# data[].attributes.body
. The fashion and music represented  the effects of the economic issues and the political discourse that streamed from this at the time.

. Causes of the recession were the 1973 oil crisis, increased competition in the metal industry from new industrial countries, and the 1974 stock market crash.

. As Reagan and Thatcher came into power, the white middle class moved away into away from struggling areas.
. This shifted demographics and segregated people once again

. Optimism from the civil rights movement faded as poverty, violence and crime increased and education and recreational programmes shut down.

. African Americans, Hispanic Americans and Caribbean immigrants felt left behind and took to playgrounds to express their anger about their living situation and the fashion was shared and grew from this.

. Hiphop in both a musical and fashion context transformed anger and violence into creative expression

# data[].attributes.attachment_link.description
watch great performances from the Kennedy Center on YouTube without losing your place in line. Thank you for your patience.

# data[].attributes.body
This book is from the FRA library and explains that heavy gold jewellery including chains to display their newfound wealth and status out of poverty where hiphop first derived. Run DMC is noted as a front runner in this trend so I will mention them in my timeline.

# data[].attributes.body
On the field trip to Selfridges I came across a brand that uses 90% of recycled gold to preserve the planets resources. I then researched the brand online for more information

# data[].attributes.attachment_caption
A History Of Chain Necklaces | Gatsby Jewellery

# data[].attributes.body
This article was a great introduction into the gold chain and how it has evolved throughout time. I will use this as a resource for my timeline as it goes into details about the symbolism of the gold chain during the Middle Ages (wealth and status) and the Renaissance Era (religious).

# data[].attributes.attachment_link.readable_text
As we explored in our piece about the history of necklaces, necklaces may perhaps be the earliest form of jewellery that humans wore. Chain necklaces aren't excluded from this history - they too have been worn throughout history by everyone from medieval royalty to modern day rappers.

Here's everything we know about chain necklaces throughout history, from where they started to what role they play in the current antique jewellery market.

What is a chain necklace?

By definition, a chain is a series of links or rings, usually made from metal, connected or fitted to one another. Chains have been used for a wide variety of purposes, and for millennia we have worn them as jewellery.

Chains are usually said to represent eternal love, and human connection - the eternity of circles without beginning or end, linked to other circles in a fortified way.

The chain as we know it today has been around for an estimated 6000 years. Whilst there are many iterations of chain necklaces, they have barely been altered from those we may have worn in ancient times.

Origins of the chain necklace

The oldest example of the chain necklace were found in ancient Babylonia (modern day Iraq), where royal tombs hid magnificent jewellery dating back to around 2500 BC. The chains found in this tomb were mainly versions of the perennial loop-in-loop, a technique that circulated throughout the Mediterranean, Western Asia, and eventually the entire world.

The Greeks, Romans, and Ancient Egyptians wore gold and silver chain necklaces, and began to suspend decorative pedants and semi-precious stones from them. This can be seen in this later mid-century pendant, featuring an aquamarine.

They often wore charms hanging from chain necklaces in order to protect them from evil. Slightly later, the Byzantines commonly wore chains adorned with crosses to showcase their religious piety.

Status symbols

Throughout history, chain necklaces have been worn primarily by royalty and the rich. By 300 BC, the elite upper classes within society were wearing chains that had gemstones embedded in the links.

During the Middle Ages, chains were frequently used as emblems of power and authority. Both kings and the clergy wore thick chains made of gold, complete with insignias or badges of office. In the late Gothic era and early Renaissance, chains became a more integral part of dressing even than brooches. It was then that they became a mark widely for social status.

The Renaissance in particular was an era where personal ornamentation was increasingly important, and Leonardo Da Vinci improved on the common chain design.

For the upper classes, lavish pendants, often illustrating biblical scenes or emblems, were normally hung on hefty gold chain necklaces. Throughout the ages both men and women wore chain necklaces, but men tended to wear larger ones in order to display their status.

Henry VIII is often depicted wearing a thick chain; he presented heavy gold chains as signs of favour, but kept the best for himself. In this time also, men in Germany and Flanders were fashionably draped in gold links, some as bulky as bicycle chains.

Decorative and functional

As the centuries passed, chain necklaces became as crucial to the well-dressed woman as they were to their male counterparts. These chains were considerably different; now longer, thinner, and more delicate. This can be seen in this mid-century pendant, which features a wispy gold chain. Women would have often worn gemstone pendants suspended from such chains.

In the 18 th century, chains became functional as well as decorative. They were attached to muffs, which were pieces of fur design to keep ladies' hands warm. These became known as muff chains, and would be worn around the neck so that women could wear their muffs with less hassle.

These chains were actually a predecessor to the modern design of children's mittens, which often come with a string to keep them attached.

Modern chain necklaces

In the 1930s, Coco Chanel brought the chain necklace to the mainstream, when she began to appear draped to the waist in gilt chains and fake pearls. This was a look accessible and affordable to everyone, including the working class who were most drastically hit by the Depression.

Throughout the war, the real gold chain shrank and then expanded, with jewellers choosing to create chain necklaces that resembled tank treads, gas pipe links, and bricks.

As the 20 th century progressed, long gold chains came back into fashion. However, in the simplistic boho style of 1970s jewellery, they weren't piled on Chanel-style. Instead, they were both chunky and sleek, and worn by both men and women. This Victorian era chain necklace was crafted much earlier, but accurately depicts the simplistic yet statement style of the time.

Male rappers in particular began to wear oversized gold chains throughout the 80s and 90s, a tradition which still stands today. Nowadays, you can find variations on all kinds of chain necklaces; draped chains like Coco Chanel's, bulky industrial chokers - all of which are reinventions of reinventions.

The chain necklace is now such a classic component of jewellery that there are innumerable ways to weave and wear them. They appear never to get old.

# data[].attributes.attachment_link.title
A History Of Chain Necklaces | Gatsby Jewellery

# data[].attributes.attachment_link.description
Chain necklaces have existed for around 6000 years. They represent eternal love and human connection, and have taken many forms over the decades.

# data[].attributes.attachment_caption
Chanel Jewelry: Considered Radical in the 1920s, Modern & Collectible Today

# data[].attributes.body
Notable quote: Chanel “championed unabashed opulence”, with her new designs.
In 1954, Chanel worked closely with goldsmith Robert Goossens to further explore the potential of costume jewellery with gold chains being merged with fake pearls, something that is still emulated in the modern day.

# data[].attributes.attachment_link.readable_text
While mixing high end items with lower priced brands is common practice today, when Coco Chanel first introduced costume jewelry it was considered both radical and innovative. "Costume jewellery isn't made to provoke desire, just astonishment at most. It must remain an ornament and an amusement," remarked Gabrielle "Coco" Chanel. Flashing back to the 1920s, Gabrielle Chanel first collaborated with expert costume jewelers to bring her unconventional design ideas to life. Until Coco Chanel leaned into the untapped potential of costume jewelry, costume accessories were considered a faux pas, perceived as being only for women who couldn't afford the real thing. Unfazed by the status quo, Coco Chanel embraced her radical design ideas, discovering a provocative delight in mixing precious materials with faux ones. A departure from the understated elegance of Chanel ready-to-wear, Coco Chanel championed unabashed opulence with her costume jewelry designs. From piling on necklaces and sautoirs made of faux pearls to layering an unprecedented number of brooches and cuff bracelets, Coco Chanel awed the fashion world with her expressive and playful design combinations. Emphasizing the 'costume' in costume jewelry, each piece Coco designed was the signature finishing touch, or perfect complement, to an already glamorous outfit.

Despite her iconically individual spirit, Coco Chanel was an avid collaborator, constantly seeking inspiration from the world around her. Coco's jewelry designs were directly influenced by her circle of chic, bohemian friends, eager to sport a profusion of stones, faux pearls and precious metals all at once. Beyond using friends as her muses, Coco Chanel sought out unique collaborators to maximize the impact and allure of her jewelry creations. From 1933 onwards, Chanel had a close yet largely undocumented friendship with Duke Fulco di Verdura. A Sicilian aristocrat and jet-setting playboy, Verdura was an unlikely partner for self-made businesswoman, Coco Chanel. On a personal level, Verdura helped Coco shape her own abundant collection of jewels. Much of Coco's collection was the accumulation of gifts from her various lovers, including Russian Grand Duke Dimitri and the Duke of Westminster. According to fashion lore, the Duke of Westminster would gift a jewel and bouquet of flowers to Coco Chanel each week. Evidently, out of the unexpected came revolution, as Verdura would help shape the future of Chanel jewelry. With a shared passion for Baroque and organic, unbridled shapes, Verdura and Chanel disregarded the classic criteria of sophisticated taste. The most distinctive design to emerge from this collaboration was the iconic Maltese cross, a motif largely influenced by Verdura's Mediterranean culture. Immediately purchased by fashion icon and editor Diana Vreeland, the Chanel Maltese cross brooches would remain among the most sought-after jewelry designs ever crafted. Soon after, French jewelry designer Suzanne Gripoix created an irregular glass pearl for the House of Chanel, dubbed Gripoix Glass. In her designs, Gripoix captured the imperfect spirituality of Coco's childhood in the convent, notably arranging the Maltese cross like a church's stained-glass windows. In 1954, goldsmith Robert Goossens would further reinterpret Chanel's signature crosses as the chief designer of Chanel jewelry, emulating the designs in rock crystals. By combining her philosophy of Modernism with symbols of antiquity, Coco Chanel embraced the best of both worlds in her timeless jewelry designs and inspired collaborations.

From tweed camellias and enamel CCs to the signature Maltese Cross, the brooch - in all its variations - is a bonafide icon of Chanel jewelry. Whether pinned to the lapel of a tweed jacket or on your 2.55 Flap Bag, the Chanel brooch is an accessory essential, tastefully elevating a fashionable ensemble. Cleverly designed by Coco herself, a perfectly placed Chanel brooch can alter the silhouette and contours of any dress. Historically speaking, the most iconic sautoirs, earrings and camellia brooches first emerged in 1954, when Coco Chanel returned to Paris and opened a store on Rue Cambon. While this location was best known for showcasing haute couture collections, each garment featured costume bijouterie. Nearly eight decades later, the Chanel brooch remains a timeless piece that belongs in every woman's jewelry collection.

As touched on above, Fulco di Verdura's impact on Chanel jewelry design was incredibly unique. Most notable, it was Verdura who designed the first silver cuff bracelet for Chanel, decorated with a Maltese cross made of multi-colored, semi-precious stones, and mounted on white enamel. A thoughtful reimagination of classic garments, this Chanel bracelet was designed to replace a traditional shirt cuff. Rich in history and aesthetically captivating, the Chanel Maltese Cross cuffs are among the most sought after pieces on the resale market. Coco Chanel personally adored these bracelets and would wear them constantly, notably stacking multiple mismatched cuffs on her wrists. Of all the Chanel bracelets ever crafted, the cuff is an undeniable icon that continues to be modernized and reinterpreted.

"Go and fetch my pearls. I will not go up to the atelier until I have my pearls," declared the impassioned Coco Chanel. There is no piece of jewelry more directly tied to the image of Coco Chanel than the opulent layering of pearl ropes. The perfect accent to her minimalist style, Coco always sported pearls, even for the most casual of occasions. Indeed, it was the idea to design faux pearls that first inspired the launch of a Chanel costume jewelry line. As time revealed, the pearl Chanel necklace would prove to be as iconic as the little black dress. Yet, it was master craftsman Robert Goossens who truly diversified the design of the Chanel necklace. By the 1960s, Goossens and Chanel were designing necklaces with beads, pearls and flowers. Highly sought after by the modern day it-girls, a Chanel necklace has limitless styling possibilities.

From Baroque inspired nest clip-ons to the Pearl CC Drop design, Chanel earrings are coveted by the most dedicated vintage hunters. Often accompanied by a matching ring or cuff bracelet, Chanel earrings are the ideal finishing touch to any outfit. Though earrings started to become more of a focus of Chanel costume jewelry collections in the 1990s, interestingly, it wasn't until the 2000s that the brand introduced pierced earring designs. As such, most vintage Chanel earrings are a variation of the clip-on. Regardless of era, Chanel costume jewelry, including iconic oversized statement earrings, is recognized for the visual interest created by their contrast and excess.

# data[].attributes.attachment_link.title
Chanel Jewelry: Considered Radical in the 1920s, Modern & Collectible Today

# data[].attributes.attachment_link.description
While mixing high end items with lower priced brands is common practice today, when Coco Chanel first introduced costume jewelry it was considered both radical and innovative. "Costume jewellery isn't made to provoke desire, just astonishment at most. It must remain an ornament and an amusement," remarked Gabrielle "Coco" Chanel.

# data[].attributes.attachment_caption
How Coco Chanel Changed The Way We Wear Costume Jewellery

# data[].attributes.body
This article explains that in the 1930s, the gold chain was brought into the mainstream by Coco Chanel. Costume jewellery became immensely popular, with the mixing of both luxury and affordable necklaces. Before this, it was seen as something for the lower class who couldn’t afford luxury pieces.

# data[].attributes.attachment_link.provider_name
Female Singapore - The Progressive Women's Fashion & Beauty Magazine

# data[].attributes.attachment_link.readable_text
In a way, all of us - from the fashion peacock to the intellectual dresser - have Gabrielle Chanel to thank for when it comes to how we accessorise today. For had it not been for her rule-breaking ways, wearing costume jewellery would still be considered a faux pas; they were once deemed as being only for women who couldn't afford the real thing. Yeap, people were judgey back then.

Fast forward to 2020 and the market for bijoux - as costume jewellery is also called - is a voracious one with some designs crossing the four-figure mark. According to a report released by Reportlinker in February this year, the global market for costume jewellery is projected to grow by US$11.3 billion (S$16.0 billion) this year and reach over US$17.9 billion (S$25.3 billion) by 2025.

Chanel upended the conservative approach to how and what jewellery should be worn during her time when she started pairing precious jewellery pieces with the faux stuff. It was her way of confusing others and a gave her a provocative delight in dressing up. By the 1920s, the first Chanel bijoux designs started appearing in stores, marking the time costume jewellery started becoming in vogue.

While her brand of ready-to-wear is synonymous with understated elegance, Chanel's personal taste for jewellery could not be more different. She revelled in bijoux that were flashy and multi-faceted with designs that featured a profusion of stones, faux pearls and precious metals such as vermeil and bronze. She drew inspiration from her circle of bohemian friends and developed a taste for opulence by piling on her necklaces and sautoirs and layering her brooches and cuff bracelets - something the street style crowd of today has perfected.

She famously declared: "Costume jewellery isn't made to provoke desire, just astonishment at most. It must remain an ornament and an amusement." Her pieces highlighted the function of the 'costume' in costume jewellery: bijoux were considered finishing touches for an outfit. For instance, her iconic cuff bracelets were meant to replace the cuff of a shirt, while a jewelled belt served to embellish the waist, and a cleverly placed brooch could alter the way a dress fell.

The imprints left by the various collaborators that Chanel worked with also make the maison's costume jewellery special. The Sicilian nobleman Duke Fulco di Verdura, with whom Chanel had a close friendship with, designed the brand's iconic Maltese cross in 1927 which continues to make its appearance each season. Then there was jewellery designer Suzanne Gripoix who Chanel first approached for reproductions of Byzantine jewellery and maintained a working relationship with for years. For Chanel, Gripoix created a special irregular glass pearl to which she gave a mother-of-pearl sheen.

But it was the maison's ties to the goldsmith Robert Goossens, which began in 1954, that has remained as the brand's most high-profile one and has stood the test of time. That partnership saw Chanel expanding her repertoire of costume jewellery to include baroque-leaning designs, including the iconic " nest" earrings which remain a popular item among vintage hunters. Today, Goossens is one of the more than two dozen ateliers that specialise in the various metiers d'art for the house.

Now, remind us again who said wearing costume jewellery was a faux pas?

# data[].attributes.attachment_link.title
How Coco Chanel Changed The Way We Wear Costume Jewellery

# data[].attributes.attachment_link.description
In a way, all of us - from the fashion peacock to the intellectual dresser - have Gabrielle Chanel to thank for when it comes to how we accessorise today. For had it not been for her rule-breaking ways, wearing costume jewellery would still be considered a faux pas; they were once deemed as being only for women who couldn't afford the real thing.

# data[].attributes.attachment_caption
The Storied History of Jewellery and Religion

# data[].attributes.body
In this article, Osman Ahmed explores the relationship between jewellery and religion and finds that jewellers like Mads Kornerup are inspired by symbols from a multitude of faiths including Buddhism. This reflects the globalised world we currently live in.

# data[].attributes.attachment_link.title
The Storied History of Jewellery and Religion

# data[].attributes.attachment_link.description
As a sumptuous show at the Met reveals, religion is inextricably intertwined with the art of jewellery, and continues to provide today's makers with divine inspiration. If religion is the most personal form of expression, it's little wonder that jewellery-the most intimate form of adornment-is usually the medium for its symbolic power.

# data[].attributes.attachment_caption
Augmented Reality in Retail: Benefits and Use Cases of AR Retail Apps

# data[].attributes.body
This article explains how augmented reality can increase customer engagement and reduce returns/waste. On the field trip I saw an example of this in Selfridges at the Charlotte Tilbury Magic Mirror which used augmented reality to allow customers to preview makeup. This could be applied to the gold chain which could be virtually altered and added to before a made-to-order purchase is made.

# data[].attributes.attachment_link.provider_name
Eastern Peak - Technology Consulting & Development Company

# data[].attributes.attachment_link.readable_text
The retail industry has been among the most eager adopters of cutting-edge tech, pioneering the transformation in warehousing, logistics, marketing, and customer service. Consumers, however, are getting more demanding.

In 2021, they are expecting immersive technologies to be a part of their shopping experiences. As much as 69% of customers today expect to use AR\VR as they shop, and retailers are doing their best to adjust and implement this immersive tech. Before the pandemic, the market for augmented reality in retail had reached and is expected to grow at a CAGR of 46,6% until 2027.
In this blog, we will talk about the impact of AR in retail, explore the examples of AR-enabled eCommerce apps, and uncover the important aspects of AR app development. Read on to learn more!
How augmented reality works

Augmented Reality can be experienced across a wide range of hardware: handheld devices (smartphones and tablets), wearables, PCs and laptops, TVs, digital mirrors, connected devices such as glasses, head-mounted displays, lenses and even AR fitting rooms. The difference between Augmented Reality and Virtual Reality is that AR doesn't replace the real world but "augments" it with additional virtual objects.

In the case of handheld devices, AR uses the device's camera, computer vision technology, GPS, compass and accelerometer to gather information about the surrounding real-world environment and then overlays additional contextual information (in 2D or 3D) on top of that environment image.

AR benefits for retailers

AR application in retail offers a lot of opportunities for businesses to increase customer satisfaction while reducing expenses.

Below is the list of benefits that AR shopping has for businesses.

Boosting sales

AR technology enables customers to try out products virtually before they buy them - that is, they can see exactly how clothing will fit them or how new furniture will look in their home or office environment. Regardless of whether the customer shops online or offline, AP helps reduce the customer journey and increases store conversions.

Minimizing returns

AR helps customers avoid disappointment and choose the products that suit them best. Hence, the return rates tend to plummet for both online and brick-and-mortar stores.

Increasing customer engagement

The virtual experience that augmented reality in retail offers ignites customers' interest in products while providing all the additional product details they might need. Informed customers tend to come back and shop for more products whenever they get the chance.

Creating social media content

The AR experience gives customers something to talk about and share on social media. The social media comments and discussions that ensue help increase product and brand awareness.

Collecting data on customer preferences

The info about the products that customers choose to try through AR-enhanced shopping speaks volumes about their interests, preferences, and patterns of shopping behavior. Retailers may use these insights to deliver personalized advertising and marketing campaigns.

Delivering a contactless experience

In a post-pandemic world, the applications of AR in retail serve to eliminate the contamination risks and the concerns about hygiene.

Reducing staffing expenses

AR app offers users exhaustive information about the items they are interested in. Moreover, augmented reality in retail helps them with store navigation, which reduces the need for human shop assistants to a necessary minimum.

Building customer loyalty

A better customer experience accounts for higher customer loyalty and helps audiences build stronger relationships with brands.

As you can see, there are many ways how companies may benefit from using AR in retail. In the next section, we will talk about the applications of AR in retail stores and online.

Use cases for AR in retail

There are two fundamentally different approaches for implementing AR in the retail industry: in-store and out-of-store. The first would involve a consumer actually being in the store or just outside it and experience AR through handheld devices, wearables such as AR glasses, or special AR hardware including smart interactive mirrors, fitting rooms, shop windows, etc.

The Out-of-store approach involves experiencing AR from another physical location via e-commerce mobile or web apps. Of course the best strategy would be to combine both in-store and out-of-store approaches, the so-called "omnichannel" strategy. Not all retailers, however, can afford to install in-store AR hardware, such as mirrors, and many rely solely on an online presence without the hassle of running a traditional "brick-and-mortar" store.
Let's now explore how both approaches work, by taking a closer look at the examples of augmented reality in retail.
1. Space visualization and virtual tours

AR technology enables customers to walk through a store or a property before paying a physical visit to the location. The use of augmented reality enables them to get a feel of the place and learn about the essential details beforehand.

2. Color matching

3. Outfit visualization

4. In-store displays

In order to enable augmented reality in retail stores, some brands are installing in-store displays offering shoppers a plethora of interactive experiences.

Charlotte Tilbury , a cosmetic brand, uses AR displays designed as mirrors to showcase how shoppers' faces will look with different lipstick colors and makeup.

5. AR fitting rooms

6. AR-enabled try-on

7. Large products shopping

The augmented reality retail apps are especially helpful in shopping for large products, for example, furniture shopping. Instead of trying to figure out how a piece of furniture will look in their living room, customers can see exactly how it will fit in using an AR app. When developing an AR retail app for furniture shopping, many people look at Ikea, but other furniture brands offer equally interesting solutions.

8. Brand engagement

9. Building customer loyalty

10. Helping customers make informed decisions

Sometimes, especially before buying an expensive product, customers have to go back home and consider all the aspects of their future purchase. A brochure that customers can scan to access the AR visualization of products and other valuable information could help them make an informed decision.

11. Merchandising in retail stores

Many brands don't sell their products in dedicated stores. Instead, their products appear on the shelves of retail stores alongside other merchandise and need some memorable features to make them stand out.

Regarding AR app development

AR application development may be split into several distinct categories:

Web-based AR development involves creating apps that will enable AR experiences through a browser interface.

Native AR app development provides the same immersive experiences, but the AR app must be installed on a user's system.

None of these development types is better than the other, so your choice will depend on the audiences you would like to reach, as well as on your business model.

Fundamentally, all AR apps require two core elements: a 3D model and a marker, which is, essentially, an anchor you will tie your 3D graphics to. Anything can act as a marker: in the examples above, Starbucks placed one on a holiday cup and Philips is using AR tags to mark their products on the store shelves.

This brings us to other segments of AR application development: marker-based AR and markerless AR.

Marker-based AR needs a physical marker to tie an AR object to it. There are several types of commonly used markers:

AR tags (the ones with large dark frames, easy to read and detect);

Images, such as product logos; and

Faces, used as AR markers by cosmetic brands.

Markerless AR uses technologies like SLAM, digital compass, and computer vision to insert AR content into a digital representation of a real-life environment. Markerless AR is currently used mainly by furniture brands, which aims to provide customers with an opportunity to see how the items they choose will look when placed inside their homes. Admittedly, this technology is more advanced although it still needs improvement.

Developers also use native libraries like ARKit and ARCore for iOS and Android respectively.

Side note: The capabilities of modern web browsers allow the delivery of AR content without the need to create and support native applications. So, if you decide to restrict yourself to web app development only, there are a lot of web frameworks, libraries and APIs that provide the ability to add AR to web applications: awe.js, argon.js, three.js, etc.

Augmented reality in retail: Final words

This game-changing trend will revolutionize the retail industry and transform the way people shop. The AR locomotive is quickly gathering momentum, and those who won't manage to hop aboard - will be left behind!
Has AR aroused your curiosity? Are you interested in adding AR functionality to your retail platform (business, store)? Book a free consultation from our specialists!
Frequently Asked Questions
Read also:
About the author:

# data[].attributes.attachment_link.title
Augmented Reality in Retail: Benefits and Use Cases of AR Retail Apps

# data[].attributes.attachment_link.description
The retail industry has been among the most eager adopters of cutting-edge tech, pioneering the transformation in warehousing, logistics, marketing, and customer service. Consumers, however, are getting more demanding. In 2021, they are expecting immersive technologies to be a part of their shopping experiences.

# data[].attributes.attachment_caption
Stereolithography | 3D Printing Technology | i.materialise

# data[].attributes.body
This article gave me a quick idea of how 3D printing gold will work in the future. In my essay I will add the idea that recycled gold should be poured into the mould as opposed to mined gold to further mitigate air pollution and make the gold chain life cycle carbon neutral,

# data[].attributes.attachment_link.readable_text
How It Works

Starting from a 3D model, a model is built by cutting it into thin layers via specialized software. A support structure is created, where needed, in order to deal with overhangs and cavities.

The process takes place in a large tank and begins when a layer of liquid polymer is spread over a platform. This machine then uses a computer controlled laser to draw the first layer onto the surface of a liquid polymer, which hardens where struck by the laser. The model is then lowered and the next layer is then drawn directly on top of the previous one. This is repeated until the model is finished. In this way, layer by layer, an object is "drawn" in the liquid by the beam, with the layers being consolidated throughout the process.

When the object is complete, it is raised out of the tank via the supporting platform - much like a submarine rising to the surface of the water - with the excess liquid flowing away. The supports are removed manually after the model is taken from the machine.

Materials

Trivia

Did you know that?

Stereolithography is derived from the Greek word stereo (solid body), litho (stone), and graphien (to write).

Stereolithography is the oldest 3D Printing technology

In November 1981, Hideo Kodama of the Nagoya Municipal Industrial Research Institute (Nagoya, Japan) published a paper titled 'Automatic Method for Fabricating a Three-Dimensional Plastic Model with Photo Hardening'. Kodama describes three basic techniques he used to create plastic parts by solidifying thin, consecutive layers of photopolymer. It's said that Kodama's experiments were perhaps the first evidence of working additive manufacturing (AM) techniques in the world.

On March 11, 1986, Charles (Chuck) W. Hull patented the method of stereolithography. He also coined the name in U.S. Patent 4,575,330, entitled "Apparatus for Production of Three-Dimensional Objects by Stereolithography". Hull defined stereolithography as the method of making solid objects by successively laying down thin layers of ultraviolet curable material one layer at a time through the use of the apparatus.

Materialise has been using this technology since 1990.

In order to build single-piece stereolithography models with dimensions of more than two meters, Materialise has developed a unique technology: Mammoth stereolithography. The idea of producing large components without any gluing arose out of the growing demand for extremely fast and large prototypes of superior quality.

# data[].attributes.attachment_link.title
Stereolithography | 3D Printing Technology | i.materialise

# data[].attributes.attachment_link.description
Starting from a 3D model, a model is built by cutting it into thin layers via specialized software. A support structure is created, where needed, in order to deal with overhangs and cavities. The process takes place in a large tank and begins when a layer of liquid polymer is spread over a platform.

# data[].attributes.attachment_caption
Genderless Jewellery: Going Beyond His and Hers

# data[].attributes.body
This article looks at the rise in gender neutral in response to the increasing demand for it due to society’s changing views about the gender binary.

# data[].attributes.attachment_link.readable_text
Are jewellery brands moving beyond his and hers once and for all? Prestige speaks to brands big and small about genderless jewellery.

The topic of boys in bling isn't new - even in this publication, we've noticed a rising trend in mainstream jewellery brands that, in the past year or so, have recruited male ambassadors and male models to showcase their latest collections.

Did Harry Styles start it? Some have pointed to the British singer's red-carpet look at the 2019 Met Gala, when he paired his Gucci ensemble with a single pearl earring. Perhaps. It certainly marked a turning point for men's accessories in recent years - since then, Styles' sartorial sensibility has transcended the simple earring to include your grandmother's pearls and feather boas, inspiring his peers to dress louder, bolder and more gender-fluid. The Jonas Brothers have been spotted rocking the pearl necklace, as has Shawn Mendes. Jake Gyllenhaal has been photographed wearing a simple gold chain necklace time and again. Appropriating "men's jewellery" to simply watches, signet rings and cufflinks is no longer so appropriate.

Harry Styles at the 2019 Met Gala wearing a single pearl earring

Gender is a construct, socially imposed from the moment we're born, divided into different things, activities, colours or careers deemed suitable for boys or girls. There's nothing inherent in flowers and dolls that make them more appealing to girls, nothing to dictate that rocket ships and cars are made for boys (girls can play too, but they're then labelled tomboys) - but somehow they've persisted well into the 21st century.

Few things around us are truly gender-neutral, though with changing attitudes towards gender and deeper conversations into inclusivity and representation, this is now changing.

The Cartier Love bracelet

The concept of genderless jewellery isn't anything new but the years 2020 and beyond have shown an evident shift from mere trend to something that's here to stay. Previously, genderless jewellery was seen as out of the box and utterly revolutionary - Italian jewellery designer Aldo Cipullo was well ahead of his time when, in 1969 and 1971 respectively, he designed the Cartier Love and Juste un Clou bracelets. The former was inspired by everyday screws and the latter inspired by the humble nail, speaking to the designer's minimalist and androgynous style beloved by both men and women.

These days, the concept of gender-free jewellery has become the norm. Embodying the more audacious spirit, Roman jeweller Bvlgari has arguably been a champion of this category with its bestselling B.zero1 collection. The collection debuted in 1999, when Bvlgari decided to marry innovation with one of Rome's most historic monuments - the Colosseum - to create an entirely unconventional and avant-garde design. It was the first collection to be described as unisex by the brand itself.

A major success, it inspired more iterations, from collaborations with the late architect Zaha Hadid, who reimagined the industrial, cylindrical shape with her fluid, undulating aesthetics, to the latest B.zero1 Rock collection, which adds irreverent studs to the design's central band.

Mikimoto x Comme des Garçons collection

Even pearls - not just traditionally viewed as feminine, but also decidedly old-fashioned - were given an unexpected boost of gender-free appeal when Mikimoto partnered with Comme des Garçons to unveil the fashion label's first jewellery collection in 2020. As a forerunner of avant-garde fashion under the leadership of Rei Kawakubo, Comme des Garçons challenged the norms of beauty and tradition - why can't men also wear pearls? Through the collaboration, both brands aimed to adorn the necks of all, regardless of age or gender. Pearls were suddenly cool again when paired with chunky silver chains and emblazoned with the Comme des Garçons logo.

The LV Volt is designed to be for everyone

Louis Vuitton's Volt collection by artistic director Francesca Amfitheatrof is another stellar example of jewellery transcending borders and genders. The brand takes inspiration from its classic leitmotif, allowing the capital L and V letters to intersect, stack up together, or connect at the ends to form lightning-bolt and pulse-line designs - new shapes that are decidedly graphic and cool. There's a chain-link design as well as a mesh, presenting the L and V letters in myriad textures, finishes and dimensions with great gender-neutral appeal.

Expanding the Volt collection this year, Louis Vuitton brings us the LV Volt Upside Down, playfully turning the letters L and V on their heads to form lively and energising patterns in yellow- and white-gold pendants, highlighted with diamonds. There are radiant rings and bracelets that can be stacked and layered, and even a rocker-chic ear cuff that adds a bold and modern twist to the collection.

Bvlgari regularly dresses many local celebrities, like TIAB, in its jewellery, regardless of gender.

Locally, we see brands enthusiastically dressing up our city's most treasured male idols. Hong Kong-based designers, too, are creating for a more gender-fluid crowd, utilising abstract themes and aesthetics that are universally appealing.

ZNS Jewellery is a brand-new concept that comes under long-established Hong Kong jeweller KS Sze & Sons and is headed by co-founder and chief creative officer Alan Chan. The traditional jeweller and the well-known designer had no qualms about entering the jewellery market anew, with a new attitude and gender-free positioning they believe was still underrepresented.

A philosophy, rather than material inspiration was Chan's starting point. "Despite my many years of experience in design, I'm a newcomer to the jewellery business and to come up with an original and unique concept in this competitive market is never easy," he explains. "I looked back at my life to uncover the belief and values close to my heart that I wanted to crystalise in my design - the notion of "from eternity to infinity" is what I've instilled in my jewellery concept. This philosophy became the groundwork."

Hong Kong-based ZNS Jewellery focuses on genderless jewellery

ZNS, with an audacious motto - See No Limits - showcases jewellery that's more abstract. "It shows the symbolic values instead of how much the diamond costs," says Chan. The ZNS collection features the letter Z interpreted in various ways, depicting the infinity sign, or interlinked in chains. Many pieces are designed to be transformable, allowing the wearer to incorporate the jewellery into their everyday lifestyle with ease.

"With growing trends of brands positioning themselves around their values or attitudes, I envisage that gender-free or gender-specific will no longer be an issue," Chan says of the future of jewellery design. "Only the ideas matter."

And not just in fine jewellery. Boucheron has emerged as one of the traditional jewellery maisons to wholeheartedly embrace gender fluidity in its high-jewellery collections. The brand's highly regarded Quatre fine-jewellery collection was already deemed unisex when it launched in 2004.

Boucheron Histoire de Style New Maharajahs collection

"High jewellery shouldn't just be for women," Claire Choisne, the house's creative director said. "Boucheron wants men to wear our jewellery because we also design pieces for them. In fact, high jewellery has always been something for men: it was initially created for men, who adorned themselves with jewels at the time of the kings and maharajahs. It's therefore quite natural to create high-jewellery pieces for men. Jewellery is not about gender, but about style. It allows everyone to express their unique personality."

Choisne believes there should be no boundaries when it comes to who can and cannot carry her jewellery - this was evident in her jewellery campaign for her latest collection, where both sexes were dressed based solely on what looked good on them, regardless of their gender.

"We create jewellery for women and men who love freedom and independence and know what they want, and that best reflects their personality and taste," says Choisne. "We want to enable them to tell their story in their own way. Creative freedom is at the heart of our philosophy. This means that our customers are free from any constraints when they wear our pieces ... We want women and men to be able to wear our creations as they see fit."

# data[].attributes.attachment_link.title
Genderless Jewellery: Going Beyond His and Hers

# data[].attributes.attachment_link.description
Are jewellery brands moving beyond his and hers once and for all? Prestige speaks to brands big and small about genderless jewellery. The topic of boys in bling isn't new - even in this publication, we've noticed a rising trend in mainstream jewellery brands that, in the past year or so, have recruited male ambassadors and male models to showcase their latest collections.

# data[].attributes.body
Good quote: “[Our customers] appreciated the sort of bending of gender a little bit and experimenting and pushing the boundaries when it comes to aesthetic control”- Bernard James, 2022.

# data[].attributes.attachment_link.description
Emerging fine jewellery designers, including O Thongthai, Bernard James and Bea Bongiasca, are focusing on Gen Z and millennials, while pioneering new ways of connecting with them.

# data[].attributes.attachment_caption
Circular Jewellery: An Approach To Doing Better Business

# data[].attributes.body
This article explains the circularity requires jewellers to consider the production and the end-of-life process of any item that they make. A circular system will have items re-enter the cycle without ending up as waste in the landfill as well as recycling any water used in the process. In my essay I will link this to recycled and waterproof gold as well as brands encouraging consumers to repair their gold chains.

# data[].attributes.attachment_link.readable_text
Common Objective uses cookies to improve your experience on the site. To find out more about this, including how to manage cookies on your computer, please see our Privacy and Cookies Policy. By closing this message, you consent to our use of cookies in accordance with this Policy unless you have disabled them.

# data[].attributes.attachment_link.title
Circular Jewellery: An Approach To Doing Better Business

# data[].attributes.attachment_link.description
Common Objective uses cookies to improve your experience on the site. To find out more about this, including how to manage cookies on your computer, please see our Privacy and Cookies Policy. By closing this message, you consent to our use of cookies in accordance with this Policy unless you have disabled them.

# data[].attributes.body
Monica Vinader uses 100% recycled jewellery which mitigates the pollution that occurs when gold is mined. The brand explains that it is carbon neutral. This page will be useful when taking about materials used for gold chains to achieve a circular system.

# data[].attributes.attachment_link.description
We use recycled materials for our sustainable jewellery & packaging. We ensure workers are treated fairly & give back to the environment. Learn more now.

# data[].attributes.attachment_caption
Recycle | Re-make | Repair | Re-use - Jewellery and the Circular Economy

# data[].attributes.body
This article explains that recycled jewellery reduced the carbon emissions released by 99%.

# data[].attributes.attachment_link.readable_text
If you're a fan of the circular economy philosophy, when it comes to jewellery, you might be wondering how you can participate.

The idea behind a circular economy is all about creating closed loops where both waste and new inputs are minimised and existing items/materials get re-purposed, repaired or recycled.

At first glance it doesn't seem to marry up well with the jewellery industry. After all, the jewellery world is all about sparkly new diamonds and gemstones and, if you're that way inclined, fair-mined gold and now 'salmon gold' - all of which are new inputs. New inputs that many people around the world rely upon heavily for their economic well-being.

There's no denying that (almost) the entire jewellery retail scene is geared towards 'new'. New designs, new fashions, new designers, new mines, new sources, new technology. And there are strong justifications for allowing this to continue - particularly the positives that can flow from responsible economic development.

On top of that, to meet the demands of growing populations and increasing global consumerism, it doesn't seem likely that the jewellery industry is ever going to be an ideal circular system.

On a side note, you could argue that if consumers adopted a 'buy once, buy well' philosophy there'd be relatively little jewellery available to re-enter the loop so the opportunity to create a circular system would be minimal anyway.

The reality is though, there will always be unwanted and obsolete jewellery so the principles of a circular economy can be applied. And there's no reason at all why you can't participate.

How does the circular economy idea work when it comes to jewellery?

The good news about jewellery, particularly fine jewellery, is most of the components that go into making it are entirely recyclable.

Precious metals like gold, silver and platinum can be recycled over and over again with no loss of quality. Diamonds and gemstones, of course, don't wear out or 'go off' either. (They might suffer some damage over time, but they can often be re-polished or even re-cut to make them like new again.)

It's a different story with costume jewellery unfortunately. Many of the elements that go into making cheap jewellery don't have enough intrinsic value to make recycling economically viable. But that doesn't mean it has to sit in your jewellery box forever, or worse still, wind up in landfill.

So, all that said, how can you do your bit?

Here are four ways you can start acting 'circular' when it comes to your jewellery.

1) Cash out first (that is, put it back in the system)

Leaving jewellery lying around the house that you no longer wear doesn't do anyone any good, so why not cash out?

Take it to a second-hand dealer, put it on Ebay, Gumtree, Facebook Marketplace or the like, add it to your next garage sale, take it to a precious metals refiner or, at the very least donate it to a charity shop. Just don't let it gather dust.

If you can't recycle or re-purpose it, that doesn't mean someone else can't.

By the way, if your jewellery includes gold, silver or platinum, it could be worth a surprising amount just for the metal. Take a look at the 'What metal is it?' panel to identify what you've got.

Once you've cashed out, or have at least made room in your jewellery box, then start looking at what comes next.

2) Recycle or re-purpose

Missing an earring? Perhaps the other one could be pulled apart and turned into something else?

Maybe that pendant you don't wear anymore could become a key ring, go on a charm bracelet or maybe your pet dog or cat could use a bit of bling on their collar?

Perhaps the diamonds in that ring you inherited from Grandma could be made into earrings?

If you're starting with something that has some reasonable value - a small collection of old gold rings, maybe a pendant and some earrings with nice stones in them, you could easily turn those into something you could cherish.

It wouldn't be the first time old family jewellery went into something special like a dress ring, an 'in memoriam' pendant or even an engagement ring.

You do need to start with something of value (or high sentimental value) to make it worthwhile though. The labour cost of a custom make can be high. Depending on what you're wanting to do, labour alone could easily start at five hundred dollars and go up a lot from there.

Of course, if you're supplying most or even some of the materials, it could still be cheaper than buying an equivalent new piece off the shelf. Plus you'll have something that's handmade and uniquely yours.

3) Start with second-hand

The harsh reality of jewellery retail is the moment a piece leaves the store, it drops considerably in value - sometimes by as much as 60-80%. But as a buyer that means you can get some real bargains.

The first step is to find yourself a friendly manufacturing jeweller who enjoys re-making and repairing jewellery. Someone who'll work with you to re-size, modify or maybe even completely rebuild a piece.

Then you need to go and find yourself something that has the potential to be given a new lease on life.

Of course, it's not quite as easy as it sounds, but if you take some time to educate yourself, there's no reason at all why you can't take something old and make it spectacularly new again.

4) Prefer recycled and vintage

If you don't have old jewellery to begin with and the whole idea of trawling through antique shops and car boot sales looking for a bargain fills you with dread, that doesn't mean you can't do your bit.

Recycled precious metals are readily available to the average jeweller, so there's no reason why you can't have it in your jewellery. Likewise, vintage and recycled diamonds and gemstones are available commercially.

The trick is to seek out a jeweller who has taken the time to establish relationships with the right suppliers. (One way to find them is to start with a small-scale precious metal refiner or a reseller of vintage jewellery, loose diamonds and gemstones and go from there. It's likely they'll be able to direct you to someone you can work with.)

The right jeweller will probably even have a relationship with a gem cutter who could re-cut and polish a gemstone if you found one you liked but needed a touch-up.

Unfortunately, when it comes to recycled and vintage diamonds and gemstones, one challenge is you may not always be able to get exactly what you want.

Until recycling diamonds and gemstones becomes more mainstream in the jewellery world, you just can't get the variety and depth of selections available on the new market. But where there's a will there's a way. It's just a matter of being a bit flexible in your design and budget.

Don't forget the 'sunk cost'

Every piece of jewellery has a sunk cost of some kind. The cost of digging raw materials out of the ground. The cost to the environment in terms of habitat destruction and greenhouse gas emissions. And the cost to people - in the worst of cases in the form of exploitation, slavery and conflict.

To not re-use those materials for which many people (and the planet) have already paid a price - often a hefty one - is, at the very least, wasteful. You could even say disrespectful if you feel strongly enough about these things.

In this day and age of dwindling resources, re-using, repairing, re-purposing and recycling are not only the right things to do, they can be very rewarding as well - especially when it comes to jewellery.

At the very least it just makes good sense, economically and morally, to do it.

# data[].attributes.attachment_link.title
Recycle | Re-make | Repair | Re-use - Jewellery and the Circular Economy

# data[].attributes.attachment_link.description
If you're a fan of the circular economy philosophy, when it comes to jewellery, you might be wondering how you can participate. The idea behind a circular economy is all about creating closed loops where both waste and new inputs are minimised and existing items/materials get re-purposed, repaired o

# data[].attributes.body
D.Louise is a jeweller that sells waterproof jewellery using a  PVD (Physical Vapor Deposition) coating process. This has many implications for the gold chain to become more sustainable in the future. The company explains on there page that waterproof jewellery that’s affordable will make the products last longer meaning less waste in landfill sites.

# data[].attributes.attachment_link.readable_text
FREE ESSENTIAL EARRINGS WHEN YOU BUY TWO OR MORE ITEMS - offer ends soon!

Our Story

About D. Louise

D. Louise is a timeless and chic brand which specialises in high quality and accessible waterproof jewellery. Our products are designed for stylish people who don't want to spend a fortune on jewellery but also don' t want to keep replacing. Unlike jewellery that tarnishes and goes green after only a few wears, D. Louise guarantees not to lose colour even if you wear our products every day, in the pool or at the gym.

How is this possible? After researching long lasting metals, we found that stainless steel jewellery ticked the boxes. Unlike lots of other materials commonly used in jewellery, stainless steel is a highly durable, recyclable metal, which also looks super cute as a necklace. It is very affordable which means that it is a very accessible price point.

Every piece from the collection uses 361L stainless steel, which is a highly durable, recyclable metal. Its properties mean that it does not oxidise or rust, is hypoallergenic, doesn't scratch easily and will not tarnish. Pieces from D. Louise's also go through a PVD (Physical Vapor Deposition) coating process. This new, modern way of plating, is ten times thicker than standard gold plating, is environmentally friendly and uses a vacuum coating process, resulting in an extremely durable finish.

My story

D. Louise was founded by Olivia during the global pandemic after she became increasingly frustrated with her every-day jewellery turning her skin green. Unlike jewellery that tarnishes after only a few wears, D. Louise guarantees not to lose its colour.

Olivia named the brand after her Mum, Deborah Louise, who she sadly lost to cancer in 2017. Despite only launching the brand in January 2021, the brand has experienced phenomenal growth and Olivia was able to quit her full-time job at a media agency to focus her attention solely on D. Louise

D. Louise is passionate about promoting sustainable fashion so offers a lifetime warranty on all pieces and any items which have manufacturing defects are recycled into new products. Olivia has ensured that not only is this ingrained into the product itself but is central to the brand. All packaging is FSC® certified, recyclable and plastic free and the brand partners with 'Get Mads' who offset the brand's carbon, remove plastic from the oceans and plant a tree with every order. D. Louise also donates a portion of profits to support the Oceanic Society, a non-profit organisation that works to improve ocean health.

Community

Our little community is at the heart of everything we do. D. Louise appreciates every comment, like and review as all these things help our little business grow. We are constantly rewarding our customers and our community through events, points, offers and opportunities to give us feedback.

If you ever want to get involved please don't hesitate to drop us an email at info@dlouise.co.uk.

# data[].attributes.attachment_link.description
FREE ESSENTIAL EARRINGS WHEN YOU BUY TWO OR MORE ITEMS - offer ends soon! About D. Louise D. Louise is a timeless and chic brand which specialises in high quality and accessible waterproof jewellery. Our products are designed for stylish people who don't want to spend a fortune on jewellery but also don' t want to keep replacing.

# data[].attributes.body
This is a survey conducted by Deloitte about post-pandemic buying behaviour.

# data[].attributes.attachment_link.title
Sustainable consumer behaviour and lifestyle 2023

# data[].attributes.attachment_link.description
Read our latest findings on sustainable consumer and their lifestyles among other influences, have shaped consumer behaviours on sustainability in 2023.

# data[].attributes.body
Kerstin Laibach explains the issue of gold-plating, more specifically, the fact that the process is not long lasting and is therefore almost a waste of resources.

# data[].attributes.attachment_caption
Brittany 20Davy 20Contextual 20Studies presentation feedback form 20copy

# data[].attributes.attachment_caption
Brittany 20Davy 20Project 201 20Essay 20 20The 20Gold 20Chain

# data[].attributes.attachment_caption
Brittany 20Davy 20Candidate Authentication form 5B72955 5D

# data[].attributes.body
This was a brief look at notable Renaissance goldsmiths such as Lorenzo Ghiberti, Sandro Botticelli and Luca Della Robbia.

# data[].attributes.attachment_link.readable_text
Momento Mori Rosary - Met Museum.

After centuries of sluggish growth known as the Middle Ages, Europe finally emerged to the Renaissance in the 14th Century. The Renaissance bought with it rapid developments in art - but also in technology, knowledge, science and infrastructure.

Covered here is some of the history that begat this explosion of fashion, Renaissance jewelry trends, typical styles, and types of jewelry popular during the Renaissance, and a few of our designs. We hope you find it a useful companion to the Museum's Renaissance jewelry collection.

A New World

The Cantino planisphere completed in 1502, shows an expanding world which includes Central America, Newfoundland, India and Brazil

Renaissance connected civilizations with the help of new trade routes resulting in exchange of culture, religion, and technology which gave the entire world access to rare raw materials and gemstones. During this period, precious raw material travelled to Europe from different parts of the world. These pieces were handed over to the artists who carved the raw stones into beautiful pieces of jewelry.

Renaissance Techniques and Materials

Goldwork

A Goldsmith in his Shop. 1449 AD. Met Museum.

Goldsmiths of the Renaissance were innovative and skillful in their creation of gold and vermeil jewelry. They incorporated a variety of techniques to create perfect works which included casting, chasing, hammering, and cold-joining, soldering and welding. More advanced techniques included embossing, enameling, engraving and filigree decoration. Artisans mastered these techniques, leaning from ancient traditions, creating astounding pieces for rich and noble clients.

Lorenzo Ghiberti's
Porta del Paradiso, Completed in 1452 demonstrates some of the masterful metalwork done by Renaissance goldsmiths.

Some well known goldsmiths of the period include Lorenzo Ghiberti, an accomplished goldsmith of the Renaissance who started off his career in the late 14th Century. He was followed by Sandro Botticelli, Antonio Pollaiuolo, Luca Della Robbia and Andrea Del Verrocchio all of whom were trained as fine goldsmiths.

The discovery and appropriation of new-world artifacts and later use of goldmines in Peru and Mexico made gold readily available for Renaissance jewelers.

Lapidaries

Reliquary Pendant with Virgin and Child. Gold featuring amethyst, emeralds, rubies, pearls, semiprecious stones and niello. Walters Art Museum.

Diamond Ring featuring table-cut Diamond. Walters Art Museum.

Cameo Lucretia
Kunsthistorisches Museum.

During trade in the Renaissance, a number of raw materials, jewels and stones travelled to Europe. Jewels and gemstones were faceted, rounded, table-cut and at times falsified. With the onset of trade, new types of stones with new cuts were seen. Most famous of all were the table cut (shown left in a box cut diamond ring from Walters Art Museum) and cameo cut (shown right).

Because of the popularity of simple rectangular cuts - stones were often set in gold frame by rubbing the upper edges of the box-shaped collet. Often times the frames seen in surviving period jewelry are uneven because of the way the artisans would beat the stone around the gold.

Gemstones used in period jewelry included diamonds and rubies from India, lapis lazuli from Afghanistan, peridot from the Red Sea, emeralds from Columbia, iolite from Sri Lanka, turquoise (amazonite) and topaz from Brazil along with many others. Beads were highly popular during the Victorian period. In addition to real pearls we find Imitation pearls introduced for the first time in the Renaissance. In Italy, the lawmakers ensured protection against these and other fake jewels by sentencing to severe punishment.

Styles and Motifs

The dominant style of Renaissance jewelry consists of a single massive, colored set of gemstones inlaid on an intricate gold setting. These styles varied from more ancient Greek, Roman, and Byzantine works in their prominent use of faceting - and differed from later Georgian jewelry in its use of larger more ornate stones and less organic nature. The focus of the jewelry was on the gold while the gem was considered an accessory to the precious metal which was extensively decorated.

Hermes Trismegistos wrote:

The reason why gemstones have more magical power than anything else is because their luminescence and transparency resemble the appearance of heaven.

Pendant with the Goddess Diana.
Walters Art Museum.

As Renaissance jewelry advanced from the fourteenth to the seventeenth century it exhibited a change in styles, becoming more ornate and regular. Biblical depictions, famous in the Middle Ages, were used in the beginning of the Renaissance era. Later artists were inspired with the idea of Humanism and real-life objects so jewelry sometimes includes use of pelicans, parrots and foliage in place of religious motifs. Even later the prevalence of explorers invoked themes like sea monsters, ships and mermaids.

Popular Jewelry of Renaissance

Pendants

Pendant in the shape of a lion designed around the voluptuous but irregular shape of a baroque pearl. Walters Art Museum.

Pendants were regarded as the most eminent piece of jewelry of that time. Replacing the brooch, pendants were worn with long gold chains fixed to the dress or worn on the girdle. Carved to perfection, from the front and the back, pendants had miniature sculptures of biblical scenes and monograms. They were also designed for partners stating their initials with jewels.

Rings

Ring with Clasped Right Hands. Walters Art Museum.

Women would wear rings on all five fingers and sometimes one on each joint of the finger. The rings were lavishly ornamented and some even had hidden space for scented material to eliminate bad odor. Men would wear their engagement rings on their necks, while the brides received engagement rings with a single studded gem, often Ruby. They were also adorned as sundials, compasses and later on as actual clocks. Signet or seal rings were a common way to inscribe documents and might be worn by the bourgeoisie.

Earrings

In the Middle Age, paintings depicted how women had their ears covered with hair until the Renaissance when earrings made a comeback. Ranging from simple pear shaped pearls earring to exquisite jewel drops; Renaissance earrings either hanged from the ear or were pierced through them.

Some of the Renaissance inspired earring designs offered at the Museum of Jewelry

Head Ornaments

The Hahn's family copy of La Belle Ferroniere - unknown, 1750 CE.
Auctioned in 2010. Sotheby's.

Profile portrait of a young woman, probably Simonetta by Sandro Botticelli.

The ferronnière (shown left) holds a single gem or stone. Its a subtle piece that was fashionable during the early renaissance and reborn in victorian times.

These head ornaments were replaced by coiffures that were embellished with strands of pearls and jewels (shown right). Likewise, single gems and small clusters hanging on a tin thread were taken over by solid chain, making for heavier necklaces.

Renaissance was a time in history when all European countries engaged in trading styles of fashion and jewelry. With time, the designs developed as they moved across continents and different styles amalgamated. Antique Renaissance jewelry pieces are classic, expensive and timeless with their collections present in different museums around the world. Collectable historic replicas such as those presented in our renaissance collection, preserve the history of the era while providing a modern take on this beautiful period.

Renaissance Jewelry for Sale:
Browse our collection of replica and period inspired renaissance jewelry
Sources and Further Reading:

# data[].attributes.attachment_link.description
Covered here is some of the history that begat this explosion of fashion, Renaissance jewelry trends, typical styles, and types of jewelry popular during the Renaissance, and a few of our designs. We hope you find it a useful companion to the Museum's Renaissance jewelry collection.

# data[].attributes.body
This article provided me with an in-depth understanding of Renaissance jewellery and the religious and mythological context behind it.

# data[].attributes.attachment_link.readable_text
Jewellery is a universal form of adornment. Jewellery made from shells, stone and bones survives from prehistoric times. It is likely that from an early date it was worn as a protection from the dangers of life or as a mark of status or rank.

In the ancient world the discovery of how to work metals was an important stage in the development of the art of jewellery. Over time, metalworking techniques became more sophisticated and decoration more intricate.

Gold, a rare and highly valued material, was buried with the dead so as to accompany its owner into the afterlife. Much archaeological jewellery comes from tombs and hoards. Sometimes, as with the gold collars from Celtic Ireland which have been found folded in half, it appears people may have followed a ritual for the disposal of jewellery.

This collar was found in a bog in Shannongrove, Co. Limerick, Ireland, sometime before 1783. We do not know what it was used for, but it was probably a ceremonial collar. On the inner side of the collar, under each of the circular terminals, is a hole. The collar probably rested on the chest and was held in place by a chain running between the two holes and passing round the back of the neck.

Medieval jewellery 1200-1500
The jewellery worn in medieval Europe reflected an intensely hierarchical and status-conscious society. Royalty and the nobility wore gold, silver and precious gems. Lower ranks of society wore base metals, such as copper or pewter. Colour (provided by precious gems and enamel) and protective power were highly valued. Some jewels have cryptic or magical inscriptions, believed to protect the wearer.

Until the late 14th century, gems were usually polished rather than cut. Size and lustrous colour determined their value. Enamels - ground glasses fired at high temperature onto a metal surface - allowed goldsmiths to colour their designs on jewellery. They used a range of techniques to create effects that are still widely used today.

The images decorating the back of this cross were often used as a focus for meditation in the late medieval period. The scenes on the lid show the Instruments of the Passion - scourge, whip, lance, sponge and nails - which were used during the Crucifixion. A tiny fragment of one of them may have formed a relic, stored within the cross's now empty interior. Pearls symbolised purity, and the red gems may have symbolised sacrificial blood shed by Christ.

Renaissance jewels shared the age's passion for splendour. Enamels, often covering both sides of the jewel, became more elaborate and colourful and advances in cutting techniques increased the glitter of stones.

The enormous importance of religion in everyday life could be seen in jewellery, as could earthly power - many spectacular pieces were worn as a display of political strength. The designs reflect the new-found interest in the classical world, with mythological figures and scenes becoming popular. The ancient art of gem engraving was revived and the use of portraits reflected another cultural trend - an increased artistic awareness of the individual.

Particular types of stone were thought to protect against specific ailments or threats, ranging from toothache to the evil eye. They could also encourage or banish such characteristics as bravery or melancholy. This scorpion etching dates from the 2nd or 1st century BC but has been reused in a medieval ring. Carved Greek or Roman stones were highly valued in the middle ages. They were found in excavations or in surviving earlier pieces of jewellery and traded across Europe. The scorpion had an enduring reputation as a protective amulet. It was believed to heal patients from poisoning and also, as symbol of the Zodiac sign Scorpio, it was associated with water and therefore believed to have a cooling effect on fever. Remedies against poisoning were also made by infusing scorpions in oil and herbs. The Medici Grand Duke Francesco I (d. 1587) published a recipe for an anti-poison oil effective against 'all sorts of poisons ingested by mouth, stings and bites'.

By the mid-17th century, changes in fashion had introduced new styles of jewellery. While dark fabrics required elaborate gold jewellery, the new softer pastel shades became graceful backdrops for gemstones and pearls. Expanding global trade made gemstones ever more available. Advances in cutting techniques increased the sparkle of gemstones in candlelight.

The most impressive jewels were often large bodice or breast ornaments, which had to be pinned or stitched to stiff dress fabrics. The swirling foliate decoration of the jewels shows new enthusiasm for bow motifs and botanical ornaments. The central bow in this necklace is a magnificent example of a mid-17th century jewel. The painted opaque enamel was a recent innovation, said to have been developed by a Frenchman, Jean Toutin of Châteaudun. This striking colour combination was frequently used in enamels around this date.

The end of the previous century had seen the development of the brilliant-cut with its multiple facets. Diamonds sparkled as never before and came to dominate jewellery design. Frequently mounted in silver to enhance the stone's white colour, magnificent sets of diamond jewels were essential for court life. The largest were worn on the bodice, while smaller ornaments could be scattered over an outfit.

Owing to its high intrinsic value, little diamond jewellery from this period survives. Owners often sold it or re-set the gems into more fashionable designs.

From around 1640, light swords with short, flexible, pointed blades appeared in response to new fencing techniques that emphasised thrusting at speed. They were worn increasingly with civilian clothes as 'small swords', offering a means of self-defence but largely denoting status for the well-dressed gentleman.

Small swords were items of male jewellery. By the 1750s, their elaborate gold and silver hilts, mounted with precious stones and fine enamelling, were the products of the goldsmith and jeweller rather than the swordsmith. They were often given as rewards for distinguished military and naval service.

This sword is inscribed: 'PRESENTED by the Committee of Merchants &c OF LONDON to LIEUT.T FRANCIS DOUGLAS for his Spirited and active conduct on board His Majesty's Ship the REPULSE. Ja.s Alms Esq.r Commander during the MUTINY at the NORE in 1797. Marine Society Office, May 1o 1798 } Hugh Inglis Esq.r Chairman'.

Francis Douglas was rewarded for his role in suppressing a violent mutiny among sailors at the Nore, a Royal Navy anchorage in the Thames Estuary in 1797. According to an account by an eyewitness, published in The Sheerness Guardian 70 years later, the ship, Repulse, made a 'miraculous' escape from the mutineers reaching shore despite receiving 'as was calculated two hundred shot'.

James Morisset, one of London's most celebrated makers of enamelled gold dress-swords and boxes, was commissioned to produce this sword.

The 19th century was a period of huge industrial and social change, but in jewellery design the focus was often on the past. In the first decades classical styles were popular, evoking the glories of ancient Greece and Rome. This interest in antiquities was stimulated by fresh archaeological discoveries. Goldsmiths attempted to revive ancient techniques and made jewellery that imitated, or was in the style of, archaeological jewellery.

There was also an interest in jewels inspired by the Medieval and Renaissance periods. It is a testament to the period's eclectic nature that jewellers such as the Castellani and Giuliano worked in archaeological and historical styles at the same time.

Naturalistic jewellery, decorated with clearly recognisable flowers and fruit, was also popular for much of this period. These motifs first became fashionable in the early years of the century, with the widespread interest in botany and the influence of Romantic poets such as Wordsworth. This large spray of assorted flowers has a pin fastening at the back and would have been worn as a bodice ornament. Some of the diamond flowers are set on springs, which would increase their sparkle considerably as the wearer moved. Individual flower sprays could be removed and used as hair ornaments.

By the 1850s the delicate early designs had given way to more extravagant and complex compositions of flowers and foliage. At the same time, flowers were used to express love and friendship. The colours in nature were matched by coloured gemstones, and a 'language of flowers' spelt out special messages. In contrast with earlier periods, the more elaborate jewellery was worn almost exclusively by women.

Developing in the last years of the 19th century, the Arts and Crafts movement was based on a profound unease with the industrialised world. Its jewellers rejected the machine-led factory system - by now the source of most affordable pieces - and instead focused on hand-crafting individual jewels. This process, they believed, would improve the soul of the workman as well as the end design.

Arts and Crafts jewellers avoided large, faceted stones, relying instead on the natural beauty of cabochon (shaped and polished) gems. They replaced the repetition and regularity of mainstream settings with curving or figurative designs, often with a symbolic meaning.

The designer of this brooch, C. R. Ashbee, was a man of immense talents and energy and a defining figure in the Arts and Crafts Movement. In 1888 he founded the Guild of Handicraft in the East End of London with the intention of reviving traditional craft skills and providing satisfying employment in a deprived area of the city. Trained originally as an architect, he is known also for his highly innovative furniture, metalwork, silver and jewellery designs.

The peacock was one of Ashbee's favourite and most distinctive motifs and he is known to have designed about a dozen peacock jewels in the years around 1900. Family tradition is that this brooch was designed for his wife, Janet. It was made by Ashbee's Guild of Handicraft Ltd. at Essex House on the Mile End Road, London.

Art Nouveau jewellery and the Garland style 1895-1910
The Art Nouveau style caused a dramatic shift in jewellery design, reaching a peak around 1900 when it triumphed at the Paris International Exhibition.

Its followers created sinuous, organic pieces whose undercurrents of eroticism and death were a world away from the floral motifs of earlier generations. Art Nouveau jewellers like René Lalique also distanced themselves from conventional precious stones and put greater emphasis on the subtle effects of materials such as glass, horn and enamel.

However, the style's radical look was not for everyone or for every occasion. Superb diamond jewellery was made in the 'garland style', a highly creative re-interpretation of 18th- and early 19th-century designs.

The maker of this orchid hair ornament, Philippe Wolfers, was the most prestigious of the Art Nouveau jewellers working in Brussels. Like his Parisian contemporary René Lalique, he was greatly influenced by the natural world. These exotic orchids feature in the work of both. The technical achievement of enamelling in plique-a-jour (backless) enamel on these undulating surfaces is extraordinary.

Art Deco jewellery to the 1950s
Although buffeted by cycles of boom, depression and war, jewellery design between the 1920s and 1950s continued to be both innovative and glamorous. Sharp, geometric patterns celebrated the machine age, while exotic creations inspired by the Near and Far East hinted that jewellery fashions were truly international. New York now rivalled Paris as a centre for fashion, and European jewellery houses could expect to sell to, as well as buy from, the Indian subcontinent.

Dense concentrations of gemstones are characteristic of Art Deco jewellery. From about 1933 gold returned to fashion, partly because it was cheaper than platinum.

Artists and designers from other fields also became involved in jewellery design. Their work foreshadows the new directions jewellery would take.

This brooch commemorates the breaking of the World Land Speed Record by Captain George Eyston in 1937. The car depicted is Thunderbolt, which Captain Eyston designed, built and drove. It was powered by two aero engines made by the firm of Rolls-Royce, which presented the brooch to Captain Eyston's wife.

Since the 1960s the boundaries of jewellery have been continually redefined. Conventions have been challenged by successive generations of independent jewellers, often educated at art college and immersed in radical ideas.

New technologies and non-precious materials, including plastics, paper and textiles, have overturned the notions of status traditionally implicit in jewellery.

Avant-garde artist-jewellers have explored the interaction of jewellery with the body, pushing the boundaries of scale and wearability to the limits. Jewellery has developed into wearable art. The debate on its relationship to Fine Art continues.

Find out more in our book, Jewels & Jewellery.

# data[].attributes.attachment_link.description
Explore jewellery techniques and designs from the bronze age to the modern day illustrated with key pieces from our jewellery collection

# data[].attributes.body
Compare the mainstream to the subculture.

Compared HipHop to prominent political figures at the time because of the influence they had over the mainstream. Thatcher was incredibly popular during her time as prime minister as was Reagan in the US with Reagan democrats.

Old wealth vs new wealth:

. Hugo Young, “Thatcher was born to be a politician”

. Went to a grammar school and then Oxford University

. Pearls represent tradition are said to be symbolic of wisdom gained fro, experience

Compare this with HipHop:

. Big flashy gold chains and rings to show off their new success.

. Gold is obviously a symbol a wealth and status

. Hiphop was started by youth who grew up in poverty so each big piece of jewellery was used to represent a milestone

Tradition vs Innovation

. Ronald and Nancy Reagan who famously know for excess and extravagance

. Nancy spent around $25,000 on her inaugural wardrobe

. Thatchers Asprey bag, which is a traditional British brand was sold in 2011 for £25,000

. Both Nancy and Margaret could be seen in traditional power suits

Compared to hiphop

. Creative expression was a key value in this community

. Used their situation to make fashion trends that eventually trickled up into the mainstream

. E.g. trainers and tracksuits that originally started off as sportswear became popular due to hiphop stars wearing them,

. baggy clothing from thrift stores, leftovers in shops and hand me downs

Individualism vs community:

. Thatcher wore blue as a signal to conservatism, Ronald Reagan wore red to signal to republicanism

. Both of these ideologies value individualism

. This contrast greatly to hiphop of which community is a big value.

. Use of Kente cloths and colours such a red, yellow and green were often worn to show that they wear apart of one community.

Bibliography

Blömer, M., 2017. Thatcher's fashion as a symbol of her style of leadership, Munich, GRIN Verlag.

Dimarco, S., 2021. Discover How Margaret Thatcher Mastered the Art of Power Dressing. [online] Veranda. Available at: <https://www.veranda.com/luxury-lifestyle/luxury-fashion-jewelry/g34026721/margaret-thatcher-style/> [Accessed 7 March 2022].

Creative, V., 2019. How the Reagan White House shaped ‘80s style. [online] Vox. Available at: <https://www.vox.com/ad/18175876/ronald-nancy-reagan-white-house-80s-style> [Accessed 6 March 2022].

# data[].attributes.attachment_caption
Nast, C., 2016. Nancy Reagan's Signature Reagan Reds. [online] Vanity Fair. Available at: <https://www.vanityfair.com/style/photos/2016/03/nancy-reagans-signature-reagan-reds> [Accessed 5 March 2022].

# data[].attributes.body
Notable style: republican red, expensive clothing, power suits, subtle jewellery

# data[].attributes.attachment_caption
Dimarco, S., 2021. Discover How Margaret Thatcher Mastered the Art of Power Dressing. [online] Veranda. Available at: <https://www.veranda.com/luxury-lifestyle/luxury-fashion-jewelry/g34026721/margaret-thatcher-style/> [Accessed 7 March 2022].

# data[].attributes.body
Notable style: traditional pearls, the power suit, conservative blue, asprey bag

# data[].attributes.body
Notable style: sportswear, trainers, gold chains, baggier clothing

# data[].attributes.body
Notable style: high fade haircut, natural hair, big gold jewellery