DOCSLIB.ORG

Central Saint Martins BA (Hons) Jewellery Design 2020 Degree

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Central Saint Martins BA (Hons) Jewellery Design 2020 Degree PB - 1 CENTRAL SAINT MARTINS BA (HONS) JEWELLERY DESIGN 2020 BA (HONS) JEWELLERY BA (HONS) JEWELLERY DESIGN 2 - 3 Central Saint Martins University of the Arts London Granary Building 1 Granary Square London N1C 4AA www.arts.ac.uk/colleges/central-saint-martins csmbajewellery.wordpress.com instagram @csmbajewellerydesign CONTENTS INTRODUCTION 7 CECILIA AHLIN 9 MARIA FRANCISCA ARAÚJO AMANTE 11 MELODY AZIZI TORKANPOUR 13 HANNAH BOURN 15 KEWPIE CHI IENG CHAN 17 SERENA COWELL 19 CAMILLA DE FEO 21 COURTNEY DURKA 23 SHUHAN GAO 25 KATIE GIBBON 27 JING HAN 29 JO HARRISON-HALL 31 LÉA HIRALAL 33 YEN-CHAO HSIAO 35 SHANGWEI HUANG 37 MIHO ISHIZUKA 39 SUSAN JIANG 41 KIGEN KAMIJIMA 43 SIMRAN KOTHARI 45 VERONICA KWOK 47 LOIS LO 49 KAR YAN LUK 51 TAHIRA MAHMOOD 53 MILLIE MARKS 55 NATASHYA MUMTAZ 57 HANAN MUSTAFA SULTAN 59 EMILIA NAYLOR-BROWN 61 SIRUI NING 63 ZHIWEN PENG 65 HUW RIDDALL 67 SAMANTHA RODWAY-SMITH 69 ROANNE SANCHEZ-WATTS 71 SRISHTI SHAH 73 ZAK SHEINMAN 75 CAROLA SOLCIA 77 MIRI TAMENAGA 79 MARINA TELEVANTIDES 81 MIZUKI TOCHIGI 83 MARIANE TRAN 85 PHOEBE VICTORY 87 4 SMARANDA MARIA VOICAN 89 - 5 SIOBHAN WALLACE 91 OLIVIA WOODHOUSE 93 MOLLY WU 95 FIONA XIAO 97 BO NA YOON 99 SILENT XIAOYAN YU 101 ZIHAN ZHANG 103 MILLET ZHOU 105 PANIZ ZOHDINATEGH 107 POP-UP SHOP 108 STUDIO VISITS 110 SCHOLARSHIPS AND AWARDS 112 ACKNOWLEDGEMENTS 114 WITH THANKS TO 116 The Worshipful Company of Tin Plate Workers alias Wire Workers of the City of London Also a big thank you to: J&J Margarita Wood INTRODUCTION We are thoroughly delighted to present to you Live projects with industry contacts and cultural the work of the BA Jewellery Design graduates institutions are an important element of the of 2020. course and this cohort have participated in some excellent examples. They have taken part in: a This academic year has been truly unique for collaboration with the V&A where the students BA Jewellery Design and the graduating year of responded to the Balençiaga exhibition; a 2020. In September 2019 we welcomed back into collaboration with the Foundling Museum; a the final year, 25 students who had taken part in live project with Miranda Konstantinidou from the first Diploma in Professional Studies, a new Konplott; a medal project with the British Art optional year of work placement experience Medal Society with several of the graduating between stages two and three. They were joined students winning prizes in their first year; a by 26 students progressing directly from stage design project with Indian jewellery company, two. This created a very large cohort with a new AZVA; an eyewear project with Percy Lau; a range of experience, combined with terrific leather project with Louis Vuitton; a conscious energy and motivation. design project with Swarovski; the Cartier portfolio project; material investigation projects The year started at great pace with the final year sponsored by the Worshipful Company of Tin students creating one of the most successful BA Plate Workers alias Wire Workers of the City Jewellery Design Pop Up shops ever. This was of London and The Leathersellers’ Company; a followed by a live sponsored design project with live event in collaboration with Vitsœ in Munich Cartier which included a trip to Paris to visit in the second year and a live design project the studios, ateliers, workshops and boutiques. with Cartier this year as well as projects set by 6 - 7 Then in the early spring of 2020 came the Solange Azagury-Partridge, Theo Fennell and worldwide pandemic which, of course, changed Winterson. During the year, the students have many things. The students task of presenting also benefited from a gallery visit to Gallery collections of finished pieces was altered in SO and studio visits to Akiko Shinzato and response to the challenges of remote teaching, Castro Smith at Sarabande. Lectures by visiting learning and creativity to presenting a collection speakers this year were given by Lisa Walker, of fully considered jewellery proposals Valery Demure, Melanie Georgacopoulos, presented within a portfolio. The response has Rottingdean Bazaar, Lucie Gledhill, Julia Maria been remarkable and inspiring. Künnap, Hannah Martin, Veronika Fabian, Lydia Hartshorn and Liz Olver. This has been a very challenging time for everyone, almost unbearably so for many and We would like to express our gratitude to yet the students have risen to this and created all the friends of the course who support and unique, insightful and accomplished work. encourage our students throughout their time The themes of these collections have a very on the course and beyond. broad and exciting scope ranging from issues of identity to manipulating form and material, On behalf of the BA Jewellery Design course from the climate emergency to challenging team and everyone who has worked with this surveillance, from exploring the intrinsic value group, I would like to wish all of the graduates of things to questioning stereotypes and every success for the future. We are very excited idealisation. to see their next steps and follow their future careers. The students have been guided through this extraordinary journey with incredible skill and You will be able to view the CSM online Graduate dedication by the stage three Leader and Reader showcase from July 29th 2020. in Jewellery, Lin Cheung, and visiting tutors, Scott Wilson and Frances Wadsworth Jones. GILES LAST COURSE LEADER CECILIA AHLIN CECILIA AHLIN By using an extremely rare material – antlers that reindeer shed once a year – Cecilia has built a collection that is both primitive and stunning. Traditionally, antlers are used to make knives by the Sami people who own the reindeer. However, Cecilia innovates within this tradition, fashioning the antlers into wearable jewellery. Through this collection, Cecilia expresses her profound respect for antlers, encouraging people to know more about the 8 Nordic culture of Sami people and their reindeer. - 9 INTERPRETATIVE TEXT BY LAM PUI LEE BA (HONS) CULTURE, CRITICISM AND CURATION [email protected] Instagram @cillaahlin MARIA FRANCISCA ARAÚJO AMANTE MARIA FRANCISCA ARAÚJO AMANTE The Greek word κεφι is untranslatable; the closest English equivalent, “the spirit of joy”, falls short of encapsulating its essence. Maria’s collection, appositely titled “Kefi” after this term, centres on producing a similarly overwhelming ineffability – that of the intangible moment of joy, an affective response to the tangible sensory experience of wearing her pieces. Serving as visual, auditory and olfactory stimuli, Maria’s work swathes the wearer in a 10 vibrant symphony of energies. - 11 INTERPRETATIVE TEXT BY DANNI CHENG BA (HONS) CULTURE, CRITICISM AND CURATION [email protected] MELODY AZIZI TORKANPOUR MELODY AZIZI TORKANPOUR Melody’s collection is a modern encapsulation of antique cosmography. Through a sublime and balanced layering of spheres and swivels, she explores ancient orreries, bringing the grand migration of celestial bodies onto the wearer’s hands. Her jewellery is an ode to the interactivity of those instruments, relying on the synergy of the wearer and the piece to create movement. Her pieces employ modest components coated in fine materials, in 12 a composition reflecting the age-old human need for the - 13 precious. Merging archaic alchemy with sleek modern geometry, she creates a miniature, interactive cosmos for the wearer. INTERPRETATIVE TEXT BY NATALIA ROKOSZ BA (HONS) CULTURE, CRITICISM AND CURATION [email protected] HANNAH BOURN HANNAH BOURN Hannah’s collection explores the close connection between the human body and nature. She focusses on preserving organic forms and shapes whilst transforming natural objects collected from the seashore into pieces of jewellery. Drawing inspiration from biophilic design, which reconnects humans to nature, Hannah uses shells, pearls, and seaweed, adapting them for adornment of the human body. With minimal intervention in the raw material, she 14 explores the fluidity of the shapes, highlighting their - 15 delicate beauty by using precious metals to breathe life back into their inanimate forms. INTERPRETATIVE TEXT BY NATALIA ANNA SEWERYN BA (HONS) CULTURE, CRITICISM AND CURATION [email protected] www.hannahbourn.com Instagram @han.bourn KEWPIE CHI IENG CHAN KEWPIE CHI IENG CHAN Inspired by the notion of unifying what was once broken, Kewpie’s collection, which she calls “United”, translates human connection into the intricate language of her jewellery. Crafted from recycled ceramic, brass and silver, her collection features traditional motifs of peace and union. Referencing long-established ceramic repair methods, each piece carries a unique history and is produced by hand, using up-cycled materials: 16 sustainability and longevity are key factors for the artist. - 17 INTERPRETATIVE TEXT BY HANNA KISS BA (HONS) CULTURE, CRITICISM AND CURATION [email protected] www.qpejewellery.myportfolio.com Instagram @q_pe_studio SERENA COWELL SERENA COWELL Serena’s collection “Kaleidoscope” gives life and wearability to the inspiration for her work, the butterfly wing. Using a single element – the jump ring – and a distinct technique of linking, she mimics and magnifies the scale-like structure of the lepidopteran creature. Rings in heat-treated nichrome, copper and anodised aluminium lend subtle contrast and iridescence to her chainmail jewellery. In true celebration of the butterfly, 18 her pieces boast lightness and flexibility, morphing to the - 19 body when worn. INTERPRETATIVE TEXT BY POORNIMA GURU BA (HONS) CULTURE, CRITICISM AND CURATION [email protected] CAMILLA DE FEO CAMILLA DE FEO Inspired by her father’s passion for making things, Camilla’s collection stems from a desire to capture his spirit of craftsmanship and self-directed inventiveness. By manipulating materials like the ones found in her father’s workshop, she reinterprets objects not traditionally associated with jewellery – such as karabiners, fish lures and climbing harnesses – into decorative objects. Her juxtaposition of these miscellaneous materials echoes the 20 buzzing atmosphere of the workshop, and celebrates a - 21 life filled with experimentation and curiosity.
Load more

Recommended publications
  • Casea Studies of Sentimental Jewelry Design
    POLITECNICO DI MILANO School of Design Master of Science in Design for the Fashion System Academic Year 2018/2019 SENTIMENAL EXPRESSION IN JEWELRY DESIGN Supervisor: Prof. Alba Cappellieri Assistant: Livia Tenuta & Elisa Borboni Autor: Wang Yanan Student ID number: 885057 CONTENT 01 History of Sentimental Jewelry 02 Cases studies of Sentimental Jewelry Design 2.1 Sentimental Expression of Jewelry with Shapes 2.2 Sentimental Expression of Jewelry with Colors 2.3 Sentimental Expression of Jewelry with Materials 03 New Technology and Modern Sentimental Jewelry 3.1 Sentimental Jewelry with New Technology 3.2 Future Scenarios of Modern Sentimental Jewelry 04 The Project — 'Pick Me' 4.1 Concept 4.2 Moodboard 4.3 Construction & Materials 4.4 Technical Drawing & Prototype 4.5 Branding 05 Bibliography Reference ABSTRACT In an era driven by technology and data, people in the process of product purchase and use of the aesthetic level and consumption levels are changing, the focus of consumption has shifted to the satisfaction of emotional needs. Especially in recent years, the concept of the first deeply implanted in the hearts and minds of consumers to pay more attention to all kinds of products brought about by the emotional sense of pleasure and satisfaction, not just focus on the product Function and quality. This thesis concludes the research about the timeline of sentimental jewelry from prehistory to contemporary, and the performance of emotion in the design of contemporary jewelry works as the main research content, to explain how to express the emotion of the work by shapes, materials, colors and new technology, thus to realize emotional communication between designers, consumers and viewers from jewelry.
    [Show full text]
  • Dr Christopher W.Corti, C.Eng, C.Sci, FCGI, FIMMM Managing Director, Coregold Technology Consultancy, Reading, UK
    Dr Christopher W.Corti, C.Eng, C.Sci, FCGI, FIMMM Managing Director, COReGOLD Technology Consultancy, Reading, UK Dr Chris Corti is a technologist with over 40yrs experience developing and exploiting technology in the precious metals industry. He worked with Johnson Matthey Plc and World Gold Council before setting up his own technology consultancy in 2009. He studied metallurgy at University and has worked in the energy industry in the UK and Switzerland before moving into the precious metal industry. He has published widely and presented on jewellery topics many times at the Jewellery Technology Forum and the Santa Fe Symposium. He currently consults for the Worshipful Company of Goldsmiths in London and for GIA in California. An examination of the causes of damaged or defective jewellery returned by customers in the UK shows that many complaints are focused on platinum and white gold jewellery, particularly rings. In this presentation, an analysis of complaints over the last 2 years is made and focuses on the most common problems and their causes. For example, cast rings are often heavily marked and worn and frequently distorted in shape with gem stones missing or loose. This is due in part to the modern lifestyle of women and is related to the relative softness of the alloys and poor design from an engineering viewpoint. Other common areas of complaint include rhodium plating of white golds and the lack of durability and tarnishing of silver and items electroplated with gold. It is clear that some of these problems are due to poor manufacturing practice and some to customer usage.
    [Show full text]
  • Narration on Ethnic Jewellery of Kerala-Focusing on Design, Inspiration and Morphology of Motifs
    Journal of Textile Engineering & Fashion Technology Review Article Open Access Narration on ethnic jewellery of Kerala-focusing on design, inspiration and morphology of motifs Abstract Volume 6 Issue 6 - 2020 Artefacts in the form of Jewellery reflect the essence of the lifestyle of the people who Wendy Yothers,1 Resmi Gangadharan2 create and wear them, both in the historic past and in the living present. They act as the 1Department of Jewellery Design, Fashion Institute of connecting link between our ancestors, our traditions, and our history. Jewellery is used- Technology, USA -both in the past and the present-- to express the social status of the wearer, to mark 2School of Architecture and Planning, Manipal Academy of tribal identity, and to serve as amulets for protection from harm. This paper portrays the Higher Education, Karnataka, India ethnic ornaments of Kerala with insights gained from examples of Jewellery conserved in the Hill Palace Museum and Kerala Folklore Museum, in Cochin, Kerala. Included are Correspondence: Wendy Yothers, Department of Jewellery Thurai Balibandham, Gaurisankara Mala, Veera Srunkhala, Oddyanam, Bead necklaces, Design, Fashion Institute of Technology, New York, USA, Nagapadathali and Temple Jewellery. Whenever possible, traditional Jewellery is compared Email with modern examples to illustrate how--though streamlined, traditional designs are still a living element in the Jewellery of Kerala today. Received: October 17, 2020 | Published: December 14, 2020 Keywords: ethnic ornaments, Kerala jewellery, sarpesh, gowrishankara mala, veera srunkhala Introduction Indian cultures have used Jewellery as a strong medium to reflect their rituals. The design motifs depicted on the ornaments of India Every artifact has a story to tell.
    [Show full text]
  • Use and Applications of Draping in Turkey's
    USE AND APPLICATIONS OF DRAPING IN TURKEY’S CONTEMPORARY FASHION DUYGU KOCABA Ş MAY 2010 USE AND APPLICATIONS OF DRAPING IN TURKEY’S CONTEMPORARY FASHION A THESIS SUBMITTED TO THE GRADUATE SCHOOL OF SOCIAL SCIENCES OF IZMIR UNIVERSITY OF ECONOMICS BY DUYGU KOCABA Ş IN PARTIAL FULFILLMENTOF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF DESIGN IN THE GRADUATE SCHOOL OF SOCIAL SCIENCES MAY 2010 Approval of the Graduate School of Social Sciences ...................................................... Prof. Dr. Cengiz Erol Director I certify that this thesis satisfies all the requirements as a thesis for the degree of Master of Design. ...................................................... Prof. Dr. Tevfik Balcıoglu Head of Department This is to certify that we have read this thesis and that in our opinion it is fully adaquate, in scope and quality, as a thesis for the degree of Master of Design. ...................................................... Asst. Prof. Dr. Şölen Kipöz Supervisor Examining Committee Members Asst. Prof. Dr. Duygu Ebru Öngen Corsini ..................................................... Asst. Prof. Dr. Nevbahar Göksel ...................................................... Asst. Prof. Dr. Şölen Kipöz ...................................................... ii ABSTRACT USE AND APPLICATIONS OF DRAPING IN TURKEY’S CONTEMPORARY FASHION Kocaba ş, Duygu MDes, Department of Design Studies Supervisor: Asst. Prof. Dr. Şölen K İPÖZ May 2010, 157 pages This study includes the investigations of the methodology and applications of draping technique which helps to add creativity and originality with the effects of experimental process during the application. Drapes which have been used in different forms and purposes from past to present are described as an interaction between art and fashion. Drapes which had decorated the sculptures of many sculptors in ancient times and the paintings of many artists in Renaissance period, has been used as draping technique for fashion design with the contributions of Madeleine Vionnet in 20 th century.
    [Show full text]
  • JEWELLERY TREND REPORT 3 2 NDCJEWELLERY TREND REPORT 2021 Natural Diamonds Are Everlasting
    TREND REPORT ew l y 2021 STATEMENT J CUFFS SHOULDER DUSTERS GENDERFLUID JEWELLERY GEOMETRIC DESIGNS PRESENTED BY THE NEW HEIRLOOM CONTENTS 2 THE STYLE COLLECTIVE 4 INDUSTRY OVERVIEW 8 STATEMENT CUFFS IN AN UNPREDICTABLE YEAR, we all learnt to 12 LARGER THAN LIFE fi nd our peace. We seek happiness in the little By Anaita Shroff Adajania things, embark upon meaningful journeys, and hold hope for a sense of stability. This 16 SHOULDER DUSTERS is also why we gravitate towards natural diamonds–strong and enduring, they give us 20 THE STONE AGE reason to celebrate, and allow us to express our love and affection. Mostly, though, they By Sarah Royce-Greensill offer inspiration. 22 GENDERFLUID JEWELLERY Our fi rst-ever Trend Report showcases natural diamonds like you have never seen 26 HIS & HERS before. Yet, they continue to retain their inherent value and appeal, one that ensures By Bibhu Mohapatra they stay relevant for future generations. We put together a Style Collective and had 28 GEOMETRIC DESIGNS numerous conversations—with nuance and perspective, these freewheeling discussions with eight tastemakers made way for the defi nitive jewellery 32 SHAPESHIFTER trends for 2021. That they range from statement cuffs to geometric designs By Katerina Perez only illustrates the versatility of their central stone, the diamond. Natural diamonds have always been at the forefront of fashion, symbolic of 36 THE NEW HEIRLOOM timelessness and emotion. Whether worn as an accessory or an ally, diamonds not only impress but express how we feel and who we are. This report is a 41 THE PRIDE OF BARODA product of love and labour, and I hope it inspires you to wear your personality, By HH Maharani Radhikaraje and most importantly, have fun with jewellery.
    [Show full text]
  • The Jewellery Market in the Eu
    CBI MARKET SURVEY: THE JEWELLERY MARKET IN THE EU CBI MARKET SURVEY THE JEWELLERY MARKET IN THE EU Publication date: September 2008 CONTENTS REPORT SUMMARY 2 INTRODUCTION 5 1 CONSUMPTION 6 2 PRODUCTION 18 3 TRADE CHANNELS FOR MARKET ENTRY 23 4 TRADE: IMPORTS AND EXPORTS 32 5 PRICE DEVELOPMENTS 44 6 MARKET ACCESS REQUIREMENTS 48 7 OPPORTUNITY OR THREAT? 51 APPENDICES A PRODUCT CHARACTERISTICS 53 B INTRODUCTION TO THE EU MARKET 56 C LIST OF DEVELOPING COUNTRIES 57 This survey was compiled for CBI by Searce Disclaimer CBI market information tools: http://www.cbi.eu/disclaimer Source: CBI Market Information Database • URL: www.cbi.eu • Contact: [email protected] • www.cbi.eu/disclaimer Page 1 of 58 CBI MARKET SURVEY: THE JEWELLERY MARKET IN THE EU Report summary This survey profiles the EU market for precious jewellery and costume jewellery. The precious jewellery market includes jewellery pieces made of gold, platinum or silver all of which can be in plain form or with (semi-) precious gemstones, diamonds or pearls. The costume jewellery market includes imitation jewellery pieces of base metal plain or with semi-precious stones, glass, beads or crystals. It also includes imitation jewellery of any other material, cuff links and hair accessories. This survey excludes second-hand jewellery and luxury goods such as gold and silver smith’s ware (tableware, toilet ware, smokers’ requisites etc.) and watches. Consumption Being the second largest jewellery market after the USA, the EU represented 20% of the world jewellery market in 2007. EU consumers spent € 23,955 million with Italy, UK, France and Germany making up the lion’s share (70%).
    [Show full text]
  • Perspectives on Memory in Italian and Danish Jewellery Design
    theme 2 strand 1 memory design histories: tradition, transgression and transformations Sisse Tanderup [email protected] Blucher Design Proceedings author(s) Dezembro de 2014, Número 5, Volume 1 Design School Kolding www.proceedings.blucher.com.br/evento/icdhs2014 From memory to jewellery - perspectives on memory in Italian and Danish jewellery design abstract This paper examines the relationship between design and memory in Italian and Danish jewellery design. In Italy, there is a long tradition of working consciously with cultural memory, which adds layers of memory to design objects, mainly through inspiration from art, architecture, literature, philosophy and sociology. The memory dimension also plays a role in Danish jewellery design as a part of Danish cultural heritage. Here, the sources of inspiration mainly come from the symbols of nature. The paper draws especially on hermeneutical reflections around memory and on theoretical perspectives from material culture, practical works and interviews with prominent designers (Alessandro Mendini, Stefano Marchetti, Kim Buck) and Alberto Alessi. The distinction between Italian and Danish design is discussed through relevant examples of design from both countries. Designing objects charged with memory is a slow process and, in continuation of this, it takes time to acknowledge the underlying layers. There is a lack of research in the use of memory within contemporary jewellery design, especially seen from the perspective of the designer. The aim of this paper is to contribute to this field of research. keywords jewellery, design, memory, Italy, Denmark Introduction Design represents a central form of cultural communication. Today, practical and functional needs are often put aside in favor of other values.
    [Show full text]
  • Joy in and with Jewellery
    Joy in and with jewellery Petr Dvorak Table of contents 1. Introduction 1.1 Joy – a definition 1.2 Joy from a philosophical standpoint 1.2 Joy from a scientific standpoint 1.3 Joy from a personal standpoint 2. Jewellery – joy, mystery and its language 2.1 The history of jewellery as evidenced in Harappan culture 2.2 The final destination or point of completion as experienced by colleagues 2.3 Joy, reality and the work process 2.4 Construction and the ‘paradox’ of cutting 2.4.1 Materials 2.4.2 Techniques and technologies applied 2.4.3 Finished pieces 2.5 Conclusion and summary 2.5.1 Acknowledgements 2 1. Introduction Work is love made visible. And if you cannot work with love but only with distaste, it is better that you should leave your work and sit at the gate of the temple and take alms of those who work with joy. Khalil Gibran1 Joy in and with jewellery is a topic that has pursued me for many years. Throughout the years I have been working with jewellery, I have observed, considered and studied the role, function and message of jewellery: its raison d’être. As designers we appreciate how jewellery is understood and perceived both in today’s world and in much earlier times, in different epochs and cultures. Apart from the vastly different motives for owning, hoarding and collecting jewellery or giving it as a gift and despite the urge to adorn ourselves, jewellery has always had one essential feature in common: the element of joy.
    [Show full text]
  • Newsletter September 2020.Cdr
    ISSUE 33: September 2020 For Private Circulation Only A Unit of CapsGold. Estd.: 1901 Our Two Cents A N I N F O R M A T I V E N E W S L E T T E R B Y K A L A S H A Dear Readers, Seasons Greetings, September has been a rollercoaster ride for us, exciting & adventurous! We are super excited to present you our new festive collection of this season. Well known tollywood actress Archana Veda has launched our festive collection. The collection was launched with great pomp and joy while taking safety precautions and maintaining all social distancing norms by govt. Exquisite diamond jewellery crafted to perfection, royal heritage Jadau jewellery and handcrafted gold bridal collection were showcased at the launch. Archana looked astonishing in finely made brilliant cut diamond and emerald bridal jewellery which consists of board choker matching long necklace, jumkas, bangles, maang tikka and rings. Good news to all the jewellery loving NRI's out there! Introducing free shipping to USA, shop for your favourite jewellery through a video and we will ship it directly to your doorstep. How does it work? Choose the jewellery you want to buy through our video calling app or any of your family, friends can come over to the store and choose the necklace for you. Pay online and we will be adding your order to our monthly shipment package shipped 25th of every month. That's how you get your jewellery shipped directly to you. We have a lovely surprise coming up for you guys stay tuned and follow us on social media to get the latest updates.
    [Show full text]
  • Master's Courses Fine Jewellery Design
    master’s courses fine jewellery design Version 02 Postgraduate Programmes Master’s Course Fine Jewellery Design 02 Brief descriptive summary Over the past 80 years Istituto Marangoni has grown and developed alongside the thriving Italian fashion and design industry. Through an exciting curriculum aimed to develop practical, creative, and business and management skills which are subject specific, and relevant to the international fashion industry, Istituto Marangoni Master’s courses prepare students with an elevated and in-depth knowledge and know-how for a successful professional career at various levels in the fields of Fashion Design, Ac- cessories and Footwear Design, Fashion Styling, Fashion Business and Communication, Visual and Multimedia Design, Interior and Product Design, Jewellery Design, Art Management, and Art Curation. There is a strong focus on project-based industry linked methods of study taught by experienced industry specialists and professional practitioners. general information 1. certification attained Istituto Marangoni Certificate Programme information 2. educational & Programme aims educational aims: The educational aims are: • to develop flexible approaches to programme delivery and student support which reflect the needs and expectations of our students; • to provide a supportive and inclusive learning environment which will enable success for all learners; • to encourage the development of students’ intellectual and imaginative powers, creativity, independence, critical self-aware- ness, imagination and skills that will enhance global employment opportunities on graduation in all programmes; • to establish a culture of constant improvement in learning, teaching and assessment that is anticipatory, enabling, supportive, rewarding and fully aligned with the Institutions vision and strategic objectives; • to provide a learning experience that is informed by research, scholarship, reflective practice and engagement with the indus- try and the professions.
    [Show full text]
  • Conceptual Design of Jewellery: a Space-Based Aesthetics Approach
    MATEC Web of Conferences 112, 07025 (2017) DOI: 10.1051/matecconf/20171120702 5 IManE&E 2017 Conceptual design of jewellery: a space-based aesthetics approach Vaia Tzintzi1, Athanasios Manavis1, Nikolaos Efkolidis1, Christos Dimopoulos2, Konstantinos Kakoulis1 and Panagiotis Kyratsis1,* 1Western Macedonia University of Applied Science, Department of Mechanical Engineering and Industrial Design, Kila Kozani GR50100 Greece 2 European University Cyprus, School of Sciences, Nicosia, Cyprus Abstract. Conceptual design is a field that offers various aesthetic approaches to generation of nature-based product design concepts. Essentially, Conceptual Product Design (CPD) uses similarities based on the geometrical forms and functionalities. Furthermore, the CAD-based freehand sketch is a primary conceptual tool in the early stages of the design process. The proposed Conceptual Product Design concept is dealing with jewelleries that are inspired from space. Specifically, a number of galaxy features, such as galaxy shapes, wormholes and graphical representation of planet magnetic field are used as inspirations. Those space-based design ideas at a conceptual level can lead to further opportunities for research and economic success of the jewellery industry. A number of illustrative case studies are presented and new opportunities can be derived for economic success. 1 Introduction The conceptual design inspired from different science fields can become a straightforward activity for the industrial designers. Specifically, several designers from different backgrounds (i.e., furniture design, fashion, transportation and architectural design) are using nature and its evolution as an inspiration for their product designs [1]. The main reason of that are the opportunities created for innovation and creativity (Figure 1). Essentially, conceptual design is a field that offers various aesthetic approaches to generation of nature- based product design concepts.
    [Show full text]
  • JEWELS of the EDWARDIANS by Elise B
    JEWELS OF THE EDWARDIANS By Elise B. Misiorowski and Nancy K. Hays Although the reign of King Edward VII of ver the last decade, interest in antique and period jew- Great Britain was relatively short (1902- elry has grown dramatically. Not only have auction 1910), the age that bears his name produced 0 houses seen a tremendous surge in both volume of goods distinctive jewelry and ushered in several sold and prices paid, but antique dealers and jewelry retail- new designs and manufacturing techniques. ers alikereportthat sales inthis area of the industry are During this period, women from the upper- excellent and should continue to be strong (Harlaess et al., most echelons of society wore a profusion of 1992). As a result, it has become even more important for extravagant jewelry as a way of demon- strating their wealth and rank. The almost- jewelers and independent appraisers to understand-and exclusive use of platinum, the greater use of know how to differentiate between-the many styles of pearls, and the sleady supply of South period jewelry on the market. African diamonds created a combination Although a number of excellent books have been writ- that will forever characterize Edwardian ten recently on various aspects of period jewelry, there are jewels. The Edwardian age, truly the last so many that the search for information is daunting. The era of the ruling classes, ended dramatically purpose of this article is to provide an overview of one type with the onset of World War I. of period jewelry, that of the Edwardian era, an age of pros- perity for the power elite at the turn of the 19th century.
    [Show full text]