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

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
2 | Graduation Project Aboli Deshmukh | Lifestyle Accessory Design 2017 | National Institute of Design | 3
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
degree or final graduation of any other educational institution, 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

Student Name in Full: Aboli Sanjay Deshmukh
Signature:
Signature:
Date:
Date:
COPYRIGHT © 2020
Student document publication meant for private

Silver Jewellery
circulation only. All rights reserved.
for Emerald Jewels
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. ABOLI SANJAY DESHMUKH I M.DES LIFESTYLE ACCESSORY DESIGN 2017
GRADUATION PROJECT I 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
summer 2010 by Warsaw-based designer Łukasz
Dziedzic. It was released in 2015. The name ‘Lato’
means Summer in Polish. Aleo is the contemporary
designed as slab serif companion to the Lato font.
Preface
An Introduction to the Project
As part of the NID curriculum, all final year students are required to undertake a Graduation project
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
world of design. In the process of finding solutions within these constraints, one learns to step out of the
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.
Synopsis
The project Summary
‘Emerald Jewels’ is a name synonymous with traditional Indian gold jewellery being the largest The final stage which was product development was where I learned a lot about what to do and more
manufacturer of gold jewellery in Asia. With over 36 years of legacy in gold jewellery manufacturing, it is importantly what not to do. It was from the failures that I learned the most. It was a great learning
known for its enchanting designs, quality consciousness, perfection and business ethics. experience as I got direct industrial exposure, which extended my design thinking possibilities and helped
me transform the design sketches to fine pieces of jewellery.
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 It was an intense six months project which taught me more than I had anticipated. The company exposure
Jewels. This is when I was called on board as they were looking for a new design perspective apart from at such vast level gave me a complete system understanding. The whole experience helped me to broaden
the plethora of traditional designs they already had. It was the very first time of them to have a design my horizon and understand the commercial aspect of product development on a very large scale.
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
art manufacturing facilities. I began by researching the significance and cultural connotations of silver
jewellery in the Indian context. The research also involved understanding of the market, current trends,
materials, customer needs and design requirements by primary and secondary methodologies. 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.
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
take up my Graduation Project in Emerald Jewels. I am grateful to him for showing a sense of confidence
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.
I would like to thank the entire Product Development team for their requisite inputs, constant help and
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. guidance and for introducing me to various manufacturing possibilities in jewellery. Special thanks to
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 Mr. Manikam, Mr. Gokul and Swapanji. I also wanted to mention the karigars in various departments that
Anna, Vishwanathan Anna, Gowri Akka, Kanakaraj Anna, Karthick, Thakur Das Anna and Priya Dharshini Akka
worked hard throughout the execution process. It wouldn’t have been possible without each one of them.
I extend my regards to Mr. Rajeev Ebenzeer (HR Head), Mrs. Meghala and the entire HR team for
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
would like to recognize the genuine and invaluable support that you all provided during my project.
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.
Contents
Preface
9
Synopsis 10
Acknowledgement 13
Emerald Jewels Trend Research Research Analysis Banana Collection

2.1 About
Emerald Jewels 37 4.1 Trend Research 101 6.1 Approach for the 8.1 Collection Presets 292
2.2 Brand Story 38 4.2 Forecasting 102 Collections 158 8.2 Ideation 294
Introduction 2.3 About JewelOne 41 Jewellery Research 4.3 Trend Directions 103 Market Research 6.2 Redefined Briefs 159 Temple Collection 8.3 Product Development 307 Tree Ring Collection
2.4 Brand Philosophy 42 4.4 Jewellery Trends 124 6.3 Final Design Directions 160 8.4 Insights 345
1.1 About
NID 21 2.5 Asset 42 3.1 History of Jewellery 81 4.5 Design Directions 128 5.1 Primary Research 136 6.4 Research on Existing 7.1 Collection Presets 210 9.1 Collection Presets 358
1.2 LAD @ NID 23 2.6 USP 43 3.2 Silver- The Noble Metal 85 4.6 Insights 133 5.2 Secondary Research on Applications 186 7.2 Ideation 212 9.2 Ideation 360
1.3 About Graduation Project 24 2.7 Design Team 44 3.3 Silver Jewellery in India 86 Silver Jewellery 136 6.5 Insights 207 7.3 Prototyping 229 9.3 Product Development 372
1.4 Project Guide 25 2.8 SWOT Analysis 45 3.4 Why was silver worn? 89 5.3 Market Survey 150 7.4 Product Development 238 9.4 Insights 413
1.5 About me 26 2.9 Customer Segment 46 3.5 Silver making a comeback 90 5.4 Insights 155 7.5 Insights 281
1.6 Why this Project? 27 2.10 Production Units, Office 47 3.6 Techniques on Silver 92 Reflections 425
1.7 Project Proposal 28 2.11 Jewellery Manufacturing 48 3.7 Insights 97 Conclusion 427
1.8 Project Process Flow 32 2.12 Insights 77 Credits 429-443
00
Introduction
01
About NID
LAD @ NID
About Graduation Project
Project Guide
About me
Why this Project?
Project Proposal
Project Process Flow
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
in India. NID has been declared as the ‘Institution of National each individual into account. The Institute anchors itself to
Importance’, by virtue of National Institute of Design Act 2014 cultural strengths of India and fosters strategic design linkages
PIONEERING HARD
by the Indian Parliament. It focuses on providing distinguished of innovation and entrepreneurship with the various sectors of WORK TO DEVELOP
education in design so as to promote design awareness and industry. NID works towards new opportunities for small, medium A SYSTEM OF
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.
and Masters level with five faculty streams and twenty diverse Over a span of the last 50 years, it has made newer linkages across
HOLISTIC LEARNING
design domains. NID has established exchange programmes and institutional, national and cultural boundaries in order to create THAN ON MERE
ongoing pedagogic relationships with more than 55 overseas newer opportunities for the development of people and industry. INSTRUCTIONS.
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,
applied research, service and advanced training in five faculty
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
the intellectual, creative and other skills acquired could be adapted
to benefit the user, society and industry. The overall structure
of NID’s programme is a combination of theory, skills, design
projects and field experiences supported by cutting edge design
studios, skill & innovation labs and the Knowledge Management
Fig. 1.1 Inside of Academic block Centre. Interdisciplinary design studies in Science and Liberal Arts
in National Institute of Design, widen the students’ horizons and increase general awareness of
Gandhinagar Fig. 1.1 contemporary issues.
1.2 LAD @ NID
The Lifestyle Accessory Design (LAD) M.Des programme educates rich experience and knowledge to the world in various national/ LIFESTYLE ACCESSORY
and trains professional designers to visualize and create lifestyle global level design conferences. Through design practices and DESIGN RELATES TO
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
PEOPLE’S WAY OF
they interact with, which form an important basis of their day-to- in recent past have been India Africa design initiative in Africa, LIVING AND THE
day lives. The programme draws from indigenous contexts and India Bhutan craft design Initiative in Bhutan, conference in 3rd PRODUCTS THEY
their socio-cultural values, beliefs, practices, cultural diversity Willow and Weaving Festival In Poland, Exchange visit HTW Berlin INTERACT WITH.
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
dynamics that influence the lifestyles of consumers from various Sustainability conference Gandhinagar.
strata of the society.
The designers from this programme aspire to drive the market by

‘Designing for Changing Needs’ and ‘Designing for Future Needs’,
and make ‘Designed in India’ a premier global brand. Focusing on
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

Fig. 1.2 Students of Lifestyle ranging from classroom projects, Internships, Graduation projects,
Accessory Design 2017 batch Research & Consultancy projects, Industry-led workshops/
during a fun activity Fig. 1.2 seminars/events. The faculties from the program have shared their
1.3 About Graduation Project 1.4 Project Guide
THE GRADUATION The end of students academic tenure at NID is marked by Shimul Mehta Vyas is a Principal Designer and Faculty at the Ms. Vyas has always actively pursued. She is a Steering Committee
PROJECT REFLECTS undertaking a Graduation Project in the field of design on a topic National Institute of Design (NID), India. After graduating in Member of the Gem and Jewellery Skill Council of India (GJSCI)
closely allied with their discipline of study. The project can be Commerce and Law, Ms. Vyas specialised in Accessory Design which functions under the aegis of the National Skill Development
THE STUDENTS done with a client organisation from Industry or by the student from the Fashion Institute of Technology, State University of Corporation (NSDC).
COMPETENCE TO himself/herself. It comprises a comprehensive project based on New York, USA. Subsequent to brief work experience in USA and
EXCEL IN THEIR a predetermined design brief. The project duration can be from India, she joined the National Institute of Design in July 1995 She has been a wonderful guide, mentor and advisor not only
CHOSEN PROFESSION. four to six months. The Graduation Project is an opportunity for as a faculty of Accessory Design under the aegis of the Apparel through this project but also throughout the NID journey.
the student to manifest their design thinking, knowledge and Design discipline. She is the founding faculty of the Lifestyle
The Graduation Project Manual, NID skills incorporating systematic process approach with informed Accessory Design discipline set up in 2002 at NID which offers a
design decisions. It is a complete demonstration of independent Master’s Programme in the said specialisation. She has 25 years of
client service by the student under the guidance of expertise from experience in design academics, research, practice and training.
the industry and faculty guide from NID aligned with broader
objectives of the Institute. Since the past 25 years, Ms. Vyas has been actively contributing Shimul Mehta Vyas
to the cause of design education and institution building. She Principal Designer and Faculty,
The end of the project comprises of documentation of the same helped establish the Academic Credit and Evaluation System; National Institute of Design
and a jury where the faculty members evaluate the student’s designed the attire for the convocation ceremony at NID, set up
performance and are graded, after which students are awarded the institute’s design shop—NIDUS; and helped in brand building
NID’s professional education degree. and positioning of the India International Jeweller Show (IIJS),
Signature Goa and Mumbai.
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 first book - When Jewellery Speaks: Celebrating the Tradition
of Kundan Meenakari (published in 2012) is wholly dedicated to
Kundan Meenakari jewellery which has dominated the landscape
of traditional Indian jewellery for almost five decades. The second
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
1.5 About me 1.6 Why this Project?
I am a post-graduate student of Lifestyle Accessory Design at the During the two academic years at NID, I got to work in a wide So, as an extension of my studies at NID, I was looking forward to
National Institute of Design, Gandhinagar. I was born and brought spectrum of domains like bags, jewellery, craft products, CMF, being able to apply my skills and capabilities and deal with complex
up in Aurangabad, Maharashtra. space accessories, interior objects, trend research and system real-world, industry scenarios and learn from it in the best place
design. Out of all, working on jewellery interested me the most. anyone can be in.
I have completed a bachelor’s degree in Engineering. Engineering Hence, this Project.
study helped me to critically analyse everything and structure I realized I always had a soft corner for jewellery, call it a womanly
my thoughts and plan of action. In the initial phase of design instinct. Even during the childhood years, I used to make small
education, I had to unlearn a lot of things that I had learnt so far. pieces of jewellery from beads, feathers, flowers, with whatever
But later I realised it was all a part of the bigger picture. Design I could find around. Sometimes I used to break my mother’s
study helped me to become more observant, empathetic, receptive jewellery and make something new from it.
and a confident person. It fostered my creativity, taught me how to
execute the design process and also how crucial working in a team So, at NID I found jewellery design naturally appealing. I dabbled
Aboli Sanjay Deshmukh is. I developed a different outlook on seeing the world. in it and later did a month-long internship with an e-commerce
Lifestyle Accessory Design, 2017 jewellery brand after the first academic year. This is when I
National Institute of Design, My interest varies from doodling, reading, gardening, yoga realised that I need to get good industry exposure and mentorship
Gandhinagar
and playing badminton. In a world of opportunities, my core to improve my work by gaining practical experience. I learnt about
value includes a futuristic approach, cultural intelligence and an Emerald Jewels being the giant hub of jewellery manufacturing
inclination towards sustainability. 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

realized that being in the factory, where I could get the first-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.
1.7 Project Proposal
Context language with contemporary interpretations as the modern Initial Brief Project Methodology
millennial woman is attuned to a design sensibility that combines
‘Emerald Jewels’ is a name synonymous with top quality gold contemporary and traditional together. Using ‘Silver’ as the dominant material, design and develop a range 1. Formulating a ‘Project Brief’
jewellery known for its enchanting traditional designs. With over of contemporary jewellery, building a brand language for Emerald Articulating a crisp project brief stating summary of the project
36 years of legacy in Gold jewellery manufacturing, Emerald is Jewels.
known for its quality consciousness, perfection and business Background Study 2. Research
ethics. Over the decades the group has gradually transformed • Understanding Emerald Jewels as a brand to study its identity,
Gold Jewellery manufacturing from conventional cottage philosophy, different verticals, design ethos and their working
industry to technology-driven organized sector being the largest
In India, traditionally a prolific amount of jewellery was worn. It Scope of the project systems at every stage
was not merely to beautify, but acted as a store of wealth, marked
manufacturer of gold jewellery in Asia. The Company has ultra- the rituals of life, signified status, conferred respectability and • Visiting all four units of Emerald in Coimbatore to understand
• Getting a full exposure to the handmade and ultra-modern
modern production facilities at four state of the art factories marked the wearer’s identity. Today, the younger generations or manufacturing techniques
manufacturing techniques in gold and silver jewellery at Emerald
located in Coimbatore with a workforce of 5000 employees. It is the millennials do not hold or carry jewellery in the same esteem • Understanding silver as a material, its properties and limitations
Jewels and understanding the technical ‘know-how’.
a one-stop gold jewellery manufacturer vendor for leading chains or style as their predecessors. Now it is about keeping up with the • Learning the traditional and modern manufacturing processes
and wholesalers in south India and countries like Dubai, Malaysia, latest trends, styles more personal, making them look unique and involved in making silver jewellery and different surface finishes on
• Research on users and usability helping to map customer needs
UK and USA. Their retail brand ‘Jewel One’ is also operating 15 stand out in the crowd. silver
and come up with jewellery products that are more relevant and
exclusive showrooms across Tamil Nadu and Pondicherry and • Visiting JewelOne and other competitor retail showrooms for
appealing to them.
plans to roll out its exclusive showrooms pan India. Silver jewellery is making a major comeback in the fashion industry. market research
With the new trend of sustainable fashion being the mantra behind • Ethnographic research for the target consumer in order to
• Research on recent design styles, national and international
When it comes to jewellery, traditionally, Indians have a penchant the creative drive, designers are creating new and exciting designs understand buyers for identifying design opportunity
trends assisting to pick themes in resonance with the jewellery
for opting for gold, but nowadays silver jewellery is also not far in silver. Silver being much cheaper than gold and platinum has • Understanding cultural connotations of silver jewellery in the
market, hence creating a greater impact.
behind in popularity. Ever-rising gold prices have made silver become the metal of choice for a large number of people in India. Indian context and trend study
surpass gold in demand due to its affordability. The interest of The disposable income in the hands of the young working class is • Exploring new ideas for developing various textures and surfaces
style-conscious buyer is shifting towards silver as it is a stable also creating demand for silver jewellery which made silver exports 3. Ideation, concept building and explorations
at Emerald’s one-stop production facilities.
investment and goes well with minimalist fashion ethos thus from India jump to more than 30% in the last financial year. Thus, • Opportunity mapping and concept generation
becoming a jewellery staple for today’s women. Affordability, easy Emerald Jewels is also investing in silver as the silver jewellery • Creating storylines, mood boards, concept boards for the chosen
• Coming up with jewellery collections which will assist to
and quick availability and timeless nature of silver has made its trend has caught on like wildfire making silver the gold standard of design direction
establish a brand language for Emerald Jewels.
place high in the segment of new age jewellery. Emerald Jewels modern jewellery design. • Sketching, form explorations
have recently ventured into silver jewellery manufacturing
following the demand. Thus, lies an opportunity to design silver 4. Product Development
jewellery collections enhancing the silver vertical of Emerald • Prototyping and alterations according to the feedback
Jewels. The collections would be adhering to the traditional • Mockup development in other material if required
5. Market testing and Feedback Deliverables Timeline
• Design review and understanding loopholes
• Work on the costing • 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 • Jewellery photoshoot and artworks for branding (if required)
• Documenting the entire project starting from research to the
7. Branding and Marketing product development stage
• Strategising branding, graphics, photoshoot if required
AUG SEP OCT NOV DEC JAN
Research Framework
1. Brand
To understand the brand, its ideologies and principles
Introduction to
2. Material Emerald Jewels,
Exploring silver metal as a material, understanding its research on Trend study and
properties silver and silver analysis, client
jewellery. study and market Concept building, creating moodboards,
3. Silver Jewellery research ideation, form exploration and sketching,
Understanding the significance of silver jewellery in the Indian design refinement Prototyping,
context refinement
and product Further product
development alterations and
4. Manufacturing Processes
development,
Learning about traditional and modern methods of manufacturing
costing,
silver jewellery and also its limitations
photoshoot,
retrospection and
5. Buyer
winding up
Ethnographic research on the target consumer using primary and
secondary research methods
1.8 Project Process Flow
MIND MAPPING AND

PROCESS FLOW CHART PERSONA
DESIGN RETROSPECT
FOR ACHIEVING BOARD
DIRECTIONS
SPECIFIC GOALS AND BRAND CONSUMER
PRODUCTION
MEETING PLANNED STORY STUDY
PROCESSES CONCEPT
OBJECTIVES INVOLVED COSTING
BUILDING CORRECTIONS
IN VARIOUS STAGES OF
THE PROJECT. COMPANY SECONDARY SELECTING
ORIENTATION LOCAL RESEARCH INSPIRATION PRODUCT CAD
MARKET SUB SPECIFICATIONS
PRODUCT SURVEY STORIES/
THEMES CAM
PORTFOLIO
FINISHING
COLLECTION AND
MARKET PRESETS PRODUCT QUALITY
RESEARCH FINAL DEVELOPMENT CHECK
PROTOTYPES
DESIGNS
PROJECT
PROPOSAL RESEARCH FORM ASSEMBLY
GENERATION
IDEATION PRODUCTION
TREND DESIGN
PROJECT
RESEARCH ITERATIONS
BRIEF
AND
JEWELLERY
FORECASTING
RESEARCH
HISTORY FEEDBACK
SESSIONS
MATERIAL
01 Emerald Jewels
02
About Emerald Jewels
Brand Story
About JewelOne
Brand Philosophy
Asset
USP
Design Team
SWOT Analysis
Customer Segment
Production Units and Offices
Jewellery Manufacturing
Insights
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
unending hard work from scratch to grow into one of the ‘World’s market for its uniqueness of design, aesthetics and workmanship. THE GROUP HAS
Largest Jewelry Manufacturers’. Way back in 1984, Emerald was
founded in Coimbatore, Tamil Nadu to meet the demands of India’s Emerald wants to spread their wings and take the ‘Made in India’
TRANSFORMED
market that was just asserting itself and finding it’s place as an label to the whole world with a vision to achieve the ‘world’s JEWELLERY
economy. People were not satisfied with the stale merchandise largest jewellery manufacturer’ status in the nearest future. MANUFACTURING
peddled throughout the country and demanded better quality This is not difficult when they have everything in place - a highly FROM CONVENTIONAL
and design, both of which Emerald delivered in spades. Rapidly trained and committed workforce of 5,000 plus, dedicated team METHODS TO
adapting to emerging technology and good innovation helped involvement, ethical business approach, sprawling manufacturing
Emerald propel itself to the top where it sits right now. facilities with further scope for expansion and sophisticated
TECHNOLOGY AND
production equipment numbering 2000 plus, the best in the world. TALENT-DRIVEN ONE...
Making a product that stands testament to quality has been
Emerald’s commitment since inception. Emerald produces 24 tons
of gold and diamond jewellery and 4 tons of silver articles focusing
on quality, innovative designs and dedicated customer service.
Today it is a leading group in the Indian jewellery industry and has
produced more than 5 lakh designs. The skill, 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
emphasis on quality excellence and continuous improvement with
a customer-centric approach. His relentless efforts, continuous
research combined with high principles have lead the company
to attain the position of ‘One of the world’s leading jewellery
manufacturers’. Over the decades the group has gradually
transformed gold jewellery manufacturing from conventional
methods to technology and talent-driven one. The company owns
four ultra-modern production facilities, each one specializing in Fig. 2.1 Gold Jewellery by
Fig. 2.1 different types of products with a production area of 6 lakh square Emerald Jewels
2.2 Brand Story
WITH THE SETTING UP The journey of Mr Shrinivasan started as a rugged road, he Coimbatore, at a monthly salary of Rs 100 in 1984. Right from Today, About 76 wholesalers spread across the country buy four design centres across the country and one in Dubai and Fig. 2.2 First workshop
had to face a lot of challenges as the jewellery industry was an childhood, his dream was to start a business in jewellery. After Emerald products and sell to the customers through retailers. exports jewellery to countries like Dubai, USA, UK, Malaysia, Sri establishment by Mr.
OF EMERALD’S FIRST Shrinivasan started in the year
unorganised one. With 36 years of dedication and hard work, he graduating in mathematics, he joined a jewellery showroom at Emerald offers a staggering design bank of over 5 lakh designs, Lanka, Bangladesh, Africa and many more.
MANUFACTURING has transformed the cottage industry to technology driven with the age of 22. He thought he could grow fast as the industry was 1984 in Coimbatore, Tamil Nadu
FACILITY IN the state of the art manufacturing facilities. totally unorganised. So, after a 10-month learning experience in
Fig. 2.3 Massive jewellery
COIMBATORE, MR. design, technique, manufacturing and sales, he decided to start his manufacturing factory setup by
SHRINIVASAN’S own venture. Emerald Jewels in Coimbatore,
DREAM FRUCTIFIED. Tamil Nadu
With a small loan from his brother, he began on a small scale. Luck
SINCE THEN THERE IS was on his side because one day he found a Gujarati businessman
NO LOOKING BACK... struggling to communicate in Coimbatore. Luckily he knew Hindi
and was able to help the Gujarati businessman find what he
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
train for 36 hours journey with some 150 gm of small items such as
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.
From the very beginning, his focus was on the design, finish
and innovation. After making a lot of innovation in hand-
made jewellery, he moved into mechanisation as he knew the
future would be very competitive. Making quality jewellery in
multifarious designs in an organized way and on a mass scale was
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 first manufacturing facility in Coimbatore, his dream
He started from scratch as he was the first-gen entrepreneur fructified. Whatever he created was new to the industry and so
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. Fig. 2.3
2.3 About JewelOne
JewelOne, a retail jewellery brand from the house of Emerald JEWELONE, THE
Jewel Industry India Limited, is an omnichannel jewellery retailer, RETAIL ARM OF THE
showcasing exquisite pieces of jewellery across 15 showrooms
located in Tamil Nadu, Andhra Pradesh and Pondycherry.
EMERALD GROUP
JewelOne stands tall among peer brands, with a repertoire of PLANS TO EXPAND
over 5,00,000 designs, that comes to life with a combination of PAN INDIA IN THE
world-class technology and expert craftsmanship. The caption COMING YEARS.
“Penn Manadhai Purindha Ponn” effectively captures the brand
ethos that stands for jewelry that resonates with the heart of the
quintessential woman.
The idea was first conceived in the early 2010s with a view to
reaching the common man at an affordable price through its retail
outlets and the first retail store was inaugurated in the year 2013
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
a strong emphasis on creating quality products, while ensuring the
purity of the products. Currently, JewelOne deals with 22 Kt gold
jewellery, diamond jewellery, platinum jewellery, silver jewellery
and articles. JewelOne operates its stores by emphasizing on
its various collections targeting various segments. Few of these
collections are ‘Simha’ for men, ‘Ek Tara’ for kids, ‘Nishtaa’ and
‘Zilara Silver Jewellery’ for modern young women.
The retail company has already opened 15 exclusive showrooms

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 Fig. 2.4 JewelOne retail
the Emerald Group is currently on an expansion mode and plans to showroom in Madurai, Tamil
Fig. 2.4 roll out its exclusive showrooms pan India in the coming years. Nadu
2.4 Brand Philosophy 2.5 Asset 2.6 USP
Emerald in its philosophy is committed to creating beautiful The massive workforce of over 5000 dedicated and 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
masterpieces that can be relished to the millimetre by all the committed employees is Emerald’s biggest asset. 5,00,000 designs and leading-edge manufacturing facilities. manufactured by the different technique of casting, BREATHTAKING
people. Quality is paramount at Emerald. From design to product Emerald provides a happy workplace for them and The optimum use of the latest technologies helps to create stamping, electroforming, fusion etc. A plethora of state of
development, at every stage, the highest level of quality checks
DESIGNS ARE
constantly trains them to enhance their skills. The unique and breathtaking designs with high quality and finish. the art manufacturing techniques let emerald create unique, DEVELOPED USING
are implemented to ensure unmatched perfection. The building
craftsmen/ Kaarigars majorly come from Bengal, Kerala, In house design team and comprehensive manufacturing uncommon and affordable designs which are difficult to
systems and procedures at all stages are in order to enhance FUSION OF LEADING
Bihar, Rajasthan and various South Indian cities as each capabilities have made Emerald create their USP of making reproduce by others.
customer satisfaction and make them delight. Deep-rooted in their EDGE PRODUCTION
ethical beliefs and principles, the commitments of the metal purity, region bring its own strengths and skills. The in-house a piece of jewellery with multiple manufacturing processes.
‘Training Centre’ provides extensive training in the areas TECHNIQUES.
transparency in business, superior creations are unmatched.
keeping pace with the tides of changes in the way to sustain of design, production, stone setting etc. to the workforce
and grow in the market is ingrained in them. Emerald believes in to maintain uniformity of quality and perfection. Emerald
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 ultra- growth 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.
”
Fig. 2.5 Magnificent gold
- SHAKTHI SRINIVASAN, JOINT MANAGING DIRECTOR necklace by Emerald Jewels
manufactured using fusion
Fig. 2.5
technique
2.7 Design Team 2.8 SWOT Analysis
AIMING AT MASSES Emerald Jewels have 4 designs teams functioning from 4 cities a talented and updated team of CAD designers proficient in Strengths Weaknesses
WITH RELATABLE across India, Mumbai, Delhi, Kolkata and Coimbatore. The design computerized modelling and prototype equipment. Till now
teams located at different locations bring in different ideas and Emerald have produced almost 5,00,000 designs and aim to roll Legacy of 36 long years. No particular strong design language.
DESIGNS IS THE perspectives relevant to the locations as per the indigenous out almost 3500 designs every month in their database in varieties All cutting edge jewellery manufacturing Struggle to sell products online on large numbers.
PHILOSOPHY OF jewellery choices and preferences of Indian women. Aiming at like gold, platinum, silver & diamond jewellery. technology under one roof. Poor Marketing amongst the common
EMERALD’S DESIGN masses with relatable designs is the philosophy of Emerald’s More than 5 lakhs unique self-made designs. crowd pan India.
TEAM. design team. Emerald’s unique traditional designs with quality Innovative approach. Shortfall of awareness about jewellery future
and perfection are famous and relatable to the Indian crowd. Massive workforce of 5000 employees. trends and forecasting.
In addition to the artists and designers, the company possesses One of the few technology-driven Jewellery Young talent hesitant to relocate to Coimbatore.
industries. Only a few designers with prior design education
Quality and purity assurance and certifications. experience.
Environmental-friendly production.
Threats
Opportunities
Ever rising gold prices.
Pan India reach. Changing perception of millennials about gold
Increasing online retail spending. jewellery.
Diversification with in house manufacturing Rapidly changing customer audience.
methods. Managing the massive headcount during
Experimenting with collections and materials. economic slowdown or recession.
Stepping into other sectors of jewellery. Increasing presence of smaller brands taking up
the market.
Fig. 2.6 Designer sketching a
necklace at his workspace in the
Design Department of Emerald
Fig. 2.6
Jewels
2.9 Customer Segment 2.10 Production Units and Office
The customer base of Emerald is enormous and there are various Sell through Online channel The company has four production units located in the city of
verticals of customers that they deal with. They are broadly Coimbatore. Unit One is the biggest and first production unit of
classified as follows. Emerald Jewels. All major working departments like Accounts,
The third type of customer makes an order online via the Emerald Production, HR, Welfare, Design etc. function in Unit 1. 60% of
website or JewelOne website. This customer segment is majorly the total jewellery under Emerald Jewels gets manufactured here.
middle class, upper-middle-class young, well earning, digitally Unit 2 and 3 are dedicated to handmade and fusion collection of
Sell through Distributors able men and women. They prefer buying online instead of going jewellery. Unit 4, also called as Electroforming unit is dedicated
to the shops. This customer can reside in any part of the country. for production of silver jewellery and artefacts. With an installed
More than half of the jewellery that Emerald churns out is sold to This customer is usually inclined towards buying contemporary capacity of 40 tonnes in gold, 22000 carats in diamonds, 2200
over 82 wholesalers spread across the country. These wholesalers jewellery than traditional jewellery. kgs in platinum and 144 tonnes in silver per annum, Emerald’s
select and buy the finished products directly from the factory
potential of gigantic production is unparalleled. The corporate
and sell them to customers through retailers like Tanishq, Shilpi
office of Emerald is located in the heart of the city of Coimbatore
jewellers etc. The company also export its products to countries
like UK, USA, Middle East and far East. In several cases, design Customization which looks after the retail business.
briefs are provided prior by the retailers and designing and
Another important segment of customer is the one who looks for Emerald believes in sustainable and green manufacturing and
manufacturing take place in Emerald following the brief. So, this set
customization. These can be individual orders or bulk orders for so has installed three windmills in the outskirts of Coimbatore
of customers can be anywhere from the country who goes to retail
corporate gifting, wedding etc. Emerald has recently launched generating 3.5 MW of captive power. The increased energy
jewellery shops for buying jewellery. This customer base cannot be
‘Emerald Design Centre’ showcasing 8000+ designs where one efficiency ensures less pollution, emission and waste. They also
precisely defined as it is extensive and variable.
can visit and make an order. The customers can also meet the generate solar power, practice waste management and maximum
designers, discuss their requirements of what and how do they use of renewable resources with zero discharge policy.
want to get the jewellery made with the designer’s expertise.
Sell through Retail Shops Online customization is also offered by Emerald.
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 Fig. 2.7
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
from CAD processing to the final finishing of the product was
studied.
Fig. 2.9
CAD (Computer Aided Design) SFD (Silver Finishing Department)

In the CAD Cell, designs coming from the design department are The resin platforms are received by Silver Finishing Department
converted into 3D models using softwares like Rhinoceros and for further process. The resin pieces are cut from the platform,
Matrix. This department is equipped with a CAD library, which has Fig. 2.8
their supports are also cut using hand motor with different burrs
all standardised data required for 3D modelling. Eg. for modelling and cutters, this process is called as support killing. Finishing and
a ring, the minimum thickness, diameter, optimum weight all these rework are done on the CAM pieces using reusable wax wherever
specifications and basic 3D models are available in the library. CAM (Computer Aided Manufacturing) required. Then, using ART Master spray gun multiple coats of a
Referring to these templates saves a lot of time and the designer mixture (thinner + hardener + clear coat) are applied on the resin
adds only what the design demands. Three points are kept in mind In the CAM department, the 3D Rhino files received from CAD pieces for an ultra-smooth finish. The stone setting area is covered
during CAD designing which are; 1. It has to be Manufacture cell are converted into STL format in a semi-automatic NAUTA with tape while spraying. The wax runners are cut from the wax Fig. 2.10 Fig. 2.9 CAM models of various
friendly, 2. It should have optimum weight and 3. It should be software. Rapid prototyping can be done with three types of input, tree and attached to every CAM piece using a wax pin. jewellery kept in a tray after
aesthetically pleasing. This department also use Magics software solid powder, liquid type and resin type. Maximum CAD inputs are curing and cutting from the
properly mixed with a hardener in the ratio of 10:1 is poured in the
for adding textures to the 3D model. Thus, the final dimensions tried to be fitted in the platforms of size 110mm x 110mm and main CAM base
aluminium frame. The resin CAM piece is already placed inside the
150mm x 150mm. The prototyping or 3D printing starts from the
and details are finalised at this stage itself. Once it is complete, the
bottommost layer and layer by layer the CAM pieces get created
Die making frame vertically. The air bubbles in the liquid are removed manually
Fig. 2.10 Worker grinding and
BOM sheet is created and after quality check, the CAD designs are and also using a vacuum machine and left at room temperature
Fig. 2.8 CAD model of earrings and are taken out after curing. finishing the CAM model of
forwarded to the CAM department. Once the resin pieces are ready, dies are created. For creating for curing. After 12-14 hours of curing time, the solidified silicone
and pendant set created by a two finger ring with a burr
referring to the design sketch RTV Die (Room temperature vulcanizing silicone), liquid rubber block is taken out and cut into 2 pieces with precision so that it attached to the Flexi Shaft
doesn’t cut the resin piece inside and damage the design. Air vents The CAM masterpiece is sandwiched between two silicon rubber of the clamps, duration of injection, amount of wax to be inserted each other. After attaching the multiple wax pieces around the
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 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
cutter so that the two pieces perfectly fit into each other. The 30 minutes resulting in solid rubber block formation. This high a finish to the wax pieces, stones are set on it as per the design so a cylindrical metal flask is placed around the tree. Further, the tree
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 that an exact replica comes out after casting. The wax pieces are is sent for investment casting.
method of Silicon die making, high strength semi-solid rubber is be used multiple times. then attached to a wax trunk, in a manner that no pieces touch
used.
Wax Model
Once the Silicon dies are ready, wax is injected into it using Wax
Injection machine. When the dies are clamped on the machine, first
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. 2.14 Worker numbering the
Fig. 2.13 Artisan setting stones in wax trees before it is sent for the
the wax piece of a pendant Fig. 2.12 Fig. 2.13 Fig. 2.14 Investment casting process
Casting Process the tree. Then it is kept to settle down at room temperature for 2 Investment Casting
hours. In Casting, the molten metal is poured in the POP mould in high-
In this process, the wax trees are covered with a flask which has temperature VIC machine. The process begins by putting the flask
holes around it for permeability and are placed in an investment Burnout in the casting machine. The machine is programmed based on the
setting machine. Then a mixture of water and investment powder Once the powder is hardened, it is transferred to furnace at a gold and alloy type. Once everything is set the molten metal flows
is poured in the flask. The slurry of investment powder and water temperature of 700 degree Celsius. This result in dewaxing or in the flask and casting gets complete as the metal gets solidified
takes 2 hours to harden in the setting machine. Then the flask filed melting of wax or ‘lost wax’. It creates a negative space for the in 2-3 minutes. These flasks with metal and POP inside are kept
with POP is subjected to vibration and vacuuming, so the trapped metal to be poured during casting. This process is called ‘Burnout’. under running water for a few minutes to cool down and kept in
air particles can be released and powder will be filled evenly in high-pressure water jet machine so that the POP comes out and
the output is the metal tree.
Sprue Grinding
In this process, the extra projections of the casted tree are
removed. First manually each piece is cut separately from the tree,
then the runners are removed and finished by grinding. After the
quality check, these semi-finished gold or silver pieces are sent for
the further jewellery making process.
Fig. 2.16
Fig. 2.16 Worker setting the

casted gold tree in high-pressure
water jet machine for cleaning
Fig. 2.15 Workers inserting the
flask with POP mould in the Fig. 2.17 Gold trees formed after
investment casting machine Fig. 2.15 Fig. 2.17 the Investment casting process
Product Development Cell place at this stage and the product actually starts looking like a pieces due to soldering. The pieces get cleaned and polished in the Correction and Stone setting
piece of jewellery. stripping machine due to friction with steel balls and small wires. Unwanted extra material on the piece of jewellery is removed in
In Product Development Cell, a series of assembly and finishing For Ultrasonic cleaning, a jig with jewellery pieces hung on it is the correction process manually with a rotating hand tool. After
processes are carried out. It includes Bench working where the BP Stripping inserted in a solution in an ultrasonic machine for 10-15 minutes. correction, the last step of adding material to jewellery piece
karigar manually does multiple finishing processes like filing, linking, BP Stripping process removes all the black and green stains on the Further cleaning is done with high-pressure steam if required. is stone setting. The jewellery piece is fixed on a lac base with
soldering, assembly, stone setting, polishing, buffing, cleaning, a wooden stand called ‘Arrakku’ in Tamil. The stone is brushed
laser engraving, electroplating, quality check, product certification, against a ‘sanakal’ surface to make it less smooth. Karigars set the
quality assurance etc. stones skillfully on the jewellery piece by referring to the job card
description.
Separation
Product Development Cell is equipped with numerous types of Buffing and Polishing
spare parts essential for the product assembly. After receiving For buffing process, the jewellery is rubbed against a rotating
the casted products, spares are picked according to the job sheet buffing wheel giving it a shine. Different types of buffs like brush,
description and handed over to the karigar for further process. cloth buff etc. are used for final finish. In this process, the final
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
can get difficult for correction. Most of the final assembly takes 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

Fig. 2.18 Artisan soldering the finishing the ring with a buff
chain with a soldering gun attached on a Flexi shaft gun
Fig. 2.19 Artisan cleaning the Fig. 2.22 Artisan buffing and
jewellery piece under high- polishing the jewellery by using
pressure water jet after soldering Fig. 2.18 Fig. 2.19 Fig. 2.21 Fig. 2.22 various types of burr wheels
finishing is done based on the type of finish required like gloss, high process, jewellery pieces are hung on a copper jig which is dipped
gloss, matt, brush, textured, or satin finish. If any defects are found in a series of tubs in sequence. The 7-8 tubs filled with chemical
during quality check it goes to back to correction and the same solutions are for the following processes: Ultrasonic, degreasing,
process gets followed again. acid dip path, gold plating (Auro strike bath), BN hard gold bath,
EP bath. The total process time for one jig is approximately 15
Electroplating minutes.
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
by Sandblasting process, Rhodium plating and Antique plating.
Colouring and Enamelling are also done manually or by spray
jet. The texturing source is targeted specifically on the area of
jewellery where the texture is desired. In hand texturing, various
texture patterns are created by scratching the surface in specific
manners. Later, Masking and rebuffing are also done if necessary.
Laser Assembly and Engraving

The final assembly is done after every other process is complete by
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. 2.25 Artisan painting the

Fig. 2.23 Fig. 2.24 Fig. 2.25 jewellery with liquid enamel
Fig. 2.26
pieces on each other as desired and targets a laser beam on it.

After pressing the pedal, the laser hits the target and the pieces
which the gold weight, stone weight and batch details are added.
The products are further sent to the Photography department
Casting
get soldered very efficiently. Once the product is finished the
Emerald hallmark is engraved on it using the Laser Engraving
where the details of every single piece along with pictures are
added to their database. After costing procedures, the final
jewellery
Machine. products are dispatched to stores.
Quality Check (QC) Manufacturing process flow elaborated in this section is similar for
In the Quality Department, the specialized QC people check most of the other production processes at Emerald. Hence, it is not Emerald has been a pioneer in producing outstanding casted
each finished product with minute details, based on the Emerald explained in the next section of this document to avoid repetition. jewellery from decades. The Casting collection remains the
guidelines. It involves the set standards, stone quality, safety check, market leader with 85,000+ designs and superior finish.
weight, price point and manufacturing quality. If the product has Investment casting allows the creation of intricate designs and is Fig. 2.27
any issues in QC, then it is sent back for rework. the conventional method of jewellery manufacturing. The beauty
Fig. 2.26 Artisan looking at the of sturdy, solid casted jewellery is enhanced with texturing, Fig. 2.27 Set of earrings and
bangle through a magnifying Product Certification rhodium plating and enamelling. One of the jewellery set from necklace made from the casting
lens for quality check After the quality check, product certification is carried out, in casting collection is shown here. process
Electroforming Process melting alloy is used instead of it. One jig takes about 15 hours for
the entire process of metal deposition.
The step by step manufacturing description of Electroforming
process is given below. Dewaxing
The inside wax or low melting alloy is then emptied by heating as
Wax/ Low melting alloy Replica it melts and drips down and only the outer metal deposition is left.
In this process, wax pieces are made same as the casting process. This method is very similar to the method of dewaxing. Further,
Once the wax pieces are ready, multiple coats of conductive silver these electroformed hollow pieces are finished very skillfully as
paint are applied to it thoroughly. The even application of silver over finishing can result in breaking of the pieces and later sent for
paint is crucial because if a small area on the piece is left without quality check. After quality check the forming pieces are sent for
paint application, metal will not get deposited on it during the assembly with other parts in a jewellery.
forming process. These paint coated wax pieces are placed on a
rubber-coated metal base and hung on a jig.
Forming
In the forming process, a sequence of chemical reactions takes
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. 2.30 Workers carefully
Fig. 2.29 Worker applying inserting the jig in a chemical
conductive silver paint on the solution during the process of
wax model of an idol Fig. 2.28 Fig. 2.29 Fig. 2.30 electroforming
Electroforming
jewellery
Emerald manufactures quality jewellery in multifarious designs on

a large scale, in a systematized way with exemplary manufacturing
facilities and technologies. One such state of the art technology is Fig. 2.31 Set of earrings and
Electroforming. In this process 3 dimensional, lightweight, hollow pendants partly made from the
pieces can be created using the electrodeposition method. It has electroforming process
the capacity to reproduce complex external shapes within one
Fig. 2.32 Men’s bracelet from
micrometre at extreme tolerances. This extremely lightweight lightweight Simha collection
and hollow jewellery manufacturing method is used to create entirely made from the
pocket-friendly jewellery. electroforming process
Fig. 2.31 Fig. 2.32
Laser cut
jewellery
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
sizes which are difficult to produce manually. At Emerald, Laser
cutting collection is also called as SISMA as the machines of
the SISMA brands are used. This highly efficient technology
Fig. 2.33 Set of earrings and requires less time and saves a considerable amount of work. The
pendant made from laser-cut
machine can work with a plethora of materials and has a very
sheets
low risk of metal contamination, accidents or injuries as very less
Fig. 2.34 Necklace made from human intervention is required. Few of the jewellery pieces from
intricate laser cut sheets Fig. 2.33 Lasercutting or SISMA collection are shown below.
Fig. 2.34
Fig. 2.35
Machine-made Unikraft
jewellery jewellery
Modern Machinery Department is dedicated to producing bangles
Fig. 2.35 Machine-made ring in and rings using state of the art machinery. In this process, CNC Unikraft department is mainly dedicated to making the traditional
white gold and rose gold dual- lathe machine is used to cut the bangles and rings in required ‘Nagas work’. ‘Nagas’ in Tamil means intricate/ornamental work.
tone finish shapes and sizes and Drawing machine is used to decrease the Nagas jewellery primarily consists of temple designs and originate
diameter and width of the tube. Along with this, a semi-automatic from southern India and has existed from ancient times. Nagas
Fig. 2.36 Machinemade gold work is created by beating a metal sheet from its backside to
stone setting machine is used to set stones in various ways like
bangle create patterns and embellishing it with different stones, small
pave, prong, etc ensuring fewer chances of mistake. This complete
machine-made jewellery collection beholds a uniform and perfect casted pieces, dies and many more. Along with Nagas work,
Fig. 2.37 Set of traditional gold
finish across all the products with supreme quality and astounding Unikraft jewellery collection is famous for its unique, handmade
dangler earrings from Unikraft
collection Fig. 2.36 designs. designs.
Fig. 2.37
Stamping and Imprez
jewellery
Low weight and high resistant Imprez jewellery make it a much

sought after affordable product with special cutting and high finish.
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
can be made using this process. In Imprez method, the stamped Fig. 2.38 Set of gold earrings and
necklace from Imprez collection
pieces are soldered on a texturing sheet using a furnace and
machine. These soldered pieces are then cut individually resulting Fig. 2.39 Gold earrings from
in lightweight hollow 3D pieces. Fig. 2.39 Stamping collection
Fig. 2.38
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
Hollow jewellery is manufactured by covering a gold sheet of 0.5
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
give shapes to the tube. Dyes of various shapes and sizes can be
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

In Ultralight technique a gold sheet is covered around a 99% pure Fig. 2.42
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
Fig. 2.40
water at 100 degrees resulting in melting of the copper using nitric
acid.
Mesh
Mesh jewellery is made using very fine thin wires of 18 kt and
22 kt gold. The diameter of the gold wire is first reduced to 0.06
mm in Wire Drawing Machine. The mesh is then weaved using a
machine to form very light, delicate and intricate jewellery pattern.
These flexible, ribbon resembling meshes can be twisted, knotted
and even pulled into shapes like a flower.
Fig. 2.40 Mesh Gold chain

getting manufactured in the
state of the art machinery
Fig. 2.42 Indiania hollow bracelet
Fig. 2.41 Gold chain being
given the desired pattern in the Fig. 2.43 Indiania bracelet made
machine for Indiania collection Fig. 2.41 Fig. 2.43 using ultra-light gold wires
Fusion
jewellery
Fusion jewellery collection as the name suggests is a blend of

various techniques at Emerald like handmade, filigree, 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
Indiania
other than those which needs to be soldered with each other. A
mixture of POP and water is poured on the malegu where jewellery
is placed. After about half an hour, the POP gets solidified and is
jewellery 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,
Fig. 2.45
correction and QC.
Indiania collection comprises of light-weight, hollow jewellery Fig. 2.44 Various kinds of gold
Along with this, Kundan work of placing a stone in its place and chains from Indiania collection
manufactured using Italian technology by knitting, interweaving, then fixing it by inserting gold foil on all of its sides is also carried
twisting hollow sections into various shapes in order to create out here. Textured balls, wari balls, round handmade balls are the Fig. 2.45 A magnificent gold
some mesmerizing designs. This ultra-light voguish jewellery is speciality of fusion jewellery and are mostly used in the long chains long haaram from Fusion temple
much coveted by youngsters for its unique designs. of necklaces or ‘Haarams’. collection
Fig. 2.44
Zilara
silver jewellery
Crafted in 92.5 Sterling Silver, Zilara collection is the silver

jewellery collection of JewelOne. The bright, shining, bold designs
studded with Swarovski stones blend perfectly with varied
jewellery trends for the young heart. Contemporary Zilara silver
jewellery is created by various manufacturing techniques at
Emerald like casting, electroforming, handmade, fusion. Other
processes involved in jewellery manufacturing are similar as
showed in the casting process.
Along with Zilara silver jewellery, Emerald also possesses an array
of silver items like traditional payals, idols and utensils.
Along with gold and silver jewellery, Emerald possesses awe-

inspiring collections in diamond. These exquisitely designed
Diamond collections are created using ultra-modern technology
Fig. 2.46 A modern silver set in various types of stone settings. Emerald also forays into one
of earrings and necklace from of the rarest elements on the earth; Platinum. Contemporary
Zilara collection jewellery crafted in the precious metal is for the true connoisseur
of elegance and beauty. The manufacturing sections of Diamond
Fig. 2.47 A pair of beautiful
and Platinum jewellery are entirely different and those were not
diamond earrings made in silver
from Zilara collection Fig. 2.46 exposed following the company regulations.
Fig. 2.47
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
created by different manufacturing processes are very unique
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.
Fig. 2.48 A Zilara silver necklace

with studded stones and enamel
finish Fig. 2.48
02 W
Jewellery Research
03
History of Jewellery
Silver- The Noble Metal
Silver Jewellery in India
Why was silver worn?
Silver making a comeback
Techniques on Silver
Insights
3.1 History of Jewellery
India like no other country in the planet can rightfully boast of Why was jewellery worn? FROM THE LAST
an unbroken heritage of jewellery design that spans at least five QUARTER OF THE
thousand years and extends back into antiquity. With a legacy Jewellery originated from the innate desire of human
of numerous years, the jewellery of India epitomizes one of
20TH CENTURY,
beings for adornment. Whatever material its made from and JEWELLERY IN INDIA
the greatest traditions of artistic skills in the world. Its people
whatever its form, the purpose of jewellery was to enhance, FRAGMENTATED
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 INTO A PLURALITY
opportunities for their use. From the immemorial, nature in all the body parts. But rarely is an Indian traditional ornament
OF STYLES WITH A
its variety and beauty has been the principal source of design simply decorative and devoid of inherent meaning or
inspiration to Indian goldsmiths and silversmiths. In the ultimate symbolic values. Jewellery in Indian culture is bound up with DIVERSITY OF FORMS,
analysis jewellery is a dynamic entity. key events of the human life cycle. It was used not merely MATERIALS AND
to beautify but acted as a store of wealth, provided security TECHNIQUES.
Traditionally, a prolific amount of jewellery was worn. Almost all during a contingency, marked the rituals of life, signified
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
was considerable weighing up to 15 kgs. Men generally wore less
imperial might. It also had a close association with religion,
ornamentation than women, although a magnificent array was
sported by maharajas and princes as well as by men of certain tribal fortune and health and was a source of protection from
groups who used flowers, seeds and other natural materials. Even misfortune and illness and a medium of prayer and congress
animals were caparisoned with jewellery. In India, all participate in with the divine.
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
Fig. 3.1 A traditional Indian motivation for the use of traditional ornaments. A woman’s
dancer wearing a great deal of dowry was an important mechanism through which jewellery
iconic jewellery from head to toe Fig. 3.1 changed hands, along with other property. Most jewellery
(c)
(b)
Fig. 3.2 Traditional Indian made from precious metals was considered auspicious and 20th century, jewellery in India fragmented into a plurality of styles
jewellery from various parts of luck-bringing and many pieces were also believed to have with a diversity of forms, materials and techniques. From jewels
the country painstakingly handcrafted by the karigars to those mass-produced
(a)- Toe ring of Zinc Copper alloy strong amuletic properties. (d)
retailers, from designs conceived by the artist-craftsman to those (f)
(b)- Silver-plated brass anklets (a)
These aspects of Indian jewellery still survive, but much less meticulously rendered by the designers, from gold and silver to
from Kachchh, Gujarat
(c)- Gold ear ornament with grey universally than before. In the evolution of jewellery technology unconventional materials, from materials of conformity to striking
beads from southern India in India, metal decorative processes were developed that was individuality, a range of aesthetic choices became available to both
(d)- Silver bracelet from Orissa, practised throughout the country. From the last quarter of the the creators and consumers.
the stepped part over the lock
symbolises a temple tower
(e)- Gold ear ornament worn at (e)
the top of the ear with a cluster
of pearl simulants from Madurai, (i)
Tamil Nadu
(f)- Silver bracelet for children (g)
from Karnataka
(g)- Silver casket for a shivalinga
of Lingayat community from
South India
” (j)
(h)- Silver upper arm jewellery
from Rajasthan An ancient art form, jewellery, reflects man’s primal need for adornment, (h)
(i)- Gold ear ornament worn at constituting a potent artistic language that transcends temporal and
the top of the ear from Madurai
”
(j)- Gold earrings with geographical barriers uniting people despite their cultural, religious and
granulation and turquoise from ethnic diversity.
Punjab
(k)- Heavy anklets from Gujarat
(l)- Silver pendant with a deity - Michalis Liapis
with attendants from Kangra,
Himachal Pradesh
(m)- Gold earrings known as
thandatti from Tamil Nadu are
mostly worn by widows (l) (m)
(n)- Silver wrist ornament from (k) (n)
western India
Fig. 3.2
3.2 Silver- The Noble Metal
One of the earliest metal to have been used by man, not only in history in coinage and jewellery will sustain its status as a symbol
India but also in other parts of the world is silver. silver the brilliant of wealth and prestige.
white shining metal is harder than gold, softer than copper and
second only to gold in malleability, ductility and preciousness. 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
11 (Ib) and Period 5 of the periodic table between copper and gold. supply decreased due to excessive demand.
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
of the seven metals of antiquity, which also include gold, copper, much cheaper than gold, most of the early goldsmiths practised
tin, lead, iron, and mercury that humans had already begun using with silver instead of gold. When the trade was at its zenith,
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 affluent families simply had to have a stunning set of silverware.
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
Fig. 3.3 Traditional Indian flakes, converted into a salt, alloyed with other metals, flattened
jhumkas and bangles in shining into printable sheets, drawn into wires, suspended as a colloid, or
silver Fig. 3.3 even employed as a catalyst. These qualities ensure that its long
3.3 Silver Jewellery in India
IN INDIA, SILVER Indian silver jewellery has existed in almost an unchanged form Silver jewellery is still used as the traditional style of jewellery in
JEWELLERY TAKE A throughout the centuries. In India, ornaments take a variety of places like the valleys of Himachal Pradesh, Kashmir, etc. Many
forms according to the region. Each region has distinctive styles times, one can determine the marital status of women as well as
VARIETY OF FORMS of jewellery specific to it. Many factors such as castes, cultural her community by the jewellery she wears. The main inspiration
ACCORDING TO developments, external influences such as those from migratory for designing traditional silver jewellery is the flora and fauna in
THE REGION AND tribes and trade contacts influenced the jewellery language of a local surroundings. The tribal and rural women in these places still
HAS EXISTED IN AN particular place. Silver jewellery has been more in use among the wear silver jewellery in the traditional style in the form of long and
UNCHANGED WAY tribal and village communities of India. delicate ear chains. Some of the ornaments are inlaid with semi-
precious stones and gems.
THROUGHOUT THE Silver jewellery studded with gold, precious and semi-precious
CENTURIES. stones is quite popular, particularly in southern parts of India. The
speciality of these ornaments is that they are lightweight and of
reasonable cost. The versatility can be observed in silver jewellery,
as different states have indigenous influence over its design. 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 Fig. 3.4 Tribal women from
come across a unique way of using silver in jewellery that is known Rajasthan of India adorned in
as “Tarkashi”. In this form of jewellery, silver is spun into very thin heavy silver jewellery
wires, which is then used to make small containers, vases, lamps,
Fig. 3.5 A kinnauri tribe bride
boxes and of course jewellery. The designs carved on this kind of from Himachal Pradesh
jewellery are very complicated and detailing is very minute thus heavily decked up in the silver
making it unique in its way. jewellery for her marriage in the
Fig. 3.4 Fig. 3.5 traditional attire
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,
silver symbolizes femininity and motherhood. Silver Toe rings
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. It also is considered that silver signifies protection from
magic.
Silver is a good conductor of energy. It works as a mediator

between the earth and the human body while flushing out negative
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
hence to counter the current and keep the energy flowing in the
body, silver jewellery was worn. In an astrological sense, silver is
Fig. 3.6 Intricate tarakasi silver
considered as a cool metal which is recommended by astrologers
bangles. Tarakasi technique
comes from the parts of West
for maintaining mental peace and controlling one’s emotions and
Bengal and Orissa advised to be worn alone or as a base metal.
Fig. 3.7 A tribal women from

Gujarat wearing a pair of
massive silver anklets Fig. 3.6 Fig. 3.7
3.5 Silver, making a comeback
Silver is one of those metals that have been used to make jewellery for and make it a great option to complement day to day wear outfit diamond. The design has become the key differentiator in the Fig. 3.8 A modern women
a long time now. Although less valuable than gold jewellery, there is a and is a cinch to accessorize with. affordable jewellery segment. Consumers today prefer jewellery wearing tribal silver jewellery
certain ethereal charm about Silver. Whether shimmery & sparkly or that they can adorn and make a personal statement unlike the
oxidized, women have been adorning silver as an ornament since time Silver gives excellent scope for creativity and design innovations older days, where jewellery was meant more for securing in
immemorial. The lure of silver had diminished little with time, but, now presenting opportunities that are not possible with gold and lockers than for wearing purposes.
it has taken up the trend making a major comeback. Silver jewellery
sale in India jumped more than 30 per cent in the last financial year as
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
metal of choice for a large number of people. Silver is an easy fit in
terms of money and affordability, its a stable investment if compared
with the ever-rising prices of gold. The metallic bright white feel,
lustrous and shiny aura of Silver jewellery finds its place high in the
”
segment of new age jewellery. Another important reason for the
All that glitters is almost always jewellery and one of the
”
increase in demand for silver jewellery is the trend of wearing nude
jewellery. Silver has that matt finish elegance of platinum at a small most beautiful forms is Silver.
fraction of its cost so to keep up with the current trend people are
choosing to wear silver.
- Anonymous
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
a minimalist fashion ethos. The easy and quick availability of silver
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
3.6 Techniques on Silver
The greatest peculiarities of Indian silver are quality and variety: the reverse side to create a design in low relief. While repoussé is Filigree
each region has its own distinctive style, themes, forms and used to work on the reverse of the metal to form a raised design
creation process. Various techniques are used on the surfaces of on the front, chasing is used to refine the design on the front of Filigree is a unique process that incorporates handcrafted twisted
these items to add value to it adhering to its age-old language. the work by sinking the metal. The techniques of repoussé and threads of precious metal into its design. Filigree is an incredibly old
chasing utilise the plasticity of metal, forming shapes by degrees. art form which has a rich history in jewellery design and beyond.
Repousse There is no loss of metal in the process, as it is stretched locally In India, the filigree work is locally known as Tarkashi. Thick silver
and the surface remains continuous. The process is relatively slow, wires are used to make the frame into which small design pieces
Repoussé or repoussage is a metalworking technique in which but a maximum of form is achieved, with one continuous surface of (sikko) made from thinner wires are fitted. The craftsmanship lies in
a malleable metal is ornamented or shaped by hammering from sheet metal of essentially the same thickness. fitting the small parts perfectly in the frame. Filigree basically 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

another to produce intricate patterns. This technique, in particular,
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.
Fig. 3.11
Bidri
Fig. 3.9 A rare repousse silver
mirror case from the 19th Elegant lustrous Silver on Jet Black Zinc – Bidri Art Work is one is named after the place Bidar in Karnataka, from where it has
century in India of the exquisite metal crafts of India. The black colour gives it a originated. Bidriware is a unique traditional art form made with
kind of mystique while the silver shines like the cliché silver lining. a mixture of zinc and copper, which is magically turned into deep
Fig. 3.10 Bangle in shining silver dark black colour at the end of the process. Fig. 3.11 Black silver Bidri work
Fig. 3.9 Fig. 3.10 Bidri is an art of inlaying silver or gold on black metal. ‘Bidri craft’
with intricate filigree work bangle
Etching required gauge, cutting the wire into small pieces, placing these
pieces on a wooden plank one at a time, heating them using a torch
Etching is a process in which an acid is applied to the metal, causing and a blower, while simultaneously rotating the plank rhythmically.
uncovered parts to be eaten away by the acid. The uncovered These pieces turn into balls and are later affixed onto ornaments.
areas of the metal will etch, leaving behind a raised impression of
the design. Designs are also made using various punches. In Laser Enamelling
etching, the pattern is etched by using a laser on metal, where the
laser beam physically removes the surface of the material. Enamelling is the art of colouring as well as embellishing the
surface of the metal by fusing together various mineral substances.
Granulation A wide variety of metals is used for Meenakari designing, including
brass, copper, silver and gold. The metal engraved to provide
One of the most popular forms of surface ornamentation in Indian necessary depressions on which the enamel colour is applied. The
jewellery is Granulation. Granulation technique is known to article to be enamelled is first burnished to a fine lustre. Before
most of the world from ancient times and practised with regional enamelling, the surface of the ornament should be fully burnished
variations. Granulation is a process of forming granules of gold and or cleaned. After colouring, the object is exposed to fire.
silver and arranging them in decorative patterns over the surface
of an ornament. Most Indian goldsmiths and silversmiths practice Swamy work
the craft in the following manner, beating the bar into wire of Fig. 3.12
Fig. 3.15
Swamy work is usually executed on metals like gold and silver. This
technique, really a kind of repousse work, is used to produce raised
figures of gods and goddesses on medallions and canopied niches.
The figures can be beaten out from the metal surface of the article,
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,

and bronze caused by either oxidation or a chemical process.
Fig. 3.12 Silver bracelet with an Naturally occurring patina can help to provide a layer of protection
etched surface against weathering and corrosion. When a patina is intentionally
placed on an object by means of a chemical process, it is usually
Fig. 3.13 Sterling silver bracelet done to add aesthetic appeal to give the object a vintage or
embellished with granulation weathered look. Adding patinas to precious metal such as silver Fig. 3.15 Temple jewellery
work pendant featuring goddess and
can be accomplished by using either liver of sulphur or bleach.
birds created using Swamy work
Fig. 3.14 Pair of beautiful silver
Many times jewellers use these methods to give metals a certain
earrings enamelled with red, aesthetics. Fig. 3.16 Patina effect on a pair of
green and blue colour Fig. 3.13 Fig. 3.14 Fig. 3.16 silver earrings
3.7 Insights
The secondary research about the narratives of jewellery,

its significance in India was very informative and compelling.
Jewellery epitomizes as the ubiquitous form of adornment in
various materials with different purposes. Indian jewellery is very
specific and has a distinctive individual character and indigenous
influence. Getting to know about the essence of jewellery was
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
about silver jewellery and its comeback on the fashion horizon
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
Fig. 3.17
03 Trend Research
04
Trend Research
Forecasting
Trend Directions
Jewellery Trends
Design Directions
Insights
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?
In the field of jewellery, there is a constant change in adornment

and statement just like clothes. Thus analysing and forecasting in
jewellery includes a complete understanding of colours, materials,
metal, stones and manufacturing techniques.
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
that condition the evolution of society reflecting on the purchasing
pattern and behaviour. The trend research for this project was
carried out by referring to various trend books like Trendbook
Forecast 2019 by Trendvision, Trendbook Forecast 2020+ by
Trendvision, Jewellery Trendbook by Gem and Jewellery Export
Promotion Council in association with National Institute of Design. Fig. 4.1 Image by Trendvision
For the macro and micro level trend research, the trend study representing their predicted
method executed during the NID academic year came in handy. trend directions for year 2019-
Fig. 4.1 2020
4.2 Forecasting 4.3 Trend Directions
What is forecasting? provides an important benchmark for firms which have a long-term During the Jewellery Trend research and understanding the
perspective of operations. For retailers, it provides a breakdown forecastings, looking at various international trends and how they
There are many debates regarding the definition of what is and segmentation of dominant consumer types, matching them affect the market, customer’s choices were an important part.
Forecasting. Is it science or art? Forecasting is an exercise of to the mega design trends and their secondary trends over During this process, various jewellery trend directions of 2019 and
discipline, methodology and experience. It is the use of historical the coming periods, thus enabling more calculated purchasing 2020 predicted by Trend Vision ( Jewellery + Forecasting ) were
data to determine the direction of future trends. Future scenarios strategies and guides them in determining how to allocate their looked at. Few of these trend directions relevant for the project
can be mapped easily up to 2 to 5 years in advance, observing budget for the upcoming period. are represented in this section of the document.
market trends, and socio-cultural phenomena including political
and economic factors. The forecast explores the natural evolution The paradox is that while we are closely observing the millennial,
of emerging product trends based on our environment. Scenarios a large segment of society is stagnating in the last century’s
may vary locally (nationwide, regionally, and at the urban level) and business practices and will not survive the global leap we
in terms of culture, geopolitical area, social and market segment. are experiencing. In the complexity of the global scenarios in
Trends are synergic and simultaneous. They can’t be forced or which we live, knowledge is power and is the means to have an
imposed by the market, rather they merge unconsciously in our effective strategy to survive in business during the digital era.
daily habits. Thinking out of the box is not only a winning strategy Thus, Trends Forecasting is the essential knowledge for any
nowadays, rather a necessary path to navigate the complexity of company for planning with methodology and system: a strategy, a
the global market and society. marketing campaign, mapping a production cycle, entering a new
geographical market or segment, knowing in advance the market
Trend forecasting is an essential tool for creating forward-looking trends and guiding the future of the business.
business and becoming industry influencers. Trend researchers
and forecasters, decode the future of jewellery, predicting
influential trends two years ahead. Through their curated vision,
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
consumers that are served by their retailing clients in specific
target markets, over a defined period, while at the same time
taking into consideration new technologies, techniques and
Fig. 4.2 Composition of findings materials. Investors utilise forecasting to determine if events
and components of jewellery by affecting a company, such as sales expectations, will increase or
Julie Cohn decrease the price of shares in that company. Forecasting also
102 | Graduation Project Fig. 4.2 Aboli Deshmukh | Lifestyle Accessory Design 2017 | National Institute of Design | 103
Krstina Makeeva
Christie’s Art Nouveau

CRAFTS CULTURE - Living modern luxury through
cultural heritage Casa Castro
#culturalheritage #craftrevival #modernheritage #artisnal #unconventional #livingexpressions #designroots
Lydia Courteille
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-kind pieces are often handcrafted to showcase precious stones and advanced artisanal techniques built to appeal to the 21st century
consumers: these can be younger, digitally savvy shoppers, predominantly from Asia and the Middle East, most of whom having very different
demands and expectations from their predecessors about what, where and why they acquire some of the most expensive luxury products that money
can buy.
Cultural heritage embodied in traditional crafts is an integral part of any nation which reflects the culture and tradition of a particular region.
Content and images on this
Silvia Furmanovich Ilgiz spread by Trendvision
Lulu Shay
Boca Do Lobo
Isharya Fool’s Gold
Brian Patrick Tagalog
ORGANIC DELIGHTS - Jewels that bring us closer to nature
#organic #raw #unprocessed #materialfusion #recycledgold #naturaltextures #handmadefinish
Vendorafa
Gaelle Khouri
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
beyond artificial processing to raw, unfiltered natural elements. Bark of trees, trunks, twigs, rocks, pebbles, grains of sand, petals, leaves, volcanoes,
streams, waves are being referenced for shapes and forms. Jewellery applauds the core of our divine earth and its wilderness. Luisa Rosas

spread by Trendvision
Boucheron Kevin Yup
Stephen Webster ‘Dynamite’

AUGMENTED REALITY - Envisioning the jewels of the
future
Mattia Cielo
#designfutures #technologyinfluences #machinelearning #aiart #AIalgorithm #newmaterials #digitalrace
Thomasz Donicick
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.
Marli

Jue Huang spread by Trendvision
Point no point
Farah Khan
Wendy Yue
Hyper nature & earthy & organic

Farah Khan
#oversize #flowers #feathers #dragonflies #wings #petals #buds #vines #leaves #raindrops #included #brown
#black #grey #antiqued #vintage #inclusions #rugged #roughcut #fancycut
Nature routinely serves as a muse for jewellery designers who let their creative minds explore the far and wide (and big) varieties of flora, fauna, and
winged things taking shape in their heads. The fruits of their labour? Oversize brooches covered in diamonds, studs with detachable vine-and-raindrop
jackets, sprawling bib necklaces with vibrantly coloured focal points, and soft brown and champagne diamonds comprising bouquets of soft-looking Aida Bergsen
matte flowers.
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
Elizabeth Garvin spread by Trendvision
Roberto Bravo
Picchiotti
Alessa Jewelry
DECORATIVISM - A century of evolution of Art Deco
#Streamlined geometries #Trapezoidal #Rectilinear #zigzagged #Triangularshapes Alessa Jewelry
Qayten
The nostalgic mood that drives our search for optimism brings two design jewels of the past together creating design Populuxe of modern-day luxury.
A true modern re-interpretation of styles and influences of the 1920s, showing history really does repeat itself. Designers have blended elements Stephen Webster
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.
@bxxlght Content and images on this

Picchiotti spread by Trendvision
Dana Bronfman
Bia Tambelli
Retrouvai
Higher powers
Giovanni Ferraris
#religion #spirituality #god #buddha #evileye #cross #yinyang #yogi #judaism #hamsa #talismans
Temple St. Clair
Dreamboule Milano
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.
Established
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
Buddha Mama Content and images on this
Daniela Villegas spread by Trendvision
Coronet by Reena Ahluwalia
Loriann Jewelry
Marcia Budet
Daniela Villegas
Technicolour Dreams Selim Mouzannar
#colouredcoatings #nanoceramic #pvd #inlay #colourcombinations #wildcolours #enamel
Kelly Xie
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: funky shapes, unexpected, geometric outlines, oversize pendants, drop earrings
Aesthetic: happy, vibrant, wild, floral, bright, mesmerizing, fantasy, colourful
Materials: white and yewllow gold, nano-ceramic coatings, enamel, PVD, amethyst, citrine, tourmaline Sarah Hendler
Tsai An Ho Content and images on this
Giovanni Ferraris spread by Trendvision
Mattioli
Shay
Royal Chain
Linkedin Sorellina
#sleek #togetherness #updatedclassic #metalintense #chains #links #connections #timeless Calvin Klein
Established
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
modernized versions of the classic symbol for enthusiasts of time-honoured elegance
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 Roberto Coin
Materials: rose, white and yellow gold, platinum, sterling silver, diamonds, black rhodium, oxidized silver
Tura Sudgen Delfina Delettrez spread by Trendvision
Brooke Gregson Crevoshay
Chaumet Tokyo Exhibition 2018
Mizuki
NATURE ODYSSEY | - The Dualistic Traveler Mazza
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.
Wendy Yue
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
techniques and local materials will be used and showcased in new ways, as creatives adapt the making process to add meaning and value to products.
Organic and sustainable sources are essential to The Dualistic Traveler – learning about how and where the garment is made is as important as the
visual of the finished piece.
Earthy tones are set to a backdrop of minimal silhouettes reflecting sustainability and a no-waste mantra. Prints reflecting nature an bio-diverse
landscapes are in abundance – from the unusual colours of the sky in its rarest form and the untapped beauty of nature’s remarkable elements. Daniela Villegas
Sustainability is increasingly becoming the key factor in consumer purchase decision making. VRAM
Lin Shiao Tung Content and images on this
Gurhan
Annamaria Cammilli
Surface pro Giovanni Raspini
#hammered #highpolish #rough #matte #etched #scratched #satin #chasing #repousse
Dramatic textures in jewellery are becoming more widely utilized. Tactility is a huge component of wearing jewellery, so it makes sense that surface
textures should vary as much as the techniques used to create them. Consider hammering, etching, chasing, and repoussé effects and satin to the
touch finishes that urge wearers to linger longer in sessions of robust jewellery handling and admiration.
Silhouettes: wide and long cuffs, surfaces, earrings, rings, and bracelets, sculptural, beaded, chunky shapes Loriann Jewelry
Aesthetic: soothing, subtle, understated, matte, calming, quiet luxury Todd Reed
Materials: white, rose and yellow gold, diamonds, rough gemstone cuts, sliced gems, geometric stone cuts
Luisa Rosas
4.4 Jewellery Trends 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
In India, finding balance with diverse types and styles of jewellery
Since ages, we have been wearing earrings or neckpieces where
with varied wardrobes for different occasions is a difficult task.
the pair is mirror images of each other or symmetrical. But now,
Thus, keeping up with the jewellery trends helps to stay updated.
mismatched jewellery is one of the top jewellery trends in 2020.
The jewellery trends in 2020 are all about combining minimalism
The notion of taking the classic jewellery one step further with
with maximalism, subtlety with brazenness, combining heritage
modern concepts and the idea of balancing minimalism with Gumuchian
with modernity. It is all about going out; showing your personal
extravagance will be a big hit.
preferences to the world and not trying to fit into any particular
Ilgiz Fazulzyanov mould. While contemporary pieces have ruled the market in recent
years, the focus this year will be on Indian designs and variations. Less is more
Women of this era are no longer obsessed with eye-catching
pieces of jewellery. Not many women prefer to flaunt an over-the-
Flourishing exotic flowers top look when it comes to everyday dressing and the same holds
Dominated by flora and fauna, 2020 will be no exception with a
true for jewellery. Minimalistic jewellery is here to stay as it’s chic
lot of emphasis on the warm shades of the metal to favourably
yet trendy. Danielle Nicole
highlight the colour stones, along with enamel colours like yellow
Boucheron and green. The composition of the gemstones within the natural
forms will make this trend unique. Modular Jewellery
The latest adaptation in Indian jewellery is in the form of modular
jewellery. In this type of jewellery, pieces are assembled using
Raw nature appears untamed different units, which can be readily removable from the main
Unrefined materials and natural resources give this trend an
body to facilitate customization, multipurpose usability and flexible
Aida bergsen organic quality closely connected with nature in raw forms. Gottlieb and sons
arrangement through interchanging of inserts.
Explosion of colours Utilitarian designs

Owning coloured jewellery is always helpful, as it can quickly
Aesthetic appeal isn’t the only deciding factor of jewellery anymore
lend vibrancy to a simple and monochrome look. It can likewise
and jewellery is getting more functional. Women no more like to
coordinate the shades in various bright outfits. Nude tones may MajdanRocks
get help from someone else to hook the bracelet or necklace. This
be in trend with regards to cosmetics and apparel, however,
kind of jewellery is also known as ‘easy on and easy off’.
ornaments are about bright hues. Incorporating each non-impartial
shade, these jewellery pieces should not clash with the colours of
the outfit.
Bina Goenka Yoko London
Play of matte and shine Metallic Bling
Within fine jewellery, the modern approach to surface textures There came a time when bling and shimmer were discarded but
makes use of classic shiny surfaces paired with a hint of the matte it is the time to carry the bling again. The version of subtle bling is
finish adding oomph to the jewellery look. metallic, which can turn work-wear into power outfit. One can wear
metallic handcuffs, ear cuffs or neckpieces as metal surely amps up
Dual-tone Antiques the look.
In the past year, there has been a noticeable shift towards dual-
tone jewellery like rose gold and platinum or rhodium finished gold Layering
jewellery, etc. There is a growing design-first sentiment among The layering of jewellery is the perfect example of combining
Farah Khan young shoppers, and they prefer handcrafted jewellery as well as minimalism with maximalism. It is about taking a few minimal
antique heirloom style pieces. pieces and wearing them together. Layering is a great way to
create some fun looks. The ideal number of layers shouldn’t go
Blend of silver and gold beyond five so that every piece stands out and also maintain
It’s not just the wedding season when the gold finish is in, today balance.
even daily-wear jewellery can have a gold finish. The jewellery look
with silver and gold tones together will be the new staple that can Statement Rings
be paired with literally anything. This classic combination along Despite being around since ages, statement rings are in no mood
with precious gems and stones will provide an interesting synergy. to slip away from people’s minds and hearts. Vivid and flashy rings
Wendy Yue in sterling silver are making a strong attitude symbol this season
Personal connection between the product and the from bold peppy look to a classy festive mood. Salircon
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
Bia Tambelli become future heirlooms.
Contemporary Temple jewellery Bibi van der Velden

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.
Dilan Jewels
Aurus Jewels
4.5 Design Directions
Based on my understandings from trend forecast 2020 and the

brief of the project, five design directions were narrowed down
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 A sustainable affair
the past to create meaning in the present. This trend is a tale of
reinvention and reinterpretation of age-old techniques and fine
workmanship.
Customers are growing tired of fast fashion retail and are
An exotic melange of artistic tradition, when reinterpreted into becoming increasingly aware of the negative environmental
contemporary designs, exude a luxurious multicultural aesthetics. impact.
The modern consumer looks for authenticity in craftsmanship
and history, as a way of reconnecting with the past to better Man is forced to acknowledge the threats to his survival and more
understand the present and prepare for the future. The consumers importantly, the urgency to preserve the environment with all
are seeking new belief systems that borrow from ancient wisdom its vital resources. This evokes a sense of deeper awareness and
as a means of overcoming today’s challenges. connection to the elements that surround us. They are in pursuit
of something authentic, something closer to their true selves. They
Indian influences are abundant, with carved jade, temples, appreciate the beauty of the process of natural growth and honour
lotuses and indigenous motifs taking shape in styles worldwide. the organic traces of time coagulated. This consumer succumbs to
Indian designers have also become more open to using their representations of the universe where everything seems possible
Fig 4.3 Image of a woman sitting past in contemporary design to suit today’s world without losing and where nature is worshipped in its most authentic forms.
on the porch of Airavatesvara their sense of timelessness. This quest for rediscovering roots
Temple in Kumbakonam, Tamil is drawing ancient forms and motifs that are interpreted with Fig 4.4 Image of two fern leaves
This trend thus represents what they seek; a more sustainable, stepped by a person representing
Nadu representing the Revivalist modern sensibilities to exemplify new meanings in today’s world. socially responsible and authentic existence.
trend Fig. 4.3 Fig. 4.4 the sustainability trend
The Updated Classic
Modern Individualist
The stability, elevation and functionality of a simple yet charismatic
classic never go out of fashion. It channels the virtues of simplicity “I’m proud to be me, I live and let live. I decide who I am and what I
and longevity into sophisticated designs that transcend time. want.”
The classics have become a form of sensibility in a rapidly changing The generation of this consumer is self-expressive, unconventional
environment and with a modern approach, consumers reconnect and individualistic. They like to mix sensibilities and codes.
with older times when things were simpler. The trend enables the They believe in a genderless and ageless approach to express
Fig 4.5 Image of classic consumer to sprinkle some vintage into their today’s style. Fig 4.6 Image of reflection
individuality. Millennials and Gen Z are driving the new acceptance
travel trunks by Nappa Dori of a young girl in the mirror
movement, ‘Im-perfect’, embracing unusual imperfections and representing the modern
representing the Updated Classic This retro-modern approach is the key to ‘Updated classic’ trend.
Fig. 4.5 Fig. 4.6 offering
Fig. 4.5 ‘anything goes’ life mantra that suits their generation. individualist trend
trend
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
of information floating around us for future-proofing the business.
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
Tales of Nostalgia reference for the design process. The various design directions
each highlighting the key stories, suggesting the materials, colours,
types of gems and stones, textures and finishes gave clarity for
establishing the key points for the collections. The key takeaways
from trend research lead the way towards planning further
The sense of nostalgia has become more present in our daily life methodology and choose the specifics for every collection to
and could be a design element, an organic material or a recycled streamline the work.
object.
The consumer is context-oriented and is always about linking

the dots, connecting what is around them and not being narrow-
minded. They have entered into a life where they give more
Fig. 4.7 Paper boats floating in a importance to origin and meaning and are constantly seeking for
puddle in rain representing the
Fig. 4.7 backstories in every product they use.
Nostalgia trend
04 W
Market Research
05
Primary Research
Secondary Research on Silver Jewellery
Market Survey
Insights
5.1 Primary Research 5.2 Secondary Research Tribe by Amrapali
The market research was done along with trend study, The secondary research included understanding the brand image, About the brand
where different competitive brands of JewelOne by Emerald its design philosophy and language and how it stands out from Amrapali is a coveted luxury jewellery brand in India and Tribe is
were studied to understand their brand identity, customer other brands creating its own identity. The secondary research the silver jewellery vertical of Amrapali. Combining the essence of
segmentation, product categories and language. The primary was conducted using various online resources. the mother brand with the experimental design philosophy, Tribe
market research started with visiting various renowned fine Amrapali started as an e-store in 2013 and has gradually expanded
jewellers in Coimbatore. The secondary research of understanding silver jewellery brands itself in subsequent years. Tribe Amrapali has boutiques in three
across India which is elaborated in this section of the document. Indian cities with the tradition of blending honoured heritage with
Visits to various jewellers included observation and analysing the modern influences.
products from various perspectives, including the design language,
types of jewellery, use of new techniques, brand philosophy, the Brand Identity
customer segment, and overall visual feel of the brand. The brand has jewellery divided into three segments; Tribal, Fig. 5.2
traditional and contemporary. These jewels are a perfect
Primary market research helped to gain an overall understanding combination of fun and sophisticated charm. Their bold jewellery
of various fine jewellery retail brands in Coimbatore. The primary comes with a rich layered India-modern symphony. It is Playful
research was restricted to Coimbatore which lies in the southern yet refined. The tribe is known for blending timeless designs with Fig. 5.1
part of India. But, as south Indians predominantly prefer gold trendy elements.
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 Design language
of the jewellery. Few brands were showcasing the traditional silver Tribe Amrapali celebrates deep, powerful symbols taking
payals that south Indian women wear but nothing else apart from inspiration from tribal art and culture. Their jewellery is inspired
that. As the project was about silver jewellery, market research by tribal jewellery of India like mirror studded jewellery, banjara
about brands selling silver jewellery was crucial. Thus, secondary jewellery, jewellery with miniature paintings. There is wide use of
research was conducted for understanding silver jewellery brands enamel detailing, glass, pearls and mirrors creating a unique blend
across India. of poise and boldness. Their unique designs stand out as a perfect
amalgamation of timeless jewellery with a modern approach for
Fig. 5.1 Model wearing Tribe’s the courageous and valorous women.
jewellery from Nav Chandrika
collection
Fig. 5.2, 5.3, 5.4 Tribe by Fig. 5.4

Ampramali’s silver earrings from
the Tribal collection Fig. 5.3
Shaya by Caratlane Silver Centre
About the brand About the brand

Caratlane was founded with a refreshing and courageous objective Silver Centre is a traditional and contemporary jewellery design
– to make beautiful jewellery accessible, affordable and forever house established by Seth Kistoor Chand Boochra in 1897 in
wearable. In July 2016, they joined forces with India’s most Rajasthan. In 1994, company’s Creative Designer and Director
desired and largest jewellery brand, Tanishq, through a strategic Mrs. Sangeeta Boochra joined hands with her father-in-law Shri
investment made by Titan Company in CaratLane taking them Lalit Kumar Boochra shortly after being married into the family.
another step closer to achieving their shared mission - to make She came with a design background and education and gave a
beautiful jewellery accessible to everyone. The brand ‘Shaya’ is brand a new face and approach to the brand. Their silver jewellery
about everyday silver jewellery. Their strong online footprint is finds its place high in the segment of new age jewellery.
now complemented by growing store presence with over 30 stores
across the country. Brand Identity
Each of Silver Centre pieces is very carefully crafted by hand.
Brand Identity Each craftsman does have his style in creating jewellery, making it
Caratlane is known to make beautiful jewellery accessible, more unique and individualistic. The brand brings a range in purest
affordable. They discovered that today’s woman does not have of silver and has collections in vintage, tribal, gold plated, stone
Fig. 5.5 Fig. 5.6 access to stylish fine jewellery for everyday wear and brought studded, south temple jewellery to contemporary minimalistic
modern designs that can make women not just look beautiful, but jewellery .
feel beautiful.
Fig. 5.5 Shaya silver earrings

Design language
Design language Designs have originated by being inspired by interiors of the
from Rani Udayamati collection
The design language of Caratlane is trendy and modern. Their remotest regions of Rajasthan and state of Gujarat to green
Fig. 5.6 Contemporary two-
designs can complement western, as well as an ethnic wear. The pastures of the South. The brand brings all of India, in shiny
finger silver ring by Shaya contemporary designs also have a feel of timeless traditionalness ornamented form. Going by the current trends they have also
in it. The offbeat, playful jewellery is perfect for everyday been continuing their range of modern and contemporary designer
Fig. 5.7, 5.8 Silver ring and pair workwear. jewellery. The traditional technique of enamelling, miniature
of earring from the wildflower painting is fused in a piece of jewellery with a contemporary touch.
collection Silver Centre’s bold, chunky statement pieces are most liked by
celebrities.
Fig. 5.9 Actress Sayani Gupta
wearing indo-contemporary
oxidised jewellery by Silver Fig. 5.7 Fig. 5.8
Centre Fig. 5.9
Divine Raga Silver jewellery Quirksmith

Sonali Jain, a renowned jewellery designer from Singapore with a Quirksmith has been started by a duo of sisters who sees silver
strong Pan-Asian presence launched Label Divine Raga in the year jewellery as their thing. Divya, a creative madhouse, heads
2004. design and production and Pragya, a management student heads
marketing & sales at Quirksmith.
Brand Identity
The label evolved into a dream and passion to create pieces both Brand Identity
traditional and contemporary. Keeping the designs traditional Quirksmith believes in who you are and what you can become.
with a modern twist is their key. Stone encrusted jewellery found Their pieces embrace the fact that every woman is unique and
in different eras and antique jewellery in its original form are she should express like one. With their work, they attempt to
redesigned to suit modern wearability, inspired from not just India encapsulate the various hues and characters that reside within a
but Central Asia. woman. Quirksmith play and experiment with the sizes of jewellery
Fig. 5.11
and location of it. They are also famous for ‘Akshar’ jewellery
Design language collection of words in silver attached with silver chain.
The history of jewellery in India is an inexhaustible source of
inspiration for Divine Raga. Each piece designed, has been inspired Design language
by either the tribes of India, Rajasthan, Gujarat, Himachal Pradesh, The design language of Quirksmih is unique, it has a very modern
Madhya Pradesh or from temple jewellery from southern parts of feel to it with bold, geometric forms beautifully combined with old,
India. The antique, oxidised silver jewellery has a gipsy, bohemian, ancient motifs. The unusual, bold, oversized pieces capture the
vintage feel to it. mood and make one stand out in the crowd.
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 Fig. 5.10 Fig. 5.12 Fig. 5.13
Marian Hosking Arvino
About the designer About the brand

One of Australia’s most respected metalsmiths, Marian Hosking Arvino believes that “jewellery is not just an accessory: it reflects
has been creating work for over 40 years. In 2007 she was named thoughts, emotions, and aspirations. Started by visionary designer
‘Living Treasure: Master of Australian Craft’ and won the Cicely & Arvind Agarwal in 1992, Arvino is committed to surpass the
Colin Rigg Contemporary Design Award in 2012. Hosking studied creativity and conscience in every crafted piece.
Gold and Silversmithing at RMIT, going on to complete her Master
of Arts in 1996 and her PhD at Monash University in Melbourne in Brand Identity
2009. Chic and trendy jewellery; Arvino collections are hip, vibrant
and something that youngsters would love to sport. The chic and
Design language trendy jewellery celebrates femininity with a wide range of jewelry
Marian’s distinctive work translates imagery from the natural collection. Each design represents the strength, sensuality & Fig. 5.16
Fig. 5.14 environment through drawing, fabrication and castings techniques. sentiments every woman deserves. Abstract shapes, unique forms
She makes jewellery that references specific botanical specimens and interesting textures on it make it jewellery for millenials.
and birds, not replicating them in an illustrative way, allowing the
viewer/wearer to place his or her reading onto the work. She Design language
says, “Often this reading is removed from where I started, but the Arvino jewellery pieces come in organic and free-flowing forms.
emotive sensibility is similar. I utilise low relief, drawing on the soft, Textures in jewellery, feminine and bold motifs, south-western
white luminosity of silver.” designs, elegant gold plated pieces with coloured gemstones make
their jewellery stand out.
Fig. 5.14, 5.15 Explorations by Fig. 5.16, 5.17 Bollywood

Marian in silver inspired by actresses wearing a pair of
elaborate natural elements Fig. 5.15 Fig. 5.17 vibrant silver earrings by Arvino
Misho Silvense

Misho is lead by creative director Suhani Parekh who studied Fine Vrindaa Ashwan, explored her creative and aesthetic capacities at
Art and Art History at Goldsmiths University in London where she NIFT, New Delhi, gaining expertise in the field of design and crafts
predominately worked with sculpture and installations. The pieces that propelled her growth and helped manifest her ideas into
are inspired by an accumulation of ideas from her interactions with reality.
contemporary art and the various architectural styles of the cities
she has travelled to and lived in. Brand Identity
Silvense is defined by simplicity and minimalism. The label uses an
Brand Identity amalgamation of silver to create these lightweight, contemporary
Art and Architecture are essential inspirations in the designs of designs. The most striking designs of this luxury jewellery brand
Fig. 5.18
Misho and the brand’s sensibility is very much Bauhaus meets are cutting edge pieces in 92.5 silver set with semi-precious
Japan. Their practice lies very much on the line that separates art gemstones.
and design and approaches the pieces as works of sculpture. But
Fig. 5.19
as sculptural as they may look and feel, the pieces are extremely Design language
versatile and comfortable enough to never take off for the people The designer Vrindaa Ashwani, believes in the school of thought
that are always looking to push the boundaries and experiment that propagates “Be more, with less” a philosophy that reflects
with something a little unconventional simplicity and minimalism defining her label. Silvense’s aesthetic is
all about clean and contemporary beauty.
Design language
Misho’s jewellery collection is characterised by a vocabulary of
clean lines, architectural forms and simplified geometric shapes
with a strong emphasis on material and form. Each piece is
sculpted as modern architecture for the body. They tap into the
timeless art of silversmithing to create pieces that are refined
yet playful, edgy yet sophisticated, modern must-haves that are
Fig. 5.18, 5.20, 5.21 Pair of understated yet striking.
contemporary minimal silver
earrings by Misho
Fig. 5.19 Model wearing rings Fig. 5.20 Fig. 5.21

and earring from Misho Fig. 5.22 Minimal silver jewellery
Configure collection Fig. 5.22 by Silvense
Brigitte Adolph Jacqueline Rabun
About the designer About the designer

Jewellery runs in the veins of the German designer and goldsmith American Jacqueline Rabun moved to London in 1989 and thus
Brigitte Adolph, as both parents and grandparents were jewellers. began her journey into the world of contemporary jewellery
After becoming a goldsmith, she improved her skills while working design. As one of the most recognisable names in modern jewellery
for the royal jeweller of the Swedish Crown. Due to her fascination design, Jacqueline Rabun infuses her work with symbolism and
Fig. 5.23 for contemporary design, she returned to study jewellery design emotion as well as a strong sense of form and craft. Jacqueline is
at the famous University of Pforzheim. Her studies took her from an artist as well as a jeweller and uses strong conceptual narratives
Germany to Denmark, Spain and Switzerland. Since 2005 Brigitte in her pieces which strive to illustrate the human experience. Fig. 5.26
is working self-employed in Karlsruhe, Germany. Brigitte Adolph
creates pieces that are new and innovative yet are inspired by the Design language
past of her homeland. Her work has been honoured with national Jacqueline’s Offspring collection of using two interlocking shapes,
and international awards. Lace Jewellery by Brigitte Adolph is the smaller one protected by the larger tells a clear story about
sold by over 100 jewellers, galleries and shops in Europe, North the unbreakable power of love and interdependence. Inspired
America and Asia. by the unique bond between mother and child, the pieces can
just as strongly represent the ties between siblings, partners and
Fig. 5.24
friends. Her emotional and symbolic pieces have a timeless beauty
Design language that allows familial bonds to also be celebrated as the jewellery is
The fine, filigree and uncompromisingly feminine aura of Brigitte passed down from generation to generation.
Adolph’s design jewellery looks for all the world like finely woven
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. What appears to be the finest handiwork is in reality
pure precious metal – the illusion of a textile material dissolves
Fig. 5.23, 5.24, 5.25 Ring, pair only when touching the piece of jewellery.
of earrings and bracelet from
Brigitte’s Lace collection made Fig. 5.26, 5.27 Jewellery pieces
in Sterling Silver visually from Jacqueline’s Offspring
resembling to finely woven collection inspired by the unique
fabric lace Fig. 5.25 Fig. 5.27 bond of mother and child
Silverline Mia Silver by Tanishq

Established in 1978 by Mr. Mukesh Jain, whose vision was to Mia by Tanishq is fashioned for the woman who wears jewellery
elevate silver to the value it truly embodies, Silverline, a pioneer to express herself. The charming collections are elegant, exciting,
in jewellery brands is resonant to years of experience, traditional powerful, playful, trendy, fine as much as they are fun. For the
heritage & dedicated craftsmanship. Along with the dedicated & woman of today who is always on the move, Mia- Me In Action,
creative hands of karigars, fidelity from the customers and the a low-priced jewellery brand under the Tanishq line, is eyeing
legacy it entails, Silverline has known to become a brand that huge growth in the coming years with their affordable everyday
resonates with quality, transparency, value and skill. jewellery.
Brand Identity Brand Identity

While setting up the brand, travelling far and wide through dust The Mia collections are for modern women who like modern Fig. 5.29
and sand, Mukesh didn’t miss a stone that shone or a craft that jewellery designs. The necklaces, bangles, rings, pendants, earrings
was known. He dedicated his body and mind to the jewellery and bracelets are made to mirror the woman who asserts herself
artisans across India giving birth to his vision of crafting pieces that in every sphere of her life, and looks great while doing so. These
embodied stones with lustrous metals. Wanting to showcase the everyday wear, workwear, travel wear, elegant yet quirky pieces
crafts that he saw and learned about, Mukesh has since trained are their identity.
curators of jewellery to weave culture with emotion, all through
beautiful craftsmanship wherein, each piece is crafted with finesse. Design language
Over these past decades, Silverline has established a strong Mia by Tanishq is one of the first few brands to launch a
presence in both the domestic retail sector in India and a growing contemporary silver collection that is stylish, fashionable and
presence with exports to North America, United Kingdom and affordable for the young modern woman, who is vibrant and open
Europe amongst many other parts of the world. to trying the latest fashion trends. The designs are simplistic,
minimal yet quirky and playful. They are perfect for the millennial
Design language woman who is always on the go.
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 Model wearing silver Fig. 5.29, 5.30 Model wearing
jewellery from Silverline’s trendy and sassy jewellery of
Amala collection Fig. 5.28 Fig. 5.30 Mia by Tanishq
5.3 Market Survey
Indian millennials aren’t buying jewellery the way their parents did.
Indian households splurge on fine jewellery, both as an adornment
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
in different material, look, finish etc. for it. Thus, this shift in
consumer preferences thus becomes necessary to track and
record.
An online survey was conducted where women from different part

of the country answered the questions in the survey. The survey
included various kinds of question to understand the choices
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.
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 fine jewellery stores were visited by doing
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

115 women across the country helped to understand their
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.
05 W
Research Analysis
06
Approach for the Collections
Redefined Briefs
Final Design Directions
Research on Existing Applications
Insights
6.1 Approach for the Collections 6.2 Redefined Briefs
After the primary and secondary research about jewellery, trend The brief formed in the initial phase of the project was about After combining the approaches formed after the research phase
and market study the next task was to connect it with the project using silver as the dominant material and to design and develop of the project with the redefined brief, a new set of sub-briefs were
brief and come up with the final directions. Various factors like a range of contemporary jewellery, building a brand language for also formed for every collection by discussing with the mentor.
trend forecast, market need, manufacturing facilities at Emerald, Emerald Jewels. This initial brief was slightly modified as it was
budget and certain limitations of the project were taken into recognized that providing the company with different directions
consideration. Based on these factors and the initial project brief, about contemporary silver jewellery would be a holistic approach, Sub briefs:
three approaches were derived for the three collections. These instead of coming up with just one rigid direction for them to take
three different approaches formed by combining various factors up and further build a brand language based on it. The modified 1. To design a high-end Indo-contemporary silver jewellery
are as follows. brief was formed in a way for Emerald suggesting varied options collection developed using the casting technique.
or choices falling under the same umbrella of contemporary silver
Trend - Market Requirement - Brand Language - Specific jewellery. The initial brief redefined after the research phase of the 2. To design a modern silver jewellery collection developed using a
Manufacturing Technique project is as follows. fusion of various manufacturing techniques available at Emerald.
Trend - Market Requirement - Mix of Various Manufacturing Redefined brief: 3. To design a trendy, lightweight contemporary jewellery
Techniques collection using plain silver and pearls for the modern Indian
To design and develop contemporary silver jewellery collections women.
Trend - Experimental - Budget Specific - Material Specific with varied design languages as different choices for Emerald to
build and carry forward the brand identity.
These approaches were aligned with the previous project brief and
new briefs were formed for the three collections.
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
study to further define the specific collections. After several
discussions with the mentor, three design directions were finalised
which were, the revivalist, the modern individualist and the
sustainable affair. Three directions entirely different from each
other were taken forward to align with the redefined brief.
Based on the market research the target user or persona for

every collection was defined with its specific characteristics. 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
Fig 6.1 Image of a woman sitting head and mentor, final inspirations were set for the collections.
on the porch of Airavatesvara The process of defining the persona and the inspiration for all the
Temple in Kumbakonam, Tamil three collections is elaborately explained in the further part in this
Nadu representing the Revivalist section of the document.
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
Fig. 6.1 Fig. 6.2 Fig. 6.3
The
Persona for collection One
Revivalist Age group:

25-40 years
Profession:
About her:
She is believed to be successful,
independent working women
with multiple life roles. She is
Businesswoman bold yet elegant, pragmatic
Entrepreneur and knows precisely what she
Working professional wants.
Keywords for her: She is shaped by a mix of

Rooted places, experiences and
Persistent cultures. Heritage and history
Cultivated have always been her interests.
Self-assured She likes to look into the past
Invincible to exemplify new meanings in
In vogue for eternity today’s world. This quest for
rediscovering the roots has
Jewellery Look: made her look for new ways to
Magnificent embrace the ancient knowledge
Spectacular with modern sensibilities.
Aged appeal
Heritagial beauty Brands she shops from:
Outrageous FabIndia
Ethno contemporary Anokhi
RawMango
Occasion: Goodearth
Business Parties Okhai
Client meetings Authentic handicraft and
Exhibitions handloom salers
Visit to museums
Social and family gathering
Fig 6.4 Persona for the first
collection Fig. 6.4
Fig. 6.10
Fig. 6.8
Fig. 6.5
Indian Art
Fig 6.5 Old photograph of Fig. 6.6

possibly Jalakandeswarar Old Indian art forms have had cultural as well as religious
Temple gopuram inside of influences such as Hinduism, Buddhism, Jainism and Islam, which Fig 6.9 Dancer performing
Vellore Fort classical Bharatanatyam dance
are still highlighting the styles in the latest trends. Heritage and
form indigenous to Tamil Nadu
Fig 6.6 Gopuram of a history are both central to this theme, providing a backdrop for
Dravidian temple located in the target customer to showcase who they are, where they come Fig 6.10 Kolam/rangoli, a dainty
Thiruvannamalai, Tamil Nadu from and how loud and proud they are about it. The aesthetics floor painting, which is an
of ancient heritage with a modern vision is the characteristic integral part of South Indian
Fig 6.7 Elephant Tanjore painting of this trend. The key inspirations included different south tradition
made with original 22-carat gold Indian art forms like sculptures, Tanjore paintings, Kalamkari
leaves and authentic Jaipur gems paintings, Bharatnatyam dance form, Kolam and Dravidian temple Fig 6.11 Intricate carvings on
by skilled artisans in Thanjavur architecture with each having its uniqueness. walls of the Thanjavur Big
Temple
Fig 6.8 Famous Kalamkari
painting of tree of life on a ORNAMENTAL, CARVED, SCULPTURED, ARCHITECTURAL,
Fig 6.12 Illustration of
piece of fabric native to Andhra DECORATIVE, CONTEMPORARY, DETAILED, ANCIENT, Meenakshi Amman Temple in
Pradesh, India RELIGIOUS Fig. 6.7 Fig. 6.9 Fig. 6.11 Madurai, Tamil Nadu
Marvellous Dravidian Temples
The inspirational tales for this collection was from the beautiful This collection will be reminiscent of South India’s heritage where
heritage of Dravidian Temples. the patterns, motifs and elaborate sculptures on the Dravidian
temples will be meticulously translated into contemporary designs.
South Indian temple architecture, also called Dravidian This attempt of redefining the temple jewellery will be a tribute to
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
characterized by its distinctive rainbow-coloured, deity-covered, innumerable motifs and carvings on it. So, various elements
pyramidal type tower making a unique emblem for South India. 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
and Dravidian styles makes these unique. The mesmerizing design,
sculptures and architecture of Dravidian style temples display fine
artwork not only in the interiors but also outside on the gopurams.
The South Indian temple consists essentially of a square-

chambered 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
by a parapet of miniature shrines, square at the corners and
rectangular with barrel-vault roofs at the centre called vimaana
and gopuram.
Fig. 6.12
Timeless appeal
Redefined aesthetics
Ancient opulence
Ornamental elegance
The
Persona for collection Two
Sustainable
affair
Age group: About her:
20-35 years She is a self-driven, modern
and confident woman. She
Profession: likes to take her decisions and
Working Professional shape her life in her own way.
Businesswoman She likes simple things but also
Homemaker searches for excitement and
quirkiness in it.
Keywords for her:
Curious She likes travelling to
Conscientious places and looks forward
Charming to experiences more than
Appreciative acquisitions. She appreciates
Explorer the offbeat notes of nature
and cherishes the beauty of
Jewellery Look: the process of natural growth.
Distinctive She is seeking for a meaningful,
Vivid contentful existence drifting
Feminine away from a highly edited,
Unusual photoshopped world.
Occasion: Brands she shops from:

Casual outings Nicobar
Work meetings 11:11
Get-togethers Suta
Vacations Upasana
Visits to Exhibitions Nappa Dori
The Pot Plant
Fig 6.13 Persona for the second

collection Fig. 6.13
Naturalistic Fig. 6.14 Fig. 6.16 Fig. 6.18
Organic, sustainability, natural materials etc. have been the

buzzwords from the last few years and now this trend is spreading Fig 6.14 Banana plant flower
like a wildfire. Consumers are getting aware of the threats to
survival and more importantly, the urgency to preserve the Fig 6.15 Beautiful pattern of
environment with all its vital resources. This takes us back to succulent plant
the time where it all came from. Know-how, rediscovery and
remarkably offbeat notes of nature provide a perfect backdrop Fig 6.16 Seed head of lotus flower
for this group. The key inspirations include the beauty of nature in plant
the lotus seed pod, seashell pattern, sea urchins, succulent bloom,
Fig 6.17 Sea urchins in various
twirlings of creepers and banana plant. Out of which the banana
colours and patterns of tests
plant also known as the plant with a thousand uses were chosen
and taken foreward. Fig 6.18 Mesmerising painting of
Nautilus shell
NATURAL, SIMPLE, DELICATE, SOPHISTICATED, FLORA AND
FAUNA, HUES OF NATURE, REALISTIC, CULTURAL Fig. 6.15 Fig. 6.17 Fig. 6.19 Fig 6.19 Tendril of a climber
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
and fertility and thus it is frequently used in almost all the Indian the fruit has all been cut.
festivals. The banana plant is also nicknamed as “plant with a
thousand uses”. All parts of this plant including flower, fruit, leaf, The unique Banana plant has numerous specialities which took
stem, roots, peel pulp have multiple uses making it more unique. my attention 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 A natural impulse
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
Vivid look
of this quality, it is used as marking ink. The flowers and the Contemporary charm
central portion of the buds, stem and shoot are usually cooked
as vegetables. Fibres can be made from the dried leaf stalks and Feminine allure
used for tying fences. Banana plant’s roots, flowers, stem and
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
Persona for collection Three
The
modern
Individualist
Age group:
20-30 years
Profession:
Student
Freelancer
Working professional
Keywords for her:

About her:
She is young. She is bold. She is
unapologetically individualistic.
She is in a zeal to live her life to
the fullest, throwing caution to
the wind.
She is not afraid to wear her

values like a badge. Her style
Youthful speaks of who she is and
Free spirit she carries it with grace and
Bold confidence. She believes in the
Experimental acceptance movement of ‘I’m
perfect’ embracing unusual
Jewellery Look: imperfections. She is a rebel,
Modern refusing to fit into society’s
Eccentric predefined stereotypes.
Flawed beauty
Organic looking
Brands she shops from:
Occasion: Anomaly
To College Nori
For work AND
Casual outings Mango
Parties
Concerts
Fig 6.20 Persona for the third

Fig. 5.21 Fig. 6.23 Fig. 6.25
Fig 6.21 Majestic pattern of lines

Graceful Strokes 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

The unconventional consumers are embracing the unusual on a surface
imperfections and finding beauty in the imperfections itself. With
their unique style, the defects, blemishes and the play of lines are Fig 6.24 Beautiful seed pod of
appreciated. The key inspirations include the beauty of nature in Maple
insect wings pattern, tree rings, mushrooms and leaf line pattern.
Out of which Tree ring was chosen and taken forward. Fig 6.25 Partially decomposed
leaf
LIGHT, ORGANIC, LAYERED, TEXTURED, PATTERNED, Fig 6.26 Close up bottom view of
UNSEEN, NATURAL, CHARM Fig. 6.22 Fig. 6.24 Fig. 6.26 a wild mushroom
Tree Rings
As trees grow, they add a new layer of wood to their trunks each A tree writes the story of its life,
year. Since the trunks of trees are round, this new growth is called In rings, not letters.
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
One tiny ring at the centre:
tree. Each tree ring represents one year in the life of a tree. “Here is where I began.”
Next year a new ring:
Anne Michaels says that “Trees, for example, carry the memory of “Look how much I grew.”
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
Wide bands between rings:
felled.” “Hooray for rain and sun.”
Narrow bands:
Tree rings are the informers of a tree’s history. Tree rings can tell “It’s hot and dry and I’m so thirsty.”
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
Fires, insects, the weight of
lack of rain and stressful growing conditions. Tree rings may even the fallen tree against the trunk,
condition. Tree rings may even have scars from lightning strikes,
wildfires, or lawnmowers. All written in rings, not letters,
The life story of a tree.
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.
- Juanita Havill
Proudly distinctive
Skewed beauty
Eye-catchy
Eccentric looking
6.4 Research on Existing Applications Dravidian Temple Architecture
Secondary research was carried out after finalizing the inspiration The living room furniture range is completely derived from the
stories for each collection. The research included finding out glorious Temple Architecture of Andhra Pradesh. Designed as Art
various examples of products, apparels, accessories or graphics furniture, it is highly customised, has a sculptural quality and is
inspired by the same inspirations that were considered for one of its kind. The ‘Gopuram’ Dining Chair is inspired by one of
the project collections. The secondary research helped in the important elements of temple architecture, the Gopuram/the
understanding the transformation of the inspiration into designs towering entrance.
or products by various designers. There was a broad range of
applications using the same inspiration and various ways of An ornate chair with bold dark wood and gold polish brings out the
approaching the same inspiration were observed. The existing richness of the Tirupati Balaji temple and the Telugu love for Gold.
applications inspired by Dravidian Temple architecture, Banana The form of the gopuram is abstracted, retaining only the most
plant and Tree rings are mentioned along with the imagery in this important elements in detail- that of the head of the tower, lined
section of the document. with the auspicious kalasams.
Fig. 6.27
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 Fig. 6.28
Fig. 5.29 Fig. 6.31 Fig. 6.32
Fig 6.29 Form of a skirt inspired
by the grandeur of Dravidian Deriving inspiration from the Kalbelian dancers’ costumes, the The collection by Shwethaa combines the architectural history into Popley Group has launched an exclusive range of Dravidian
temple Fig 6.31 Apparel inspired by the
gipsy look was transformed into a resplendent skirt borrowing its the modern designs in fashion making it into a sculptural fashion. It jewellery inspired by art, dance, music and ancient Dravidian Dravidian temple architecture
Fig 6.30 Costumes of Kalbelia grandeur from the gopurams of Dravidian temples. The luxury of adores the beauty of the detail and craftsmanship. This collection architecture. The Dravidian collection houses jewellery along with
dance form and south Indian Dravidian architecture combined with the sensuousness of these is a tribute to the history that stands to tell the Dravidian tale for heavy demand for precious metals especially gold. Even though Fig 6.32 Bangle from the
temple illustration serving as an dancers in all its glory. over 1000 years. today’s generation has a modern outlook, their jewellery balances collection of Dravidian jewellery
inspiration Fig. 6.30 modernity with values of tradition. by Popley group
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. Temple jewellery is generally large and chunky, with figures
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
Fig 6.33 Famous temple jewellery
these pieces in attractive patterns that catch the eye while some
of India seeking inspiration
from the deities, temple tops and
pendants also resemble the ‘gopuram’ or temple entrance towers
divine figurines in their most in design. Representative pieces of this sort signified the wearer’s
basic form Fig. 6.33 special relationship with gods and the mythic universe.
Banana Plant
Fig. 6.34 Fig. 6.35 Fig. 6.36

Fig 6.34 Handcrafted bag
inspired from the banana leaf Pubumésu evocates the piquant smells and vibrant settings of Laura Fontan and Diego Cortizas- arrived in Hanoi in 2004, as a Considered one of the most recognizable patterns in the world,
pattern by Pubumesu
Southeast Asia’s culture with its new theme. Inspired by the young Spanish couple. Getting inspiration from the people, the the original “Martinique” banana leaf paper was hued in colours of
Fig 6.35 Range of apparel everyday surroundings and offerings representative of Southeast food, the colours of Vietnam, they were also amazed by the fabrics burgundy, muted green and deep mustards with a hint of brown.
Fig 6.36 “Martinique”, the classic
inspired by the Heliconia plant Asian markets, the collection immortalises cultural traditions and and crafts surrounding in the city. They started designing a fashion A timeless, bold and exaggerated pattern of distinction that has wallpaper representing the
of Banana family, an icon of motifs such as the banana leaf and tempeh in a set of super cute brand ‘Chula’ reflecting their passion for this new country, and its rightly earned its place as one of the most iconic wallpapers within foliage of the banana plant, its
Vietnamese culture and exclusively crafted bags. culture. the history of the 20th century. Timeless, for certain. fruits and flowers
Fig. 6.37 Fig. 6.38 Fig. 6.39
Tat Yan Soo realistically depicts a fresh banana leaf, traditionally The Banana Bowl Sconce is inspired by the functional art of the A lamp inspired by the gracious form of banana peel. This unique
Fig 6.37 Ceramicwear depicting
used in Bali to serve food. Honed techniques of stoneware banana leaf bowl; a long-used tool created by pinning the leaf of and appealing design mimicking bananas skin gives it a more
a fresh banana leaf, traditionally ceramics result in a uniform glaze and smooth, ribbed textures for a banana plant into a bowl shape. The pinned leaf design of the organic and abstract form. Peel lamp features a curved free-
used in Bali to serve food a stunning handcrafted vase. sconce is open at the top and bottom creating directed light while flowing shape with a glossy finish.
ambient lighting diffuses through the shade.
Fig 6.38 A banana leaf bowl Fig 6.39 A table lamp inspired by
sconce the form of banana peel
Application in Jewellery
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
Fig. 6.40
Fig 6.42 A mesh bracelet inspired Fig. 6.41
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 Fig. 6.44
in the banana leaves Fig. 6.45
Fig 6.45 Contemporary banana

leaf wrap-ring translating Fig. 6.43
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 Fig. 6.48
gorgeous lines on banana leaves Fig. 6.46 Fig. 6.47
Tree Rings
Fig. 6.50
Fig. 6.49 Fig. 6.51 Fig. 6.52
German designer Lisa Ertel used a sandblasting technique on Summer Lights features illuminated works of art in the The best architectural designs don’t need to look overcomplicated,
Fig 6.49 A wooden chair with its
natural tree rings highlighted by
wood furniture to emphasise the patterns created by trees’ annual environment, artifice in nature, pieces of public art made to they just need to be effective. This sleek pair of 17-story office
the sandblasting method rings of growth. The Dune collection, which was shown during be visible in the dark. Viewable from distances and infinite buildings in Seoul by BCHO architects is a perfect example.
Milan Design Week, is intended to highlight the “individual history” perspectives, they illuminate the trails and the towering trees The architects took inspiration from an old Korean birch tree
Fig 6.50, 6.51 Playful summer of each piece of wood, making it more of a tangible experience. of the Woodworks landscape and transform it into a new place, trunk, organic and sculpted as if moulded by flowing water. The Fig 6.52 ‘Twin Tree towers’ in
lights highlighting the pattern of startling, playful and beautiful. design allows the structures to efficiently utilize the irregular site Seoul inspired by the form of a
tree rings conditions, which are composed of vaguely acute angles. tree trunk
Fig. 6.53
Fig. 6.54 Fig. 6.55 Fig. 6.56
Fig 6.53, 6.54 Coffe table made Two designers Tanja Hinder and Michael Thomas from the Journal of Methuselah is a book about a 5,000-year-old tree, Fredrik Färg and Emma Marga Blanche have been developing
from a tree trunk highlighting
company MTH Woodworks presented their unique furniture chronicling the major events of human history that the tree has a technique over the years at their studio in Stockholm, being
its growth rings on the table
platform design ideas, inspired by nature, during IDS West exhibition in lived through. This book was created using the theme of numbers; baptised and registered as Wood Tailoring. Layers of thick plywood
Vancouver. Modern coffee tables with tree trunks and growth as one look through the book, each turn of the page adds a ring are stitched together to make the Couture Armchair, where the
Fig 6.55 A book of a 5000-year- rings are beautiful furniture items that create warm and cosy living onto the tree’s life and describes an event that has happened at sewing represents a topographical map with an organic pattern
old tree describing all the events rooms, adding more character to contemporary homes. that time. that resembles the growth of wood. Layers on layers have been Fig 6.56 Chairs made from the
in its life while adding one tree added like growth rings found in the cross-section of a tree trunk. layering of wood resembling its
ring with every page growth pattern
Other Applications
Fig. 6.58 Fig. 6.59
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

Fig. 6.57
from ‘Stumps collection’ by
Sharon Sides highlighting the
tree ring pattern by the method Fig. 6.62
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 Fig. 6.60 Fig. 6.61 Fig. 6.63 Fig. 6.64
Application in Jewellery
Fig. 6.66
Fig 6.65 Bracelet made from saw Fig. 6.65

cutting a three-hundred-year- Fig. 6.67
old 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

Fig. 6.68
with layers to created beautiful
3D designs Fig. 6.69
Fig 6.69 Brass pendant

translating the beauty of growth Fig. 6.70
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 Fig. 6.71 Fig. 6.72 Fig. 6.73
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
collected data for coming up with the final approaches based on
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
same inspiration in multiple ways according to the requirement.
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.
06 W
Temple Collection
07
Collection Presets
Ideation
Prototyping
Product Development
Insights
7.1 Collection Presets
Brief Product Category

To design a high-end Indo-contemporary silver jewellery collection Earrings, Neckpieces, Rings, Bracelet and Anklet
developed using the casting technique.
Costing
Inspiration
3 Thousand - 25 Thousand
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 Material
temple and few temples in and around the city of Coimbatore.
Capturing various prime elements of these Dravidian temples like 92.5 % Silver and Swarovski Stones
gopuram and carvings on the walls and pillars, this collection will
translate its elegance, intricacy and splendour into timeless pieces
of Jewellery. Keywords
Timeless appeal
Visual vocabulary Redefined aesthetics
Ancient opulence
Encompassing the grace and inheritance of Dravidian Temple Ornamental elegance
Architecture, the designs of this collection will be developed using
the casting technique as stated in the brief. Following the trend,
this indo-contemporary collection will have a play of gold and silver
antique finish complemented by the setting of various stones in
the jewellery.
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 first set of ideation was about exploring these

elements in various ways by playing with their size,
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.
Fig. 7.1
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
Fig. 7.2
Fig. 7.2
Fig. 7.3 (a) Fig. 7.3 (b)
Fig. 7.4 (a) Fig. 7.4 (b)
Neckpieces
Earrings
After a couple of feedback sessions in the
Fig. 7.5 (a) office and with the project guide, it was
realized that the explorations after a point
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
Rings any reflection of the temple elements.
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 Bracelets
the collection.
Fig. 7.5 (b) Fig. 7.5 (c)
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
Fig 7.6, 7.7 (a,b) Decluttering and and wall carvings.
again exploring the intricate
elements of Dravidian temple After discussions with the mentor, a total of thirteen pieces of
architecture
jewellery were selected for prototyping in metal. After the designs
were finalised designs sheets were made, which had the details
Fig 7.8 (a-c) Final sketches of the
narrowed down designs necessary for the CAD making and manufacturing requirement.
Fig. 7.6
Fig. 7.7 a Fig. 7.7 b
Neckpieces
Earrings
Fig. 7.8 a
Bracelet
Rings
Anklet
Fig. 7.8 b Fig. 7.8 c
Dangler Earrings
Fig 7.9 Form explorations for the

Fig. 7.11 Front View Side View Isometric View Fig. 7.12 Fig. 7.13 dangler earrings
Fig 7.10 Final design sketch of

the dangler earrings
Design CAD, CAM
The pair of dangler earrings from temple collection was inspired After finalising the design from the various explorations, the CAD Fig 7.11 Front, side and isometric
by the intricate carvings on the pillars of Dravidian temple. The file of the earring was created. The CAD file was made in two units, views of CAD models of the
ideation process involved selecting the individual set of elements the topmost part and the remaining bottom part. It could have dangler earrings
on the pillars and then developing various combinations of these been done in other ways like creating multiple units of the earrings
Fig 7.12 CAM piece of the
elements. The forms of pillars in the temple were explored to and linking them together during assembly. But, the former way
dangler earrings attached with
convert the intricate elements into an earring with contemporary was chosen as it would have aesthetically looked different than wax supports
aesthetics. the original sketch after assembling. The CAD file was made in the
exact size as per the original design. But, after the CAM pieces Fig 7.13 Assembled Casted
were ready it was realized that even though the dimensions of the dangler earring before polishing
Fig. 7.9 Fig. 7.10
CAD model was exactly the same as per the design sketch, the
bottom part of the earring looked bigger than the topmost part.
It was realized that the in the design sketch the topmost part was
drawn as per its front view while the rest in isometric view. This
resulted in the difference in the size after physical CAM model of
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
very heavy compared to the top part and became difficult for the
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,
Fig. 7.14
a black antique finish was applied to the whole earring in the
texturing department. The process involved burning a material
and holding a copper plate on the flame of it. The burning results
in a black layer on the copper plate. This same layer is applied on
the jewellery using a brush to give it a black antique finish.
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 Fig. 7.15 Fig. 7.16
Fig. 7.17
Drop Earrings
Fig 7.18 Reference image of

inspiration for the pair of
earrings

the earrings
Fig 7.20 Form explorations

for the earrings inspired by
the carvings on the walls of
Tanjavour temple Fig. 7.18 Fig. 7.19
Fig. 7.20
W 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 files of all the elements other than the central tubular
element were made. All the CAD files had a hole going through
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
the design. After assembly, it was realized that the central tube
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. 7.22 Fig. 7.24
Front View Side View
Fig 7.21 Front, side and isometric Fig 7.24 Artisan putting the
views of the CAD models of the filler material at the point which
earrings needs to be soldered
Fig 7.22 Individual CAM piece of Fig 7.25 Artisan soldering the
the earrings casted piece to a silver hollow
pipe using a solder wire
Fig 7.23 Parts of the earrings
after cutting from the silver Isometric View Fig 7.26, 7.27 Finished pair of
investment casting tree Fig. 7.21 Fig. 7.23 Fig. 7.25 earrings
Fig. 7.26
Fig. 7.27
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
also incorporated into the designs as it defines the gopuram of
Dravidian temple.
Fig. 7.29 Fig. 7.30

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 7.32 Finger ring prototypes

made from paper inspired by the
Fig. 7.28 Fig. 7.31 Fig. 7.32 pillars of Dravidian temple
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
try various combinations and forms that were difficult to visualise
and draw on the paper.
There are two variations in the ring. The first one was made as
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
as the weight of every piece had to be in the specific bracket so
that it matched the preset pricepoint. To reduce the excess weight,
extra metal was scooped wherever possible. Providing the design
details like the depth, flow prong size, stone size and link details
are important as alternate looks or technical problems can be
understood and needs to be solved at the same time and can not
be changed later. It was recognized that the CAD models may
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 7.33 Variation of prototypes Fig 7.34 The prototypes were

translating the gopuram of worn and checked if any
Dravidian temple Fig. 7.33 Fig. 7.34 changes needed to be made
Top View
Front View
Isometric View
Fig. 7.35 Fig. 7.37 Fig. 7.39 Fig. 7.41
Top View
Fig 7.39, 7.40 Individual CAM
pieces of the statement rings
Front View
Fig 7.41, 7.42 Loose silver pieces

of the statement rings before
Fig 7.35, 7.36 Final design finishing and assembly
sketches of the statement rings
Fig 7.43 Gopuram statement ring
Fig 7.37, 7.38 Front, top and
isometric views of the CAD Fig 7.44 Model wearing the
Fig. 7.36 Fig. 7.38 Isometric View Fig. 7.40 Fig. 7.42 gopuram statement ring
models of the statement rings
Fig. 7.43 Fig. 7.44
Convertible Earrings and Studs
Front View Side View Isometric View

Fig. 7.48
Fig 7.45 Reference image of

the carvings on gopuram of
Thanjavur temple serving as an Fig. 7.46
inspiration for the earrings

the modular earring

the stud earring
Fig 7.48 Front, side and isometric

views of the CAD models of the Front View Side View
modular earring

views of the CAD models of the
studs
Fig 7.50 Referring the design

sketch of the stud while creating
its CAD model Fig. 7.45 Fig. 7.47 Fig. 7.49 Isometric View Fig. 7.50
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

to the top part. While making CAD file of the studs it was realised
Fig. 7.51 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 7.51 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 Fig. 7.52 Fig. 7.53 Fig. 7.54
Fig 7.55 Modular earring which
can be worn as a stud as well as
a dangler
Fig 7.56 Pair of studs inspired by

the carvings on the gopuram of
Fig. 7.55 Fig. 7.56 Tanjavour temple
Assymetric Necklace
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

the asymmetric necklace
Front View Fig 7.60 Front view of the

CAD models of the asymmetric
Fig. 7.58 Fig. 7.59 Fig. 7.60 necklace
Fig. 7.57
Fig. 7.61 Fig. 7.62
The big central elements of the asymmetric necklace are inspired used or the entire gopuram element can be manufactured using the
by the gopuram of the Dravidian temples. Ideation for the big electroforming process.
pieces involved exploring various ways of translating the gopuram
to design in a simpler way. Only front part of the gopuram elements To style this necklace it was proposed to be worn with traditional
was created in CAD file instead of making the whole. This was outfits as well as with western outfits like wearing it around a
done in order to reduce weight by making only the front part collar of a shirt.
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 7.63 All components of the
A beaded chain was chosen as the long vertical chain so that asymmetric necklace before
finishing and assembling them
it aesthetically matches with the big gopuram element of the
together
necklace. The exact lengths of these chains were decided by
Fig 7.61 CAM pieces of the actually wearing it around the neck and visualising the look. The Fig 7.64 Finished asymmetric
necklace after 3D printing necklace is supposed to be worn from the back of the neck as the necklace along with its design
round hollow tube around the neck is quite flexible. Even after sketch
Fig 7.62 Loose silver pieces of the trying to keep the minimum weight of the gopuram elements in
necklace after cutting them from the end after assembly, the whole necklace weighed more than Fig 7.65 Model weaning the
the investment casting tree expected. To cater to this problem, a thinner back sheet could have Fig. 7.63 asymmetric necklace
Fig. 7.64
Fig. 7.65
Modular Necklace
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.
Fig 7.68 3D printed CAM pieces
Front View
of the modular necklace attached
All the six layers of this central element have a hole on both the with supports before it goes for
sides through which the chain is passed. To create an effortless die making
and easy sliding movement on the chain, rubber was inserted in
the holes so that the central elements can pass through it very Fig 7.69 Silver pieces of the
conveniently. As the elements are meant to be slid on the chain a necklace after the investment
simple plain chain with rectangular cross-section was chosen for casting process
Fig 7.66 Final design sketch of Isometric View the ease of the movement.
Fig 7.70 Modular necklace
the modular necklace
Fig 7.71 Modular necklace
Fig 7.67 Front, bottom and Bottom View with the centrepiece elements
isometric views of the modular displaced on the chain for a
necklace CAD model Fig. 7.66 Fig. 7.67 Fig. 7.68 different look
Fig. 7.70
Fig. 7.71
Bracelet
Top View
Fig. 7.75

for the bracelet inspired by
Front View
the carvings on the pillars of
Dravidian temple

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 7.76 Silver cast pieces of the

Fig. 7.73 Fig. 7.74 Isometric View Fig. 7.76 bracelet
Fig. 7.72
Fig. 7.77
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
Fig 7.77 Brcelet after final finish forms the bangle or bracelet was designed in a way that it reflects
the linear portion of the pillar and the two heads of it as the top
Fig 7.78, 7.79 Model wearing
and bottom of the pillar. A spring lock was fixed in the bracelet on
the bracelet from the Temple
collection the bottom side for the ease of wearing. Fig. 7.78
Fig. 7.79
Two Finger Ring
Top View
Fig. 7.83
Fig 7.80 Form explorations for

Front View the ring inspired by the carvings
on the pillars of Dravidian
temple

the two-finger ring

views of CAD model of the two-
finger ring
Fig 7.83 CAM pieces of the two-

Isometric View finger ring
Fig 7.84 Silver cast pieces of the

Fig. 7.80 Fig. 7.81 Fig. 7.82 Fig. 7.84 two-finger ring before finishing
Two-finger ring has been designed in a similar way as the bracelet
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
making CAD file for the ring, extra supports were provided joining
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
final assembly.
After the final assembly, it was recognized that the central element
on the ring looks flat and disconnected from the other two heads
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
Fig 7.85 Two finger ring from the
Temple collection important learning from this product.
Fig. 7.85
Anklet
Isometric View
Fig. 7.89
Fig. 7.86 Fig. 7.87

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
putting a threaded screw in the slot to fix it. The anklet was tried
on after assembly and it was realised that the locking is very
inconvenient and requires a lot of force. Instead of the traditional
lock, a simpler S lock or chain lock could have been used for the
ease of wearing and locking it.
Front View
Fig. 7.88
Fig 7.86 Design sketch of the Fig 7.89 Artisan soldering the
anklet Anklet from the temple collection is inspired by two prominent manner throughout the anklet. In order to make the anklet flexible multiple pieces of anklet together
elements on the temple carving. One is the protruding elements and easy to wear it was made into many small pieces which were
Fig 7.87, 7.88 CAD models of the from the top of the gopuram while the other is from the carvings later joined together during assembly. Fig 7.90 Model wearing the
anklet Fig. 7.90 anklet from Temple collection
on the gopuram. These two elements were arranged in a repetitive
Choker
Front View
Fig. 7.91
Choker from the Temple collection is inspired by the topmost part

of the gopuram of Tanjavour temple. The ideation started with
Isometric View
defining various layers from the inspiration. These elements were
drawn in a repetitive format. A symmetrical design was chosen
from the explorations which was converted into a CAD file.
Fig. 7.94
Fig 7.91 Design explorations for Similar to the manufacturing process of the anklet, the design
the choker inspired by the top of choker was also split into 15 small pieces which were joined
part of the gopuram together in the last stage of assembly. The design was produced Fig 7.93 Final design sketch of
in parts for achieving certain degree of flexibility so that it can the choker
Fig 7.92 Reference image of the easily fit around the neck. S lock was provided on the back of the
gopuram topmost part serving as necklace. Fig 7.94 CAD models of the
an inspiration for the choker Fig. 7.92 Fig. 7.93 choker
Fig. 7.96 Fig. 7.99

of the choker
Fig 7.96 Loose pieces of the

choker kept together for
checking after the investment
casting process
Fig 7.98 Comparing the finished
Fig 7.97 Artisan applying a product with its design sketch
rhodium plating on the parts of
choker which need to have gold Fig 7.99 Model wearing the
finish Fig. 7.95 Fig. 7.97 Fig. 7.98 choker
Three Layer Necklace
Fig. 7.102 Fig. 7.103
Fig 7.100 Design sketch of the

The three layer necklace has a central element inspired by the was shortened to make it visually look symmetric and avoid the three-layer necklace
gopuram of the Dravidian temple. The long necklace or haram has tilting. All the chains used in the necklace are of very long length.
three strings of beaded chain to which the silver casted elements So, after wearing the necklace they were getting entangled Fig 7.101 Front, side and
are attached in the center. CAD files of the three central elements amongst each other, to avoid the entangling, upper portion of the isometric views of CAD model of
were made in a way that it is hollow from backside. This was done chains were soldered till a specific length. This ensured that the the 3 layer necklace
to reduce the overall weight of the necklace as it was exceeding chains stays at their place and do not entangle with each other. For
the price bracket. A textured plate of exact was cut with laser applying a gold finish on some parts of the necklace, electroplating Fig 7.102 CAM pieces of the
centrepiece of the three-layer
cutting technique and attached to the back of the central elements method was used.
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
Isometric View of chain on both the sides, the central element was tilting on one three-layer necklace before
Fig. 7.100 Fig. 7.101 side. To cater to this problem, the chain on one side of the necklace finishing
Fig 7.105 The necklace taken out
from the POP mould after the
assembly of central pieces and
chains
Fig. 7.105 Fig. 7.106
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 7.104 Components of the
three-layer necklace at the Fig 7.110 Model adorned with
artisan’s workplace before various jewellery pieces from the
finishing and assembly Fig. 7.104 Fig. 7.107 Fig. 7.108 Temple collection
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
of technical problems that were not foreseen and realized later
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
every stage. Temple collection was the first collection that was
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.
Fig. 7.109
07 Banana Collection
08
Collection Presets
Ideation
Product Development
Insights

To design a modern silver jewellery collection developed using a Earrings, Pendants, Rings and Bracelet
fusion of various manufacturing techniques available at Emerald.
Costing
Inspiration
1.5 Thousand - 3 Thousand
The unique Banana plant with various fascinating elements like its
leaves, flowers, fruits and stem will serve as an inspiration for this
collection. A fusion of various manufacturing techniques will be
used for enhancing the elements of a banana plant. This collection
Material
will be an attempt to translate the elements of the banana plant
92.5 % Silver and Swarovski Stones
into contemporary designs.
Visual vocabulary Keywords
Incorporating the vividity of banana plant in the designs, the A natural impulse
Banana collection will be produced using a fusion of various Vivid look
manufacturing techniques at Emerald Jewels. The manufacturing Contemporary charm
techniques may include casting process, electroforming process, Feminine allure
handmade process, stamping process etc. The enamelling
technique will be used for achieving the colour palette of the
banana plant along with the silver gloss finish.
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
elements were fruits, flowers and leaves. All these three elements
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
manufacturing technique will be used to produce the designs.
This consideration was very crucial as this collection was all about
making various elements of one piece of jewellery using different
manufacturing techniques. So, multiple ways were chosen for
representing the three prominent elements of the banana plant.
After the ways of representing these elements were figured out,
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
Fig. 8.1 (a)
to represent them
Fig. 8.1 (b) Fig. 8.1 (c)
Fig. 8.1 (d) Fig. 8.1 (e)
Fig. 8.1 (f) Fig. 8.1 (g)
Fig. 8.1 (h) Fig. 8.1 (i)
Fig. 8.1 (j) Fig. 8.2
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, the flow and form of the banana plant fruit and
flower were observed. It was noticed that the fruits grow on
top and the flower blooms from the centre of the shoot. 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 first design composition of the earring included elements

which were manufactured using various techniques like casting, Electroforming
stamping, electroforming and handmade. The big flower elements
of the design were made using electroforming as it would be light Handmade
in weight and complex forms could be easily created. The fruit
elements were created using the handmade technique. Stamping/Casting
Handmade
Electroforming
Handmade
Once the design sketch was finalized, CAD models for the casting
and electroforming process were created. Images of the banana Electroforming
plant were referred by the CAD designers for creating similar
forms out of it. The manufacturing process involved making of wax
and low melting alloy pieces of the banana flowers which were
later used for Electroforming. A coat of conductive silver paint
was applied on the replicas for electrodeposition. In the Anode-
Fig 8.2 Ideation defining all Cathode reaction of the electroforming process, a very thin layer
the elements of banana plant of silver metal got deposited on the alloy or wax replica. The inside
to be used for further form material is melted down and completely removed so that a hollow
explorations piece gets created as the end product. Once the electroformed
pieces were ready, they were sent to the fusion department where
Fig 8.3 Form explorations for the other components of the jewellery were made. Fig 8.4 Final design sketch of the
fusion earrings Fig. 8.3 Fig. 8.4 fusion earring
Fusion
When Fusion department receives various components of the
jewellery, the rest of the elements are created using the handmade
technique. After creating all the elements, they are placed together
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
exposed to flame. So, the electroformed pieces are joined to the
rest of the elements using laser soldering. Once the final assembly
is finished, the jewellery is thoroughly cleaned using BP stripping
and sent to the texturing department for the final polish.
In this pair of earring, a horizontal wire on top was not sketched

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. 8.5 Fig. 8.7 Fig. 8.9
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 8.9 All elements stuck on
arakku, a black gum-like material
Fig 8.7 Individual CAM pieces for creating the same design as
for the fusion earrings the design sketch
Fig 8.8 Silver conductive paint Fig 8.10 Parts of earring other
applied on the wax pieces for the than the electroformed pieces
electroforming process Fig. 8.6 Fig. 8.8 Fig. 8.10 are soldered together
Fig 8.11 Final finished fusion
earring

fusion earring Fig. 8.11 Fig. 8.12
Fusion Earring
The second composition of earring using the same elements Front View
translates the vertical hanging branch of banana fruit and flowers.
The big flower and one banana fruit element are manufactured
using electroforming technique while the small flowers are made
using the casting method. Once all the casted and electroformed
pieces are ready and in place, the rest of the handmade work is
Bottom View
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.
Fig. 8.14 Isometric View Fig. 8.15

Electroforming
Casting Fig 8.14 Front, bottom and

isometric views of CAD model of
the fusion earring
Handmade
Handmade of fusion earring
Fig 8.16 Casted elements of the

Electroforming fusion earring to be cut from the
casting tree after the Investment
casting process
Fig 8.17 All elements stuck on

a black gum-like material for
creating the same design as the
the second fusion earring Fig. 8.13 Fig. 8.16 Fig. 8.17 design sketch
earring

fusion earring Fig. 8.18
Fig. 8.19
Fusion Earring
The third composition of earring using the same elements is

made using manufacturing techniques like casting, electroforming
and handmade. Swarovski stones have also been used in this
composition representing the flower of the banana plant. The
hand of banana fruit is created using the electroforming process. Front View Side View
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.
Isometric View
Fig. 8.21 Fig. 8.22
Handmade
Stones
views of CAD model of the
fusion earring
Electroforming
of fusion earring
Casting
Fig 8.23 Silver conductive paint
applied on the wax pieces of the
banana element of the fusion
earring for the electroforming
process
Fig 8.20 Final design sketch of Fig 8.24 Artisan skillfully setting
the third fusion earring Fig. 8.20 Fig. 8.23 Fig. 8.24 the stone in the fusion earring
fusion earring

Fig. 8.26 earring
Fig. 8.25
Clip-On Earrings
Stones
Casting
Machinemade chain
Handmade
Fig. 8.27 Fig. 8.28

the clip-on earring
The clip-on earring comprises of two banana fruit elements The clip-on ring has two balls on the end so that it doesn’t hurt
Fig 8.28 CAD output compared and the flowers hanging down from it. The flowers are created the ear. This earring can be worn in another way by removing the
using the casting method and stone setting using prongs. These clip-on ring. After removing the clip-on ring it will look like a very
of clip-on earring
elements are linked to a half ring and can be clipped on the top of long chain with the flower elements at bottom and fruit elements
Fig 8.29 Model wearing the clip- the ear by slightly pressing it. on top.
on earring
Fig. 8.29
Fusion Pendant
Handmade
Electroforming
Handmade
Stones
Fig 8.30 Explorations for forms Casting

and composition for the fusion Fig 8.31 Final design sketch of
jewellery Fig. 8.30 Fig. 8.31 the third fusion pendant
Fig. 8.34
Front View Side View Isometric View
Fig. 8.32 Fig. 8.33
Various compositions were explored using all the three prominent Enamel painting was done on the electroformed leaf element of
elements of the banana plant including leaves, flowers and fruits. the design. 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 Fig 8.34 CAM pieces of the leaf
handmade technique. This is done by soldering various small element of the fusion jewellery
pieces of silver together to give it a leaf-like form. Various small
Fig 8.32 Front, side and isometric lines making the handmade elements highlights the prominent Fig 8.35 All elements stuck on
views of CAD model of the lines on the large leaves of the banana plant. The leaf elements also a black gum-like material for
fusion pendant have tattered effect to make it look real. creating the same design as the
design sketch of the pendant
Fig 8.33 CAD output compared Abstract compositions were created to compose all the elements
with the original design sketch Fig 8.36 Final finished fusion
together as a one-piece so that it aesthetically looks pleasing. Fig. 8.35 Fig. 8.36 pendant
of fusion pendant
Sui-dhaga Earring 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. The leaf and flower element of the inspiration were
incorporated in the design highlighting the leaves. Leaf elements
are created using the electroforming process while the flowers are
created by the casting process and stone setting.
While making the CAD files of the leaf, various lines were drawn
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
little piece has a hole in it which is filled with silicon rubber so that
it can be easily slid on the wire without friction. After the earring
was assembled, it was realized that the earring is tilting due to Front View Side View
weight and curved form of the main wire. To resolve this problem Fig. 8.39
lesser design elements could have been used by keeping straight
Handmade the central wire.
Casting
Electroforming
Stones
Casting
Fig 8.39 Front and side views of

the CAD model of the sui-dhaga
Fig 8.37 Design explorations for earring
the sui-dhaga earring
Fig 8.38 Final design sketch of with the original design sketch
the sui-dhaga earring Fig. 8.37 Fig. 8.38 Fig. 8.40 of sui-dhaga earring
Finger Ring
Top View
Front View
Casting
Side View
Fig. 8.43 Fig. 8.44
Stones
The fusion ring consists of various elements like leaf and flower
inspired by the banana plant. The central leaf element and the ring
Handmade were manufactured as one unit using the electroforming process.
This was done to reduce the weight of the ring so that it would fit
in the price bracket of the collection. Other handmade and casted
Electroforming
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
wearer or anybody around, it was filed and made smooth and Fig 8.43 Front, top and side
round. 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
Fig 8.41 Design explorations for central leaf element of the ring
the ring
Fig 8.45 Worker giving a matte
Fig 8.42 Final design sketch of finish to the electroformed leaf
the ring Fig. 8.41 Fig. 8.42 Fig. 8.45 element before enamelling
Fig. 8.46
Fig 8.46 Model wearing the sui-

dhaga earring and finger ring
from the Banana collection
Fig 8.47 Model wearing

three pieces from the Banana
collection
Fig. 8.47
Fusion Pendant
The fusion pendant from Banana collection highlights the beautiful

Stones hands of bananas hung on a plant and the flowers shooting from
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
Handmade Electroforming one another. The electroformed element in the design was initially
enamelled using yellow colour.
Casting
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
Fig. 8.48 the intensity of the colour, it is changed by adding more colour
or thinner in specific proportions until the desired colour is not
achieved. Sometimes various colours are mixed together to form
the desired colour as only a few primary and secondary colours are
available. If enamel texturing is to be applied only on a specific part
of the jewellery, then the nearby parts of the jewellery are covered
the fusion pendant
with tapes and the tapes are removed later. After enamelling the
Fig 8.49 CAD output compared electroformed element, it was noticed that the specific element
with the original design sketch was getting highlighted way more than the rest of the design and
of the pendant making it look out of place. Hence, the enamel paint was removed
and a matte finish was applied to it.
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

fusion pendant in a plain silver
chain Fig. 8.49 Fig. 8.51 Fig. 8.50 Fig. 8.52
Bracelet
Handmade
Casting
Fig. 8.55
Stones
The bracelet from Banana collection is created using jewellery
manufacturing techniques like casting, handmade and stone
setting. The four-headed bracelet has the handmade fruit element
on each of it. The shooting flower element from the heads of the
bracelet is also used. Fig 8.54 Final design sketch of
the bracelet

Fig 8.53 Design explorations for with the original design sketch
the bracelet Fig. 8.53 Fig. 8.54 of the bracelet
Fig. 8.56 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
Fig 8.56, 8.57 Checking the lock rings of the bracelet would be joined with each other using a tubes were connected to it. Two linear elements were also added
and functionality of the bracelet straight wire between them. This idea was dropped when it was between the two hollow tubes to give it more strength.
realized at the assembly stage that giving the central element on
bracelet from the Banana
the back of the bracelet would make it very difficult to slide the
collection hand through it while wearing. So, for the ease of wearing, a spring Fig. 8.58
Finger Ring
Another finger ring from the Banana collection is a triple layer ring.
The ring has a handmade element on one side of the top. Three
adjacent rings are attached to it, each shooting up the flower
element on top. This ring is entirely handmade other than the
three small casted elements on top of every ring. This ring is an
attempt to represent the fruit and flower elements of the banana
plant in an abstract way.
Top of all three casted pieces had a pointy edge which was filed to
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
stays on the finger and doesn’t fall off. Fig. 8.61
Fig. 8.59

the ring

of the ring
Fig 8.6, 8.62 Finger ring
Fig 8.63 Model wearing the ring Fig. 8.60 Fig. 8.62
Fig. 8.63
Finger Ring
This finger ring with two heads on top is similar to the previous
ring from the Banana collection. The elements of this ring are made
using electroforming and handmade methods. The electroformed
flower on top of one side has tiny handmade elements attached to
the centre. These tiny elements is a way of representing the new
shoots of banana fruit from the flower. The two elements on top of
the ring are kept at a distance of 6mm from each other so that the
ring stays in the finger without falling.
Fig. 8.64
Fig 8.64 Final design sketch of Fig. 8.67

the ring

of the ring
Fig 8.66 Finger ring
Fig 8.67 Model wearing the ring Fig. 8.65 Fig. 8.66
Double Ring
Fig. 8.70 Fig. 8.71

Electroforming
This ring from Banana collection is coined as a double ring because

Casting this finger ring is made up of two rings. One ring goes on the finger
to the usual place and the other ring is at the top, towards the nail
of the same finger. This ring was made in such a way as there were Fig 8.69 CAD output compared
Handmade with the original design sketch
many small elements on the ring making it difficult to bend the
of the double ring
finger. To cater to this problem, the length of the ring was slightly
Stamping 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
helped to keep the ring design flexible and not stiff. the original design sketch
Handmade
This mechanism ensured easy movement of the fingers after Fig 8.71 Artisan soldering two
wearing the ring. pieces of the ring to each other
Fig 8.72 Checking the

functionality of the double ring
after soldering for easy bending
of the finger
Fig 8.68 Final design sketch of Fig 8.73 Model wearing the
the double ring Fig. 8.68 Fig. 8.69 Fig. 8.72 double ring
8.4 Insights
The journey of Banana collection right from sketching to final

finished products was very interesting and eventful. Building a
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
languages produced by various techniques together and making an
aesthetically pleasing composition out of it.
As this collection involved numerous processes, a lot of technical

problems were encountered at almost every stage. It was realized
after showing the final finished pieces to people from the company
who were unaware of the collection that the translation of banana
fruit element had lost its identity. The fruit element was perceived
more as the flower element. To avoid such problems, another
manufacturing technique could have been used instead of the
handmade technique to give it a different and relatable look.
Fig. 8.73
08 Tree Ring Collection
09
Collection Presets
Ideation
Product Development
Insights

To design a trendy, lightweight contemporary jewellery collection Earrings, Neckpieces, Rings and Bracelet
using plain silver and pearls for the modern Indian women.
Costing
Inspiration
5 Hundred - 2.5 Thousand
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
the millennial and gen z women. The spots, blemishes and irregular
Material
patterns on the rings will be highlighted as the persona of this
92.5 % Silver and freshwater pearls
collection is all about embracing the imperfections and finding
beauty in it.
Keywords
Visual vocabulary Proudly distinctive
Skewed beauty
The beauty of organic and irregular tree rings will be translated
Eye-catchy
into modern designs in this collection. The designs will be
Eccentric look
produced mostly using electroforming technique as the price
bracket for this collection is less compared to the other collections.
Along with the electroforming process, laser cutting and
handmade technique will also be used. The jewellery will have
a play of silver mat and gloss finish on it following the jewellery
trends.
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
referred during the exploration phase and bold, large size organic
looking designs were created. A three-dimensional look was tried
to be given to the two-dimensional inspiration of this collection
using the technique of layering.
Fig 9.1 Initial ideations
Fig 9.2 (a-f) First set of ideation

for transforming the inspiration
into various design elements Fig. 9.1
Fig. 9.2 (a) Fig. 9.2 (b)
Fig. 9.2 (c) Fig. 9.2 (d)
Fig. 9.2 (e) Fig. 9.2 (f)
Earrings Neckpieces
Fig. 9.2 (g) 1
Rings
The first and second set of ideation for

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) 2 Fig. 9.2 (g) 3
For this collection, the imagery of existing applications was
referred to draw the forms and patterns. The irregularities, spots,
Fig 9.2 g (1-3) Narrowed down
cracks and blemishes on the tree rings were looked at. These
set of ideations
irregularities were used as the design elements and highlighted
in the designs. This was done as the persona of this collection Fig 9.3 Rough sketches before
Fig. 9.3 embraces the imperfections and finds beauty in it. drawing the final designs
Finger Ring
Fig. 9.6
Most of the jewellery pieces from the Tree Ring collection are
Front View produced by using the technique of electroforming. Electroforming
was primarily considered for the production as it produces ultra-
light hollow jewellery which is very pocket friendly as price bracket
for this collection was very less. The finger ring with two heads was
entirely created using the electroforming technique. While making
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
Side View
was scooped so that the pearl can perfectly fit in it. As one cannot
solder the electroformed pieces, it was tricky to fix the pearl on it.
To resolve this problem, a small protruding element at the place of
Fig 9.4 Final design sketch of the pearl was added in the CAD file and a pearl with a hole on one end
finger ring with two heads was inserted into it. It was realized that after electroforming, the Fig 9.6 Individual CAM pieces of
pieces can slightly shrink in size than the actual CAD dimensions the finger ring
Fig 9.5 Front, top and side views due to some technical limitations. Because of this, the two heads
of the CAD model of the finger on top of the ring became slightly smaller and were not perfectly Fig 9.7 Checking the size of CAM
ring Fig. 9.4 Fig. 9.5 Top View staying on the finger if the fingers are widened. Fig. 9.7 pieces by placing on the finger
Fig. 9.9
Fig 9.8 Finger ring from the Tree

Ring collection
Fig 9.9 Model wearing the finger

ring Fig. 9.8
Necklace
Fig. 9.12

the necklace
Fig 9.11 Front, side and bottom

views of the CAD model of the
pendant
Fig. 9.10 Fig. 9.11 Bottom View
Fig 9.12 3D printed CAM piece of

the pendant The large pendant of the necklace was produced by electroforming complement the pearls on the large pendant. This singular chain
technique. was then linked to the main chain with a silver ball. After the
Fig 9.13 Technical Head checking
the pendant before fixing pearls
assembly, a mix of matte and high gloss finish was applied to the
on it Two units of the tree ring were raised upwards giving it a three- pendant creating a contrast.
dimensional look. The units were joined to a singular chain
Fig 9.14 Final finished necklace with silver balls on some distance. This chain was chosen to Fig. 9.13
Fig. 9.14
Studs
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
Fig 9.17 CAM pieces before
side of the lobe while the other part automatically goes behind
Fig 9.15 Final design sketch of cutting the supports and
the studs
the earlobe highlighting the gap and making it look like a crack in finishing
the tree rings. This pair of studs are easy to wear and easy to take
Fig 9.16 Creating a CAD model out despite it being on both the sides of the earlobe because of its Fig 9.18 Wax pieces before the
of the stud for the process of form. Many alterations were made in the form so that there will be application of conductive silver
electroforming Fig. 9.15 Fig. 9.16 no hassle while putting the earring on and off. Fig. 9.18 paint on it
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 Fig. 9.20
Fig. 9.21
Bracelet
Top View
Fig. 9.23 Fig. 9.24 Fig. 9.25
The casting process has been used to develop the bracelet of Tree
Ring collection. The bracelet consists of a hollow tube with round
Front View Side View balls on the ends. The three-dimensional tree ring units on the
top of the bracelet have been cast as individual units. The bottom-
most 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 Fig 9.24 Artisan fitting the
other small units which go inside the largest unit has a protruding individual pieces of the bracelet
Fig 9.22 Front, top, side and element on the base which is inserted into it. In this way, all pieces into each other as per the design
isometric views of the CAD perfectly fit into each other in one unit. For more strength and sketch
model of the bracelet permanent fixing, all the units are soldered together after fitting
them into each other. Fig 9.25 Drying the pieces of the
Fig 9.23 Individual 3D printed bracelet after electroplating and
CAM pieces for the casting Isometric View
before applying the matte and
process Fig. 9.22 high gloss finish on it
Fig 9.26 Closeup of the bracelet

bracelet Fig. 9.26 Fig. 9.27
Drop Earring
ottom
Bottom View
Isometric View
Fig. 9.28 Fig. 9.29
Fig 9.28 Final design sketch of Drop earrings from the Tree Ring collection are extremely
the drop earring lightweight as the design element at the bottom is made using
the electroforming process. The irregular form of the tree rings is
Fig 9.29 Front, side, bottom and linked to a lightweight chain. The chain can be inserted in the post
isometric views of the CAD
for both the earrings. Another way of wearing this pair of earrings
model of the drop element
would be wearing the drop chain in one ear and only the pearl in Fig. 9.31
Fig 9.30 CAM pieces before the other ear creating a mismatched look. An alternate matte and
cutting the supports and high gloss finish are applied on the layers of the tree ring element
finishing for creating a stark contrast.
Fig 9.31 Drop earring with matte

and high gloss finish
Fig 9.32 Model flaunting the

drop earring Fig. 9.30
Fig. 9.32
Handmade Ring
Fig. 9.34

the handmade ring
Fig 9.34 Various rings joined

together by a soldering method Fig. 9.33
Fig. 9.36
Fig 9.35 Pearls temporarily Finger ring from Tree Ring collection is created by using all the
inserted in the ring for checking
handmade methods of jewellery manufacturing. The ring consists
the size and look
of various rings of different forms joined with each other. The
Fig 9.36 Handmade ring after the flowy forms of all the rings have been achieved by the skilled
final finish 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
Fig 9.37 Model wearing the desired sizes were inserted into the thin wires and the wires were
handmade ring Fig. 9.35
soldered to each other allowing the pearl to slide on the thin ring.
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
created by the technique of laser cutting. With the help of this
high finish and high precision technique, the top element of the
ring was created. After creating a CAD file of the top element,
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
is required until the job is finished. The alternate central lines
were etched on the silver plate for up to 1mm and the outermost
contour was cut thoroughly using the laser beam.
Fig. 9.40 Fig. 9.42
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
Fig. 9.38 the perfect curve. The raised up part of the top element of the ring
was finished in high gloss while the rest of it in matte. This contrast
of matte and high gloss very beautifully highlighted the rings on it.
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

Fig 9.38 Final design sketch of element for bending it
the laser-cut ring afterwards
Fig 9.39 Suggestive isometric Fig 9.43 Artisan finishing the

view of the CAD model of the ring with a burr tool attached to
ring Fig. 9.39 Isometric View Fig. 9.41 Fig. 9.43 the Flexi Shaft gun
Fig. 9.45

laser-cut ring
Fig 9.45 Final finished ring with

matte and high gloss finish
Fig. 9.44 highlighting the lines on it
Stackable Earring
Side View Fig. 9.48

Front View
Bottom View
Isometric View
Fig. 9.46 Fig. 9.47
The stackable earring was inspired by the pattern of tree rings out of these individual units. All the casted parts of this earring
where one ring gets added to the trunk of a tree every year. In the were given a scratch finish by manually drawing the lines with the
Fig 9.48 Individual CAM
stackable earring, all the units of the earring are individual and not pointed tip of the Flexi Shaft gun. The matte finish on the textured
Fig 9.46 Final design sketch of pieces of the stackable earring
the stackable earring attached to one another. surface highlights the texture on the parts of the earing. before cutting the supports and
finishing
Fig 9.47 Front, top and isometric All the units have a small ring on top to insert it in the post. With
views of the CAD model of the the option of stacking up to 4 rings at a time, various looks can be Fig 9.49 Artisan creating scratch
stackable earring created using these parts. A lot of combinations could be created Fig. 9.49 finish on one unit of the earring
Fig. 9.52
stackable earring
Fig 9.51 Stackable earring
Fig 9.52 Stackable earring with

individual elements allowing
Fig. 9.50 Fig. 9.51 various combinations and looks
Necklace

the statement necklace
Fig. 9.53 Fig. 9.54 Fig. 9.55
of the necklace
The statement necklace of the Tree Ring collection has a a laser soldering machine. The large pendant is then linked with a was to repeat the whole process of production starting from CAM
Fig 9.55 Checking size of the rectangular negative space with six three dimensional units of the silver chain. was not feasible. So, the damaged piece was covered with an extra
hollow pipe for connecting with tree ring. All six individual units are produced by electroforming finish for the time being and the learning was kept in mind.
the electroformed elements technique. All the units have two hooks each to hold the hollow rod During the process of finishing, one unit of the pendant got
which was later used to join them together. The hollow tubes were damaged due to excess of buffing as the electroformed pieces can
Fig 9.56 Model wearing the 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
statement necklace Fig. 9.56
Statement Ring 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.
The products created using the electroforming technique need to

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
flame and are susceptible to dents, breakage and damage. 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 finish is applied on the inner layers of the ring and high gloss
silver on the outer ring for creating a contrast as per the trends.
Fig. 9.59
Top View
Front View
Fig 9.57 Final design sketch of Fig 9.59 Single CAM piece of the
the statement ring statement ring before cutting the
Side View supports and finishing
views of the CAD model of the Fig 9.60 Artisan applying matte
statement ring Fig. 9.57 Fig. 9.58 Fig. 9.60 finish on the top layer of the ring
Fig 9.61 Statement ring with
matte and high gloss finish Fig. 9.62

statement ring where the top
view of the ring resembling the
inspiration of the collection Fig. 9.61
Studs

Fig. 9.65
Bottom View Isometric View

Fig. 9.64
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.
The lightweight electroformed studs were first painted with
a high gloss finish in dual-tone. But after applying the finish, it Fig 9.65 Pair of studs with a
was realized that the high gloss finish all over the studs was dual-tone high gloss finish for
overpowering and subduing the layering effect of the studs. So, a checking the look before the
the studs matte finish was applied on all the layers and high gloss finish only final finish
on the top creating contrast and underlining the beautiful layering
Fig 9.64 Front, side and isometric of the rings. Fig 9.66 Artisan cutting the extra
views of the CAD model of the element on the electroformed
studs Fig. 9.63 Fig. 9.66 studs with a thread saw
Fig 9.67 Model wearing the studs
Fig 9.68 Pair of studs

highlighting the layering effect Fig. 9.67 Fig. 9.68
Wire Pendants
Fig. 9.71
Fig. 9.72
The large size pendants were created using a mix of casting,

electroforming and handmade technique. The central element of
the pendants with a design of wires was cast in silver. For adding
pearls and silver hollow balls with gold finish, slots were made
while creating the CAD files in the beginning. To increase the
strength of the pendant and avoid bending of the wires, small
elements were added to connect the large wires with each other.

of the pendant
Fig 9.72,9.73 CAM piece of the

vertical wire pendant before
Fig 9.69, 9.70 Final design cutting the supports and
sketches of the wire pendants Fig. 9.69 Fig. 9.70 Fig. 9.73 finishing
Fig 9.74, 9.75 Final finished wire
pendants Fig. 9.74 Fig. 9.75
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 three-
dimensional forms in various ways. The price bracket for this
collection was the lowest out of all the three collections. So, form
explorations were created by staying in the specific weight and
price bracket. It was also realized that the calculated weight of
a product during the CAD stage eventually decreases by some
milligrams as some material gets removed during the finishing
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.
Fig 9.76 Model wearing all the

four rings from the Tree Ring
Reflections
The Graduation Project experience
Looking back at the six months of Graduation Project spent in Emerald Jewels, I realize how immensely
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
knowledge of the jewellery industry in the context of infrastructure, organization, product range,
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
part of the process. I could very closely see how a product is developed right from sketching to finishing
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
to budget, from look to feel, from manufacturing techniques to weight. The Graduation Project not only
helped me to hone my skills but also in empowering a first-hand practical knowledge.
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.
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,
weight and manufacturing techniques used. I can still spot a lot of places where the work could have been
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.
My Industry mentor and others in the office gave me the strength and motivation to do the project not
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.
Adhering to the redefined brief of the project of designing and developing contemporary silver jewellery
collections with varied design languages as different choices for Emerald to build and carry forward the
brand identity the deliverables were produced. Considering the final outcome, the following listed points
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.
Credits Section
Bibliography
Project Documents Referred
Webliography
Image Citation
Works Cited
Bibliography Project Documents Referred
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Barnard, Nick, and Ian Thomas. Indian Jewellery: the V and A Collection. V & A Publications, 2008.
Saraf, Rashi. Jewellery Design for Tanishq. 2016. Lifestyle Accessory Design, National Institute of Design, M.Des Graduation Project
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Jewellery Trend Book 2018. Gem Jewellery Export Promotion Council, 2017.
Mishra, Vartika. Making Bindass a Multi-Platform Entertainment Destination. 2018. Graphic Design, National Institute of Design, M.Des
Michell, George, and Indira Viswanathan Peterson. The Great Temple at Thanjavur: One Thousand Years, edited by George Michell, Marg Graduation Project documentation.
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Chavan, Rutuja Vasant. Jewellery Design for Titan. 2017. Product Design, National Institute of Design, B.Des Graduation Project
Lalaounis, Ilias. A Tribute to Magnificence. The National Museum of Art of Romania, 2008. documentation.
Trendvision Jewellery + Forecasting. TrendBook 2020+. Italian Exhibition Group, 2019. Kaur, Harmanjot. Fine Jewellery Designing for Tanishq. 2018. Lifestyle Accessory Design, National Institute of Design, M.Des Graduation
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Trendvision Jewellery + Forecasting. TrendBook 2019+. Italian Exhibition Group, 2018.
Karnik, Komal. Jewellery Collection for Caratlane. 2018. Lifestyle Accessory Design, National Institute of Design, M.Des Graduation Project
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Sharma, Swasti. Collection for Silverline Jewellery. 2018. Lifestyle Accessory Design, National Institute of Design, M.Des Graduation
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DEGREE PROJECT

Sponsor : Emerald Jewels, Coimbatore

STUDENT : ABOLI SANJAY DESHMUKH

PROGRAMME : Masters of Design (M. Des)

GUIDE : SHIMUL MEHTA VYAS

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

Degree of the National Institute of Design

*Subsequent remarks regarding fulfilling the requirements :

This Project has been completed in ________________ weeks.

Activity Chairperson, Education

Student Name in Full: Aboli Sanjay Deshmukh

Student document publication meant for private

No part of this document can be reproduced or

Written, Designed and Edited by Aboli Sanjay

Guided by Shimul Mehta Vyas

Processed & Published in 2020 at

This document is typeset in Lato and Aleo.

It involves understanding the strength, infrastructure of an organisation, analysing it and giving an

Emerald Jewels Trend Research Research Analysis Banana Collection

NID provides an understanding of technical, managerial and design

The designers from this programme aspire to drive the market by

LAD program collaborates with industries at various levels

Ms. Vyas has research and practice interest in jewellery wherein

I was hesitant in the beginning to relocate to Coimbatore but later

MIND MAPPING AND

Emerald is the brainchild of Mr K. Srinivasan, who as Founder

The retail company has already opened 15 exclusive showrooms

Fig. 2.7 Watercolour illustration

Introduction to manufacturing processes at Emerald was a major

CAD (Computer Aided Design) SFD (Silver Finishing Department)

Fig. 2.11 CAM pieces mounted

Fig. 2.12 Worker opening the

Fig. 2.16 Worker setting the

Soldering and Assembly

Fig. 2.20 Artisan setting stones

Fig. 2.21 Artisan buffing and

Laser Assembly and Engraving

Fig. 2.23 Artisans working at

Fig. 2.24 Worker inserting the jig

Fig. 2.25 Artisan painting the

pieces on each other as desired and targets a laser beam on it.

Fig. 2.28 Artisan finishing a wax

Emerald manufactures quality jewellery in multifarious designs on

In Lasercutting Process, the machine shoots a beam of

Low weight and high resistant Imprez jewellery make it a much

Ultralight Fig. 2.41

Fig. 2.40 Mesh Gold chain

Fusion jewellery collection as the name suggests is a blend of

The handmade process starts with applying a gum-like material

Crafted in 92.5 Sterling Silver, Zilara collection is the silver

Along with gold and silver jewellery, Emerald possesses awe-

The Induction process was about understanding Emerald Jewels

Induction to manufacturing processes has been an integral part of

It was observed that being a pioneer in gold jewellery

Fig. 2.48 A Zilara silver necklace

Silver is considered as a noble metal because of its excellent Silversmithy

In western states of India like Rajasthan and Gujarat, silver is used

Silver is a good conductor of energy. It works as a mediator

Fig. 3.7 A tribal women from

Damascening and Encrusting technique

Damascening is the art of inlaying different metals into one

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

The secondary research about the narratives of jewellery,