. Layers of thick plywood are stitched together to make the Couture Armchair, where the sewing represents a topographical map with an organic pattern that resembles the growth of wood. Layers on layers have been added like growth rings found in the cross-section of a tree trunk.

Fig 6.56 Chairs made from the layering of wood resembling its growth pattern Aboli Deshmukh | Lifestyle Accessory Design 2017 | National Institute of Design | 201

Fig 6.57, 6.59, 6.64 Sand collection, lace made out of wood where transparency reveals the history of the tree inspired by weathered wood created by Pascal Oudet Fig 6.58, 6.61 Chair and stool from ‘Stumps collection’ by Sharon Sides highlighting the tree ring pattern by the method of acid etching Fig 6.60 Ceramic pots with tree ring alike texture on it Fig 6.62 Prototype of Kronos, a set of unisex cologne, whose form was derived from the annual growth rings found in tree trunks.

Fig 6.63 Tree ring pattern capturing its irregularities and blemishes 202 | Graduation Project

Other Applications

Fig. 6.58

Fig. 6.59

Fig. 6.57 Fig. 6.62

Fig. 6.60

Fig. 6.61

Fig. 6.63

Fig. 6.64

Aboli Deshmukh | Lifestyle Accessory Design 2017 | National Institute of Design | 203

Fig 6.65 Bracelet made from saw cutting a three-hundred-yearold pine, set in silver and enamel Fig 6.66 Silver ring with concentric layering Fig 6.67 Head accessory inspired by the tree rings made in aluminium and brass Fig 6.68 Wooden finger rings with layers to created beautiful 3D designs Fig 6.69 Brass pendant translating the beauty of growth rings in it Fig 6.70 Wooden ring capturing the natural rings on it Fig 6.71, 6.73 Forms and textures of finger ring inspired by the tree rings Fig 6.72 Modern sterling silver ring with oxidized concentric circles by Hartley studio 204 | Graduation Project

Application in Jewellery

Fig. 6.66

Fig. 6.65 Fig. 6.67

Fig. 6.68 Fig. 6.69 Fig. 6.70

Fig. 6.71

Fig. 6.72

Fig. 6.73

Aboli Deshmukh | Lifestyle Accessory Design 2017 | National Institute of Design | 205

206 | Graduation Project

6.5 Insights The process of compiling the research work and further analysing it for streamlining the design directions was a crucial phase of the Graduation Project. It involved a thorough analysis of the collecteddataforcomingupwiththe#nalapproachesbasedon the insights gathered from the trend study, market research and manufacturing capabilities of Emerald. The research analysis helped to produce themes for the three collections each having a different design story.

Further secondary research on understanding the various applications with the same inspiration story was very insightful.

It aided to comprehend various approaches of transforming the sameinspirationinmultiplewaysaccordingtotherequirement.

The research also helped to understand in which all directions the work has already been done so that a thorough idea of the existing applications can be gained. This research laid the foundation for moving ahead with the design process by keeping in mind the existing product applications.

Aboli Deshmukh | Lifestyle Accessory Design 2017 | National Institute of Design | 207

06

07 208 | Graduation Project

W

W

Temple

Collection

Collection Presets Ideation Prototyping Product Development Insights

Aboli Deshmukh | Lifestyle Accessory Design 2017 | National Institute of Design | 209

7.1 Collection Presets Brief To design a high-end Indo-contemporary silver jewellery collection developedusingthecastingtechnique.

Inspiration Taking inspiration from the ancient Dravidian Temples, the Temple collection will be a celebration of its beauty, grandeur and architecture. The prime inspiration of the collection was majorly the architectural elements of The great Tanjore temple, Meenakshi temple and few temples in and around the city of Coimbatore.

Capturing various prime elements of these Dravidian temples like gopuram and carvings on the walls and pillars, this collection will translate its elegance, intricacy and splendour into timeless pieces of Jewellery.

Visual vocabulary

Encompassing the grace and inheritance of Dravidian Temple Architecture, the designs of this collection will be developed using thecastingtechniqueasstatedinthebrief.Followingthetr this indo-contemporary collection will have a play of gold and silver antique#nishcomplementedbythesettingofvariousstonesi the jewellery.

210 | Graduation Project

Product Category Earrings, Neckpieces, Rings, Bracelet and Anklet

Costing 3Thousand-25Thousand

Material 92.5%SilverandSwarovskiStones

Keywords Timeless appeal Rede#nedaesthetics Ancient opulence Ornamental elegance

Aboli Deshmukh | Lifestyle Accessory Design 2017 | National Institute of Design | 211

7.2 Ideation The ideation phase started with decluttering the elements of Dravidian Temple architecture and looking at it individually. Various elements like the pillars inside the temples, Various types of gopurams and the carvings on it were picked.

The#rstsetofideationwasaboutexploringthese elementsinvariouswaysbyplayingwiththeirsize, orientation, proportions, combinations and many more such aspects. Various rounds of explorations were involved in the ideation process. The process involved presenting the work at every stage to the mentor, design head, production head and the managing directors.

212 | Graduation Project Fig. 7.1

Aboli Deshmukh | Lifestyle Accessory Design 2017 | National Institute of Design | 213

Fig. 7.2

214 | Graduation Project

Fig 7.1, 7.2, 7.3, 7.4 First phase of ideation for the temple collection exploring the peculiar elements of the Dravidian temple architecture Fig 7.5 Narrowed down designs from the first set of ideation Aboli Deshmukh | Lifestyle Accessory Design 2017 | National Institute of Design | 215

Fig. 7.2

Fig. 7.3 (a) 216 | Graduation Project

Fig. 7.3 (b) Aboli Deshmukh | Lifestyle Accessory Design 2017 | National Institute of Design | 217

Fig. 7.4 (a) 218 | Graduation Project

Fig. 7.4 (b) Aboli Deshmukh | Lifestyle Accessory Design 2017 | National Institute of Design | 219

Earrings Fig. 7.5 (a)

Rings

220 | Graduation Project Fig. 7.5 (b)

Neckpieces

After a couple of feedback sessions in the of#ceandwiththeprojectguide,itwas realizedthattheexplorationsafterapoint of time got deviated from the keywords to more minimal, abstract and contemporary forms. The ideation had started losing the essence of Dravidian temple language and got digressed in a way that it hardly had anyreectionofthetempleelements.

The next set of designs were ideated consciously in a way that it preserves the temple architecture vocabulary by not losing the modern aesthetics. The preset keywords were constantly referred so that all pieces have the same language of the collection.

Bracelets Fig. 7.5 (c)

Aboli Deshmukh | Lifestyle Accessory Design 2017 | National Institute of Design | 221

Fig 7.6, 7.7 (a,b) Decluttering and again exploring the intricate elements of Dravidian temple architecture Fig 7.8 (a-c) Final sketches of the narrowed down designs 222 | Graduation Project

The ideation process was picked up from the point where it had started digressing to minimal and abstract forms. The temple elements were looked and explored again. Initial forms were created inspired by various elements like pillars, arches, gopurams and wall carvings.

After discussions with the mentor, a total of thirteen pieces of jewellery were selected for prototyping in metal. After the designs were#naliseddesignssheetsweremade,whichhadthedetails necessaryfortheCADmakingandmanufacturingrequirement.

Fig. 7.6

Aboli Deshmukh | Lifestyle Accessory Design 2017 | National Institute of Design | 223

Fig. 7.7 a 224 | Graduation Project

Fig. 7.7 b Aboli Deshmukh | Lifestyle Accessory Design 2017 | National Institute of Design | 225

Earrings Fig. 7.8 a

Rings

226 | Graduation Project Fig. 7.8 b

Neckpieces

Bracelet

Anklet

Fig. 7.8 c

Aboli Deshmukh | Lifestyle Accessory Design 2017 | National Institute of Design | 227

Fig. 7.9

228 | Graduation Project

Fig. 7.10

Dangler Earrings

Fig. 7.11

Design

Front View

Side View

Isometric View

The pair of dangler earrings from temple collection was inspired by the intricate carvings on the pillars of Dravidian temple. The ideation process involved selecting the individual set of elements on the pillars and then developing various combinations of these elements. The forms of pillars in the temple were explored to convert the intricate elements into an earring with contemporary aesthetics.

CAD, CAM

Fig. 7.12

Fig. 7.13

Fig 7.9 Form explorations for the dangler earrings Fig 7.10 Final design sketch of the dangler earrings

Fig 7.11the Front, side and isometric After#nalisingthedesignfromthevariousexplorations, CAD of CAD models of the #leoftheearringwascreated.TheCAD#lewasmadeintwoviews units, dangler earrings the topmost part and the remaining bottom part. It could have been done in other ways like creating multiple units of the earrings Fig 7.12 CAM piece of the and linking them together during assembly. But, the former way dangler earrings attached with was chosen as it would have aesthetically looked different than wax supports theoriginalsketchafterassembling.TheCAD#lewasmadeinthe exactsizeaspertheoriginaldesign.But,aftertheCAM Figpieces 7.13 Assembled Casted werereadyitwasrealizedthateventhoughthedimensions ofthe dangler earring before polishing Aboli Deshmukh | Lifestyle Accessory Design 2017 | National Institute of Design | 229

Fig. 7.14

Fig 7.14 Artisan giving a rhodium plating to some parts of the earring using the plating pen Fig 7.15 Artisan preparing for the antique finish to later apply on the earring with a brush Fig 7.16 Comparing the finished earring with the original sketch of it Fig 7.17 Dangler earrings 230 | Graduation Project

Fig. 7.15

Fig. 7.16

CAD model was exactly the same as per the design sketch, the bottom part of the earring looked bigger than the topmost part.

Itwasrealizedthattheinthedesignsketchthetopmostpartwas drawn as per its front view while the rest in isometric view. This resultedinthedifferenceinthesizeafterphysicalCAMmodelof the earring was ready. This was important learning because the mistake made the earring look out of balance as the visual weight of the earring was drawn downwards. The bottom part became veryheavycomparedtothetoppartandbecamedif#cultforthe top part to carry the weight of it with just one link.

Texturing

After the casting and assembly, rhodium plating was applied to some parts of the design with reference to the design sketch. The plating was done on the outer rim of the central part to highlight it while not letting it overpower the silver colour of the rest of the earring. The plating was done on some parts of the earring so that it looked aesthetically pleasing. After the plating was done, ablackantique#nishwasappliedtothewholeearringinthe texturing department. The process involved burning a material andholdingacopperplateontheameofit.Theburningresults in a black layer on the copper plate. This same layer is applied on thejewelleryusingabrushtogiveitablackantique#nish.

Aboli Deshmukh | Lifestyle Accessory Design 2017 | National Institute of Design | 231 Fig. 7.17

Fig 7.18 Reference image of inspiration for the pair of earrings Fig 7.19 Final design sketch of the earrings Fig 7.20 Form explorations for the earrings inspired by the carvings on the walls of Tanjavour temple 232 | Graduation Project

Fig. 7.18

Drop Earrings

Fig. 7.19 Aboli Deshmukh | Lifestyle Accessory Design 2017 | National Institute of Design | 233 Fig. 7.20

W

Fig. 7.22 Front View

Side View

Fig 7.21 Front, side and isometric views of the CAD models of the earrings Fig 7.22 Individual CAM piece of the earrings Fig 7.23 Parts of the earrings after cutting from the silver investment casting tree 234 | Graduation Project

Isometric View Fig. 7.21

Fig. 7.23

Another earring from the temple collection was inspired by the carvings on the walls of the Tanjavur temple. Various forms were explored referring to the carvings by keeping the central tubular element simple and intricate details attached to it. This pair of earring was vertical and stiff following the trends in jewellery.

CAD#lesofalltheelementsotherthanthecentraltubular elementweremade.AlltheCAD#leshadaholegoingthrough them for inserting the tubular element during assembly. The small curved element in the centre was made in two parts for the ease of soldering it with the central tube during assembly. A plain hollow tube was soldered with the other elements as per thedesign.Afterassembly,itwasrealizedthatthecentraltube looks very different from the other intricate elements. It could have looked in harmony with the other elements had it had some texture on it. This change could not be made after the assembly but the learning was gathered for the future.

Fig. 7.24

Fig 7.24 Artisan putting the filler material at the point which needs to be soldered Fig 7.25 Artisan soldering the casted piece to a silver hollow pipe using a solder wire Fig. 7.25

Fig 7.26, 7.27 Finished pair of earrings Aboli Deshmukh | Lifestyle Accessory Design 2017 | National Institute of Design | 235

Fig. 7.26 236 | Graduation Project

Fig. 7.27

Aboli Deshmukh | Lifestyle Accessory Design 2017 | National Institute of Design | 237

Statement Rings Ideation

The bold and statement rings from the temple collection were inspired by the gopuram of Dravidian temples. The form of gopuram was directly translated into the ring designs. The inspiration consists of various level and is in tapering from bottom to top.

This element of layering and tapering was incorporated in the design. The topmost part of the gopuram is cylindrical and different than the other levels. The cylindrical topmost part also has some peculiar elements on top of it. This topmost part was alsoincorporatedintothedesignsas gopuram itde# ofnesthe Dravidian temple.

Fig. 7.28 238 | Graduation Project

Fig. 7.29

Fig. 7.30

Fig 7.28 Form explorations for the rings inspired by the gopuram of Dravidian temple Fig 7.29, 7.30, 7.31 Prototypes made from paper and hardboard for exploration of finger ring

Fig. 7.31

Fig. 7.32

Fig 7.32 Finger ring prototypes made from paper inspired by the pillars of Dravidian temple Aboli Deshmukh | Lifestyle Accessory Design 2017 | National Institute of Design | 239

Fig 7.33 Variation of prototypes translating the gopuram of Dravidian temple 240 | Graduation Project

Fig. 7.33

Prototyping

The ideation process was accompanied by making hand prototypes for better visual clarity. Drawing 3D elements on a piece of paper were limiting the ideas and to tackle the same, some 3D prototypes were made using paper and thin cardboard. Exploring with paper for making prototypes was very helpful as it allowed to tryvariouscombinationsandformsthatweredif#culttovisualise and draw on the paper.

Therearetwovariationsinthering.The#rstonewasmadeas one single unit and the other one was made in multiple layers. The second variation highlights the various layers of gopuram while using less material.

CAD

Creating CAD models of the temple collection was very decisive astheweightofeverypiecehadtobeinthespeci#cbracketso that it matched the preset pricepoint. To reduce the excess weight, extra metal was scooped wherever possible. Providing the design detailslikethedepth,owprongsize,stonesizeandlinkdetails are important as alternate looks or technical problems can be understood and needs to be solved at the same time and can not bechangedlater.ItwasrecognizedthattheCADmodelsmay somewhat differ than the actual designs on paper. This could be because of the changes made in it due to the manufacturing or assembly limitation or weight restriction. These learnings were gathered for designing the other two collections.

Fig. 7.34

Fig 7.34 The prototypes were worn and checked if any changes needed to be made Aboli Deshmukh | Lifestyle Accessory Design 2017 | National Institute of Design | 241

Top View Front View

Fig. 7.35

Isometric View

Fig. 7.37

Top View Front View

Fig 7.35, 7.36 Final design sketches of the statement rings Fig 7.37, 7.38 Front, top and isometric views of the CAD models of the statement rings 242 | Graduation Project

Fig. 7.36

Fig. 7.38

Isometric View

Fig. 7.39

Fig. 7.41

Fig 7.39, 7.40 Individual CAM pieces of the statement rings Fig 7.41, 7.42 Loose silver pieces of the statement rings before finishing and assembly Fig 7.43 Gopuram statement ring Fig. 7.40

Fig. 7.42

Fig 7.44 Model wearing the gopuram statement ring Aboli Deshmukh | Lifestyle Accessory Design 2017 | National Institute of Design | 243

Fig. 7.43 244 | Graduation Project

Fig. 7.44 Aboli Deshmukh | Lifestyle Accessory Design 2017 | National Institute of Design | 245

Convertible Earrings and Studs

Fig 7.45 Reference image of the carvings on gopuram of Thanjavur temple serving as an inspiration for the earrings

Fig. 7.46

Fig 7.46 Final design sketch of the modular earring Fig 7.47 Final design sketch of the stud earring Fig 7.48 Front, side and isometric views of the CAD models of the modular earring Fig 7.49 Front, side and isometric views of the CAD models of the studs Fig 7.50 Referring the design sketch of the stud while creating its CAD model 246 | Graduation Project

Fig. 7.45

Fig. 7.47

Front View

Side View

Isometric View

Fig. 7.48

Front View

Fig. 7.49

Side View

Isometric View

Fig. 7.50 Aboli Deshmukh | Lifestyle Accessory Design 2017 | National Institute of Design | 247

Fig. 7.51

Fig 7.51 Individual CAM pieces of the modular earring Fig 7.52 Individual CAM pieces of the stud Fig 7.53 Artisan removing extra material on the CAM piece of stud using a burr attached on the Flexi shaft Fig 7.54 Loose silver pieces of modular earring and studs after the investment casting process 248 | Graduation Project

Fig. 7.52

Fig. 7.53

The pairs of earrings are inspired by the carvings on Tanjavour Big Temple. The designs consist of two prominent elements from the carvings. The top part of it is incorporated in the design as the part which gets connected to the post of the earring. The other cylindrical element was used at the bottom. The convertible earring is designed in a way that the top part of the earring can be used as a stud and can be used as a dangler earring if the bottom part is attached to the port.

In case of the studs, the cylindrical part at the bottom is soldered tothetoppart.WhilemakingCAD#leofthestudsitwasrealised that the height of the front part needs to be increased as it was coming very close to the earlobe. Change in the height of the front part of the stud made it easy to wear as the cylindrical part do not touch the earlobe.

Fig. 7.54 Aboli Deshmukh | Lifestyle Accessory Design 2017 | National Institute of Design | 249

Fig. 7.55 250 | Graduation Project

Fig 7.55 Modular earring which can be worn as a stud as well as a dangler

Fig. 7.56

Fig 7.56 Pair of studs inspired by the carvings on the gopuram of Tanjavour temple Aboli Deshmukh | Lifestyle Accessory Design 2017 | National Institute of Design | 251

Assymetric Necklace

Fig. 7.58 252 | Graduation Project Fig. 7.57

Fig 7.57 Form explorations for the necklace inspired by the front view of Dravidian temple gopuram Fig 7.58 Reference image of the Dravidian temple serving as an inspiration for the necklace Fig 7.59 Final design sketch of the asymmetric necklace Front View Fig. 7.59

Fig. 7.60

Fig 7.60 Front view of the CAD models of the asymmetric necklace

Aboli Deshmukh | Lifestyle Accessory Design 2017 | National Institute of Design | 253

Fig. 7.61

Fig. 7.62

used or the entire gopuram element can be manufactured using the The big central elements of the asymmetric necklace are inspired electroforming process. by the gopuram of the Dravidian temples. Ideation for the big pieces involved exploring various ways of translating the gopuram To style this necklace it was proposed to be worn with traditional to design in a simpler way. Only front part of the gopuram elements wascreatedinCAD#leinsteadofmakingthewhole.Thisout# wastsaswellaswithwesternout#tslikewearingitarounda collar of a shirt. done in order to reduce weight by making only the front part through casting and later attaching the back panel to it. The back sheets were cut using the laser cutting process and soldered with the gopuram elements during assembly.

Fig 7.61 CAM pieces of the necklace after 3D printing Fig 7.62 Loose silver pieces of the necklace after cutting them from the investment casting tree 254 | Graduation Project

A beaded chain was chosen as the long vertical chain so that it aesthetically matches with the big gopuram element of the necklace. The exact lengths of these chains were decided by actually wearing it around the neck and visualising the look. The necklace is supposed to be worn from the back of the neck as the roundhollowtubearoundtheneckisquiteexible.Evenafter trying to keep the minimum weight of the gopuram elements in the end after assembly, the whole necklace weighed more than expected. To cater to this problem, a thinner back sheet could have

Fig 7.63 All components of the asymmetric necklace before finishing and assembling them together Fig 7.64 Finished asymmetric necklace along with its design sketch Fig. 7.63

Fig 7.65 Model weaning the asymmetric necklace Aboli Deshmukh | Lifestyle Accessory Design 2017 | National Institute of Design | 255

Fig. 7.64 256 | Graduation Project

Fig. 7.65

Aboli Deshmukh | Lifestyle Accessory Design 2017 | National Institute of Design | 257

Modular Necklace

Front View

Isometric View

Fig 7.66 Final design sketch of the modular necklace Fig 7.67 Front, bottom and isometric views of the modular necklace CAD model 258 | Graduation Project

Bottom View Fig. 7.66

Fig. 7.67

Fig. 7.69

The central element of the modular necklace is similar to the gopuram element of the asymmetric necklace of the Temple collection. In this necklace, the idea of modularity was incorporated by having individual layers of the gopuram which can be slid on the long chain. The modularity can be used for creating different looks from the same necklace.

All the six layers of this central element have a hole on both the sides through which the chain is passed. To create an effortless and easy sliding movement on the chain, rubber was inserted in the holes so that the central elements can pass through it very conveniently. As the elements are meant to be slid on the chain a simple plain chain with rectangular cross-section was chosen for the ease of the movement.

Fig. 7.68

Fig 7.68 3D printed CAM pieces of the modular necklace attached with supports before it goes for die making Fig 7.69 Silver pieces of the necklace after the investment casting process Fig 7.70 Modular necklace Fig 7.71 Modular necklace with the centrepiece elements displaced on the chain for a different look

Aboli Deshmukh | Lifestyle Accessory Design 2017 | National Institute of Design | 259

Fig. 7.70 260 | Graduation Project

Aboli Deshmukh | Lifestyle Accessory Design 2017 | National Institute of Design | 261 Fig. 7.71

Bracelet

Fig. 7.73 262 | Graduation Project Fig. 7.72

Top View

Fig. 7.75

Fig 7.72 Form explorations for the bracelet inspired by the carvings on the pillars of Dravidian temple

Front View

Fig 7.73 Final design sketch of the bracelet Fig 7.74 Front, top and isometric views of the bracelet CAD model Fig 7.75 3D printed CAM pieces of the bracelet before removing the extra material and supports on it Fig. 7.74

Isometric View

Fig. 7.76

Fig 7.76 Silver cast pieces of the bracelet Aboli Deshmukh | Lifestyle Accessory Design 2017 | National Institute of Design | 263

Fig. 7.77

Fig 7.77 Brcelet after final finish Fig 7.78, 7.79 Model wearing the bracelet from the Temple collection 264 | Graduation Project

The double-headed bracelet is inspired by the carvings on the pillars of the Dravidian temple. The carvings on the top and bottom of the pillar are used as the elements for the two heads of the bracelet. In the various design explorations, the circular part which formsthebangleorbraceletwasdesignedinawaythatitreects the linear portion of the pillar and the two heads of it as the top andbottomofthepillar.Aspringlockwas#xedinthebraceleton the bottom side for the ease of wearing.

Fig. 7.78 Aboli Deshmukh | Lifestyle Accessory Design 2017 | National Institute of Design | 265 Fig. 7.79

Two Finger Ring

Fig. 7.80 266 | Graduation Project

Fig. 7.81

Top View

Fig. 7.83

Fig 7.80 Form explorations for the ring inspired by the carvings on the pillars of Dravidian temple

Front View

Fig 7.81 Final design sketch of the two-finger ring Fig 7.82 Front, top and isometric views of CAD model of the twofinger ring Fig 7.83 CAM pieces of the twofinger ring

Isometric View

Fig. 7.82

Fig. 7.84

Fig 7.84 Silver cast pieces of the two-finger ring before finishing Aboli Deshmukh | Lifestyle Accessory Design 2017 | National Institute of Design | 267

Two-#ngerringhasbeendesignedinasimilarwayasthebracelet of the temple collection. Two rings are attached with three elements placed on top. The central element on top of the ring depicts the linear portion of a pillar while the elements on both the ends depict the carvings on the top and base of a pillar. While makingCAD#leforthering,extrasupportswereprovidedjoining the central element on top with the ends of two rings. Extra support was provided to ensure that the ring does not bend during the whole investment casting process. The supports were cut after #nalassembly.

Fig 7.85 Two finger ring from the Temple collection 268 | Graduation Project

Afterthe#nalassembly,itwasrecognizedthatthecentralelement ontheringlooksatanddisconnectedfromtheothertwoheads of the ring. In order to make the three elements look like one even if they aren’t connected, the central piece could have been made in a half cylindrical or circular cross-section. Making the central element look more curved and three dimensional so that it matches with the other two big elements of the ring was an important learning from this product.

Fig. 7.85

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Anklet

Isometric View

Fig. 7.86

Fig. 7.88

Fig 7.86 Design sketch of the anklet Fig 7.87, 7.88 CAD models of the anklet 270 | Graduation Project

Fig. 7.87

Front View

Anklet from the temple collection is inspired by two prominent elements on the temple carving. One is the protruding elements from the top of the gopuram while the other is from the carvings on the gopuram. These two elements were arranged in a repetitive

mannerthroughouttheanklet.Inordertomaketheankletexi and easy to wear it was made into many small pieces which were later joined together during assembly.

Fig. 7.89

The lock of the anklet was made in a similar way as it is usually made for payals in the company. The locking process involved puttingathreadedscrewintheslotto#xit.Theankletwastried on after assembly and it was realised that the locking is very inconvenientandrequiresalotofforce.Insteadofthetraditional lock, a simpler S lock or chain lock could have been used for the ease of wearing and locking it.

Fig 7.89 Artisan soldering the multiple pieces of anklet together Fig. 7.90

Fig 7.90 Model wearing the anklet from Temple collection Aboli Deshmukh | Lifestyle Accessory Design 2017 | National Institute of Design | 271

Fig. 7.91

Fig 7.91 Design explorations for the choker inspired by the top part of the gopuram Fig 7.92 Reference image of the gopuram topmost part serving as an inspiration for the choker 272 | Graduation Project

Fig. 7.92

Choker from the Temple collection is inspired by the topmost part of the gopuram of Tanjavour temple. The ideation started with de#ningvariouslayersfromtheinspiration.Theseelementswe drawn in a repetitive format. A symmetrical design was chosen fromtheexplorationswhichwasconvertedintoaCAD#le.

Similar to the manufacturing process of the anklet, the design ofchokerwasalsosplitinto15smallpieceswhichwerejoined together in the last stage of assembly. The design was produced inpartsforachievingcertaindegreeofexibilitysothatitca easily#taroundtheneck.Slockwasprovidedonthebackofthe necklace.

Choker

Front View

Isometric View

Fig. 7.94

Fig 7.93 Final design sketch of the choker Fig. 7.93

Fig 7.94 CAD models of the choker Aboli Deshmukh | Lifestyle Accessory Design 2017 | National Institute of Design | 273

Fig. 7.96

Fig 7.95 Individual CAM pieces of the choker Fig 7.96 Loose pieces of the choker kept together for checking after the investment casting process Fig 7.97 Artisan applying a rhodium plating on the parts of choker which need to have gold finish 274 | Graduation Project

Fig. 7.95

Fig. 7.97

Fig. 7.99

Fig 7.98 Comparing the finished product with its design sketch Fig. 7.98

Fig 7.99 Model wearing the choker Aboli Deshmukh | Lifestyle Accessory Design 2017 | National Institute of Design | 275

Front View

Isometric View Fig. 7.100 276 | Graduation Project

Fig. 7.101

Side View

Three Layer Necklace

Fig. 7.102

Fig. 7.103

Fig 7.100 Design sketch of the

was shortened to make it visually look symmetric and avoid the The three layer necklace has a central element inspired by the three-layer necklace tilting. All the chains used in the necklace are of very long length. gopuram of the Dravidian temple. The long necklace or haram has So, after wearing the necklace they were getting entangled three strings of beaded chain to which the silver casted elements Fig 7.101 Front, side and amongst each other, to avoid the entangling, upper portion of the areattachedinthecenter.CAD#lesofthethreecentral elements isometric views of CAD model of the 3 layer necklace chainsweresolderedtillaspeci#clength.Thisensured that the were made in a way that it is hollow from backside. This was done chains stays at their place and do not entangle with each other. For to reduce the overall weight of the necklace as it was exceeding Fig 7.102 CAM pieces of the applyingagold#nishonsomepartsofthenecklace,electroplating the price bracket. A textured plate of exact was cut with laser centrepiece of the three-layer method waselements used. cuttingtechniqueandattachedtothebackofthecentral necklace by soldering. For joining the beaded chain with the central pieces, symmmetry was necessary. Even after attaching the exact lengths Fig 7.103 Silver pieces of the of chain on both the sides, the central element was tilting on one three-layer necklace before side. To cater to this problem, the chain on one side of the necklace finishing Aboli Deshmukh | Lifestyle Accessory Design 2017 | National Institute of Design | 277

Fig 7.104 Components of the three-layer necklace at the artisan’s workplace before finishing and assembly 278 | Graduation Project

Fig. 7.104

Fig. 7.105

Fig. 7.106

Fig 7.105 The necklace taken out from the POP mould after the assembly of central pieces and chains Fig 7.106 Artisans checking the levels and symmetry of the necklace before assembling Fig 7.107 Worker cleaning a component of the necklace by holding it under a high-pressure water jet Fig 7.108 Components of the three-layer necklace hung on a jig and inserted in a tub of a chemical solution during the electroplating process Fig 7.109 Model wearing the three-layer necklace and choker from the Temple collection

Fig. 7.107

Fig. 7.108

Fig 7.110 Model adorned with various jewellery pieces from the Temple collection Aboli Deshmukh | Lifestyle Accessory Design 2017 | National Institute of Design | 279

Fig. 7.109 280 | Graduation Project

7.5 Insights Working on the temple collection was an extremely insightful experience from the entire Graduation Project. It involved bringing the essence of the architectural beauty of Dravidian temple into jewellery through this collection. Temple jewellery has been in existence for many years, so taking the same inspiration and incorporating it into contemporary designs was the main challenge.

The process of trying to achieve contemporary aesthetics in the designs while maintaining the traditional elements of the inspiration was rigorous and extremely insightful.

During all the time of producing this collection, keeping weight and price in the preset bracket was a crucial part. There were a lot oftechnicalproblemsthatwerenotforeseenandrealizedlater during the production stage. Almost every piece of this collection had some learning as a takeaway. The eventful yet challenging journey of producing this collection was a memorable experience as an enormous amount of knowledge and inputs were gained at everystage.Templecollectionwasthe#rstcollectionthatwas approved and produced so, the learnings gathered from it could be implemented in the production of the other two collections.

Working on Temple collection gave me immense joy and satisfaction as I not only learned that there are many times when the physical model of jewellery can differ from the original design sketch and many unforeseen problems can occur but also all these problems can be catered in some or the other way to achieve the perfection.

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8.1 Collection Presets Brief

To design a modern silver jewellery collection developed using a fusionofvariousmanufacturingtechniquesavailableatEmer

Inspiration

TheuniqueBananaplantwithvariousfascinatingelementsl leaves,owers,fruitsandstemwillserveasaninspirationfor collection.Afusionofvariousmanufacturingtechniqueswill used for enhancing the elements of a banana plant. This collection will be an attempt to translate the elements of the banana plant into contemporary designs.

Visual vocabulary

Incorporating the vividity of banana plant in the designs, the Banana collection will be produced using a fusion of various manufacturingtechniquesatEmeraldJewels.Themanufacturin techniquesmayincludecastingprocess,electroformingproces handmade process, stamping process etc. The enamelling techniquewillbeusedforachievingthecolourpaletteofthe bananaplantalongwiththesilvergloss#nish.

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Product Category Earrings, Pendants, Rings and Bracelet

Costing 1.5Thousand-3Thousand

Material 92.5%SilverandSwarovskiStones

Keywords A natural impulse Vivid look Contemporary charm Feminine allure

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8.2 Ideation

The ideation for Banana Fusion collection started with picking all the elements of the plant which will be used in the designs. These elementswerefruits,owersandleaves.Allthesethreeeleme were looked at individually and various ways of incorporating these elements into the designs were explored. While ideating these elements, it was very important to consider which manufacturingtechniquewillbeusedtoproducethedesigns.

This consideration was very crucial as this collection was all about making various elements of one piece of jewellery using different manufacturingtechniques.So,multiplewayswerechosenfor representing the three prominent elements of the banana plant.

Afterthewaysofrepresentingtheseelementswere#guredout various combinations of it were explored. Colour palette for this collection was also chosen at this stage.

Fig 8.2 (a-j) - First set of ideation of exloring various elements of Banana plant and finding ways to represent them 294 | Graduation Project

Fig. 8.1 (a) Aboli Deshmukh | Lifestyle Accessory Design 2017 | National Institute of Design | 295

Fig. 8.1 (b) 296 | Graduation Project

Fig. 8.1 (c) Aboli Deshmukh | Lifestyle Accessory Design 2017 | National Institute of Design | 297

Fig. 8.1 (d) 298 | Graduation Project

Fig. 8.1 (e) Aboli Deshmukh | Lifestyle Accessory Design 2017 | National Institute of Design | 299

Fig. 8.1 (f) 300 | Graduation Project

Fig. 8.1 (g) Aboli Deshmukh | Lifestyle Accessory Design 2017 | National Institute of Design | 301

Fig. 8.1 (h) 302 | Graduation Project

Fig. 8.1 (i) Aboli Deshmukh | Lifestyle Accessory Design 2017 | National Institute of Design | 303

Fig. 8.1 (j) 304 | Graduation Project

Fig. 8.2 Aboli Deshmukh | Lifestyle Accessory Design 2017 | National Institute of Design | 305

Fig 8.2 Ideation defining all the elements of banana plant to be used for further form explorations Fig 8.3 Form explorations for the fusion earrings 306 | Graduation Project

Fig. 8.3

Fusion Earring Form explorations for the Banana collection included using the previously ideated prominent elements of the inspiration and trying out various ways of composing them together. For the compositions,theowandformofthebananaplantfruitand owerwereobserved.Itwasnoticedthatthefruitsgrowon topandtheowerbloomsfromthecentreoftheshoot.This composition was used to represent and compose the elements together. Three different compositions using the same elements were chosen from the ideation for earrings.

The#rstdesigncompositionoftheearringincludedelements whichweremanufacturedusingvarioustechniqueslikecasting, stamping,electroformingandhandmade.Thebigowerelements of the design were made using electroforming as it would be light in weight and complex forms could be easily created. The fruit elementswerecreatedusingthehandmadetechnique.

Electroforming Handmade Stamping/Casting Handmade

Electroforming

Oncethedesignsketchwas#nalized,CADmodelsforthecasting and electroforming process were created. Images of the banana plant were referred by the CAD designers for creating similar forms out of it. The manufacturing process involved making of wax andlowmeltingalloypiecesofthebananaowerswhichwere later used for Electroforming. A coat of conductive silver paint was applied on the replicas for electrodeposition. In the AnodeCathode reaction of the electroforming process, a very thin layer of silver metal got deposited on the alloy or wax replica. The inside material is melted down and completely removed so that a hollow piece gets created as the end product. Once the electroformed pieces were ready, they were sent to the fusion department where other components of the jewellery were made.

Fig. 8.4

Handmade Electroforming

Fig 8.4 Final design sketch of the fusion earring Aboli Deshmukh | Lifestyle Accessory Design 2017 | National Institute of Design | 307

Fig. 8.5

Fig. 8.7

Fig. 8.6

Fig. 8.8

Fig 8.5 CAD output compared with the original design sketch of fusion earring Fig 8.6 CAD designer creating the model of banana flower in the software for creation using electroforming technique Fig 8.7 Individual CAM pieces for the fusion earrings Fig 8.8 Silver conductive paint applied on the wax pieces for the electroforming process 308 | Graduation Project

Fusion

When Fusion department receives various components of the jewellery, the rest of the elements are created using the handmade technique.Aftercreatingalltheelements,theyareplacedtogether on the black arakku by referring the design sketch. Once the composition is approved by the head of the department, all the parts are joined together by laser soldering. The electroformed pieces cannot be soldered using a soldering gun as they melt if exposedtoame.So,theelectroformedpiecesarejoinedtothe restoftheelementsusinglasersoldering.Oncethe#nalassembly is#nished,thejewelleryisthoroughlycleanedusingBPstripping andsenttothetexturingdepartmentforthe#nalpolish.

Inthispairofearring,ahorizontalwireontopwasnotsketched in the design. It had to be added during assembly to increase the strength and surface area where the post gets attached to it.

Fig. 8.9

Fig 8.9 All elements stuck on arakku, a black gum-like material for creating the same design as the design sketch

Fig. 8.10

Fig 8.10 Parts of earring other than the electroformed pieces are soldered together Aboli Deshmukh | Lifestyle Accessory Design 2017 | National Institute of Design | 309

Fig 8.11 Final finished fusion earring Fig 8.12 Model wearing the fusion earring 310 | Graduation Project

Fig. 8.11

Fig. 8.12 Aboli Deshmukh | Lifestyle Accessory Design 2017 | National Institute of Design | 311

Fusion Earring

The second composition of earring using the same elements translatestheverticalhangingbranchofbananafruitando Thebigowerandonebananafruitelementaremanufactured usingelectroformingtechniquewhilethesmallowersaremad using the casting method. Once all the casted and electroformed pieces are ready and in place, the rest of the handmade work is done. All the components are placed on a gum-like material called as arakku in the Tamil language. The composition is created by referring to the design sketch and further joined with each other.

Electroforming Casting Handmade Handmade Electroforming

Fig 8.13 Final design sketch of the second fusion earring 312 | Graduation Project

Fig. 8.13

Front View

Bottom View

Fig. 8.14

Isometric View

Fig. 8.15

Fig 8.14 Front, bottom and isometric views of CAD model of the fusion earring Fig 8.15 CAD output compared with the original design sketch of fusion earring Fig 8.16 Casted elements of the fusion earring to be cut from the casting tree after the Investment casting process

Fig. 8.16

Fig. 8.17

Fig 8.17 All elements stuck on a black gum-like material for creating the same design as the design sketch Aboli Deshmukh | Lifestyle Accessory Design 2017 | National Institute of Design | 313

Fig 8.18 Final finished fusion earring Fig 8.19 Model wearing the fusion earring 314 | Graduation Project

Fig. 8.18

Fig. 8.19

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Fusion Earring

The third composition of earring using the same elements is madeusingmanufacturingtechniqueslikecasting,electrofor and handmade. Swarovski stones have also been used in this compositionrepresentingtheowerofthebananaplant.The hand of banana fruit is created using the electroforming process.

During the electroforming process, one extra set of all the pieces are created because there are high chances of defects, cracking and breaking. This happens because the hollow electroformed elements have a very low thickness and are susceptible to breakage if not handled carefully.

Handmade Stones

Electroforming

Casting

Fig 8.20 Final design sketch of the third fusion earring 316 | Graduation Project

Fig. 8.20

Front View

Fig. 8.21

Side View

Isometric View

Fig. 8.22

Fig 8.21 Front, side and isometric views of CAD model of the fusion earring Fig 8.22 CAD output compared with the original design sketch of fusion earring Fig 8.23 Silver conductive paint applied on the wax pieces of the banana element of the fusion earring for the electroforming process Fig. 8.23

Fig. 8.24

Fig 8.24 Artisan skillfully setting the stone in the fusion earring Aboli Deshmukh | Lifestyle Accessory Design 2017 | National Institute of Design | 317

Fig. 8.25

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Fig 8.25 Model wearing the fusion earring Fig. 8.26

Fig 8.26 Final finished fusion earring Aboli Deshmukh | Lifestyle Accessory Design 2017 | National Institute of Design | 319

Clip-On Earrings

Stones Casting Machinemade chain Handmade

Fig 8.27 Final design sketch of the clip-on earring Fig 8.28 CAD output compared with the original design sketch of clip-on earring Fig 8.29 Model wearing the clipon earring 320 | Graduation Project

Fig. 8.27

Fig. 8.28

The clip-on ring has two balls on the end so that it doesn’t hurt The clip-on earring comprises of two banana fruit elements the ear. This earring can be worn in another way by removing the andtheowershangingdownfromit.Theowersarecreated clip-on ring. After removing the clip-on ring it will look like a very using the casting method and stone setting using prongs. These longchainwiththeowerelementsatbottomandfruitelemen elements are linked to a half ring and can be clipped on the top of on top. the ear by slightly pressing it.

Aboli Deshmukh | Lifestyle Accessory Design 2017 | National Institute of Design | 321 Fig. 8.29

Fig 8.30 Explorations for forms and composition for the fusion jewellery 322 | Graduation Project

Fig. 8.30

Fusion Pendant

Handmade

Electroforming Handmade Stones Casting Fig. 8.31

Fig 8.31 Final design sketch of the third fusion pendant Aboli Deshmukh | Lifestyle Accessory Design 2017 | National Institute of Design | 323

Front View

Side View

Fig. 8.32

Fig 8.32 Front, side and isometric views of CAD model of the fusion pendant Fig 8.33 CAD output compared with the original design sketch of fusion pendant 324 | Graduation Project

Isometric View Fig. 8.33

Various compositions were explored using all the three prominent Enamel painting was done on the electroformed leaf element of elementsofthebananaplantincludingleaves,owers theand design. fruits.

Enamelling was done in a gradation of green to yellow Considering the price bracket of this collection, the leaf elements to make it appear close to real. in the design were manufactured using the electroforming process.

The leaf element has also been incorporated into the design by handmadetechnique.Thisisdonebysolderingvarioussmall pieces of silver together to give it a leaf-like form. Various small lines making the handmade elements highlights the prominent lines on the large leaves of the banana plant. The leaf elements also have tattered effect to make it look real.

Abstract compositions were created to compose all the elements together as a one-piece so that it aesthetically looks pleasing.

Fig. 8.34

Fig 8.34 CAM pieces of the leaf element of the fusion jewellery Fig 8.35 All elements stuck on a black gum-like material for creating the same design as the design sketch of the pendant Fig. 8.35

Fig. 8.36

Fig 8.36 Final finished fusion pendant Aboli Deshmukh | Lifestyle Accessory Design 2017 | National Institute of Design | 325

Sui-dhaga Earring

Handmade Casting Electroforming Stones Casting

Fig 8.37 Design explorations for the sui-dhaga earring Fig 8.38 Final design sketch of the sui-dhaga earring 326 | Graduation Project

Fig. 8.37

Fig. 8.38

The Sui-dhaga earring is a type of earring which does not have a post and screw to wear. In this type of earring, a thin wire of the earring is inserted through the earlobe which goes on the backside of the ear and stays like that. Sui-dhaga earring was included in the Banana collection referring to the trends of contemporary jewellery.Theleafandowerelementoftheinspirationwere incorporated in the design highlighting the leaves. Leaf elements arecreatedusingtheelectroformingprocesswhiletheowersare created by the casting process and stone setting.

WhilemakingtheCAD#lesoftheleaf,variouslinesweredrawn on the leaves to make it look natural. The details of slight folding and tattering of leaves are also visible on the electroformed leaf element. Instead of keeping the backend of the earring as a plain wire, a design element has been added to it as a lock. The casted littlepiecehasaholeinitwhichis#lledwithsiliconrubbersothat it can be easily slid on the wire without friction. After the earring Front View wasassembled,itwasrealizedthattheearringistiltingdueto Fig. 8.39 weight and curved form of the main wire. To resolve this problem lesser design elements could have been used by keeping straight the central wire.

Side View

Fig 8.39 Front and side views of the CAD model of the sui-dhaga earring

Fig. 8.40

Fig 8.40 CAD output compared with the original design sketch of sui-dhaga earring Aboli Deshmukh | Lifestyle Accessory Design 2017 | National Institute of Design | 327

Finger Ring

Casting Stones Handmade Electroforming

Fig 8.41 Design explorations for the ring Fig 8.42 Final design sketch of the ring 328 | Graduation Project

Fig. 8.41

Fig. 8.42

Top View

Fig. 8.43

Front View

Side View

Fig. 8.44

Thefusionringconsistsofvariouselementslikeleafandower inspired by the banana plant. The central leaf element and the ring were manufactured as one unit using the electroforming process.

Thiswasdonetoreducetheweightoftheringsothatitwould#t in the price bracket of the collection. Other handmade and casted parts of the ring were joined to the central unit using handmade process. The protruding end of the handmade leaf element was sharp and edgy. So, in order to make sure that it doesn’t hurt the weareroranybodyaround,itwas#ledandmadesmoothand round.

Fig 8.43 Front, top and side views of the CAD model of the ring along with the total CAD output Fig 8.44 Silver conductive paint applied on the wax pieces of the central leaf element of the ring

Fig. 8.45

Fig 8.45 Worker giving a matte finish to the electroformed leaf element before enamelling Aboli Deshmukh | Lifestyle Accessory Design 2017 | National Institute of Design | 329

Fig. 8.46

Fig 8.46 Model wearing the suidhaga earring and finger ring from the Banana collection Fig 8.47 Model wearing three pieces from the Banana collection 330 | Graduation Project

Fig. 8.47

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Stones

Electroforming

Handmade

Casting

Fig. 8.48

Fig 8.48 Final design sketch of the fusion pendant Fig 8.49 CAD output compared with the original design sketch of the pendant Fig 8.50 Enamel artist painting the banana element of the pendant using a spray gun Fig 8.51 The pendant after enamelling one of the elements with yellow colour Fig 8.52 Model wearing the fusion pendant in a plain silver chain 332 | Graduation Project

Fig. 8.49

Fig. 8.51

Fig. 8.50

Fusion Pendant The fusion pendant from Banana collection highlights the beautiful handsofbananashungonaplantandtheowersshootingfrom it. Various elements of the pendant are created using casting, electroforming, handmade and stone setting method. Five hands of banana element used in the design are slightly overlapped on one another. The electroformed element in the design was initially enamelled using yellow colour.

For the process of enamelling, a mixture of colour and thinner is created in the spray gun. To check the colour intensity, it is sprayed on an extra piece of metal kept for this purpose. After checking the intensity of the colour, it is changed by adding more colour orthinnerinspeci#cproportionsuntilthedesiredcolourisnot achieved. Sometimes various colours are mixed together to form the desired colour as only a few primary and secondary colours are available.Ifenameltexturingistobeappliedonlyonaspeci#cpart of the jewellery, then the nearby parts of the jewellery are covered with tapes and the tapes are removed later. After enamelling the electroformedelement,itwasnoticedthatthespeci#celement was getting highlighted way more than the rest of the design and making it look out of place. Hence, the enamel paint was removed andamatte#nishwasappliedtoit.

Fig. 8.52 Aboli Deshmukh | Lifestyle Accessory Design 2017 | National Institute of Design | 333

Fig 8.53 Design explorations for the bracelet 334 | Graduation Project

Fig. 8.53

Bracelet

Handmade

Casting

Stones

Fig. 8.55

The bracelet from Banana collection is created using jewellery manufacturingtechniqueslikecasting,handmadeandstone setting. The four-headed bracelet has the handmade fruit element oneachofit.Theshootingowerelementfromtheheadsofthe Fig 8.54 Final design sketch of bracelet is also used. the bracelet

Fig. 8.54

Fig 8.55 CAD output compared with the original design sketch of the bracelet Aboli Deshmukh | Lifestyle Accessory Design 2017 | National Institute of Design | 335

Fig. 8.56

Fig 8.56, 8.57 Checking the lock and functionality of the bracelet Fig 8.58 Model wearing the bracelet from the Banana collection 336 | Graduation Project

Fig. 8.57

When the design sketch was made, it was decided that the two lock was given on the backside of the bracelet and the two hollow rings of the bracelet would be joined with each other using a tubes were connected to it. Two linear elements were also added straight wire between them. This idea was dropped when it was between the two hollow tubes to give it more strength. realizedattheassemblystagethatgivingthecentralelementon thebackofthebraceletwouldmakeitverydif#culttoslidethe hand through it while wearing. So, for the ease of wearing, a spring

Fig. 8.58 Aboli Deshmukh | Lifestyle Accessory Design 2017 | National Institute of Design | 337

Finger Ring

Another#ngerringfromtheBananacollectionisatriplelayer The ring has a handmade element on one side of the top. Three adjacentringsareattachedtoit,eachshootinguptheower element on top. This ring is entirely handmade other than the three small casted elements on top of every ring. This ring is an attempttorepresentthefruitandowerelementsoftheban plant in an abstract way.

Topofallthreecastedpieceshadapointyedgewhichwas#ledto make it smooth so that it doesn’t hurt anybody. A small gap of 6 mm was given between the top elements so that after wearing it staysonthe#ngeranddoesn’tfalloff.

Fig. 8.59

Fig 8.59 Final design sketch of the ring Fig 8.60 CAD output compared with the original design sketch of the ring Fig 8.6, 8.62 Finger ring Fig 8.63 Model wearing the ring 338 | Graduation Project

Fig. 8.60

Fig. 8.61

Fig. 8.62

Fig. 8.63

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Finger Ring

This#ngerringwithtwoheadsontopissimilartotheprevious ring from the Banana collection. The elements of this ring are made using electroforming and handmade methods. The electroformed owerontopofonesidehastinyhandmadeelementsattachedt the centre. These tiny elements is a way of representing the new shootsofbananafruitfromtheower.Thetwoelementsontopof the ring are kept at a distance of 6mm from each other so that the ringstaysinthe#ngerwithoutfalling.

Fig. 8.64

Fig 8.64 Final design sketch of the ring Fig 8.65 CAD output compared with the original design sketch of the ring Fig 8.66 Finger ring Fig 8.67 Model wearing the ring 340 | Graduation Project

Fig. 8.65

Fig. 8.67

Fig. 8.66 Aboli Deshmukh | Lifestyle Accessory Design 2017 | National Institute of Design | 341

Double Ring

Electroforming Casting Handmade Stamping Handmade

Fig 8.68 Final design sketch of the double ring 342 | Graduation Project

Fig. 8.68

Fig. 8.70

Fig. 8.71

This ring from Banana collection is coined as a double ring because this#ngerringismadeupoftworings.Oneringgoesonthe#nger to the usual place and the other ring is at the top, towards the nail Fig 8.69 CAD output compared ofthesame#nger.Thisringwasmadeinsuchawayasthere were with the original design sketch manysmallelementsontheringmakingitdif#culttobendthe of the double ring #nger.Tocatertothisproblem,thelengthoftheringwasslightly increased and the elements on top were soldered in two different Fig 8.70 Artisan comparing the units. These units were linked to each other using small rings. This small elements of the ring with helpedtokeeptheringdesignexibleandnotstiff. the original design sketch Fig 8.71 Artisan soldering two Thismechanismensuredeasymovementofthe#ngersafter pieces of the ring to each other wearing the ring.

Fig 8.72 Checking the functionality of the double ring after soldering for easy bending of the finger Fig. 8.69

Fig. 8.72

Fig 8.73 Model wearing the double ring Aboli Deshmukh | Lifestyle Accessory Design 2017 | National Institute of Design | 343

Fig. 8.73

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8.4 Insights ThejourneyofBananacollectionrightfromsketchingto#nal #nishedproductswasveryinterestingandeventful.Buildinga collection by incorporating various manufacturing processes was the main motive as it is one of the USP’s of the company. It was very challenging to bring various elements with different visual languagesproducedbyvarioustechniquestogetherandmakingan aesthetically pleasing composition out of it.

As this collection involved numerous processes, a lot of technical problemswereencounteredatalmosteverystage.Itwasrealized aftershowingthe#nal#nishedpiecestopeoplefromthecompany who were unaware of the collection that the translation of banana fruit element had lost its identity. The fruit element was perceived moreastheowerelement.Toavoidsuchproblems,another manufacturingtechniquecouldhavebeenusedinsteadofthe handmadetechniquetogiveitadifferentandrelatablelook.

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9.1 Collection Presets Brief To design a trendy, lightweight contemporary jewellery collection using plain silver and pearls for the modern Indian women.

Inspiration

Growth rings found in the trunk of a tree is the inspiration for this chic contemporary collection. The irregularity and organic nature of these tree rings will be translated into the designs for themillennialandgenzwomen.Thespots,blemishesandirregul patterns on the rings will be highlighted as the persona of this collectionisallaboutembracingtheimperfectionsand#ndin beauty in it.

Visual vocabulary

The beauty of organic and irregular tree rings will be translated into modern designs in this collection. The designs will be producedmostlyusingelectroformingtechniqueastheprice bracket for this collection is less compared to the other collections.

Along with the electroforming process, laser cutting and handmadetechniquewillalsobeused.Thejewellerywillhave aplayofsilvermatandgloss#nishonitfollowingthejeweller trends.

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Product Category Earrings, Neckpieces, Rings and Bracelet

Costing 5Hundred-2.5Thousand

Material 92.5%Silverandfreshwaterpearls

Keywords Proudly distinctive Skewed beauty Eye-catchy Eccentric look

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9.2 Ideation Ideation for the Tree Ring collection started with exploring the pattern of tree rings and playing around with its thickness, proportion, positive and negative space, concentricity etc. The keywords of this collection are proudly distinctive, skewed beauty, eye-catchy and eccentric look. These keywords were constantly referredduringtheexplorationphaseandbold,largesizeorganic looking designs were created. A three-dimensional look was tried to be given to the two-dimensional inspiration of this collection usingthetechniqueoflayering.

Fig 9.1 Initial ideations Fig 9.2 (a-f) First set of ideation for transforming the inspiration into various design elements 360 | Graduation Project

Fig. 9.1

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Fig. 9.2 (a) 362 | Graduation Project

Fig. 9.2 (b) Aboli Deshmukh | Lifestyle Accessory Design 2017 | National Institute of Design | 363

Fig. 9.2 (c) 364 | Graduation Project

Fig. 9.2 (d) Aboli Deshmukh | Lifestyle Accessory Design 2017 | National Institute of Design | 365

Fig. 9.2 (e) 366 | Graduation Project

Fig. 9.2 (f) Aboli Deshmukh | Lifestyle Accessory Design 2017 | National Institute of Design | 367

Earrings

Fig. 9.2 (g) 1

Rings

368 | Graduation Project Fig. 9.2 (g) 2

Neckpieces

The#rstandsecondsetofideationfor the Tree Ring collection consisted mostly of 2D designs and wire explorations. To make the designs three dimensional and more appealing, third set of ideation was built around the second set outcome. The three dimensional forms were developed around the initial two dimensional forms and taken forward.

Bracelet Fig. 9.2 (g) 3

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Fig. 9.3 370 | Graduation Project

For this collection, the imagery of existing applications was referred to draw the forms and patterns. The irregularities, spots, cracks and blemishes on the tree rings were looked at. These irregularities were used as the design elements and highlighted in the designs. This was done as the persona of this collection embracestheimperfectionsand#ndsbeautyinit.

Fig 9.2 g (1-3) Narrowed down set of ideations Fig 9.3 Rough sketches before drawing the final designs Aboli Deshmukh | Lifestyle Accessory Design 2017 | National Institute of Design | 371

Finger Ring

Front View

Side View

Fig 9.4 Final design sketch of the finger ring with two heads Fig 9.5 Front, top and side views of the CAD model of the finger ring 372 | Graduation Project

Fig. 9.4

Fig. 9.5

Top View

Fig. 9.6

Most of the jewellery pieces from the Tree Ring collection are producedbyusingthetechniqueofelectroforming.Electroforming was primarily considered for the production as it produces ultralight hollow jewellery which is very pocket friendly as price bracket forthiscollectionwasveryless.The#ngerringwithtwoheadswas entirelycreatedusingtheelectroformingtechnique.Whilemaking the CAD model of the ring, the two ends of the ring were slightly bent away from each other so that the two heads on top do not touch each other.

For attaching pearls on top of the ring heads, a part of the head wasscoopedsothatthepearlcanperfectly#tinit.Asonecannot soldertheelectroformedpieces,itwastrickyto#xthepearlonit.

To resolve this problem, a small protruding element at the place of pearlwasaddedintheCAD#leandapearlwithaholeononeend wasinsertedintoit.Itwasrealizedthatafterelectroforming,the piecescanslightlyshrinkinsizethantheactualCADdimensions due to some technical limitations. Because of this, the two heads on top of the ring became slightly smaller and were not perfectly Fig. 9.7 stayingonthe#ngerifthe#ngersarewidened.

Fig 9.6 Individual CAM pieces of the finger ring Fig 9.7 Checking the size of CAM pieces by placing on the finger Aboli Deshmukh | Lifestyle Accessory Design 2017 | National Institute of Design | 373

Fig 9.8 Finger ring from the Tree Ring collection Fig 9.9 Model wearing the finger ring 374 | Graduation Project

Fig. 9.8

Fig. 9.9

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Necklace

Front View

Fig 9.10 Final design sketch of the necklace Fig 9.11 Front, side and bottom views of the CAD model of the pendant Fig 9.12 3D printed CAM piece of the pendant Fig 9.13 Technical Head checking the pendant before fixing pearls on it Fig 9.14 Final finished necklace 376 | Graduation Project

Fig. 9.10

The large pendant of the necklace was produced by electroforming technique.

Two units of the tree ring were raised upwards giving it a threedimensional look. The units were joined to a singular chain with silver balls on some distance. This chain was chosen to

Fig. 9.11

Side View

Bottom View

complement the pearls on the large pendant. This singular chain was then linked to the main chain with a silver ball. After the assembly,amixofmatteandhighgloss#nishwasappliedtothe pendant creating a contrast.

Fig. 9.12

Fig. 9.13 Aboli Deshmukh | Lifestyle Accessory Design 2017 | National Institute of Design | 377 Fig. 9.14

Studs

Fig 9.15 Final design sketch of the studs Fig 9.16 Creating a CAD model of the stud for the process of electroforming 378 | Graduation Project

Fig. 9.15

Fig. 9.16

Fig. 9.17

The design of this pair of studs from the Tree Ring collection highlights the natural cracks on the rings. The two open ends of the stud are bent away from each other creating a gap between them. The post was attached to the backside of the front part so that when one wears the studs, the front part remains on the front side of the lobe while the other part automatically goes behind the earlobe highlighting the gap and making it look like a crack in the tree rings. This pair of studs are easy to wear and easy to take out despite it being on both the sides of the earlobe because of its form. Many alterations were made in the form so that there will be no hassle while putting the earring on and off.

Fig 9.17 CAM pieces before cutting the supports and finishing

Fig. 9.18

Fig 9.18 Wax pieces before the application of conductive silver paint on it Aboli Deshmukh | Lifestyle Accessory Design 2017 | National Institute of Design | 379

Fig. 9.19

Fig 9.19, 9.21 Model wearing the pair of studs Fig 9.20 Studs from the Tree Ring collection which goes on the front and back of the earlobe after wearing 380 | Graduation Project

Fig. 9.20

Aboli Deshmukh | Lifestyle Accessory Design 2017 | National Institute of Design | 381 Fig. 9.21

Bracelet

Top View

Fig. 9.23

Front View

Side View

Fig 9.22 Front, top, side and isometric views of the CAD model of the bracelet Fig 9.23 Individual 3D printed CAM pieces for the casting process 382 | Graduation Project

Fig. 9.22

Isometric View

The casting process has been used to develop the bracelet of Tree Ring collection. The bracelet consists of a hollow tube with round balls on the ends. The three-dimensional tree ring units on the top of the bracelet have been cast as individual units. The bottommost and largest part of every unit has two rings on the base which are used to insert it into the hollow tube of the bracelet. The other small units which go inside the largest unit has a protruding element on the base which is inserted into it. In this way, all pieces perfectly#tintoeachotherinoneunit.Formorestrengthand permanent#xing,alltheunitsaresolderedtogetherafter#tt them into each other.

Fig. 9.24

Fig. 9.25

Fig 9.24 Artisan fitting the individual pieces of the bracelet into each other as per the design sketch Fig 9.25 Drying the pieces of the bracelet after electroplating and before applying the matte and high gloss finish on it Aboli Deshmukh | Lifestyle Accessory Design 2017 | National Institute of Design | 383

Fig 9.26 Closeup of the bracelet Fig 9.27 Model wearing the bracelet 384 | Graduation Project

Fig. 9.26

Fig. 9.27 Aboli Deshmukh | Lifestyle Accessory Design 2017 | National Institute of Design | 385

Drop Earring ottom

Front View

Bottom View Fig. 9.28

Fig 9.28 Final design sketch of the drop earring Fig 9.29 Front, side, bottom and isometric views of the CAD model of the drop element Fig 9.30 CAM pieces before cutting the supports and finishing

Fig. 9.29

Drop earrings from the Tree Ring collection are extremely lightweight as the design element at the bottom is made using the electroforming process. The irregular form of the tree rings is linked to a lightweight chain. The chain can be inserted in the post for both the earrings. Another way of wearing this pair of earrings would be wearing the drop chain in one ear and only the pearl in the other ear creating a mismatched look. An alternate matte and highgloss#nishareappliedonthelayersofthetreeringelement for creating a stark contrast.

Fig 9.31 Drop earring with matte and high gloss finish Fig 9.32 Model flaunting the drop earring 386 | Graduation Project

Fig. 9.30

Side View

Isometric View

Fig. 9.31

Aboli Deshmukh | Lifestyle Accessory Design 2017 | National Institute of Design | 387 Fig. 9.32

Handmade Ring

Fig. 9.34

Fig 9.33 Final design sketch of the handmade ring Fig 9.34 Various rings joined together by a soldering method Fig 9.35 Pearls temporarily inserted in the ring for checking the size and look Fig 9.36 Handmade ring after the final finish Fig 9.37 Model wearing the handmade ring 388 | Graduation Project

Fig. 9.33

Finger ring from Tree Ring collection is created by using all the handmade methods of jewellery manufacturing. The ring consists of various rings of different forms joined with each other. The owyformsofalltheringshavebeenachievedbytheskilled karigar by manually bending it. To add pearls in the rings, the ring at that place were cut and very thin wire was added to it. Pearls of desiredsizeswereinsertedintothethinwiresandthewireswere Fig. 9.35 soldered to each other allowing the pearl to slide on the thin ring.

Fig. 9.36

Aboli Deshmukh | Lifestyle Accessory Design 2017 | National Institute of Design | 389 Fig. 9.37

Lasercut Ring

The laser-cut ring was inspired by the form of one of the imagery from the reference board. The top element of the ring was createdbythetechniqueoflasercutting.Withthehelpofthis high#nishandhighprecisiontechnique,thetopelementofthe ringwascreated.AftercreatingaCAD#leofthetopelement, it was imported in the software of the laser cutting machine.

The commands of etching or cutting have to be provided in the software. Once the commands are given, no human interference isrequireduntilthejobis#nished.Thealternatecentrall were etched on the silver plate for up to 1mm and the outermost contour was cut thoroughly using the laser beam.

The output obtained from the laser cut process was heated and bent manually in the Product Development Cell. The workpiece was curled around an iron rod of varying diameter for achieving the perfect curve. The raised up part of the top element of the ring was#nishedinhighglosswhiletherestofitinmatte.Thiscont of matte and high gloss very beautifully highlighted the rings on it.

Fig. 9.38

Fig 9.38 Final design sketch of the laser-cut ring Fig 9.39 Suggestive isometric view of the CAD model of the ring 390 | Graduation Project

Fig. 9.39

Isometric View

Fig. 9.40

Fig. 9.42

Fig 9.40 Top element of the ring getting etched and cut in the Laser-cut machine Fig 9.41 Ring element after the laser cutting process Fig 9.42 Heating the ring element for bending it afterwards

Fig. 9.41

Fig. 9.43

Fig 9.43 Artisan finishing the ring with a burr tool attached to the Flexi Shaft gun Aboli Deshmukh | Lifestyle Accessory Design 2017 | National Institute of Design | 391

Fig. 9.44 392 | Graduation Project

Fig. 9.45

Fig 9.44 Model wearing the laser-cut ring Fig 9.45 Final finished ring with matte and high gloss finish highlighting the lines on it Aboli Deshmukh | Lifestyle Accessory Design 2017 | National Institute of Design | 393

Stackable Earring

Front View

Side View

Bottom View Fig. 9.46

Fig 9.46 Final design sketch of the stackable earring

The stackable earring was inspired by the pattern of tree rings where one ring gets added to the trunk of a tree every year. In the stackable earring, all the units of the earring are individual and not attached to one another.

Fig 9.47 Front, top and isometric views of the CAD model of the stackable earring

All the units have a small ring on top to insert it in the post. With the option of stacking up to 4 rings at a time, various looks can be created using these parts. A lot of combinations could be created

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Fig. 9.47

Isometric View

out of these individual units. All the casted parts of this earring weregivenascratch#nishbymanuallydrawingthelineswithth pointedtipoftheFlexiShaftgun.Thematte#nishonthetexture surface highlights the texture on the parts of the earing.

Fig. 9.48

Fig 9.48 Individual CAM pieces of the stackable earring before cutting the supports and finishing

Fig. 9.49

Fig 9.49 Artisan creating scratch finish on one unit of the earring Aboli Deshmukh | Lifestyle Accessory Design 2017 | National Institute of Design | 395

Fig. 9.50 396 | Graduation Project

Fig. 9.51

Fig. 9.52

Fig 9.50 Model wearing the stackable earring Fig 9.51 Stackable earring Fig 9.52 Stackable earring with individual elements allowing various combinations and looks Aboli Deshmukh | Lifestyle Accessory Design 2017 | National Institute of Design | 397

Necklace

Fig 9.53 Final design sketch of the statement necklace Fig 9.54 Individual CAM pieces of the necklace Fig 9.55 Checking size of the hollow pipe for connecting with the electroformed elements Fig 9.56 Model wearing the statement necklace 398 | Graduation Project

Fig. 9.53

Fig. 9.54

The statement necklace of the Tree Ring collection has a a laser soldering machine. The large pendant is then linked with a rectangular negative space with six three dimensional units of the silver chain. tree ring. All six individual units are produced by electroforming technique.Alltheunitshavetwohookseachtohold During thehollow theprocess rod of#nishing,oneunitofthependantgot which was later used to join them together. The hollow tubes were damagedduetoexcessofbuf#ngastheelectroformedpiecescan cut and placed on the hooks of the six units which were joined with be made in very less thickness. To repair the damage, the only way

Fig. 9.55

was to repeat the whole process of production starting from CAM was not feasible. So, the damaged piece was covered with an extra #nishforthetimebeingandthelearningwaskeptinmind.

Fig. 9.56 Aboli Deshmukh | Lifestyle Accessory Design 2017 | National Institute of Design | 399

Statement Ring

Top View

Front View

Fig 9.57 Final design sketch of the statement ring Fig 9.58 Front, top and isometric views of the CAD model of the statement ring 400 | Graduation Project

Side View Fig. 9.57

Fig. 9.58

The statement ring from the Tree Ring collection has been manufactured using the method of electroforming. The ring and the design element sitting on top of it has been manufactured as one whole unit.

Theproductscreatedusingtheelectroformingtechniqueneedto be very skillfully joined with other elements using laser soldering machine. Laser soldering machine is used to join two elements as the delicate electroformed elements cannot be exposed to the ameandaresusceptibletodents,breakageanddamage.So,the whole piece of jewellery or maximum elements of the jewellery are joined together as one unit for the process of electroforming whenever possible to reduce the possibility of damage. Silver matte#nishisappliedontheinnerlayersoftheringandhighgloss silver on the outer ring for creating a contrast as per the trends.

Fig. 9.59

Fig 9.59 Single CAM piece of the statement ring before cutting the supports and finishing Fig. 9.60

Fig 9.60 Artisan applying matte finish on the top layer of the ring Aboli Deshmukh | Lifestyle Accessory Design 2017 | National Institute of Design | 401

Fig 9.61 Statement ring with matte and high gloss finish Fig 9.62 Model wearing the statement ring where the top view of the ring resembling the inspiration of the collection 402 | Graduation Project

Fig. 9.61

Fig. 9.62

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Studs

Front View

Fig. 9.64

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Isometric View

This pair of studs is a complete electroformed product making it super light to wear. The circumference of every ring goes on decreasing towards the centre while increasing the depth.

Thelightweightelectroformedstudswere#rstpaintedwith ahighgloss#nishindual-tone.Butafterapplyingthe#nish,it wasrealizedthatthehighgloss#nishalloverthestudswas overpowering and subduing the layering effect of the studs. So, a matte#nishwasappliedonallthelayersandhighgloss#nishon on the top creating contrast and underlining the beautiful layering of the rings.

Fig 9.63 Final design sketch of the studs Fig 9.64 Front, side and isometric views of the CAD model of the studs

Bottom View

Side View

Fig. 9.63

Fig. 9.65

Fig 9.65 Pair of studs with a dual-tone high gloss finish for checking the look before the final finish

Fig. 9.66

Fig 9.66 Artisan cutting the extra element on the electroformed studs with a thread saw Aboli Deshmukh | Lifestyle Accessory Design 2017 | National Institute of Design | 405

Fig 9.67 Model wearing the studs Fig 9.68 Pair of studs highlighting the layering effect 406 | Graduation Project

Fig. 9.67

Fig. 9.68 Aboli Deshmukh | Lifestyle Accessory Design 2017 | National Institute of Design | 407

Wire Pendants

Fig 9.69, 9.70 Final design sketches of the wire pendants 408 | Graduation Project

Fig. 9.69

Fig. 9.70

Fig. 9.71

Fig. 9.72

Thelargesizependantswerecreatedusingamixofcasting, electroformingandhandmadetechnique.Thecentralelementof the pendants with a design of wires was cast in silver. For adding pearlsandsilverhollowballswithgold#nish,slotsweremade whilecreatingtheCAD#lesinthebeginning.Toincreasethe strength of the pendant and avoid bending of the wires, small elements were added to connect the large wires with each other.

Fig 9.71 CAD output compared with the original design sketch of the pendant

Fig. 9.73

Fig 9.72,9.73 CAM piece of the vertical wire pendant before cutting the supports and finishing Aboli Deshmukh | Lifestyle Accessory Design 2017 | National Institute of Design | 409

Fig 9.74, 9.75 Final finished wire pendants 410 | Graduation Project

Fig. 9.74

Fig. 9.75 Aboli Deshmukh | Lifestyle Accessory Design 2017 | National Institute of Design | 411

Fig 9.76 Model wearing all the four rings from the Tree Ring collection 412 | Graduation Project

Fig. 9.76

9.4 Insights Production of the Tree Ring collection was a very interesting journey. The challenges started right from the ideation phase where the two-dimensional inspiration was converted into threedimensional forms in various ways. The price bracket for this collection was the lowest out of all the three collections. So, form explorationswerecreatedbystayinginthespeci#cweightand pricebracket.Itwasalsorealizedthatthecalculatedweightof a product during the CAD stage eventually decreases by some milligramsassomematerialgetsremovedduringthe#nishing process. Another main learning from this collection was that a lot of problems were encountered related to the electroforming process as it was prominently used for production of this collection. This collection helped to experience the whole process of electroforming very closely and learn at every stage of the production.

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Reflections The Graduation Project experience

LookingbackatthesixmonthsofGraduationProjectspentinEmeraldJewels,Irealizehowimmensely enriching the experience was. At a personal standpoint, this was much more than a Graduation Project or end deliverables. It was all about the insightful process and journey.

My entire Graduation Project was full of challenges and helped me bring out the best in me. I gained knowledgeofthejewelleryindustryinthecontextofinfrastructure,organization,productrange, manufacturing processes and many more. It was an honour to work at one of the largest manufacturing jewellery company in India. I was exposed to so many setups of manufacturing processes at the same place which is not likely to happen anywhere else in the country. Getting to understand the practical problems during product development, their solutions and little tricks from the karigars was an interesting partoftheprocess.Icouldverycloselyseehowaproductisdevelopedrightfromsketchingto#nishing and shipping. During the tenure of my graduation project, I got the opportunity to expand my design thinking through three collections. All three collections were different in many ways, from target user tobudget,fromlooktofeel,frommanufacturingtechniquestoweight.TheGraduationProjectnotonly helpedmetohonemyskillsbutalsoinempoweringa#rst-handpracticalknowledge.

Working at a new place with completely new people, all extremely talented in their own way added a lot to my learnings and insights. Living in Coimbatore was full of challenges in itself and I feel that it added to the overall experience. Looking back, the past six months have been full of highs and lows, not only adding to my design understanding and skills but also contributing in shaping me as a person who is more receptive and open to various possibilities that are in store for me.

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Conclusion

The way forward

During the incredible journey of six months of my Graduation Project, I got the opportunity to work and hone my skills through the creation of three different collections; Temple collection, Banana collection and Tree Ring collection. All three collections catered entirely different customer segments, price brackets, weightandmanufacturingtechniquesused.Icanstillspotalotofplaceswheretheworkcouldhavebeen better or different than what I did. But, as it is the part of the process, I am sure that the learnings that were gathered during the entire process will get implemented directly or indirectly in the work I do in the future.

MyIndustrymentorandothersintheof#cegavemethestrengthandmotivationtodotheprojectnot just for them, but for me and my academic career as well. My role in Emerald Jewels involved working on the project starting from research to design and execution along with designing two booklets as other mini-projects.

Adheringtotherede#nedbriefoftheprojectofdesigninganddevelopingcontemporarysilverjewellery collections with varied design languages as different choices for Emerald to build and carry forward the brandidentitythedeliverableswereproduced.Consideringthe#naloutcome,thefollowinglistedpoints were suggested to Emerald Jewels for the further development of silver jewellery vertical. The concept of Temple collection can be taken up in the beginning as the visual vocabulary of this collection is closest to the brand language of Emerald Jewels. The Fusion Banana collection can be carried forward by tweaking the end products in a way that the aesthetics of it can be easy to relate to by maximum customers. The Tree Ring collection might seem far fetched at the moment but eventually coming up with relatable and contemporary products targeting the young generation will be the way ahead.

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Bibliography

Ganguly, Waltraud. Indian Folk Jewellery: Designs and Techniques.1sted.,B.R.Publishing,2015.

Barnard, Nick, and Ian Thomas. Indian Jewellery: the V and A Collection. V & A Publications, 2008.

Untracht, Oppi. Traditional Jewellery of India. Thames and Hudson, 1997.

Tait, Hugh. 7000 years of jewellery. 3rd ed., British Museum Press, 2012.

Jewellery Trend Book 2018. Gem Jewellery Export Promotion Council, 2017.

Michell, George, and Indira Viswanathan Peterson. The Great Temple at Thanjavur: One Thousand Years, edited by George Michell, Marg Publications, 2011.

Lalaounis, Ilias. A Tribute to Magnificence. The National Museum of Art of Romania, 2008.

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TrendBook 2020+. Italian Exhibition Group, 2019.

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Project Documents Referred

Nandkumar, Anupama. Jewellery Juxtaposed. 2016. Lifestyle Accessory Design, National Institute of Design, M.Des Graduation Project documentation.

Saraf, Rashi. Jewellery Design for Tanishq. 2016. Lifestyle Accessory Design, National Institute of Design, M.Des Graduation Project documentation.

Shrivastava, Tripti. Branding for Imaginea Design Labs. 2017. Graphic Design, National Institute of Design, M.Des Graduation Project documentation.

Mishra, Vartika. Making Bindass a Multi-Platform Entertainment Destination. 2018. Graphic Design, National Institute of Design, M.Des Graduation Project documentation.

Chavan, Rutuja Vasant. Jewellery Design for Titan. 2017. Product Design, National Institute of Design, B.Des Graduation Project documentation.

Kaur, Harmanjot. Fine Jewellery Designing for Tanishq. 2018. Lifestyle Accessory Design, National Institute of Design, M.Des Graduation Project documentation.

Karnik, Komal. Jewellery Collection for Caratlane. 2018. Lifestyle Accessory Design, National Institute of Design, M.Des Graduation Project documentation.

Sharma, Swasti. Collection for Silverline Jewellery. 2018. Lifestyle Accessory Design, National Institute of Design, M.Des Graduation Project documentation.

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Agarwal, Preeta. “Forevermark Forum 2020: Trend and Collections.” Preeta Agarwal Workroom, 18 Aug. 2020, www.preetaagarwal.com/ jewellery-trends/forevermark-trend-report-2020/. Accessed 23 Oct. 2020.

Maheshwari, Richa. “Top Jewellery Trends 2019.” Finura by Richa,20Mar.2019,www.#nurabyricha.com/top-jewellery-trends/.Accessed 11 Sep. 2019.

Maheshwari, Richa. “What are Statement Rings.” Finura by Richa,14Mar.2019,www.#nurabyricha.com/what-are-statement-rings/.

Accessed 11 Sep. 2019.

Hrodrigues. “The Dravidian Style of Hindu Temple.” Mahavidya,26Jun.2015,www.mahavidya.ca/the2015/6 dravidian-style-ofhindu-temple/. Accessed 16 Sep. 2019.

Sharma, Bulbul. “Silver is the Gold Standard of Modern Jewellery Design.” Sunday Guardian Live,5May.2018,www.sundayguardianlive. com/lifestyle/silver-gold-standard-modern-jewellery-design/. Accessed 23 Aug. 2019.

Chowdhary, Nikhil. “Silver Jewellery: Ethereal and Mystical.” Kraftly, 18 Jul. 2016, www.kraftly.com/blog/silver-jewellery-india/. Accessed 24 Aug. 2019.

Kadalys Sustainable Banana Science. Kadalys, 2012, www.kadalys.com/. Accessed 11 Sep. 2019.

Jay, Phillida. “India’s Jewelry Tradition of Gold is Turning to ... Concrete?” The New York Times, 21 Nov. 2017, www.nytimes. com/2017/11/21/fashion/jewelry-india-gold/.

“How to Go Bananas Just the Indian Way.” The Economic Times, 28 Jun. 2008, www.economictimes.indiatimes.com/the-leisure-lounge/ how-to-go-bananas-just-the-indian-way/articleshow/3173770.cms. Accessed 11 Sep. 2019.

Sunderamoorthy, Sharanya. “Why are banana trees important in Tamil weddings?” Quora,16Sep.2014,www.quora.com/Why-arebanana-trees-important-in-Tamil-weddings/. Accessed 10 Sep. 2019.

Gregerson, Erik, and The Editors of Encyclopaedia Britannica. “Silver Chemical Element.” Britannica, www.britannica.com/science/silver/.

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Damani, Forum. “Jewelry Design’s New Trends: Modular, Utilitarian, Minimalistic.” Better Diamond Initiative,12Mar.2015,www. betterdiamondinitiative.org/jewelry-designs-new-trends-modular-utilitarian-minimalistic/.

Nidhi.“SouthIndianJewelleryanditsSigni# Detechter, cance.” www.detechter.com/south-indian-jewellery-signi#cance/.Accessed25Aug. 2019.

“Silver Jewelry - Designs and Trends in India.” Cultural India, 2018, www.culturalindia.net/jewellery/types/silver-jewelry.html/. Accessed 24 Aug. 2019.

Bauer, Bruce. “How tree rings tell time and climate history.” Climate.gov, 29 Nov. 2018, www.climate.gov/news-features/blogs/beyonddata/how-tree-rings-tell-time-and-climate-history/. Accessed 8 Sep. 2019.

Othman, Sheereen. “The Living Forest: What Tree Rings Tell Us About the Life of a Tree.” Arbor Day Foundation, 17 Aug. 2017, www. arbordayblog.org/misctrees/living-forest-tree-rings-tell-us-life-tree/. Accessed 8 Sep. 2019.

“Contemporary Silver Jewellery.” Fibre2Fashion,Oct201,www.#bre2fashion.com/industry-article/contemporary58/ silver-jewellery/.

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“Why Silver Bracelets Made a Fashion Comeback?” Silver Shine Jewellery, 2019, www.silvershinejewellery.com/blog/silver-bracelet-forgirl/. Accessed 11 Sep. 2019.

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Image Citation

Image 1.1 - Bardhan, Tamojit. 2019, Photography Design, National Institute of Design, Gandhinagar.

Image2.1, 3452.6,78912.,345162.7,80 2.3,5678 2.9,301 2.4,356782.9,401 2.5,4678-PhotographyDepartment, Emerald Jewel Industry India Limited, Coimbatore.

Image 2.43 - “Indiania.” Emerald Jewel Industry India Limited, www.ejindia.com/gold/.

Image 3.1 - Corbacho, Teresa. Pinterest,www.pinterest.com/pin/. 504192763/ Image 3.3 - Parmar, Vidhi. Pinterest,www.pinterest.com/pin/. 6423598071/ Image 3.4 - Nelson, Jimmy. “Rabari India, 46 Fascinating Photos of the World’s Most Remote Tribes Before They Disappear.”

Historiadelajoyeria,3Dec.2013,www.historiadelajoyeria.blogspot.com/2013/46-fascinantes-fotogra#as-de-las.

Image3.5-“BeautifulKinnauriBrideInTraditional Himachal Attire.”

Photos, www.himachalphotos.com/image/beautiful-kinnauri-bridetraditional-attire.6h.

Image 3.7 - Tumbler,www.64.media.tumblr.com/tumblr_m4icghsrmV1qzjwqeo1_640.jpg.

Image 3.8 - “Vintage Tribal Jewellery from the Far East.” Rabari, www.rabari.co.uk/gallery.

Image 3.9 - “Persian Silver, a Rare Repousse Silver Mirror Case.” ALJAntiques,www.aljantiques.com/inventory/materials/metal-work/arare-qajar-repousse-silver-mirror-case-probably-shiraz-iran-or-india-for-the-qajar-market-2nd-half-of-the-19th-century.

Image 3.11 - “Black-Silver Bidri Work Bangle.” Jaypore,www.jaypore.com/black-silver-bidri-work-bangle-size-2-8metal-alloy-p24017.

Image 3.13 - Yuniati. “Island Fern Tree.” Novica, www.novica.com/blog/silver-and-gold-jewelry-artisans-of-celuk/.

Image3.16-Brittin,Amanda.“SomeNotesonCreatingPatinasonBronzeandSilver AmandaJewelry.”

Brittin, 27 Aug. 2018, www. amandabrittin.com/f/some-notes-on-creating-patinas-on-bronze-and-silver-jewelry.

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Image 4.1 - “Jewellery Directions 2019 and 2020.” TrendVision Forecasting, 2018, www.trendvisionforecasting.com/editorials/articoli/ jewellery-directions-2019-2020.

Image 4.2 - Cohn, Julie. Julie Cohn Design, www.juliecohndesign.com/blogs/news.

Image 4.3, 6.1 - Trell, https://amp.trell.co/trail/trip-to-the-land-of-temples-tamil-nadu-de6a11df8cd.

Image 4.4, 6.2 - Shevtsova, Daria. Pexels, 21 Apr. 2018, www.pexels.com/de-de/foto/baum-blatt-blume-draussen-1030883/.

Image4.5-“ClassicTrunksYellow.”

Nappa Dori, www.nappadori.com/shop/categories/trunks.html.

Image 4.6, 6.3 - Mcouture, www.mcouture.lv/gallery/mcouturexinch2-lookbook/.

Image 4.7 - “Lovely Colourful Scene of Paper Boat in Rain Water.” Pinterest,www.pinterest.com/pin/. 697421035/ Image5.1,234-

Tribe Amrapali, www.tribeamrapali.com/.

Image5.,678-

Shaya by Caratlane, www.caratlane.com/shaya/.

Image5.9-Boochra,Sangeeta. Instagram, www.instagram.com/sangeetaboochra/.

Image5.10-

Divine Raga, 2017, www.divineraga.com/.

Image5.1,23-Vishwanath,Siddharth.

Image5.14, -Hosking,Marian.

Image5.16,7Image5.18,920 -

Quirksmith,2017,www.quirksmith.com/.

Art Jewelry Forum, www.artjewelryforum.org/marian-hosking-greetings-from.

Arvino, www.arvino.co/.

Misho, www.mishodesigns.com/.

Image5.2-“DispersionofLight.”Silvense, Not Just a Label, www.notjustalabel.com/silvense-vrindaa-ashwani.

Aboli Deshmukh | Lifestyle Accessory Design 2017 | National Institute of Design | 435

Image5.23,4 -Adolph,Brigitte.“LaceJewellery.”

Image5.26,7-“OffspringCollection.”

Image5.28-“Amala.”

Image5.29,30-

Brigitte Adolph, www.brigitte-adolph.de/en/jewellery/.

Georg Jensen, www.georgjensen.com/global/jewellery/offspring.

Silverline Jewellery, www.silverlinejewellery.com/collection/amala.

Mia by Tanishq,www.miabytanishq.com/.

Image6.4-Shakkeer,Sha#.

Instagram,www.instagram.com/sha#shakkeer/.

Image6.5-K,Karthigainathan. Karthigainathan Wordpress, www.karthigainathan.wordpress.com/.

Image 6.6 - “Arulmigu Arunachaleswarar Temple.” Arunachaleswarar Temple, www.arunachaleswarartemple.tnhrce.in/thirupani.html.

Image 6.7 - “Elephant Tanjore Painting,” Tamil Tanjore Art Gallery, www.ttagallery.in/shop/ols/products/tanjore-painting.

Image 6.8 - “Kalamkari Paintings.” Pinterest,www.pinterest.com/pin/. 548962073/ Image 6.9 - “Traditional Indian Dance Bharatnatyam.” Vijaycool Wordpress, www.vijaycool.wordpress.com/2009/07/07/traditional-indiandance-bharatanatyam/bharatnatyam-dance-india-funzug-org-. 09/ Image 6.10 - “Kolam Design.” Stylecraze,www.stylecraze.com/articles/sikku-kolam-designs/.

Image 6.11 - Menon, Hari. “Art in Architecture.” Indophilia, Brihadeshwara Temple, Thanjavur, Tamilnadu, www.indophilia.tumblr.com/ post/133608918273/isaluciole-hari-menon-photography-art-in.

Image 6.13 - “Wear Everywhere Stripe Kurta.” Nicobar, www.nicobar.com/shop/women-kurtas/wear-everywhere-kurta-multi stripe-12330/.

Image6.15-

Pinterest,www.pinterest.com/pin/. 1395428067/

Image 6.16 - Glavis, Geri. “Lotus Pod.” First Art America,26Apr.2015,www.#neartamerica.com/featured/lotus-pod-geri-glavis.html.

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Image 6.17 - Flickr,www.ickr.com/photos/agotor/579023/in/pool-57386@N2. 3/ Image 6.18 - Cummings, Sharon. “Nautilus Shell.” Etsy,www.etsy.com/listing/nautilus153829/ shell-art-print-from-painting.

Image 6.19 - Flickr,www.ickr.com/photos/572031@N0. 0/27541 Image 6.21 - Flickr,www.ickr.com/photos/lumase/3918765.

Image 6.22 - Doston, Keith. “Map of Time Photo of an Old Tree at Mesa Verde, Colorado.” Keith Doston, www.keithdotson.com/products/mapof-time-mesa-verde-colorado-rq0a6903.

Image 6.23 - “Inspired by Textures.” Pinterest,www.pinterest.com/pin/. 659847230/ Image 6.24 - Flickr,www.ickr.com/photos/unseenwoods/50719624.

Image6.25-Thresca.“ItwasYesterday.”

Deviant Art,7Jun.209,www.deviantart.com/thresca/art/it-was-yesterday-12508793.

Image 6.26 - “Shrooms.” Pinterest,www.pinterest.com/pin/. 724160835/ Image 6.27, 6.28 - Gharge, Devika. “Temple Architecture Inspired Furniture.” Behance, 1 Feb. 2014, www.behance.net/gallery/14196027/ Temple-architecture-inspired-furniture.

Image 6.29, 6.30 - Somani, Vishakha. “Nachaniya.” Vishakha Somani Wordpress, www.vishakhasomani.wordpress.com/portfolio/nachaniya/.

Image 6.31- Selvam, Swethaa. “The Living History.” Swethaa Selvam Carbonmade,www.swethaaselvam.carbonmade.comprojects/64589.

Image 6.32- “Popley Group Unveils Dravidian Jewellery.” Indian Jeweller,17Mar.2015,www.indianjeweller.in/Indian-Jewellery-News/5710/ Popley-group-unveils-Dravidian-Jewellery.

Image 6.33 - “Temple Jewelry.” Pinterest, www.pinterest.ca/pin/760967668263406992/.

Image 6.34 - Soediono, Putri. “Dulong Hatbox, Traditional Hatbox Design with a Functional and Design Twist.” Ordinary People, 12 Oct. 2016, www.ordinarypeople.ink/things/pubumesu-style-inspiration-markets-asia/.

Aboli Deshmukh | Lifestyle Accessory Design 2017 | National Institute of Design | 437

Image6.35-“FlowersCollection.”

Chula Fashion,www.chulafashion.com/products/i-am-banana-ower-f35.

Image6.3-“IconicMartiniqueBananaLeafWallpaper.”

Wallpaper Lady Wordpress, www.wallpaperlady.wordpress.com/2016/08/20/ iconic-martinique-banana-leaf-wallpaper/.

Image 6.37 - Soo, Tat Yan. “ Artisan Crafted Green Stoneware Vase, Banana Leaf.” Novica, www.novica.com/p/artisan-crafted-greenstoneware-vase-banana/184747/.

Image 6.38 - “Banana Bowl Sconce.” Eangee,www.eangee.com/product_detail_item_2018.php?hd=lighting&i=524%0g.

Image 6.39 - Kumar, Anshul, and Gargi Wadnap. “Peel Lamp.” Behance, 2 Sep. 2019, www.behance.net/gallery/84907307/peel-lamp.

Image 6.41 - “Foolani Hoop Earrings Brass.” Afrohemein, www.afrohemien.com/products/brass-fulani-hoops.

Image 6.43 - “The Banana Leaf Hairstick.” Saya Designs, www.sayadesigns.com/banana-leaf-hair-stick.

Image6.45-Yuka.“BananaLeafWrapRing.”

Maravilo, www.maravilo.co.uk/collections/yuka/products/ys_3.

Image 6.46 - Sullivan, Julia. “Raha.” Risdcraft, 2018, www.risdcraft.com/index.php/artists/julia-sullivan/.

Image 6.49 - Mantel, Michelle. “Dune Collection by Lisa Ertel.” Gessato, www.gessato.com/dune-collection-lisa-ertel/.

Image6.50,1-Beaumont,Judson.“TreeRings.” com/tag/duthie-gallery/.

Straight Lines Designs Wordpress, 23 Jun. 2011, www.straightlinedesigns.wordpress.

Image6.52-Shin,kyungsub.“BCHOArchitectsTwinTress.”

Designboom, www.designboom.com/architecture/bcho-architects-twintrees/.

Image6.53,4-MTHWoodworks.“ModernCoffeeTableswithTreeGrowthRings.” modern-coffee-tables-tree-growth-rings-modern-furniture-design-ideas.

Lushome,15Feb.2017,www.lushome.com/

Image6.5-Färg,Fredrik,andEmmaMarga.“CoutureArmchairProducedbyB.DBarcelonaDesign.”

Farg Blanche, www.fargblanche. com/COUTURE-armchair-produced-by-B-D-BARCELONA-DESIGN. 438 | Graduation Project

Image6.57,94-Oudet,P.“LaSeirDuSable.”

Lavieenbois, www.lavieenbois.com/html/le_sable.html.

Image6.58,1-Sides,Sharon.“stumpscollection–echochair.”

Design Boom, 30 May. 2013, www.designboom.com/design/tree-ringpatterns-decorate-stumps-collection-by-sharon-sides/.

Image 6.62 - Holleley, Samantha. “Kronos.” Behance,28Nov.2013,www.behance.net/gallery/12475/Kronos.

Image 6.63 - Lang, Erica. “Intaglio Tree Rings.” Behance,1Feb.2014, www.behance.net/gallery/145703/Intaglio-tree-rings.

Image6.5-TenThousandThings.“RedCircles.”

Rikki-t-tavi Live Journal,4May.2016,www.rikki-t-tavi.livejournal.com/17546.html.

Image 6.66 - “Gallery Basic Jewellery.” Pinterest,23Nov.2017,www.pinterest.de/pin/. 284509136/ Image 6.67 - Sonawane, Vaishnavi. “Jewellery Design.” Behance,24Mar.2018, www.behance.net/gallery/Jewellery63075/ Design.

Image 6.68 - Roussel, Anthony. “Anthony Roussel.” Design Milk, 23 Sep. 2009, www.design-milk.com/anthony-roussel/.

Image 6.70 - “Bespoke Wooden Jewellery.” Pinterest,www.pinterest.at/pin/. 57160328/ Image 6.71 - Buskirk, Mike Van. “Nature Collection.” Behance,5Jul.201,www.behance.net/gallery/173059/Nature-Collection.

Image6.72-HartleyStudio.“ModernSterlingSilverRingwithOxidizedConcentric Etsy, www.etsy.com/in-en/shophartleystudio.

Circles” Image 6.73 - Lolide. “Sunburst Sculptural Statement Ring.” Pinterest,www.pinterest.com/pin/. 368547/ Image7.1,23847.9,60 827., 941085.7, 218.,3 8.39,40 58.6, 9 1.2, 934758.6, 1-CADDepartment, India Limited, Coimbatore.

Emerald Jewel Industry

Aboli Deshmukh | Lifestyle Accessory Design 2017 | National Institute of Design | 439

Works Cited

Page 21 - “History and Background.” National Institute of Design, www.nid.edu/institute/history-background/.

Page 23 - “Lifestyle Accessory Design.” National Institute of Design, http://www.nid.edu/education/master-design/lifestyle-accessorydesign/p-overview.html. and “Lifestyle Accessory Design LAD.” Lifestyle Accessory Design, https://sites.google.com/nid.edu/ lifestyleaccessorydesign/about-lad.

Page24-“TheGraduationProjectManual,”NationalInstitueofDesign,2017.PDF#le.

Page25-“ShimulMehtaVyas.”NationalInstitueofDesign,http:/www.nid.edu/people/faculty/shimul-mehta-vyas.htmlandVyas,Shi Mehta.“MyBriefPro#le.”ReceivedbyAboliDeshmukh,14Dec.20.

Page 37-39, 42-44, 47 - Emerald Jewel Industry India Limited, 2019, https://www.ejindia.com/.

Page 41 - Jewel One, https://www.jewelone.in/.

Page59,63 7 12,35-DesignDepartment.EmeraldJewelIndustryIndiaLimited,Coimbatore.

Page92-“PersianSilver,aRareRepousseSilverMirrorCase.”ALJAntiques,www.aljantiques.com/inventory/materials/meta rare-qajar-repousse-silver-mirror-case-probably-shiraz-iran-or-india-for-the-qajar-market-2nd-half-of-the-19th-century.

Page 93, Paragraph One - “Filigree.” Wikipedia, last ed. 12 Nov. 2020, https://en.wikipedia.org/wiki/Filigree.

Page93,ParagraphTwo-“Damascening.”Wikipedia,lasted.15Oct.20,https:en. / wikipedia.org/wiki/Damascening.

Page94,5-“CategoryJewelleryMaking.”Wikipedia,lasted.3Aug.2018,https:en. / wikipedia.org/wiki/Category:Jewellery_making.

Page104,5-“CraftsCulture.”TrendVisionForecasting,https:/www.trendvisionforecasting.com/editorials/articoli/craft living-modern-luxury-through-cultural-heritage. Accessed 17 Nov. 2020.

Page 106, 107 - “Organic Delights.” TrendVision Forecasting, https://www.trendvisionforecasting.com/editorials/articoli/the-future-ofdiamonds-embracing-the-new-age-emotions-2. Accessed 17 Nov. 2020.

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Page 108, 109 - “Augmented Realities.” TrendVision Forecasting, https://www.trendvisionforecasting.com/editorials/articoli/augmentedreality-envisioning-the-jewels-of-the-future. Accessed 17 Nov. 2020.

Page 110, 111 - “Hyper Nature.” TrendVision Forecasting, https://www.trendvisionforecasting.com/editorials/articoli/hyper-natureearthy-organic. Accessed 17 Nov. 2020.

Page 112, 113 - “Decorativism.” TrendVision Forecasting, https://www.trendvisionforecasting.com/editorials/articoli/decorativism-acentury-of-evolution-of-art-deco. Accessed 17 Nov. 2020.

Page14,5-“HigherPowers.”TrendVisionForecasting,https:/www.trendvisionforecasting.com/editorials/articoli/higher-powers.

Accessed 17 Nov. 2020.

Page 116, 117 - “Technicolour Dreams.” TrendVision Forecasting, https://www.trendvisionforecasting.com/editorials/articoli/ technicolour-dreams. Accessed 17 Nov. 2020.

Page 118, 119 - “Linkedin.” TrendVision Forecasting, https://www.trendvisionforecasting.com/editorials/articoli/linkedin. Accessed 17 Nov. 2020.

Page 120, 121 -“Nature Odyssey.” TrendVision Forecasting, https://www.trendvisionforecasting.com/editorials/articoli/nature-odysseythe-dualistic-traveler. Accessed 17 Nov. 2020.

Page 122, 123 - “Surface Pro.” TrendVision Forecasting, https://www.trendvisionforecasting.com/editorials/articoli/surface-pro. Accessed 17 Nov. 2020.

Page 137 - Tribe Amrapali, www.tribeamrapali.com/.

Page 138 - Shaya by Caratlane, www.caratlane.com/shaya/.

Page 139 - Boochra, Sangeeta. Instagram, www.instagram.com/sangeetaboochra/.

Page 140 - Divine Raga, 2017, www.divineraga.com/.

Aboli Deshmukh | Lifestyle Accessory Design 2017 | National Institute of Design | 441

Page14-Quirksmith,2017,www.quirksmith.com/.

Page 142 - Hosking, Marian. Art Jewelry Forum, www.artjewelryforum.org/marian-hosking-greetings-from.

Page 143 - Arvino, www.arvino.co/.

Page 144 -Misho, www.mishodesigns.com/.

Page145-Silvense,NotJustaLabel,www.notjustalabel.com/silvense-vrindaa-ashwani.

Page 146 - “About me.” Brigitte Adolph, www.brigitte-adolph.de/en/about-brigitte-adolph/.

Page 147 - Georg Jensen, www.georgjensen.com/global/jewellery/offspring.

Page 148 - Silverline Jewellery, www.silverlinejewellery.com/collection/amala.

Page149-MiabyTanishq,www.miabytanishq.com/.

Page 187 - Gharge, Devika. “Temple Architecture Inspired Furniture.” Behance, 1 Feb. 2014, www.behance.net/gallery/14196027/ Temple-architecture-inspired-furniture.

Page 188 -Somani, Vishakha. “Nachaniya.” Vishakha Somani Wordpress, www.vishakhasomani.wordpress.com/portfolio/nachaniya/.

Page 189, Paragraph One - Selvam, Swethaa. “The Living History.” Swethaa Selvam Carbonmade, www.swethaaselvam.carbonmade.com/ projects/64589.

Page189,ParagraphTwo-“PopleyGroupUnveilsDravidianJewellery.”IndianJeweller,17Mar.2015,www.indianjeweller.in/IndianJewellery-News/5710/Popley-group-unveils-Dravidian-Jewellery.

Page 192, Paragraph One - Manners, Angela. “Dulong Hatbox, Traditional Hatbox Design with a Functional and Design Twist.” Ordinary People, 12 Oct. 2016, www.ordinarypeople.ink/things/pubumesu-style-inspiration-markets-asia/.

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Page192,ParagraphTwo-“FlowersCollection.”ChulaFashion,www.chulafashion.com/products/i-am-banana-ower-f35.

Page193-“IconicMartiniqueBananaLeafWallpaper.”WallpaperLadyWordpress,www.wallpaperlady.wordpress.com/2016/8 iconic-martinique-banana-leaf-wallpaper/.

Page 194, paragrah One - Soo, Tat Yan. “ Artisan Crafted Green Stoneware Vase, Banana Leaf.” Novica, www.novica.com/p/artisancrafted-green-stoneware-vase-banana/184747/.

Page194,ParagraphTwo-“BananaBowlSconce.”Eangee,www.eangee.com/product_detail_item_2018.php?hd=lighting&i=524%0g.

Page195-Kumar,Anshul,andGargiWadnap.“PeelLamp.”Behance,2Sep.2019,www.behance.net/gallery/peel849073/ lamp.

Page 198, Paragraph One -Ertel, Lisa. “Dune Collection by Lisa Ertel.” Gessato, www.gessato.com/dune-collection-lisa-ertel/.

Page 198, Paragraph Two - Beaumont, Judson. Duthie Gallery. “Tree Rings.” Straight Lines Designs Wordpress, 23 Jun. 2011, www. straightlinedesigns.wordpress.com/tag/duthie-gallery/.

Page 199 - BCHO Architects. “Twin Tress.” Designboom, www.designboom.com/architecture/bcho-architects-twin-trees/.

Page20,ParagraphOne-MTHWoodworks.“ModernCoffeeTableswithTreeGrowthRings.”Lushome,15Feb.2017,www.lushome. com/modern-coffee-tables-tree-growth-rings-modern-furniture-design-ideas.

Page 201 - Färg, Fredrik, and Emma Marga. “Couture Armchair Produced by B.D Barcelona Design.” Farg Blanche, www.fargblanche. com/COUTURE-armchair-produced-by-B-D-BARCELONA-DESIGN.

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