Setting a New Stone

FINAL PROJECT PROCESS BOOK

SETTING A NEW STONE: APPLYING METHODOLOGIES OF DESIGN MANAGEMENT TO DEVELOP A STRATEGY FOR DISRUPTING THE JEWELRY INDUSTRY

KAMOLWAN KAEWKOON / SCAD DESIGN MANAGEMENT / DMGT 748 / PROF. TOM HARDY / WINTER 2016

Final Project submitted to the faculty of the Design Management Department at the Savannah College of Art and Design on March 15, 2016 in partial fulfillment of the requirements for the degree of Master of Arts in Design Management.

DESIGN MANAGEMENT Design management infuses the culture of creativity with the discipline of business to create a strategic advantage for problem solving that incorporates the practices of user-centered design methodologies to encourage innovation.

ABSTRACT In the volatile fast-fashion industry, jewelry loses their design integrity to the world of mass production and industrialization. Designs in today’s mass market are not only knock-offs of designers’ pieces, but they never are designed for a specific target market. The traditional design process of jewelry is purely based on the designer’s point of view towards the aesthetic quality of their design. Voices of consumers have been incorporated only for the marketing purpose of the process and never during the design process. Thus, current jewelry designers solely push their products out to the market, hoping that consumers will find their designs attractive, even though they do not know who their market is or who they are selling to.

The purpose of this project is to provide a user-driven design methodology that is applicable to any jewelry design process. Through various methods of design management’s research conduction, the essential data is gathered and analyzed. This strategy brings consumers in prior to the design process of the jewelry pieces where consumers will be able to state their preferences and co-create on the provided platform.

With the gathered data, jewelry designers can adopt the information as the guidelines for their design, and therefore, allow jewelry design innovation to prosper.

DEDICATION This project is dedicated to my beloved family, the people who have always been there for me. To my parents, for giving me endless love and support no matter where I am. To my nannies, for raising and caring for me like one of their own. To my sisters, for the good and bad times that we have been through together. I am grateful to be a part of your lives and blessed to have you all in my life as well.

I would also like to dedicate this project to all my friends that I have encountered in my lifetime. To the friends of Ruamrudee International School class of 2010, for the professional growth that we desired and all the summers we have been partying together. To the ‘Thailanders’ of Savannah, for the all the laughs, cries, and struggles we all went through together away from home. I am lucky to have met, been taken care of, and bonded with you all.

ACKNOWLEDGEMENT To my friends of Design Management: Thank you for all your kindnesses, teamwork spirits, and understandings that you have given to me throughout my time of the study. We have been through quite a journey together and you all have been shaping me in becoming a better leader, team player, and friend. I am fortunate to have the opportunity to collaborate and party with you all. We shall rise and shine together in the coming years.

To the professors of Design Management: Thank you professor Bruce Claxton, for supporting and shaping me in becoming a designer since the first day I joined the program. Thank you professor Sara Johnson, for introducing and guiding me in becoming a true researcher. And lastly, thank you professor Tom Hardy, for all the stories that inspire me to grow into a design strategist. With my respects, thank you all for the feedbacks and critique that you have given to me. I am forever grateful for the kindness that you have offered to me.

To the Writer’s Studio of SCAD: Thank you Adam Johnson and Carrie Nelson for editing my writings throughout my time of study here at SCAD. My projects would not be well done and polished without your help.

To my housemate: P’Ploi Isariyasereekul, my friend and my long lost sister from another mother, thank you to all the meals that you cooked and the rides that you gave, my days are healthier and happier with you around. Thank you also for being there for me, to share my pains, exchange ideas, and grow together in the design management field.

TABLE OF CONTENTS

Subject of Study Purpose of Project Problem Statement Target Audience Scope of Project Significance of the Study Opportunity Statement

3 3 3 3 4 4 4

PROJECT POSITIONING Industry Analysis Entities Positioning Map SWOT Analysis Segment Matrices H&M Etsy Shapeways Handmade at Amazon Topshop Pandora HSNI Ylang 23 Twist ZAG 17 Value Proposition Onliness Statement

PROTOTYPE DEVELOPMENT

RESEARCH ACTIVITIES AND SYNTHESIS

PROJECT FRAMING

8 9 10 11 12 13 14 15 16 17 18 19 20 21 25 26

Research Space Research Methodology Research Space Map Research Plan Primary Research Research Protocols Interview and Questionnaire Protocols Survey Protocols Cultural Probe Protocols Interviews and Questionnaires Observations Surveys Cultural Probe Data Processing and Analysis Flow Diagram Blue Ocean Strategy Map & 4 action framework Journey Map Persona Research Findings at a Glance

29 29 30 31 34 35 36 38 39 40 43 46 50 52 53 49 55 56 61

DESIGN OPPORTUNITIES Insights Design Criteria for Prototype Reframing

65 69 70

Ideation Exploration of Diverse Concepts Concept 1: Improving user’s profile for website platforms Concept 2: Designers’ user touch point before the production phase Concept 3: Designer’s user touch point before design phase

73 77 79 81 83

FINAL DELIVERABLE The J.E.W.E.L.S process The Wander phase Mintedjewels platform: Survey Protocol Mintedjewels platform: Survey Prototype Mintedjewels platform: Survey Result Prototype Validation plan

87 89 92 99 105 113

DESIGN TO MARKET PLAN Business Model Canvas Business Model Canvas SWOT Analysis Subscription Model Implementation Plan

117 118 119 120

CONCLUSIONS & RECOMMENDATIONS Conclusions Recommendations

123 124

REFERENCES Annotated Bibliography

126

1

PROJECT FRAMING

2

PROBLEM STATEMENT

SUBJECT OF STUDY

The traditional creation processes employed by the fast-fashion commercial jewelry industry relies on volatile seasonal fashion trends.

This results in the omnipresence of meaningless aesthetic designs in the market that are not user-driven. In the study, Reinach (2005) mentioned that the current “original design decision…was a wild guess that was not customer-driven” (p. 20). Thus, fast fashion commercial jewelry products end up using repetitive design elements, leaving out the aesthetic challenging quality that jewelry design holds.

Pushing user-driven innovation forward by applying design management’s design thinking methods to the integration of jewelry designers’ creative process and fast-fashion commercial jewelry’s creation process.

TARGET AUDIENCE PURPOSE OF PROJECT

The focus of this project is to drive the research and design processes of fast-fashion commercial jewelry creation toward user-centered design practices and therefore, create meaningful innovative designs that embrace and value end-consumers.

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The target audience for this project is designers who look forward to the innovativeness of the design industry.

Designers who find inspiration from the self-expressive artistic quality can also use the study to aid their growth toward implementing user-centered design strategy in advancing their professional career. This study is an invitation card to welcome all designers to participate in user-centered design methodologies to advance the design industry to its highest potential.

OPPORTUNITY STATEMENT

SCOPE OF PROJECT

The study was conducted within the time frame of January to March 2016. In this time period, the project focused on commercial jewelry designers, jewelry designers, and jewelry consumers as the subjects of study. This includes, but was not limited to, students, alumni, and professors of the jewelry major from Savannah College of Art and Design, located in Savannah, Georgia as the prime subjects to study the dynamics of the jewelry industry.

High-end jewelry designers and consumers were excluded from the study, as they are in the different market segment of the jewelry industry.

Driven by the fashion industry, designers in the field of fast-fashion commercial jewelry base their concepts on current fashion trends. As a result, fast-fashion commercial jewelry designers disregard the aesthetic value and artistic self-expression that jewelry design usually embraces.

Hence, there is an opportunity to challenge the aesthetic appreciation of the fast-fashion commercial jewelry’s end-consumers by incorporating user-driven strategies in the creation process and bringing forward innovation in design.

SIGNIFICANCE OF THE STUDY

This study helped the author to grow from a jewelry designer into a designer manager who sees through the algorithms of the design process and understands how to advance the system to its highest potential. This study challenges the artistic quality of designers to empathize and co-create with end users. As a result, the study reflects on how the field of design management does not have to solely be associated with structure-based design fields, but also can be applied to aesthetic design fields such as jewelry design as well.

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PROJECT POSITIONING

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INDUSTRY ANALYSIS

In order to understand the scope of the project, secondary research was conducted to analyze the foundation of the project.

This was performed by gathering data from credible sources such as peer-reviewed scholarly articles and popular media. Once the information was collected, various methodologies were selected to allow for analyzing in-depth details and key takeaways.

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UNDERSTANDING THE HOLISTIC VIEW OF THE JEWELRY INDUSTRY

ENTITIES POSITIONING MAP

HIGH

HAUTE COUTURE

Van Cleef & Arpels ≈$2000-500000 Cartier

FINE JEWELRY

Priceless art pieces

STUDIO JEWELRY

FASHION JEWELRY

LOW

Creative Input

HIGH

BRIDAL JEWELRY

OPPOTUNITY SPACE

Kay, Jared, Zales ≈$100-800

LOCAL BRANDS ≈$50-300

FAST-FASHION COMMERCIAL JEWELRY H&M, Forever 21 Urban Outfitters, Zara Topshop

SOUVENIR

Local stores Marketplace ≈$30

≈$5-55

LOW 9

David Yurman Barbara Heinrich ≈$300-6000 Todd Reed

Hermes, Louis Vuitton ≈$300-4000 Gucci, Dior, Chanel

Price Range

The Entities Position Map from 101 Design Methods by Vijay Kumar (2013) was created in which the profiles of different sectors of the jewelry industry were pulled from the secondary research to understand the holistic view of the jewelry industry. The map reflects the context of each sector by the level of creativity input of the designs and price range given by the respective jewelry sector. Once the data is plotted, the model shows that there is an opportunity space that is lacking in the jewelry industry. This space is the intersection between the fast-fashion commercial jewelry sector and individual jewelry designers in the sectors of local designers and studio jewelry designers. The attributes of the price range of the fast-fashion commercial jewelry and the local designer sectors and the creativity input of the local designers sectors and studio jewelry designers sector will be utilized in the ideation process of the study. The information navigates the sectors of jewelry industry that the study should focus on and guides the direction of where the study can be positioned within the world of the jewelry industry.

CONTEMPORARY ART JEWELRY

Tiffany & Co ≈$300-20000

SWOT ANALYSIS

The SWOT Analysis (Kumar, 2013) produces high-level information upon unveiling the fast-fashion commercial industry.

This is an excellent tool to explore the areas in need to celebrate, strengthen, explore, and combat. The fast-fashion commercial industry has been fully developed so their strengths exceeded their weaknesses. The industry is able to appeal to the consumers with low-cost merchandise that offer various levels of aesthetic that are acceptable to the mass market. They retain their relationship with the customers with an exceptional ability to respond to new trends in a short period of time. However, with these strengths, the industry is not able to provide excessive physical quality of the products as including this attribute will disrupt their business model of disposable jewelry offerings. The potential threat that will impact the industry is the rise of consumers who are shifting toward innovative designs with unique and creative qualities. These individuals value authenticity of design quality which the fast-fashion commercial jewelry is not offering. Thus, there is an opportunity to enrich the jewelry consumption of the mass market by integrating the attributes that the fast-fashion commercial jewelry industry offer and does not offer. The challenge is to compromise the element of low-cost offerings and ability to respond to trends with the use of appropriate materials and authentic designer quality products.

UNVEILING THE FAST-FASHION COMMERCIAL INDUSTRY

I respond quickly to trends I hold on to agility and time-based production I do whatever it takes to cut cost I continuously offer fresh designs to the market I adopt different concepts to align with my customers I am up to modifying design to reach my market My products have disposable quality My designs and production are in-house I listen to preferences of my target audience I design under my corporate’s profiles I offer broad assortment of products I offer price range on my products

I offer knock-off of other designers My original designs are not customer driven My products do not have design values I do not offer excessive physical quality I leave demand unsatisfied with limited production I keep up with the speed through outsourcing My products do not have historical values

STRENGTHS

WEAKNESS

OPPORTUNITIES

THREATS

My sales are highly influenced by media I rely on my customers’ shopping habits I participate in the culture of globalization I understand that experience is the new trend

I can’t knock-off innovative jewelry designs I want unique and innovative designs I support individual designers I don’t buy pieces that I see other wearing them

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SEGMENT MATRICES

IDENTIFYING COMPLEMENTORS AND COMPETITORS OF THE PROJECT POSITIONING

COMPANY PROFILE

The selected complementors and competitors were the current leading jewelry key players that show relations to the defined opportunity space of this study. For this methodology, both on-ground and online platforms were taken into account as most of today’s stores are available on both platforms. Different sectors of the jewelry industry were also taken into consideration to acquire the full scope of the project’s opportunity space. The attributes gathered from the existing market set an example of competitive advantages that the project can develop into, this information is shown under the lesson section of the individual matrices.

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LOGO

OBJECTIVES

APPROACH

Origin Price Location Homepage

What can they teach us about the industry?

How do they create value?

KEY PLAYERS

JEWELRY OFFERINGS

LESSONS

Who are the members of the community?

What categories of jewelry do they offer?

What can they teach us about the industry?

EXAMINE THE STRUCTURE OF HENNES & MAURITZ

COMPANY PROFILE

OBJECTIVES

Origin: Stockholm, Sweden Price: Maximum of $25 Location: Onground and Online stores

Shopping destination for latest trends and high quality clothing at the best price with best customer offering in each and every market.

APPROACH Buys large purchasing volumes of products from independent suppliers that are close long-term partners.

Homepage: www.hm.com

KEY PLAYERS In-house designers Independent suppliers Efficient logistics

JEWELRY OFFERINGS Earrings Necklaces Bracelets Rings Swarovski crystals

LESSONS - No middlemen - Cost-conscious

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EXAMINE THE STRUCTURE OF ETSY

COMPANY PROFILE

OBJECTIVES

Origin: Brooklyn, New York Price: Main range is under $30 Location: Online-based marketplace

APPROACH Etsy is a marketplace where people around the world connect, both online and offline, to make, sell and buy unique goods.

Support the need for an online community where crafters, artists and makers could sell their handmade and vintage goods and craft supplies.

Homepage: www.etsy.com

KEY PLAYERS Global community of creative entrepreneurs, shoppers, manufacturers partnered with Etsy sellers, and Etsy employees.

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JEWELRY OFFERINGS

LESSONS

Bracelets Body jewelry Cuff Links (Anklets, Piercing Tie clips rings and studs, Hair jewelry, Earrings Necklaces Rings Pinchers & Spirals, Shoulder Jewelry, etc)

-

Holistic community of market Open platform Low entrance cost Commodity of hand crafted Offers various form of jewelry Offers connections to manufacturers

EXAMINE THE STRUCTURE OF SHAPEWAYS

COMPANY PROFILE

OBJECTIVES

Origin: New York Price: Main range is under $40

Enables everyone to bring their ideas to life with 3D printing.

Location: Online-based marketplace Homepage: www.shapeways.com

KEY PLAYERS Global community of creators and shoppers interested with 3D printing.

Shapeways employees at the headquarter and offices in New York and factories in the Netherlands.

APPROACH Affordable and accessible 3D printing, connecting people around the world and providing access to the best technology while offering custom products designed by independent creators in their marketplace.

JEWELRY OFFERINGS

LESSONS

Women’s Rings jewelry Pendants & Necklaces Men’s Accessories Bracelets Earrings Cufflinks

- Outsourcing - Technology input for efficiency - Personalization in products offered by creators - Offer various materials and colors in one design

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EXAMINE THE STRUCTURE OF HANDMADE AT AMAZON

COMPANY PROFILE Origin: Seattle, Washington Price: Main products are under $50 Location: Online store

OBJECTIVES

APPROACH

We know that each handcrafted item is special so we built a new experience specifically to highlight your handmade products.

All products available in Handmade at Amazon store must be made entirely by hand, hand-altered, or hand assembled (not from a kit).

Mass-produced products or products handmade by a different artisan are not eligible to sell in Handmade.

JEWELRY OFFERINGS

LESSONS

Homepage: www.amazon.com

KEY PLAYERS Artisans 250 millions customers worldwide

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Accessories Anklets Body Jewelry Bracelets Brooches & Pins Charms Cufflinks & Shirt accerrories

Earrings Hair Jewelry Jewelry Sets Necklaces Pendants Rings Wedding & Engagement

- Side bar filters for customers to refine their decisions - Efficient customer service such as customization and return policy - Cherish the aspect of handmade and one-of-a-kind products - Transparency of information from designers to customers

EXAMINE THE STRUCTURE OF TOPSHOP

COMPANY PROFILE

OBJECTIVES

Origin: London, United Kingdom Price: Maximum of $55 Location: Onground and Online stores

The style setter and star of your wardrobe for the cool-girl aesthetic ideal for creating beautifully individual looks.

APPROACH Pieces inspired by the catwalk and made for your wardrobe by the collaborations with industry’s hottest designers.

Homepage: www.topshop.com

KEY PLAYERS Industry’s hottest designers Cool girls around the world

JEWELRY OFFERINGS

LESSONS

Body chains Statement Bracelets Brooches Necklaces Earcuffs Earrings Multipacks Temporary Tattoos & Stickers Necklaces Rings

- Mix of non-traditional materials - Certain level of challenging designs especially on statement pieces - Fix and predictable price range

16

EXAMINE THE STRUCTURE OF PANDORA

COMPANY PROFILE

OBJECTIVES

Origin: Copenhagen, Denmark Price: Main products are $100 Location: Onground and Online stores

APPROACH

Pandora designs, manufactures and markets hand-finished and contemporary jewelry made from high-quality materials at affordable prices.

Homepage: www.pandora.net

KEY PLAYERS Outsource manufactures at Gemopolis, Thailand

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JEWELRY OFFERINGS Charms Bracelets Rings Earrings Necklaces Pendants

Offers an exciting and fascinating collection of jewelry that opens up countless design opportunities where customers can combine pieces from their assortment to create unique looks that expresses your personal style and unforgettable moments.

LESSONS - Promote as gifts and souvenir - Customizable - Markets under meaning and experience

EXAMINE THE STRUCTURE OF HSNI

COMPANY PROFILE

OBJECTIVES

Origin: St. Petersburg, Florida Price: Main products are under $200

APPROACH

An interactive multichannel retailer with strong direct-to-consumer expertise.

Location: TV, mobile, and Online store Homepage: www.hsn.com

KEY PLAYERS Worldwide members Industry experts Satellite and cable providers

JEWELRY OFFERINGS Rings Fine Jewelry Earrings Necklaces Bracelets Watches

HSNi offers innovative, differentiated retail experiences on TV, online, via mobile devices, in catalogs, and in brick and mortar stores with a curated assortment of exclusive products combined with top brand names now reaches 95 million homes.

LESSONS Pendants Charms Brooches & Pins Storage & Accessories

- Multichannel to reach the mass - Offer promotions and payment options - Live presentation on product details

18

EXAMINE THE STRUCTURE OF YLANG 23

COMPANY PROFILE

OBJECTIVES

Origin: Dallas, Texas Price: Main range $500-1500

Commitment to offer outlet channel for original designers.

Location: Onground and Online stores

APPROACH Supported top designers’ development and growth early in their careers whose passion and creativity shape worldwide trends.

Homepage: www.ylang23.com

KEY PLAYERS Original designers and their collections located at the flagship store in Dallas.

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JEWELRY OFFERINGS Rings Earrings Necklaces Bracelets Bridal One-of-a-kind Custom Jewelry

LESSONS - Offer collections from various designers in one space - Support original designs made with high quality materials

EXAMINE THE STRUCTURE OF TWIST

COMPANY PROFILE

OBJECTIVES

Origin: Portland, Oregon Price: Main range $1000-5000

Offer breathtaking, carefully curated collection of unique designer jewelry for everyday life.

Location: Onground and Online stores

APPROACH Deep connection of sharing, regular interactions and mutual respect between the owners with the professional artists and designers.

Homepage: www.twistonline.com

KEY PLAYERS Local clientele Professional artists and designers Professional salesperson

JEWELRY OFFERINGS Earrings Necklaces Rings Bracelets Under $250 Wedding One-of-a-kind

LESSONS - Grow with the designers - Accumulate designers with various styles - Design pieces for everyday life

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Zag 17 STEPs

What should you add or subtract?

Upon gaining an understanding of the performance of the project, Zag 17 steps from Zag: The Number One Strategy of High-Performance Brands by Neumeir (2006) was used to portray the opportunity’s brand strategy. The strategy values the power of differentiation as competitive advantage among the cluttered marketplace. This process depicts a bridge between design and business strategy in the study.

What makes you the “only”?

Who loves you?

How do you earn their loyalty?

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Who shares thE bRandscape?

Who isthe enemy?

How do people engage with you?

What do they experience?

What is your vision?

What do you do?

Who are you?

What wave are you riding?

What wave are you riding?

What do they call you?

How do you explain Yourself?

How do you spread the word?

How do yoU protect your portfolio?

1 3

2

Who are you?

We provide jewelry designers a process to gather data from consumers prior to designing their collection

Jewelry design process that assists jewelry designers toward user-driven innovative aesthetic design

4

What is your vision?

What do you do?

5

What wave are you riding?

Designers of various industries who practice user-centered design methodology

Competitive advantage of design using user-centered design methodology

Introduce jewelry designers with user-driven design strategy that ensures the alignment of the designs with the needs and preferences of end consumers

6

What makes you the “only�?

One-of-a-kind jewelry design process that embraces end consumers to co-create with jewelry designers

Who shares the brandscape?

7

What should you add or subtract?

Add voices of end consumers on aesthetics of design Subtract personal views of jewelry designers toward aesthetic of designs

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8

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Who loves you?

Jewelry designers who appreciate user-driven strategy as competitive advantage

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How do you explain yourself?

Innovating aesthetic design of jewelry by employing user-driven methodology as a competitive advantage

User-driven jewelry design process

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How do people engage with you?

Online platform

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Jewelry designers who solely design products based on their intuitions

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What do they call you?

Who is the enemy?

How do you spread the word?

Social media advertising

Contact individual jewelry designers Contact strategists and consultants of jewelry design

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What do they experience?

User-friendly process that guides jewelry designers to better their designs

15

How do you earn their loyalty?

Process that ensures sellable innovative designs

16

What wave are you riding?

Co-creation with end consumers for design innovation

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How do yoU protect your portfolio?

Platform that only accessible through membership

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VALUE PROPOSITION

A one-of-a-kind jewelry design process that values user-centered strategy as a competitive advantage by allowing jewelry designers to co-create with end consumers to ensure user-driven innovative, aesthetic design for jewelry designers who desire to align with their target in the mass market community of volatile fast-fashion commercial jewelry.

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THE OnlinesS Statement The only jewelry design process that embraces end consumers to co-create with jewelry designers in creating user-driven aesthetic design innovation.

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RESEARCH ACTIVITIES AND SYNTHESIS

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Research Space

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This project focuses on bringing in design management’s framework of user-centered design methodology to the process of jewelry design that is currently employed in the era of fast-fashion commercial jewelry. The ecosystem map was designed to encompass the research space of the project in terms of scales, connections, and relationships between each subject. The goal of this study is to challenge the aesthetic appreciation of the current jewelry designs in the mass market by embracing user-centered design methodology as a competitive advantage to bring forward innovation in design.

Research Methodology

The research methodologies for this study are highly qualitative data collection to gain a deep understanding of the perspectives of jewelry key players toward the industry. The quantitative data was used to gauge alignments with the larger consensus. The extensive contextual research process was conducted in the study to gain empathy for both designers and end users of the jewelry industry.

DEFINING THE RESEARCH SPACE OF THE PROJECT

Design Thinking

Carlgren, L., Elmquist, M., & Rauth, I. (2014).

Human-centered Design

Models and Tools

Kumar, V. (2013).

User Driven

Framework

Hassi, L., & Laakso, M. (2011).

Rocheska, S., Kostoska, O., Angeleski M., Mancheski, G. (2014).

Sun, Q., Williams, A., & Evans, M. (2015).

DESIGN MANAGEMENT Research Strategy

Gaimster, J. (2012).

JCK magazine. (2004).

Design Process

impact

Social

Giertz-Martenson, I. (2012).

Kielarova, S., Pradujphongphet, P., Kulpa, S. (2016). & Bohez, E. (2015).

Creation Process

macro

Technological

External Stimulus

Economical

Caro, F., & Martinez-de-Albeniz, V. (2014).

Giertz-Martenson, I. (2012).

Kulpa, S. (2015).

Hencke, S. (n.d.).

Ghemawat, P., Nueno, J. L.,& Dailey, M. (2003).

Reinach, S. (2005).

Quality Structure

Internal Stimulus

Company Key Players

Desjardins, A., & Wakkary, R. (2013).

Woolton, C. (2001).

Experimentation

Wade, S. (2004).

Conceptualization

Pereira, A., & Tschimmel, K. (2012).

influence

INNOVATION

Form

micro nuture

Fast-fashion Industry

JEWELRY DESIGN DISCIPLINES

Meaningful Experience

driving forces

Trends Power Structure Consumers

bring about

FAST-FASHION COMMERCIAL JEWELRY

Environmental Political

Creative Process

Motivation Inspiration

CHALLENGE AESTHETIC APPRECIATION

nuture

DESIGN AS COMPETITIVE ADVANTAGE

Design Quality

Xia, M., Xue, H., Jiang, Y., & Tong, F. (2013).

Material

Snyder, T, (2013).

Aesthetic

Edelstein, C. (2015).

Communication

Rosolowski, T. (2002).

Vyas, D., & Van der Veer, G. (2006).

Wylant, B. (2008).

Jacobsen, T. (2010).

Olson, E., Slater, S., & Cooper, R. (2000).

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Research PLAN

HOW MIGHT WE ADOPT DESIGN MANAGEMENT’S METHODOLOGIES TO EVOLVE THE PROCESS OF COMMERCIAL JEWELRY CREATION AND BRING ABOUT USER-DRIVEN INNOVATION? What do I need to know?

WHAT IS DESIGN MANAGEMENT?

WHAT ARE THE PROCESSES CURRENTLY EMPLOYED IN COMMERCIAL JEWELRY CREATION?

WHAT ARE THE FORCES THAT DRIVE THE DESIGN OF COMMERCIAL JEWELRY?

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Why do I need to know this?

What type of data is needed?

Where can I find this data?

What type of data collection methods are needed?

Who do I contact for collecting this data?

When do I need to get a hold of this data?

What will I learn?

What might I be missing? How might I be wrong?

How does design management incorporate users into the process?

What are the methodologies employed in the design management field?

To understand the practices of design management during design process

Secondary qualitative findings

Books Articles

Secondary research

Academic research platforms

Week 3

I will gain the understanding of the possibilities to infuse design management methodologies into the design process

Overwhelming methodologies that might interfere with the decision making of how to tackle the problem

What is the current role of research in the commercial jewelry industry?

What are the design methodologies used in the commercial jewelry industry?

To learn how jewelry design is executed under the commercial jewelry design process and therefore, be able to identify opportunities for innovation

Secondary and primary qualitative findings

Articles

Expert interviews

Commercial jewelry designers

Week 3

I will learn about how jewelry design unfolds within the existing methodologies used in the commercial jewelry industry

Different commercial jewelry companies might have very diverse design processes

Who are the players currently participating in the process of commercial jewelry?

What are the industry’s factors that drive the creation process?

To realize and understand what are the drivers that shape the designs of the commercial jewelry

Secondary and primary qualitative findings

Articles

Expert interviews

Commercial jewelry manufacturers Commercial jewelry product developers Commercial jewelry designers Commercial jewelry consumers Commercial jewelry buyers

Week 3

I will learn about how jewelry designs unfold under the existing drivers in the commercial jewelry industry

Uncontrollable drivers that may fix the process of the commercial jewelry design

What do I need to know?

WHAT PUSHES THE ARTISTIC CREATION OF JEWELRY DESIGNERS?

HOW DO JEWELRY DESIGNERS EXECUTE THEIR CREATIVE PROCESS?

WHAT IS INNOVATION?

WHAT ARE THE IDENTITIES OF COMMERCIAL JEWELRY CONSUMERS?

Why do I need to know this?

What type of data is needed?

Where can I find this data?

What type of data collection methods are needed?

Who do I contact for collecting this data?

When do I need to get a hold of this data?

What will I learn?

What might I be missing? How might I be wrong?

How do jewelry designers get inspired?

What are the design factors that jewelry designers embrace?

To identify the values that jewelry designers keep that inspire their designs

Secondary and primary qualitative findings

Books

Expert Interviews

Jewelry designers Jewelry professors Jewelry students

Week 3

I will understand the design factors that inspire jewelry designers to create new designs

Inconsistency of driving factors due to different projects

What design strategies are taught in jewelry schools?

What are the design methodologies that jewelry designers embrace?

To understand the methodologies used and taught by jewelry designers and thus, find the opportunity to incorporate and advance commercial jewelry creation

Secondary and primary qualitative findings

Books Articles College

Expert interviews Observation Self-report

Jewelry designers Jewelry professors Jewelry students

Week 3

I will understand the process in achieving aesthetic purity in designs portrayed by jewelry designers

Inconsistency of jewelry design process due to different projects

What are the practices to bring about innovation?

What are the results in creating innovation?

How is success measured in innovation?

To gain knowledge on the structure of innovation in order to advance strategies of the commercial jewelry creation process

Secondary findings for qualitative data

Books Articles

Secondary research

Academic research platforms

Week 3

I will gain knowledge on how to successfully achieve innovation within its parameters

Different interpretations and measures of innovation might interfere with the success of the project

What are the purchasing factors of commercial jewelry consumers?

How do consumers use commercial jewelry products?

How do consumers perceive commercial jewelry products?

To gain empathy and alignments with fast-fashion commercial jewelry consumers

Primary qualitative and quantitative findings

Commercial jewelry stores and locations

Interviews Survey Observation Self report

Week 3

I will learn about the needs and preferences of the commercial jewelry consumers

Different perceptions on consumption of commercial jewelry due to diverse group of consumers

Commercial jewelry consumers

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PRIMARY Research

Primary research was the core study of the project which derives from the secondary research conducted previously in the project. The research consists of methodologies to gain empathy with the users of the jewelry industry.

The methodologies used in this process include interviews, observations, surveys, and cultural probes. This level of research allows the study to look into the hearts of the users and understand the needs and motivations behind their participation in the industry.

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RESEARCH PROTOCOLS Consent Form

Setting a New Stone: Applying Design Management Methods to Developing a Strategy for Disrupting the Commercial Jewelry Industry

I voluntarily agree to participate in an interview performed by Mint Kaewkoon from the Savannah College of Art and Design. I understand that this interview/inquiry is being conducted by in order to identify opportunities for design.

I understand that the evaluation methods which may involve me include: 1. the recorded (audio and/or video) observations of my work 2. my completion of an evaluation questionnaire(s) and/or 3. my participation in a 30-90 minutes interview.

Using the information gathered from the secondary research, various sets of questions were generated and prepared to conduct the primary research process.

The Semantic Differential technique by Charles Osgood was borrowed for the comparative study during the interview and survey processes. This technique is also applied throughout the study as the foundation set of information for data displaying and gathering.

I grant permission for the interview/inquiry to be recorded and transcribed, and to be used only

by Mint Kaewkoon for analysis of interview data. I grant permission for the evaluation data generated from the above methods to be used in an educational setting. I understand that any identiďŹ able information in regard to my name and/or company name will be removed from any material that is made available to those not directly involved in this study.

Research Participant Name _______________________________________

Date _______________________________________

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INTERVIEWS AND QUESTIONNAIRES PROTOCOLS INTERVIEWS

QUESTIONNAIRES

Commercial Jewelry Consumers

Jewelry Professor

Commercial Jewelry Shop Owner

Jewelry Designers

What does jewelry mean to you?

What does jewelry mean to you?

What does jewelry mean to you?

Why do you wear jewelry?

What does teaching jewelry design means to you?

How do you define what you do?

Setting a New Stone: Applying Design Management Methods to Develop a Strategy for Disrupting the Commercial Jewelry Industry

What end of jewelry do you purchase?

What motivates and inspire you to be a jewelry professor?

Why do you choose the sectors of jewelry you purchase over other sectors of jewelry providers?

What are the design methodologies and strategies that you teach your students?

What are the processes that you have to go through in bringing out your supplies to the market?

Where do you purchase your fast-fashion commercial jewelry and why?

How do you motivate and inspire your students to be creative?

How often do you buy your jewelry products?

What motivates you to purchase jewelry?

What hinders you in purchasing jewelry?

What jewelry design forms are you most attracted to?

What is your jewelry price point? Earrings, necklaces, rings, bracelets?

When do you wear your jewelry purchase?

When and why do you disregard your jewelry purchases?

When and why do you discard your jewelry purchases?

What fashion styles do you associate yourself with?

What do you think of the current jewelry design in today’s market?

What do you wish jewelry would provide for you?

How do you challenge the student aesthetically with their designs?

What are the design attributes that you consider in you students' projects?

How do you see the skills learned in school be translated into the jewelry industry?

What are the mistakes that students have done upon entering the jewelry industry?

What are the current strengths and weaknesses of the current jewelry industry?

What do you wish the current jewelry industry could provide for your students?

What will be the tip and advice that you can give to the students upon entering the jewelry industry?

What opportunity spaces did you see when you choose to start this business?

What kind of jewelry do you offer? Why this market?

How are you different from other shops?

What attributes in the products do you look for in your supplies when you purchase them?

Thank you for your participation in the study. Your data will be used only for the study for MA Design Management Final Project on pushing forward user-driven innovation by applying design management’s design thinking methods to the integration of jewelry designer’s creative process and fast-fashion commercial jewelry’s creation process. Please take you time and answer the questions below as much as you can. Thank you again for your time.

Age: Occupation:

Does your stock correlates to the amount of the demand?

What does jewelry design mean to you?

Who are your customers?

What is your role in your workplace?

How do you reach out to your customers?

What motivates and inspires your creative process?

As a store, what are your strengths and weaknesses that you see?

What is the design process that is currently employed in your workplace?

What do you think of the current jewelry industry and demand today?

What do you wish jewelry industry can offer you and your customers?

What are your goals and outcomes that you look for from your design process?

How do you see the skills learned in school translated into your workplace?

What do you wish the school has taught you prior to entering the industry?

What are the current strengths and weaknesses of the current jewelry industry that you see?

What do you wish the current jewelry industry could provide for you?

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PROBE FOR INTERVIEWS AND QUESTIONNAIRES What is your ideal aesthetic attributes of commercial jewelry design?

Shape Curvilinear > Geometric Symbolic > Abstract Form Asymmetrical > Symmetrical Simple > Complex Solid > Hollow Dimension Flat > 3 dimensional Look Complimentary > Statement Material Traditional > Non-traditional Pearl > Gemstones Color Silver > Gold Base colors > Colorful Surface Matt > Shiny Plain > Textured Feel Cheap > Expensive Design Traditional > Innovative

37

SURVEY PROTOCOL

38

CULTURAL PROBE PROTOCOL SETTING A NEW STONE: APPLYING DESIGN MANAGEMENT METHODS TO DEVELOP A STRATEGY FOR DISRUPTING THE JEWELRY INDUSTRY

24-29

40-49

30-35

50-59

60+

I DESIGN TO CREATE AESTHETIC EXPERIENCE

I DESIGN TO CREATE EMOTIONAL EXPERIENCE

I DESIGN TO REFLECT MY DESIGN DNA

What motivates and inspires your creative process?

I DESIGN FOR A PIECE THAT I NEED / WANT PAINTINGS

ARCHITECTURE

NATURE

MOVIES

MUSIC

MATERIALS I USE

SCULPTURES

I DESIGN FOR THE VIEWER

I DESIGN FOR THE WEARER

I DESIGN TO CREATE UNIQUENESS

SETTING A NEW STONE: APPLYING DESIGN MANAGEMENT METHODS TO DEVELOP A STRATEGY FOR DISRUPTING THE JEWELRY INDUSTRY DESIGN ME SOME JEWELRY TO WEAR!

What are your design goals of your pieces?

What is your age?

18-23

SETTING A NEW STONE: APPLYING DESIGN MANAGEMENT METHODS TO DEVELOP A STRATEGY FOR DISRUPTING THE JEWELRY INDUSTRY

I DESIGN TO EXPRESS WHO I AM

I DESIGN TO CONVEY MY EXPERIENCES

I DESIGN TO ACCENTUATE THE BODY

I DESIGN TO TELL A STORY

I DESIGN TO ADMIRE THE MATERIALS

TOOLS I USE

TECHNIQUES I USE

OTHERS (PLEASE SPECIFY)

SMELL

HISTORY

STORIES

FASHION TRENDS

TRAVEL

As a jewelry designer, what do you wish the current jewelry industry could provide you?

OTHERS (PLEASE SPECIFY)

What are the methodologies that you embrace to stay creative?

MINT KAEWKOON / DESIGN MANAGEMENT / FINAL PROJECT

39

MINT KAEWKOON / DESIGN MANAGEMENT / FINAL PROJECT

MINT KAEWKOON / DESIGN MANAGEMENT / FINAL PROJECT

Interviews and Questionnaires

Interviews and Questionnaires were conducted with five different jewelry consumers and four jewelry experts who are currently participating in the jewelry industry to gain a deep understanding of the relationships between the users and the industry. The jewelry consumers chosen for this research were selected depending on their level of jewelry consumption, usage, and sector of jewelry market which they purchase. Jewelry experts who participate in this process are categorized by their background in jewelry and their stances within the jewelry industry.

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JEWELRY CONSUMER JEWELRY CONSUMER

Everyday user of affordable designer jewelry

Everyday user of fast-fashion commercial jewelry

JEWELRY CONSUMER JEWELRY CONSUMER

Everyday user of unique handcrafted jewelry Age: 25 Occupation: Graduate Student & Mobile Project Manager

Age: 24 Occupation: Management Consulting Analyst

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Occasional user of fast-fashion commercial jewelry

JEWELRY CONSUMER

Everyday user of unique designer and high end pieces Age: 30 Occupation: Sales and Marketing

Age: 30 Occupation: Graduate Student

Age: 34 Occupation: Graduate Student

JEWELRY EXPERT JEWELRY EXPERT

Undergraduate student from Jewelry department of SCAD

Age: 23 Occupation: Jewelry technical production assistant

Graduate student from Jewelry department of SCAD

JEWELRY EXPERT JEWELRY EXPERT

Participated jewelry workshops for jewelry design skills

Age: 25 Occupation: Studio Jeweler

Jewelry graduate, used to be jewelry production designer

Age: 45 Occupation: Jewelry professor at SCAD

Age: 27 Occupation: Owner and designers for Ployniyom Jewelry shop

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OBSERVATIONS

This process elicits the interactions between the users and the industry. Thus, the research focuses on consumers, products, and the environment as the core of the study.

The observations took place at the Oglethorpe mall located in Savannah, Georgia on a Saturday afternoon. The two stores were Forever 21 and Charlotte Russe, one of the few fast-fashion commercial outlets offered in the Savannah area. During the observation, very few consumers strolled by the jewelry section, even though there were plenty of consumers around the store. Hence, the results of the observation were heavily towards the products and environments displayed in the jewelry section of both stores.

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Products are tampered and scattered on the floor causing an unimpressed user.

Products on display are not organized and very messy.

Shelves carried products based on types of jewelry.

ENVIRONMENT

forever 21

User casually chose products based on the price tag.

USER

User flipped over to read product’s description every time she picks up new piece.

User played with display pieces while waiting for her mother to shop.

PRODUCTS

Tags specify details of products, revealing a level of transparency to the consumers.

Products on tags were missing as being tampered by customers.

Products were made with low-cost materials to imitate other materials.

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Wall panel in the store was dedicated to display most of the jewelry products.

Store offered long term deal for jewelry price.

Secondary types of body adornment were displayed separately from the main panel.

ENVIRONMENT

charlotte russe

User put chosen jewelry piece on the selected dress to try and match the combination.

USER

User went through jewelry pieces hidden behind each other to see selections

User had to bend down to reach the lower shelves of the products.

PRODUCTS

Tag displaying pieces as well as how the combination can be styled.

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Tag showing icon of how the piece should be styled on the body.

Pieces were tagged with securities to ensure that pieces will not be stolen.

SURVEY

Respondents' Age

Respondents' Occupation

27

10 7

5

3 0

The data collected from the survey were quantitative data gathered to gain an understanding of needs and preferences of the mass consumers toward the fast-fashion commercial jewelry industry. A survey was conducted via the Qualtrics platform with the result of 52 respondents in total. The demographics of the respondents were in the age range of 24-29, and most of the respondents were female. 56% of the respondents are students and more than half of the respondents are from Asia.

18-23

24-29

30-35

40-49

50-59

Students

60+

Respondents' Gender

Male

Female

Others

Respondents' Place of Origin

Asia

South America

North America

Europe

N/A

46

The respondents defined fast-fashion Commercial Jewelry as ‘trendy’, ‘cheap’, and ‘fast changing’. The top 3 stores where the respondents shopped the most for fast-fashion commercial jewelry are H&M, Forever 21, and Zara. 56% of the respondents purchased fast-fashion commercial jewelry only when they needed it and the majority of them buy these products once every few months. The average price point that the respondents will pay for the fast-fashion commercial jewelry products is around $22, with the necklace category leading the price point up to $32.

Fast-fashion Commercial Jewelry Stores

H&M

Forever 21

Zara

Urban Outfitters

Marketplace

Other stores

Local stores

Online stores

Kind of Fast-fashion Commericial Jewelry Shopper

First one in line as soon as it hits the market

I shop around to see what I can buy

I buy it only when I need it

Average Price Point of Purchase

Fast-fashion Commercial Jewelry Frequence of Purchase

31.54 23.85

23.65

Bracelets

Earrings

22.88

20.38

Once a month

47

2-3 times a month

More than 3 times a month

Once every few months

Brooches

Necklaces

Rings

According to the results, design was the highest influential attribute that will motivate them to purchase fast-fashion commercial jewelry pieces. The second in rank is the fit of the product on the body, and coming in third are color, feel, and price. The least influential attribute of products concerning fast-fashion commercial jewelry is the brand. In ranking the frequency of purchase by jewelry categories, earrings are the most purchased, necklaces are second, followed by bracelets and rings, and the least purchased products are brooches.

Respondents usually style fast-fashion commercial jewelry products whenever they feel like dressing up rather than using it with everyday routine wear. They will discard their pieces mostly when the products are worn out and out of trend.

Influential Attributes to Purchase

Frequency of Purchase by Jewerly Categories

Most Highly Influential

Moderately Influential

Influential

Less Influential

Not at all Influential

Least Earrings

Occations to Style Fast-fashion Commercial Jewelry

Everyday with my outfit

Whenever I feel like dressing up

Occasionally for specific events

Rings

Necklaces

Bracelets

Brooches

Reasons of Discard

Out of trend

Worn out

No longer needed

Others

48

When asked about the ideal aesthetic attributes of their fast-fashion commercial jewelry products, the respondents mostly are looking for innovative, 3-dimensional, and symmetrical designs with solid and expensive feels to the products. In addition, the products should be simple with base colors that allow for complimentary looks. In terms of surface, color, material, and shape, the results show equivalent numbers of responses between the two given choices.

Ideal Aesthetic Attributes Design: Traditional:Innovative Feel: Cheap:Expensive Surface: Plain:Textured Surface: Matt:Shiny Color: Base colors:Colorful Color: Silver:Gold Material: Pearls:Gemstones Material: Traditional:Non-traditional Look: Complimentary:Statement Dimension: Flat:3 Dimensional Form: Solid:Hollow Form: Simple:Complex Form: Asymmetrical:Symmetrical Shape: Symbolic:Abstract Shape: Curvilinear:Geometric

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Cultural Probe

The cultural probe was set up at Savannah College of Art and Design’s Jewelry and Objects’ building for the time period of ten days. The probe was designed to collect data from emerging jewelry designers to gain empathy and understandings of their needs. When asked about the methodologies for jewelry designers to stay creative, the answers were very self-focused. Jewelry designers choose to ‘read’, ‘push things around the bench’, and ‘expose to design’ rather than connect with end consumers for inspirations. Moreover, one of the interesting takeaways from the result was that a respondent wishes for a space to collaborate with other designers. This shows that the current jewelry industry is not supporting collaboration between designers, informing an opportunity space that this project can focus on. In addition, when asked to design a jewelry piece on a body form, a respondent drew a headpiece rather than any other typical jewelry form. This reflects the artistic quality of jewelry designers that wish to create more than just ordinary forms of jewelry currently exposed in the mass market.

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51

Data Processing and Analysis

After conducting secondary and primary research, the data was then used to identify the opportunity spaces that the project can engage. This process includes translating and transferring the gathered information into various models to analyze different aspects of opportunity spaces that inspire the ideation phase of the project.

52

FLOW DIAGRAM The diagram was designed to reveal the current relationships between the fast-fashion commercial jewelry industry, individual jewelry designers, and the end consumers. As shown in the map, the protagonist of the flow is the end consumers who drives the structures of both the fast-fashion commercial jewelry and the individual jewelry designers industries.

The current mass market is very conservative, both on the design and corporate level. Hence, this allows fast-fashion commercial jewelry products to over shine the products from individual jewelry designers as pieces done by the fast-fashion commercial jewelry are easy to consume. Moreover, the map reveals the effects of fast-fashion commercial jewelry’s structure that disrupts the structures of individual jewelry designers.The designs that reach the market of fast-fashion commercial jewelry are knock-off designs from the individual jewelry designers. These designs are then mass-produced, allowing the products to effectively reach the market at a faster pace and in a cheaper manner. Hence, true innovative designs from the individual jewelry designers are killed by the fast-fashion commercial jewelry industry before the designs even gain exposure to the market. The data collected from this map defines the opportunity space to challenge the conservative mass market in consuming design authenticity by creating a new market of individual jewelry designers who are mass-market oriented.

53

INDUSTRIES’ PAIN POINTS

FAST-FASHION COMMCERCIAL JEWELRY INDUSTRY

INDUSTRIES’ PAIN POINTS

MASS-MARKET CONSUMERS

INDIVIDUAL JEWELRY DESIGNERS INDUSTRY

UNDERSTANDING THE RELATIONSHIPS BETWEEN THE JEWELRY INDUSTRIES AND END-CONSUMERS

LEGEND

Although fast-fashion commercial jewelry industry

can’t keep up with production quantity

Starts to bring back in-house jewelry designers

because

Killed by cheap knock-off jewelry

however

Limited production

they still...

Don’t invest in jewelry brand identity

No human resource for jewelry line

grow with customers’age which allow for affordability

Mass produced products

Outsource jewelry consultant

receive

Catalogue of knock-off jewelry

select for

results in

Don’t challenge consumers

creates

provide

Conservative market

Aesthetic of handmade quality

lack of exposure

because

Limited audience No market for design jewelry

Studio jewelry designers

however

High price because of ‘designer’ price add on (variables include professionalism, time, and materials used)

Jewelry as sentimental objects

+

results in

Not bringing in new designs for products

Share artistic spirit and wearability with client

Mass-market Consumers Industries’ pain points

Not afraid of applying and manipulating techniques

It is like you’re making choices but you’re not

Think will meet with their clothing line

Individual Jewelry Designers Industry

treasures

Mass market oriented

because

therefore

Easy to consume designs that people don’t have to think about

creates

market don’t appreciate uniqueness

Corporate oriented

Fast-fashion Commcercial Jewelry Industry

Mainly handcrafted that reflect integrity of handmade products

consumers prefer cheap cost than authenticity

treasures trend forecaster & consultant firm

Buyer analyze trend, industry, and client demand

fast-fashion commercial jewelry can make it cheaper

results in

+

All designs are done by few people in the industry

+

People with no jewelry background mainly able to perform CAD

+

Dump down the design for cheap cost

because

Aesthetically challenge pieces Artistic quality suffocated by market, buyers, and consumers

however

only if the designs are too innovating then can’t knock-off

creates

Willing to challenge visually with setting, form, process, finishing

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PORTRAYING THE CURRENT JEWELRY DESIGN PROCESS EMPLOYED BY INDIVIDUAL JEWELRY DESIGNERS

JOURNEY MAP

Using information collected from the research process, the journey maps were plotted to gain awareness of the current jewelry design processes.

The journey maps reveal that fast-fashion commercial jewelry’s creation process and individual jewelry designers’ process lack involvement with the end consumers.

Thus, this defines the opportunity for the project to introduce the end consumers to the jewelry design process in hope to allow innovation in design to prosper.

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FIND INSPIRATION

GATHER IDEAS

Research from various sources Gather information of customers for customized pieces

IDEATE

FABRICATE

CAPTURE

Determine parameters for design

Sketch out designs

Hand fabricate pieces

Create mood boards

Play around with preferred materials

Contact suppliers and manufacturers

Photograph pieces for inventory, display, and merchandising purposes

PERSONIFYING THE TARGET AUDIENCE OF THE PROJECT’S OPPORTUNITY SPACES

PERSONAs

The personas were created as representatives of the target audience of the project’s opportunity space. The male audience is depicted as today’s current jewelry industry does not satisfy their jewelry needs. The young professional is targeted as they are in the transition to advance their jewelry pieces away from the fast-fashion commercial jewelry industry. The audience in their early thirties is chosen to represent the ideal consumers who support the individual jewelry designers industry. Finally, the jewelry designer personifies the present characteristics of the overall individual jewelry designers in the industry.

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Preferences on Jewelry Purchase Reflection to Life Experience: My jewelry must go along with the fashion I wear.

Sentimental Attachment: If I see jewelry or designer in my closet, it is because I put them there with my money.

MY IDEAL AESTHETIC ATTRIBUTES TO JEWELRY SHAPE CURVILINEAR

GEOMETRIC

SYMBOLIC

ABSTRACT

FORM ASYMMETRICAL

Material Selection: Base metals and leather products.

Age: 24 Gender: Male From: Massachusetts, Boston Occupation: Communication Engineer

Quality of Products: I know that the value of brands would always be quality and just the craftsmanship.

Preferred outlets: Massimo Dutti

JE TT

O W

Why I wear jewelry: Everyday with my outfit.

Price Range: Range of $100 Thoughts on jewelry: My jewelry has to be unique and stands against passage of time.

On Design Quality: Life cycle of jewelry fashion is becoming To go pieces: Bracelets and Rings shorter, too much variety meeting the consumer’s eyes. Many Jewelry Frustration: Jewelry are less accessible for bad quick designs make choices less apparent. men, need more awareness and samples.

Reasons to discard jewelry: I disregard them On trend: Look for trendy pieces and whether it’s my taste. because they wore out easily, like it get dirty or the color changes after sometimes then I threw them off.

Brand Significance: I could have also go to any higher ends and but I just really to resonate with the brands of my choice.

SYMMETRICAL

S IMPLE

COMPLEX

SOLID

HOLLOW

DIMENSION FLAT

3

DIMENSIONAL

LOOK COMPLIMENTARY

STATEMENT

MATERIAL CONVENTIONAL

ALTERNATIVE

PEARLS

GEMSTONES

COLOR S ILVER

GOLD

ST O N

Appearance: Complementary pieces that reflect my personal identity and personal brand.

Frequency of Purchase: Once every few months.

Determination to Purchase: I buy it only when I need it, normally what motivates me to buy is either I have already had my purchase road map, something I know I want to buy.

B ASE

COLORS

SURFACE MATT

SHINY

PLAIN

TEXTURED

FEEL CHEAP

EXPENSIVE

DESIGN TRADITIONAL

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COLORFUL

INNOVATIVE

Preferences on Jewelry Purchase Reflection to Life Experience: I buy jewelry for everyday wear but also especially for specific events that I need to attend.

Sentimental Attachment: I always look at the jewelry, it is one of my favorite part, like accessorizing.

MY IDEAL AESTHETIC ATTRIBUTES TO JEWELRY SHAPE CURVILINEAR

GEOMETRIC

SYMBOLIC

ABSTRACT

FORM ASYMMETRICAL

Material Selection: Base metals, yet, I’m allergic so earrings need to be in silver or gold.

Age: 25 Gender: Female From: Indianapolis, Indiana Occupation: Young professional

Quality of Products: If they are on the cheaper side, I would not expect that much for quality. If they are on the expensive side, I would care for the quality.

Preferred outlets: I shop from European brands like Topshop and Bershka. It is nice to have the store there so you know what it looks like in real life and what it feels like, which is important to jewelry than the looks.

AM BE R

MA

YE

Why I wear jewelry: Jewelry is really important when you put together an outfit.

Thoughts on jewelry: Jewelry is a great way to Price Range: Necklaces and Bracelets around $20-100, at most $50 for rings, and a couple of hundreds for earrings. represent femininity, I love jewelry I think it adds to personal style, personal elegance.

On Design Quality: It really depends on what I am buying it To go pieces: I buy necklaces first then bracelets, then for, everyday would be simple, but if it is for an occasion, it rings, then and earrings. would be more extravagant.

Jewelry Frustration: I think the material does not last too long, like the color changes after On trend push: I look at Instagram a lot. I have the bloggers sometimes and they are easily damaged that I follow, sometimes I actually want to purchase whatever and scratched. they wear.

Reasons to discard jewelry: I out grow them, I feel like what I was 3-4 Brand Significance: The cheaper the brands you can change years ago are not what up the jewelry a lot and you can buy a lot of it because do not tax them as much other high-end brand for the luxury tax. who I am today.

S

Appearance: I think I like it when it is classy, when it looks modern but it is also something that look like it would last a while.

Frequency of Purchase: I buy my jewelry products once a month.

Determination to Purchase: I always look at the jewelry whenever I go in to buy clothes and different sale promotions might trigger my purchases.

SYMMETRICAL

SIMPLE

COMPLEX

SOLID

HOLLOW

DIMENSION F LAT

3

DIMENSIONAL

LOOK COMPLIMENTARY

STATEMENT

MATERIAL CONVENTIONAL

ALTERNATIVE

P EARLS

GEMSTONES

COLOR SILVER B ASE

COLORS

SURFACE MATT

GOLD COLORFUL SHINY

P LAIN

TEXTURED

FEEL C HEAP

E XPENSIVE

DESIGN TRADITIONAL

INNOVATIVE 58

Preferences on Jewelry Purchase Reflection to Life Experience: I am inspired by pieces that I think represent some source of culture, if I can find something that is unique or tie to history or culture from anywhere around the world then I am attracted to that.

Sentimental Attachment: There are something that I wear that are important to me because they are memories or a person or a place, or an experience that I have that I want to wear.

Age: 30 Gender: Female From: Philadelphia, Pennsylvania Occupation: Senior Analyst

MY IDEAL AESTHETIC ATTRIBUTES TO JEWELRY SHAPE CURVILINEAR

GEOMETRIC

S YMBOLIC

ABSTRACT

FORM ASYMMETRICAL

Material Selection: I might look for some new type of material, like this earring with a little marble pieces in them.

Quality of Products: I look for jewelry that somehow relate to where I am, if I can find stuff that locally crafted.

Preferred outlets: I like to buy my jewelry from any kind of street fairs, where they are booths. Any designs from an individual, the online version of that is Etsy.

GE MM A

RY

ER

Why I wear jewelry: I usually wear important things that have meanings to me.

Price Range: I try to look for that happy medium, pieces that Thoughts on jewelry: To me, my jewelry has like a I know I am going to wear everyday, they are probably in story or history about it. the $50-150 range. For stuff that catches my eye and I To go pieces: I usually try to not go out of the house might just wear it once or twice, it is going to be less than $50. without earrings and necklace.

Jewelry Frustration: I love things that are more fun On Design Quality: I am just trying to buy unique things that and statement but I just do not have the money other people do not have that speaks to me, an individual to afford a lot of the stuff that you see out in person that actually created. the main market sometimes.

On trend: I do not follow any particular designer and styles, Reasons to discard jewelry: I do not it is just whatever strike my fancy at that moment. really throw away my jewelry but sometimes you think that something Brand Significance: I do not normally go for the highly is a good quality and you marketed or highly brand type of jewelry, it does not really are like why does this appeal to me. turn black.

Appearance: So for everyday stuff, very simple, but when it comes to statement pieces that I want to wear, then I am looking for a little more flash and flare

S

Frequency of Purchase: Now that I am spending more money per piece, less often, I would say like one to two times every three months.

Determination to Purchase: I will buy it if I see it and I’m like I have to have that. If I see it and I’m like I can’t live without that piece.

S YMMETRICAL

SIMPLE

COMPLEX

S OLID

HOLLOW

DIMENSION F LAT

3

DIMENSIONAL

LOOK COMPLIMENTARY

S TATEMENT

MATERIAL CONVENTIONAL

ALTERNATIVE

PEARLS

GEMSTONES

COLOR SILVER BASE

COLORS

SURFACE MATT

GOLD COLORFUL S HINY

PLAIN

TEXTURED

FEEL CHEAP

EXPENSIVE

DESIGN TRADITIONAL 59

INNOVATIVE

Preferences on Jewelry Purchase Reflection to Life Experience: My overall motivation is to contribute to self-awareness and love for jewelry.

Sentimental Attachment: Jewelry Design is my whole life, I focus on the possible harnessing of satisfaction of the results.

MY IDEAL AESTHETIC ATTRIBUTES TO JEWELRY DESIGN SHAPE C URVILINEAR

GEOMETRIC

S YMBOLIC

A BSTRACT

FORM A SYMMETRICAL

Material Selection: Diamond alternatives - colored, rough, rose cut, all kinds of different stones.

Age: 36 Gender: Female From: Savannah, Georgia Occupation: Studio Jeweler

Quality of Products: Handmade products that requires experience to master special techniques and style that I use.

Preferred outlets: Exhibit at fine craft shows.

CR YS TA

Why I design jewelry: Seeing how other people Price Range: Simple silver rings would be around $100, but express themselves through adornment is very inspiring pieces with specimens that require special techniques are to me. from $300-1000 Thoughts on jewelry: I think jewelry is identity, meaning, sentiment, fashion, jewelry is anything that somebody wants it to be.

On Design Quality: Knowledge of materials and how things are made helps you make wiser design choices, especially when Jewelry Frustration: Not knowing enough about the working within a budget. real world of jewelry.

Reasons to discard design: If it’s a design that I love, but no one ever buys it, I have to Brand Significance: My background in geology combined with stop making it. I can’t afford to just make my desire to create, manifests itself in the work that I make. stuff for myself.

L

Appearance: I combine inorganic and organic materials and forms to show this duality within my life.

ME RR IT T

Frequency of Design: I am never not designing; it is like what is always running in the background.

Determination to Design: If I have an idea that really eating away at me to try and make, then I make it. If it’s something that is somewhat interesting, I will just sketch it. Sometimes I’ll put the sketch up on my wall in my studio, and if I still like it after seeing it everyday, then I will make it.

S YMMETRICAL

S IMPLE

C OMPLEX

S OLID

HOLLOW

DIMENSION F LAT

3

DIMENSIONAL

LOOK COMPLIMENTARY

S TATEMENT

MATERIAL CONVENTIONAL

A LTERNATIVE

PEARLS

GEMSTONES

COLOR S ILVER B ASE

COLORS

SURFACE M ATT

GOLD C OLORFUL S HINY

PLAIN

T EXTURED

FEEL C HEAP

E XPENSIVE

DESIGN T RADITIONAL

I NNOVATIVE 60

RESEARCH FINDINGS AT A GLANCE D ESIGN

M ATERIAL

C RAFTSMANSHIP

QUALITY

L OCATION

P RICE

The map was designed to summarize all data collected from the primary research process. The information shown on the map derived from the users of the jewelry industry. Thus, these attributes echo the demands that the users needed to recognize in order to design and purchase the jewelry pieces

L IFESTYLE

ACCESSIBILITY

USER DRIVEN FACTORS

B RAND

S TATUS

TIMING M OTIVATIONS

I NFLUENCES

T RENDS

61

IDENTITY

F ASHION S TYLE

62

63

DESIGN OPPORTUNITIES

64

INSIGHTS

The raw data points collected from the entire research process were synthesized through the process of Affinitization. Insights were then pulled out at the conclusion of the process to solidify opportunity spaces for ideas and concepts of the project.

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There is an opportunity to appreciate jewelry as objects that echo consumer’s life experiences, and thus reinforce their sentimental value through strengthening emotional attachments to the jewelry pieces.

Jewelry reflects the life journeys of both the maker and the wearer. It echoes the personal identity of the people at a point in their lives, as well as the experiences that they have encountered. For jewelry consumers, no matter what the price or quality the pieces were, jewelry is often treated as sentimental objects that the owners have bonded with emotionally.

There is an opportunity to enhance the experience of the jewelry design process from one participant to another.

How might we fortify the sentimental value of jewelry pieces?

FE EL

L IF

E

&

TH

E

MO

LO

How might we offer jewelry that is a reflection of the consumer’s life experiences?

The true nature of jewelry design process is an immersive haptic and visual experience, from the makers to the wearers and the viewers. The consumers who obtain the pieces are participating in an experience of jewelry design process as How might we emphasize the true they style the pieces on their body. nature of the jewelry design Furthermore, the experience is also passed process to the masses? from the wearers to the viewers, creating an on-going jewelry design How might we forward the process that lasts beyond the jewelry design experience from bench of the jewelry the designer to the wearer? designers.

ME

VE

NT

How might we provide consumers with jewelry that heightens their emotional attachment ?

How might we promote the jewelry design process from the wearer to the viewer?

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There is an opportunity to establish a niche market for jewelry where consumers can purchase pieces at the right price and quality that also accommodates their needs and preferences.

YO U

CA N

GE

The accessibility and affordability of the jewelry dictates the ability of consumers to purchase the jewelry pieces. There is a higher tendency for jewelry consumers to purchase products if they can easily access the outlets within their geographic reach. In parallel, jewelry consumers must live within their means; they have specific price points and will purchase only if they can afford the pieces.

How might we heighten the accessibility of jewelry to reach out to the masses?

DI

U

UM

YO

ME

I T,

Y

How might we offer jewelry that the mass consumers can afford?

T

PP

N

HA VE

IT

How might we consolidate jewelry designers to participate in the happy medium market?

CA

67

IF

HA

Jewelry consumers often look for the happy medium that aligns with their needs and preferences when they purchase the pieces. Although the customers do have specific tastes and styles in mind prior to the purchase, their buy-in decision is highly How might we establish a happy influenced by the relationship between the medium between price and price and quality that the product offers quality in jewelry? as well as the quantity of jewelry which they have previously purchased over How might we accommodate the a specific length of time. demand of consumers in the happy medium market?

There is an opportunity to constitute globalized communities that ensure various outlets and reach outs that meet that demand of their respective locations.

How might we constitute communities that facilitate the culture of jewelry?

There is an opportunity to provide a platform that allows jewelry designers and customers to create specialized or customized pieces together.

Y

O

How might we better understand body forms in order to innovate jewelry designs?

The jewelry consumers are driven by external stimuli which steer their purchasing decisions. For instance, timing is a huge factor that impacts consumers’ needs for jewelry consumption. Other factors range from the consumer’s frequency of purchase to their reasons and intentions behind their purchases.

MA

FR

How might we overcome the external stimuli that currently hinder purchasing decisions?

M

TH

O

RC

DY

ES

BO

BE

TO

W

ER

YO

TH

H

O

IT

AN

U

How might we gain understanding about the jewelry customers for the customization process?

How might we assist jewelry consumers to buy into innovative jewelry?

FO

NE

How might we establish a platform for designers and customers to collaborate?

E

Jewelry is designed from the point of view of branded individuals who adopted certain trends, which is reflected in how the jewelry pieces lay on the body. As the pieces function as wearable products, jewelry consumers understand that the pieces will aesthetically adorn and accentuate their body’s form while mirroring who they are through the appearance of the design.

There is an opportunity to organize a platform for jewelry consumers to seamlessly connect and collaborate together with designers.

How might we connect the key players of the jewelry industry to push forward with innovation together?

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DESIGN CRITERIA FOR PROTOTYPE Bring customer needs and preferences to the surface.

Facilitate jewelry customers to be accustomed to co-creation.

Tighten up the connections between jewelry consumers and designers.

Offer the appropriate happy medium for both consumers and designers.

Maximize outreach to mass jewelry consumers and designers.

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REFRAMING

INNOVATION

CUSTOMER FOCUSED

CO-CREATION FOCUSED

DESIGN

DESIGN

PROFIT

IMPROVE DECISION MAKING & PROFIT

USER

Then: Focusing on rewarding jewelry designers and consumers with profits that are beyond monetary value.

INNOVATION

USER

Now: Focusing on delivering conditions that encourage jewelry designers to improve their decision making during the design process through co-creation with consumers.

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71

PROTOTYPE DEVELOPMENT

72

IDEATION

Inspired by the opportunity spaces derived from the insights, different ideas were generated. The sketches were initial ideas that direct where the project can expand into. Next, the ideas were grouped together to form three different concepts which were then explored and refined. Using the design criteria as a guideline, the concepts were then combined and selected to move forward into the finalization phase. The testing plan is mapped out for the chosen concept to show the process of how the validation phase can be done.

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L IFE & L OVE

F EEL

THE

M OMENT

74

H APPY M EDIUM

75

I F Y OU C AN G ET I T , Y OU C AN H AVE I T

F ROM

ONE BODY TO ANOTHER

M AY

THE

F ORCES B E W ITH Y OU

76

BRINGING TOGETHER IDEAS GENERATED FROM INSIGHTS TO FORM CONCEPTS

77

CONCEPTS

Improving user’s profile for website platforms

User touchpoint before prodution

User touchpoint before design

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concept 1

IMPROVING USER’S PROFILE FOR WEBSITE PLATFORMS

BODY MEASUREMENTS TO GO JEWELRY PIECES

The concept focuses on refiguring the profile information of jewelry consumers on the platform.

Upon signing up for the platform, jewelry consumers will need to fill out the information required. This set of information includes jewelry consumers’ personal needs and preferences toward jewelry. Jewelry designers will be able to see and use the information from these consumers to facilitate their design process.

ON JEWELRY PURCHASE

FASHION OUFITS

THE USER

JEWERLY QUALITY

PRICE RANGE PREFERRED FORMAT OF JEWELRY

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ON JEWELRY WEAR

IMPROVING USER’S PROFILE FOR WEBSITE PLATFORMS Users will provide their body measurements in their profile. This includes certain body locations for which jewelry pieces can be styled, such as wrist circumference, finger sizes, and measurement from the start of the shoulder to the belly button.

With this information, designers can grasp a better idea of what body types and measurements they are designing for.

Users will rank the categories of jewelry that they prefer to style over the other. They will also ask to generate different combinations of jewelry that they usually style. This information is vital to the designers as they can focus to create the preferred category of jewelry as their primary offering and the less popular ones as secondary offerings.

BODY MEASUREMENTS TO GO JEWELRY PIECES

FASHION OUFITS

Users will be asked to provide photos of their outfits that they usually style. This includes different outfits such as leisure outfits, work outfits, and event-based fashion styles. Users will be able to update their outfit photos and upload them whenever they are willing. Designers can use this information to better understand the fashion trends that they are designing for according to their consumers’ needs.

THE USER

Users will be asked to fill in their reasons to purchase their jewelry pieces. The questions range from their frequency of purchase to their determination to purchase certain jewelry pieces. This set of information can help the designers to understand the users and therefore, assist them in calculating the right timing to push their products out to the market.

Users will select their preferred format of jewelry that currently aligns with their needs. This area will ask about various formats of different categories of jewelry that are provided on the market. Designers can use this information to format their designs according to the data gathered from the consumers.

ON JEWELRY PURCHASE

Users will insert basic information about themselves.

This includes background data such as age, gender, and where they are from.

Information provided here will help designers to understand the demographics of their target market, and thus, design their products specifically to align with the information gathered.

JEWERLY QUALITY

ON JEWELRY WEAR

PRICE RANGE PREFERRED FORMAT OF JEWELRY

Users will fill in the questions regarding their reasons to wear and style their jewelry pieces. The questions range from the frequency of their jewelry styling, to what occasions they style their jewelry, to what statements they want their jewelry to communicate to viewers. Designers can use this data to improve their designs based on knowing why their consumers wear their jewelry pieces and on what occasions they wear them.

Users will choose the specific price range that they prefer to pay for the jewelry pieces. They will be able to provide the price that they are comfortable with for different categories of jewelry, or on the materials that they are looking for. The information gathered will aid the jewelry designers to calculate and offer the right price points that meet with consumers’ needs.

Users will select their preferred format of jewelry that currently aligns with their needs. This area will ask about various formats of different categories of jewelry that are provided on the market. Designers can use this information to format their designs according to the data gathered from the consumers.

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DESIGNERS’ USER TOUCH POINT BEFORE THE PRODUCTION PHASE

concept 2

INSPIRATION MATERIALS

DIMENSION THE COLLECTION

ON THE BODY

RANK PREFERRED TO NOT PREFERRED DESIGNS

This concept allows jewelry designers to co-create with their consumers on their collections prior to going into production. Once the collection is fully developed, jewelry designers are able to display the description of their collection along with the designs on the platform. Jewelry consumers will then be asked to choose their designs preferences through rankings. They will also have a space to give suggestions and sketches of their own designs.

Jewelry designers can then combine all the feedback to fully develop their collection.

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COMMENT BOX

OPEN AREA FOR USERS TO COLLABORATE ON DESIGNS

DRAWING SPACE

DESIGNERS’ USER TOUCH POINT BEFORE THE PRODUCTION PHASEA Designers will showcase all their designs under their collections for the consumers to preview. These designs should be fully rendered, either by hand or 3D modeling, where shapes and colors are clearly visible. Consumers can use this data as a graphic foundation for the rest of the process.

Designers will exhibit the story behind the collection. Both pictures and context should be provided in this space to aid the consumers in visualizing the full scope of the collection.

Consumers can use this information to better understand the collection in terms of its derivation.

Designers will provide the list of materials used in the collection. Each piece of jewelry should have their own specific listing if the pieces are made with different materials. This information will give the consumers the sense of what quality the pieces will be in terms of the materials.

INSPIRATION

DIMENSION THE COLLECTION

MATERIALS

ON THE BODY

Consumers will be able to provide criticisms and comments for the designers. This will be broken down into different sections based on the number of jewelry pieces that are in the collection. Designers can use this data to improve their designs based on the consumers’ thoughts.

OPEN AREA FOR USERS TO COLLABORATE ON DESIGNS

Designers will lay out the jewelry pieces in their respective location on the body form. This graphic should provide an accurate dimension of the pieces in relation to the body.

Consumers will be able to use this information to gain an understanding of how the pieces would lay on the body.

Consumers will be able to rank the pieces on a scale of preferred to not preferred. Designers can use this data to understand which products are more acceptable to the consumers and thus, they will be able to make better decisions for the production process and marketing.

RANK PREFERRED TO NOT PREFERRED DESIGNS

COMMENT BOX

Designers will provide the dimensions of each jewelry piece that is showcased. The units will be interchangeable upon the preference of the consumers. With this information, consumers will get a better sense of the scale of the piece.

DRAWING SPACE

Consumers will be able to draw over the designs in the collection to give suggestions to the designers. Depending on what the consumers desire, they can redraw the entire design on top of the original sketches. Designers can use this data to improve their designs by listening to the voices of their consumers.

Consumers will be able to collaborate with the designers if they have further suggestions and are willing to provide the information to the designers. Although this stage is not required, consumers will be advised to participate in this process to help designers align their designs with their consumers.

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DESIGNER’S USER TOUCH POINT BEFORE DESIGN PHASE

concept 3

WHO ARE YOUR CONSUMERS?

WHO ARE YOUR KEY OUTLETS?

WHAT ARE YOUR COMMUNICATION CHANNELS?

WHAT DO THEY CALL YOU? WHAT WAVE ARE YOU RIDING?

WHO ARE YOUR COMPLEMENTORS AND COMPETITORS?

HOW CAN YOU MAXIMIZE THE PRODUCTION EFFICIENCY WHILE MINIMIZING THE EXPENSES?

WHAT IS YOUR DESIGN DNA?

In this concept, jewelry designers will be asked to define their standpoint on the collection’s market.

Before going into the design process, jewelry designers will clarify their business model of the specific collection that they are moving forward. This model allows jewelry designers to understand who they are in the market, what they are offering, how the products can find success in the market, and who they are specifically selling the products to.

WHAT ARE THE MATERIALS THAT YOU USE? WHERE AND WHO CAN YOU REACH OUT TO ACQUIRE THE MATERIALS WITH APPROPRIATE PRICE?

WHAT MAKES YOU UNIQUE AND DIFFERENT? WHAT CAN YOU DO TO VERIFY THE AUTHENTICITY OF YOUR PIECES?

WHO ARE YOU?

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WHAT ARE THE TECHNIQUES THAT YOU USE? WHERE AND WHO CAN YOU REACH OUT TO EFFICIENTLY PRODUCE YOUR PIECES?

DESIGNER’S USER TOUCH POINT BEFORE DESIGN PHASE

MARKET

EXTERNAL VARIABLES

What do your consumers experience?

WHO ARE YOUR CONSUMERS?

WHO ARE YOUR KEY OUTLETS?

WHAT ARE YOUR COMMUNICATION CHANNELS?

COST STRUCTURE

WHAT DO THEY CALL YOU? WHAT WAVE ARE YOU RIDING?

WHO ARE YOUR COMPLEMENTORS AND COMPETITORS?

HOW CAN YOU MAXIMIZE THE PRODUCTION EFFICIENCY WHILE MINIMIZING THE EXPENSES?

WHAT IS YOUR DESIGN DNA? WHAT ARE THE MATERIALS THAT YOU USE?

KEY ACTIVITIES

VALUE PROPOSITION

WHERE AND WHO CAN YOU REACH OUT TO ACQUIRE THE MATERIALS WITH APPROPRIATE PRICE?

WHAT MAKES YOU UNIQUE AND DIFFERENT? WHAT CAN YOU DO TO VERIFY THE AUTHENTICITY OF YOUR PIECES?

WHO ARE YOU?

WHAT ARE THE TECHNIQUES THAT YOU USE? WHERE AND WHO CAN YOU REACH OUT TO EFFICIENTLY PRODUCE YOUR PIECES?

What is the story behind the collection?

What is your inspirations?

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85

FINAL DELIVERABLE

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FINAL CONCEPT

THE J.E.W.E.L.S PROCESS

WANDER IN THE DESIGN PROCESS WITH THE CONSUMERS

E

ECHO THE VOICE OF CONSUMERS IN FINAL DESIGNS

L

LAUNCH DESIGNS INTO PRODUCTION PROCESS

VOTE

ISE

FORWARD

FIT

ERT

DESIGN

FABRICATE

DEDUCE

EL AV TR

VALIDATE

UST

PLAY VISION

PIECE

SHINE IN THE JEWELRY COMMUNITY

ADJ

PROTOTYPE

FRAME

TOUR

PILE

VOICE DRAW

TEXT

S

FIGURE VIEW

LK

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EXPERIMENT THROUGH TANGIBLE RESEARCH

W

PICTURE

TA

Upon creating a user-centered design process for jewelry designers, the D.E.S.I.G.N process from Claxton was adapted around the existing process currently practiced by the jewelry designers. The J.E.W.E.L.S process exhibits a series of steps that jewelry designers can follow. Throughout the sequence, the participation of jewelry consumers is taken into account as a means to allow aesthetic design innovation to rise and prosper.

JOURNEY ON VISUAL RESEARCH FOR INSPIRATION

E

ADV

J

ACCEPT AWAIT

USER-DRIVEN JEWELRY DESIGN PROCESS

J

E

W

E

L

S

JOURNEY ON VISUAL RESEARCH FOR INSPIRATION

EXPERIMENT THROUGH TANGIBLE RESEARCH

WANDER IN THE DESIGN PROCESS WITH THE CONSUMERS

ECHO THE VOICE OF CONSUMERS IN FINAL DESIGNS

LAUNCH DESIGNS INTO PRODUCTION PROCESS

SHINE IN THE JEWELRY COMMUNITY

FIGURE

VISION

VOTE

TOUR

PIECE

USER DATA COLLECTION

USER-DRIVEN CONCEPT

USER VALIDATION

Travel to different locations to acquire inspirations from the physical world

Pile needed materials and tools to begin tangible process

View of designer on designs displayed for consumers

Talk to users from various industries to gain insights and inspirations

Picture possibilities through conceptualization and sketches

Tour on the visual data collection from electric resources

Play with the preferred materials and techniques to gain understanding

Text description of ideas and concepts as written deliverable

Piece together materials to visualize possibilities Prototype ideas as samples for the collection

Voice of consumers on designs heard by designers Vote on designs by designers and consumers are calculated Vision of designs depicted by designers and consumers Validate designs with consumers

ISE

FORWARD

ERT

DESIGN

FABRICATE

DEDUCE

AV TR

VALIDATE

UST

PLAY

ADJ

PROTOTYPE

FRAME

LK

TEXT

PILE

VOICE DRAW

TA

EL

VIEW

ADV

PICTURE

ACCEPT

FIT

AWAIT

USER-DRIVEN SOLUTION

USER-DRIVEN RESULT

USER BUY-IN DECISION

Deduce data gathered from consumers to formulate designs

Fabricate pieces with preferred methodologies

Advertise products to communicate with consumers

Figure the price of the pieces accordingly

Adjust price and packaging for appropriate circumstances

Draw designs on the preferred platform Design final jewelry pieces of the collection

Frame pieces to photograph visual inventory and display Fit pieces into suitable packaging Forward product to market for merchandising

Await for consumers to adopt the products Accept gratitude from consumers appropriately

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THE WANDER PHASE E

W

E

L

PIECE

TOUR

ISE

FABRICATE

DEDUCE

AV

DESIGN

VOTE

FORWARD

FIT

CONSUMERS’ IDEAL AESTHETICS

The J.E.W.E.L.S process allows jewelry designers to involve the end consumer throughout the process of jewelry design. The core methodology of this process is the “Wander phase” where jewelry designers will be able to co-create with jewelry consumers prior to designing their collection on the MintedJewels platform.

Using the information gathered from the pre-design phase such as descriptions, inspirations, materials, techniques, and samples, jewelry designers can push out a survey to collect information needed to design the collection. Jewelry designers will need to first select their preferences for the collection. Information chosen by the jewelry designers will then transfer into the survey where jewelry consumers will participate by ranking their preferences, giving suggestions, and ideating designs in the platform space. The survey results gathered from the jewelry consumers can then be compared to the perceptions of the jewelry designer to show the similarities and differences between the key players toward the collection. This process will help jewelry designers to make better design decisions that ensure alignment with the needs of jewelry consumers.

FORMS OF JEWELRY TYPES OF JEWELRY

REASONS TO PURCHASE DEMOGRAPHICS PRICE

MATERIALS

DESIGN DNA

THE BACK STORY

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CO-CREATION

TECHNIQUES

UST

VISION

ADJ

TR

VOICE VALIDATE

FRAME

LK

TEXT

PLAY

DRAW

TA

EL

VIEW PROTOTYPE

ERT

PICTURE

PILE

S

FIGURE

ADV

J

ACCEPT AWAIT

THE WANDER PHASE: CONCEPTUALIZING THE IDENTITY OF THE COLLECTION Consumers will be asked to select their preferred formats of jewelry that they think will work with for the collection.

This section will break down into different categories of jewelry, depending on what form of jewelry will the designer be working on. Designers can use this information to select which format of jewelry they should design on.

Consumers will provide their background information such as their age, gender, and location. With this information, designers will be able to know who are their target audience and therefore, better their designs for the specific audience.

Consumers will select their preferred reasons to purchase the jewelry pieces from this collection. Statements such as for everyday use, for event use, or as a gift, are examples of what will be provided as the answer.

Designers can use this information to decide on how elaborate their collection can be, knowing the purpose of what will they use for.

Designers will upload photos of the samples that they have made for the particular collection. This information will be provided at the very beginning of the process. Thus, consumers will be able to capture the visualization sense of what the collection is.

Designers will upload photos of the samples that they have made for the particular collection. This information will be provided at the very beginning of the process. Thus, consumers will be able to capture the visualization sense of what the collection is.

Consumers will be asked to conduct semantic differentials on the ideal aesthetic of the jewelry for the particular collection. The gathered data will help guide designers to shape the designs of the jewelry piece for the collection.

CONSUMERS’ IDEAL AESTHETICS FORMS OF JEWELRY TYPES OF JEWELRY

REASONS TO PURCHASE DEMOGRAPHICS

CO-CREATION

PRICE

MATERIALS

DESIGN DNA

TECHNIQUES

THE BACK STORY

Consumers will select their preferred reasons to purchase the jewelry pieces from this collection. Statements such as for everyday use, for event use, or as a gift, are examples of what will be provided as the answer.

Designers can use this information to decide on how elaborate their collection can be, knowing the purpose of what will they use for.

Consumers will have the opportunity to imagine the jewelry pieces that they are looking for by using a simple design platform. They can also upload their sketches if they want to. Designers can use the sketches as the guideline to design their collection.

Consumers will be asked for their thoughts on the how much are they willing to spend for the pieces in the collection. This section will break down into different categories of jewelry where consumers will have flexibility in choosing the price range. Designers can use this information to understand the price points of their products.

Designers will provide a list of techniques that they will be conducting for the particular collection. The information here will help consumers to understand the design quality of the collection.

Designers will deliver the story behind the collection at the beginning of the process. This includes inspiration picture and written descriptions of what the collection is about and which direction is it moving into. Consumers will be able to use this information to better understand the holistic picture of the collection.

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FLOW OF THE WANDER PHASE

THE BACK STORY Space for inspiration picture and written descriptions of what the collection is about and which direction is it moving into.

PRICE DESIGN DNA Space for consumers to select the pirce Space to upload photos of the samples range that they are willing to pay for each that they have made for the particular type of jewerly from the collection. collection. i.e photos of resin casted gemstones-liked pieces

MATERIALS List materials that the designer used for the samples as well as potential materials that will use to complete the pieces. i.e 2 part resin, glow in the dark powder, commercial chain, and silver Techniques List techniques that the designer conducted on the samples as well as potential techniques that will use to complete the pieces. i.e. hand casted resin pieces, electroforming, and metal fabrication

CONSUMERS’ IDEAL AESTHETICS DEMOGRAPHICS Background information about the consumers A space for a three-point smantic differential map for consumers to select different attrion age, gender, country of origin, and butes based on their personal opinion if the consumer has relocated, where do they towards the potential design of the collection. currently live?

TYPES OF JEWELRY List of different types of jewelry where consumers can rank for most preferred to least preferred.

FORMS OF JEWELRY List of different forms for all types of jewelry where consumers can select for the ones that they see potential in.

REASONS TO PURCHASE Questions for consumers on how would they want to style the collection, when would they style it, and what will be the motivating and hindering factors of purchasing the pieces from the collection.

CO-CREATION Collaboration space where consumers can give suggestions and drawings of designs that are inspired from the samples.

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MINTEDJEWELS

SURVEY PROTOCOL

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MINTEDJEWELS PLATFORM: SURVEY PROTOCOL

THE BACK STORY

DESIGN DNA

www.mintedjewels.com

www.mintedjewels.com

THE BACK STORY

DESIGN DNA

ABOUT THE COLLECTION NAME OF THE COLLECTION (MAXIMUM OF 20 WORDS)

SAMPLES FOR YOUR COLLECTION UPLOAD PHOTOS

DESCRIPTION ABOUT THE COLLECTION (MAXIMUM OF 200 WORDS)

ALBUM

SELECTED PHOTOS (UP TO 5 PHOTOS)

INSPIRATION UPLOAD 3D MODELS

UPLOAD PHOTOS ALBUM

ALBUM

SELECTED PHOTOS (UP TO 5 PHOTOS)

NEXT

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BACK

SELECTED MODELS (UP TO 5 PHOTOS)

NEXT

MINTEDJEWELS PLATFORM: SURVEY PROTOCOL

MATERIALS

TECHNIQUES www.mintedjewels.com

www.mintedjewels.com

MATERIALS

TECHNIQUES

SELECT THE MATERIALS THAT YOU USED AND/OR WILL BE USING

SELECT THE TECHNIQUES THAT YOU USED AND/OR WILL BE USING

LIST OF MATERIALS SEARCH DATABASE

YOUR UPLOADS

LIST OF TECHNIQUES SEARCH

SELECTED MATERIALS

DATABASE

YOUR UPLOADS

SELECTED TECHNIQUES

SUGGESTIONS OF TECHNIQES FROM SELECTED MATERIALS ZOOM PHOTO & DESCRIPTION OF MATERIAL

PREVIOUSLY SEARCHED AND DELETED

PREVIOUSLY SEARCHED AND DELETED

CAN’T FIND WHAT ARE YOU LOOKING FOR?

CAN’T FIND WHAT ARE YOU LOOKING FOR?

UPLOAD YOUR OWN MATERIALS

UPLOAD YOUR OWN TECHNIQUES

BACK

NEXT

BACK

NEXT

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MINTEDJEWELS PLATFORM: SURVEY PROTOCOL

PRICE

DEMOGRAPHICS www.mintedjewels.com

www.mintedjewels.com

PRICE

DEMOGRAPHICS

SELECT THE INITIAL PRICES FOR YOUR PIECES LIST OF JEWELRY

SELECT YOUR PREFERENCES FOR DEMOGRAPHIC INITIAL PRICE

BRACELETS

CUFF

$ MAXIMUM OF 300

EARRINGS

STUD

$ MAXIMUM OF 300

NECKLACES

STATEMENT

SUGGESTED PRICE ACCORDING TO SELECTED MATERIALS AND TECHNIQUES

GENDER FEMALE

$ MAXIMUM OF 300

RINGS

COCKTAIL RING

ANKLETS

BAND

BRACELETS BROOCHES EARRINGS

24-29 YEARS OLD

FROM NORTH AMERICA

UNDER 18 YEARS OLD

$ MAXIMUM OF 300

ETHNICITY EDUCATION EMPLOYMENT STATUS RELIGIOUS VIEW

18-23 YEARS OLD 24-29 YEARS OLD

ARMLETS BELLY CHAINS BODY PIERCING

AGE

30-35 YEARS OLD SIMPLE AND

36-39 YEARS OLD

RELATIVELY

40-49 YEARS OLD

FLAT SURFACE

50-59 YEARS OLD

COCKTAIL RING FINGER ARMOR

60 YEARS OR OLDER

ASK RESPONDENTS FOR THEIR CURRENT LOCATION

+ ADD QUESTION

+ ADD JEWELRY

BACK

95

NEXT

BACK

NEXT

MINTEDJEWELS PLATFORM: SURVEY PROTOCOL

TYPES OF JEWELRY

FORMS OF JEWELRY

www.mintedjewels.com

www.mintedjewels.com

TYPES OF JEWELRY

FORMS OF JEWELRY

RANK YOUR PREFERENCES FOR TYPES OF JEWELRY

RANK YOUR PREFERENCES FOR FORMS OF JEWELRY PLEASE SELECT AT LEAST 3 FORMS OF JEWELRY FOR EACH TYPE

PLEASE RANK YOUR PREFERENCES ON THE TYPES OF JEWELRY FOR THIS COLLECTION

(PRESS AND HOLD YOUR MOUSE ON ANY TYPES OF JEWELRY, AND DRAG IT UP OR DOWN TO CHANGE ITS RANK)

BRACELETS

MOST PREFERRED MOST PREFERRED

1 2

CUFF

1

RINGS BRACELETS EARRINGS

STUD RECOMMENDED OPTION CHANDELIER

BANGLES

2

3

LINK BRACELETS

3

NECKLACES MOST PREFERRED

1

2

LEAST PREFERRED

3

EARRINGS MOST PREFERRED

1

COCKTAIL RING

+ ADD FORM OF JEWELRY

DROP EARCUFF DROP HOOP

STATEMENT

1

RINGS MOST PREFERRED

+ ADD FORM OF JEWELRY

+ ADD FORM OF JEWELRY

LEAST PREFERRED

+ ADD FORM OF JEWELRY

LEAST PREFERRED

CIRCULAR BAND OF EARRINGS

4

NECKLACES

USUALLY LOCK WITH LATCH + ADD JEWELRY

LEAST PREFERRED

LEAST PREFERRED

ALLOW RESPONDENTS TO SUGGEST OTHER TYPES OF JEWELRY THAT ARE NOT LISTED ABOVE

BACK

ALLOW RESPONDENTS TO SUGGEST OTHER FORMS OF JEWELRY THAT ARE NOT LISTED ABOVE

NEXT

BACK

NEXT

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MINTEDJEWELS PLATFORM: SURVEY PROTOCOL

REASONS TO PURCHASE

CO-CREATION

www.mintedjewels.com

www.mintedjewels.com

REASONS TO PURCHASE

CO-CREATION

SELECT YOUR PREFERENCES FOR REASONS TO PURCHASE

SELECT YOUR PREFERENCES FOR CO-CREATION SESSION RESPONDENTS WILL BE ASKED PERFORM SELECTED TASKS BELOW

WHEN WOULD YOU CONSUMERS STYLE THE PIECE?

EVERYDAY WITH THEIR OUTFIT

COMMENT BOX

WHAT WOULD INFLUENCE THEIR PUCHASE?

SKETCH AND SUGGEST

EVERYDAY WEARABILITY

SAMPLE

ANYTIME THEY FEEL LIKE DRESSING UP

STATEMENT QUALITY FOR EVENTS

OCCASSIONAL USE

GIFTS FOR OTHER

PICTURE

PREVIEW PLEASE PROVIDE SUGGESTIONS OR IMPROVEMENTS, IF YOU HAVE ANY.

DESCRIPTION

ANSWER BOX

VOICE RECORD VIDEO RECORD

SKETCH AND SUGGEST RINGS

BRACELETS

EARRINGS

NECKLACES

TOOLS

ALLOW RESPONDENTS TO SELECT MORE THAN 1 ANSWER

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MINTEDJEWELS PLATFORM: SURVEY PROTOCOL

DESIGNER’S IDEAL AESTHETICS

FINAL PREVIEW

www.mintedjewels.com

www.mintedjewels.com

IDEAL AESTHETICS

YOU ARE DONE!

SELECT YOUR IDEAL AESTHETIC PREFERENCES FOR THIS COLLECTION SHAPE CURVILINEAR

GEOMETRIC

SYMBOLIC

ABSTRACT

HERE IS HOW YOUR SURVEY WILL LOOK LIKE

SAMPLE 1

FORM A SYMMETRICAL

C OMPLEX

SOLID

HOLLOW

DIMENSION F LAT

EDIT

SYMMETRICAL

SIMPLE

3

EDIT

THE STORY

DIMENSIONAL

INSPIRATION 1

LOOK COMPLIMENTARY

COLLECTION NAME

EDIT

INSPIRATION 2

INSPIRATION 3

INSPIRATION 4

INSPIRATION 5

STATEMENT

MATERIAL CONVENTIONAL

ALTERNATIVE

P EARLS

G EMSTONES

COLOR SILVER

BACK

DESCRIPTION G OLD

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FINISH

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MINTEDJEWELS

SURVEY PROTOTYPE

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MINTEDJEWELS PLATFORM: SURVEY PROTOTYPE www.mintedjewels.com

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MATERIALS

TECHNIQUES

RAVE ME UP! THE STORY

The collection is enlightened by the world of ravers and partygoers. The elements of music, lights, and crystals are chosen for their specific properties that play upon each other, both as a single element, and together as a whole. The pieces are transmitters that allow the wearers and audiences to absorb the energies that are powered by the conjunction between the environment and the collection.

resin

silver

commercial chains

light component

2 part resin casting

metal fabrication

glow in the dark powder

DESIGN DNA

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DEMOGRAPHIC

TYPES OF JEWELRY

GENDER

PLEASE RANK YOUR PREFERENCES ON THE TYPES OF JEWELRY FOR THIS COLLECTION (PRESS AND HOLD YOUR MOUSE ON ANY FORMS OF JEWELRY, DRAG IT TO THE LOCATION YOU PREFERRED, RELEASE MOUSE TO DROP)

FEMALE

MALE

OTHER (PLEASE SPECIFY) MOST PREFERRED 1

RINGS

2

BRACELETS

3

ARMLETS

ANKLETS

4

EARRINGS

ARMLETS

5

NECKLACES

AGE UNDER 18 YEARS OLD

18-23 YEARS OLD

24-29 YEARS OLD

30-35 YEARS OLD

36-39 YEARS OLD

40-49 YEARS OLD

50-59 YEARS OLD

60 YEARS OR OLDER

DON’T SEE THE TYPES OF JEWELRY THAT YOU THINK SHOULD BE IN THIS COLLECTION? ADD THEM TO THE LIST:

SEARCH

A TYPE OF BAND OR BRACELET THAT IS

FROM

LEAST PREFERRED

WORN AROUND THE UPPER ARM

BELLY CHAINS BODY PIERCING

COUNTRY OF ORIGIN UNITED STATES OF AMERICA I AM CURRENTLY LIVING IN PHI PHILADELPHIA, PA

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MINTEDJEWELS PLATFORM: SURVEY PROTOTYPE www.mintedjewels.com

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WHAT FORMS OF NECKLACE WOULD YOU PREFER FROM THIS COLLECTION?

FORMS OF JEWELRY PLEASE CHOOSE YOUR TOP 3 OF PREFERENCES ON THE FORMS OF JEWELRY FOR THIS COLLECTION (PRESS AND HOLD YOUR MOUSE ON ANY FORMS OF JEWELRY, DRAG IT TO THE LOCATION YOU PREFERRED, RELEASE MOUSE TO DROP)

WHAT FORMS OF BRACELET WOULD YOU PREFER FROM THIS COLLECTION?

BANGLES CHARMS

MOST PREFERRED 1

CHOKERS

MOST PREFERRED

PENDANTS

1

STATEMENT

STRANDS

2

CHAINS

3

DROP

CUFFS

LEAST PREFERRED

LINK BRACELETS STRETCH BRACELETS WRAP BRACELETS

WHAT FORMS OF RING WOULD YOU PREFER FROM THIS COLLECTION?

LEAST PREFERRED

STACKING

WHAT FORMS OF EARRINGS WOULD YOU PREFER FROM THIS COLLECTION?

CLIP-ON

MOST PREFERRED

EARCUFF

1

STUD

HOOP

2

CHANDELIER

3

DROP

MOST PREFERRED 1

COCKTAIL RINGS

2

STATEMENT

3

BAND

LEAST PREFERRED

OR

LEAST PREFERRED

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MINTEDJEWELS PLATFORM: SURVEY PROTOTYPE www.mintedjewels.com

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REASONS TO PURCHASE

PRICE POINT HOW MUCH ARE YOU WILLING TO PAY FOR EACH FORM OF JEWELRY FROM THIS COLLECTION?

WHEN WOULD YOU STYLE THE PIECE? EVERYDAY WITH OUTFIT

ARMLETS

ANYTIME I FEEL LIKE DRESSING UP

BRACELETS

OCCASSIONAL USE

EARRINGS

WHAT WOULD INFLUENCE YOUR PUCHASE?

NECKLACES

EVERYDAY WEARABILITY

RINGS

0

300

0

300

0

300

0

300

0

300

STATEMENT QUALITY FOR EVENTS GIFTS FOR OTHER

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MINTEDJEWELS PLATFORM: SURVEY PROTOTYPE www.mintedjewels.com

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IDEAL AESTHETICS

CO-CREATION

PLEASE SELECT YOUR IDEAL AESTHETIC PREFERENCES FOR THIS COLLECTION

SKETCH AND SUGGEST RINGS

BRACELETS

ARMLETS

EARRINGS

SHAPE

NECKLACES

TOOLS

C URVILINEAR

GEOMETRIC

S YMBOLIC

A BSTRACT

FORM A SYMMETRICAL S IMPLE

C OMPLEX

S OLID

HOLLOW

DIMENSION F LAT LOOK C OMPLIMENTARY

DATABASE

S YMMETRICAL

3

DIMENSIONAL

S TATEMENT

MATERIAL

SEARCH

C ONVENTIONAL

A LTERNATIVE

PEARLS

GEMSTONES

COLOR S ILVER B ASE

COLORS

GOLD C OLORFUL

SURFACE IMPORT

M ATT

S HINY

P LAIN

TEXTURED

SEARCH

FEEL CHEAP

E XPENSIVE

DESIGN BACK

NEXT

BACK

TRADITIONAL

I NNOVATIVE

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MINTEDJEWELS

SURVEY RESULT PROTOTYPE

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MINTEDJEWELS PLATFORM: SURVEY RESULT PROTOTYPE

www.mintedjewels.com

QUESTIONS

FILTER RESULT BY:

DEMOGRAPHIC GENDER

GENDER

AGE

FROM

RESPONSES

PERCENTAGE

FEMALE

48

96%

MALE

2

4%

OTHER

-

-

TYPES OF JEWELRY

FORMS OF JEWELRY YOUR ANSWER

REASONS TO PURCHASE

FEMALE

The “Demographic section” will help jewelry designers to recognize the market that finds interest in the collection. This information provides a guideline of who the audiences are and thus, allows jewelry designers to design the collection specifically for the target market.

PRICE POINT

CO-CREATION

IDEAL AESTHETICS

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MINTEDJEWELS PLATFORM: SURVEY RESULT PROTOTYPE

www.mintedjewels.com

QUESTIONS

FILTER RESULT BY:

DEMOGRAPHIC

TYPES OF JEWELRY

PLEASE RANK YOUR PREFERENCES ON THE TYPES OF JEWELRY FOR THIS COLLECTION CONSUMERS’ TOP 3 TYPES OF JEWELRY

FORMS OF JEWELRY

EARRINGS

YOUR TOP 3 TYPES OF JEWELRY BRACELETS

NECKLACES

EARRINGS

NECKLACES

BRACELETS

REASONS TO PURCHASE

PRICE POINT

CO-CREATION

IDEAL AESTHETICS

RANK 1

RANK 2

RANK 3

RANK 4

RANK 5

BRACELETS

7

12

20

10

1

EARRINGS

25

11

6

6

NECKLACES

8

20

11

9

RINGS

10

8

13

13

1

3

9

0

The “Types of Jewelry section” compares the results of the jewelry consumers with the selections chosen by the 2 jewelry designer. The data provided here directs 2 the path that the designers should take upon deciding which types of jewelry they should design for the collection.

6

OTHER ARMLETS

107

0

MINTEDJEWELS PLATFORM: SURVEY RESULT PROTOTYPE

www.mintedjewels.com

QUESTIONS

FILTER RESULT BY:

DEMOGRAPHIC

TYPES OF JEWELRY

WHAT FORMS OF EARRINGS WOULD YOU PREFER FROM THIS COLLECTION? CONSUMERS’ TOP 3 TYPES OF JEWELRY

FORMS OF JEWELRY

EARCUFF

YOUR TOP 3 TYPES OF JEWELRY STUD

STUD

DROP

CHADELIER

DROP

BRACELETS

RANK 1

RANK 2

RANK 3

RANK 4

STUD

8

20

11

9

CHADELIER

7

10

12

1

DROP

10

8

16

13

EARCUFF

25

10

7

7

EARRINGS

NECKLACES

RINGS

REASONS TO PURCHASE

RANK 5

The “Forms of Jewelry section” displays the results from both the jewelry consumers and jewelry designers. This 20 information allows jewelry designers to determine which forms of jewelry they should design in order 3 to match the needs of the jewelry consumers.

2

0

PRICE POINT

CO-CREATION

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MINTEDJEWELS PLATFORM: SURVEY RESULT PROTOTYPE

www.mintedjewels.com

QUESTIONS

FILTER RESULT BY:

DEMOGRAPHIC

TYPES OF JEWELRY

WHEN WOULD YOU STYLE THE PIECE? CONSUMERS’ ANSWERS

FORMS OF JEWELRY

REASONS TO PURCHASE

RESPONSES EVERYDAY WITH OUTFIT

9

ANYTIME I FEEL LIKE DRESSING UP

2

OCCASSIONAL USE WHEN WOULD YOU STYLE THE PIECE? WHAT WOULD INFLUENCE YOUR PU...

PRICE POINT

CO-CREATION

IDEAL AESTHETICS

109

YOUR ANSWER OCCASSIONAL USE

39

The “Reasons to Purchase section” portrays all the results chosen by the jewelry consumers and the selected choice chosen by the jewelry designer. The data displayed here will allow jewelry designers to understand the purchasing factors of the jewelry consumers toward the collection.

MINTEDJEWELS PLATFORM: SURVEY RESULT PROTOTYPE

www.mintedjewels.com

QUESTIONS

FILTER RESULT BY:

DEMOGRAPHIC

TYPES OF JEWELRY

HOW MUCH ARE YOU WILLING TO PAY FOR EACH FORM OF JEWELRY FROM THIS COLLECTION? CONSUMERS’ PRICE POINT

FORMS OF JEWELRY

REASONS TO PURCHASE

PRICE POINT

CO-CREATION

IDEAL AESTHETICS

YOUR PRICE POINT

AVERAGE VALUE

RESPONSES

BRACELETS

59.62

50

80.00

EARRINGS

59.62

50

50.00

NECKLACES

78.85

50

100.00

RINGS

57.20

50

30.00

50.69

13

OTHER ARMLETS

The “Price Point section” calculates the average price that the jewelry consumers have chosen for different types of jewelry along with the chosen price that the jewelry designer has chosen. The numbers displayed here will guide designers in calculating the right prices of the products that meet consumers’ expectations.

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MINTEDJEWELS PLATFORM: SURVEY RESULT PROTOTYPE

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QUESTIONS

FILTER RESULT BY:

DEMOGRAPHIC

TYPES OF JEWELRY

CO-CREATION

RINGS

BRACELETS

ARMLETS

EARRINGS

NECKLACES

FORMS OF JEWELRY PROTOTYPE 1

REASONS TO PURCHASE The “Co-creation section” allows jewelry designer to see all the prototypes that the jewelry consumers have ideated and designed for the collection. Jewelry designers can use this information as a guide to design the collection, knowing that the designs will align with the needs of the jewelry consumers.

PRICE POINT

CO-CREATION

IDEAL AESTHETICS

VIEWS FRONT

111

TOP

LEFT

RIGHT

BOTTOM

MINTEDJEWELS PLATFORM: SURVEY RESULT PROTOTYPE

www.mintedjewels.com

QUESTIONS

FILTER RESULT BY:

DEMOGRAPHIC

TYPES OF JEWELRY

CO-CREATION CONSUMERS’ IDEAL AESTHETICS

FORMS OF JEWELRY

YOUR IDEAL AESTHETICS

SHAPE CURVILINEAR

GEOMETRIC

SHAPE CURVILINEAR

GEOMETRIC

SYMBOLIC

ABSTRACT

SYMBOLIC

ABSTRACT

FORM

REASONS TO PURCHASE

PRICE POINT

ASYMMETRICAL

FORM SYMMETRICAL

SIMPLE

COMPLEX

S OLID

H OLLOW

DIMENSION FLAT LOOK COMPLIMENTARY

3

DIMENSIONAL

STATEMENT

MATERIAL

CO-CREATION

IDEAL AESTHETICS

CONVENTIONAL

ALTERNATIVE

P EARLS

GEMSTONES

COLOR SILVER B ASE

COLORS

GOLD COLORFUL

SURFACE

ASYMMETRICAL

SYMMETRICAL

SIMPLE

COMPLEX

S OLID

H OLLOW

DIMENSION FLAT

The “Ideal Aesthetics section” 3 DIMENSIONAL reveals the combined result from the LOOK COMPLIMENTARY jewelry consumers andSTATEMENT the selected result MATERIAL chosen by the jewelry designers.

This set of data CONVENTIONAL ALTERNATIVE determine the aesthetics that jewelry designers P EARLS GEMSTONES should consider upon designing their COLOR collection in orderGOLDto meet the SILVER preferred aesthetics that jewelry B ASE COLORS OLORFUL consumers look Cforward to.

SURFACE

MATT

SHINY

MATT

SHINY

P LAIN

T EXTURED

P LAIN

T EXTURED

E XPENSIVE

CHEAP

FEEL CHEAP

FEEL

DESIGN T RADITIONAL

E XPENSIVE

DESIGN INNOVATIVE

T RADITIONAL

INNOVATIVE

112

VALIDATION PLAN WITH USERS FOR TOUCHPOINTS THE ITEMS

THE PEOPLE

Facilitator

113

Jewelry designer

Consent Forms

Computer

Digital Survey

Sketching Tools

Post-its

Sharpies

Jewelry consumers

THE PLAN

P Contact all players

P

Ask to jewelry designer to sign consent form

Ask for pictures of inspirations, samples, materials, and techniques

Ask jewelry consumers to sketch out the designs they have in mind

Run workshop with jewelry consumers with the digital survey

G I

Ask jewelry designer to complete survey protocol

Perform ‘Pain, gain, and interesting’ game to gain feedbacks

Ask to jewelry consumers to sign consent form

Use gathered survey protocol data to generate digital survey

G I

Perform ‘Pain, gain, and interesting’ game to gain feedbacks

P Revisit jewelry designer with Ask jewelry designer to final result of the survey design a collection using the and sketches from consumers data collected as guidelines

Bring final sketches to jewelry consumers for user touchpoints

G I

Perform ‘Pain, gain, and interesting’ game to gain feedbacks

Collect all feedback for improvements

114

115

DESIGN TO MARKET PLAN

116

DEPICTING A BUSINESS MODEL FOR THE USER-DRIVEN FRAMEWORK KEY PARTNERS

Web designers 3D modeling programmer Database company Consultants & strategists

KEY ACTIVITIES Open platform that allows jewelry designers to gather data from consumers prior to designing their collection.

KEY RESOURCES Web developers UI/UX developers

VALUE PROPOSITION

CUSTOMER RELATIONSHIPS Co-creation

A one-of-a-kind jewelry design process that values user-centered strategy as a competitive advantage by allowing jewelry designers to co-create with end consumers to ensure user-driven innovative, aesthetic design for jewelry designers who desire to align with their target in the mass market community of volatile fast-fashion commercial jewelry.

Community creation

CHANNELS Web platform in the virtual world

3D model database

COST STRUCTURE

Mass market consumers that want to participate in the design process of their favorite jewelry designers in creating jewelry that align with their needs.

Jewelry designers that want to listen to the voice of their consumers and thus, able to better their decision makings for the design process.

Jewelry design consultants and strategists who embrace user-driven methodologies.

REVENUE STREAMS Website maintenance Staff salaries

117

CUSTOMER SEGMENT

Subscriptions by users

ANALYZING THE BUSINESS MODEL OF THE USER-DRIVEN FRAMEWORK

Highly accessible User-friendly interface Co-creation Open platform STRENGTHS

OPPORTUNITIES

Connect jewelry industry’s key players Build community of user-centered jewelry designers Initiate innovative jewelry designs in the mass market

Low market penetration Limited revenue stream Ideas knock-off between users

WEAKNESS

THREATS Embrace of traditional jewelry design process Existing survey platforms

118

SUBCRIPTION MODEL

FREEMIUM

SURVEY Fixed survey 100 Maximum respondants

RESULTS Static view of prototypes Side by side results Graphic data of results

119

PREMIUM

SURVEY Addable questions No maximum respondants

RESULTS 3D rotatable prototypes Calculate and combine prototypes Overlay results Graphic data of results

PROMIUM

SURVEY Editable survey No maximum respondants

RESULTS 3D rotatable prototype 3D printed prototype Calculate and combine prototypes Overlay results Graphic data of results

IMPLEMENTATION PLAN WITH POSSIBLE PHASES TO ADVANCE THE BUSINESS

PHASES SURVEY PLATFORM

COMMUNITY

MARKETPLACE

STORES

Trading platform

Onground locations

KEY ACTIVITIES Virtual survey Forum

Collaboration platform Customer service center

KEY PLAYERS Jewelry designers

Consultants and strategists

Web consumers Manufacturers

Suppliers Web consumers Jewelry designers

Local consumers

Tourists

Manufacturers

Jewelry designers Suppliers Delivery companies

Jewelry designers

REVENUE STREAM Subscriptions

SCALE

Subscriptions

Percent share with partners

Percent share with partners

National International

National & international

120

121

CONCLUSION AND RECOMMENDATIONS

122

CONCLUSION As fast-fashion commercial jewelry industry After the affinitization process, insights continues making knock-offs of individual jewelry were pulled out from the raw data points. designers’ pieces, jewelry designs that reach the mass The insights guided the ideation and market are solely designed based on the designers’ point of concept generation phase where view towards their aesthetic qualities. Never in the design process has opportunity spaces were examined with the end consumers’ voice been taken into account regarding their various solutions. Through the process of needs and preferences for the desired jewelry. Moreover, jewelry refinement, a concept was chosen for designers do not apprehend who their target market is. They simply pushed prototyping. the jewelry products out in the market, hoping that consumers would someday find their designs interesting. Hence, this project is dedicated to creating Driven by design management’s conditions where jewelry consumers’ voices can be heard by the jewelry user-centered strategy, the prototype is designers. designed for jewelry designers to be able to co-create with the end consumers. With In positioning the study, secondary research was conducted to find this methodology, jewelry designers can supporting data which guides the scope and direction of the project. improve their decision making upon This process defines the opportunity spaces that are open in the designing their collection, ensuring that their current jewelry market that the project can expand into. The designs will certainly meet the expectations primary research was then conducted to gain an of the targeted jewelry consumers. As a understanding of the behaviors, relationships, and feelings result, the designs that are pushed out to of the jewelry industry’s key players. The data the market will embody innovative aesthetic collected from this process unveiled the conflicts design qualities that are user-driven, between the key players, which this project can promising a meaningful experience of possibly relieve. jewelry design for both the jewelry designers and consumers.

123

RECOMMENDATIONS The practice of user-centered strategy: Professionals from any field who are offering products or services should consider employing the user-centered strategy in their process. The Jewels process can be redesigned and adopted to align with the structure of the particular industry. This methodology is a competitive advantage that allows the corporation to acknowledge who their target consumers are.

Thus, the offerings that reach the market are accurate and appropriate to the needs and expectations of the end consumers.

The employment of Jewels process: Ideally, the MintedJewels platform can expand into various industries where different professionals can use the platform to gather data from the users.

Hence, there is an opportunity for aesthetic-driven designers of any field to employ the Jewels process prior to designing new products or collections. Users will be able to acknowledge the target audience and thus, provide products that align with the needs and expectations of the end consumers.

124

REFERENCES

125

Annotated Bibliography Giertz-Martenson, I., (2012). H&M – documenting the story of one of the world’s largest fashion Retailers. Business History, 54(1), 108-115. doi: 10.1080/00076791.2011.617203

Carlgren, L., Elmquist, M., & Rauth, I. (2014). Design thinking: Exploring values and effects from an innovation capability perspective. The Design Journal, 17(3), 403-424. doi:10.2752/175630614X13982745783000

Desjardins, A., & Wakkary, R. (2013). Manifestations of everyday design. Paper presented at the 9th ACM Conference: Creativity & Cognition - C&C '13, Vienna, Austria. doi: 10.1145/2466627.2466643

The authors reflect on the topic of design thinking by elaborating on how the theory allows for innovative successes in various companies. Companies that practice design thinking are perceived to create a higher value in their organizations. The information retrieved from this article constructs a promise that design thinking will definitely heighten the success of a company if it is taken into a practice. It ensures that the fast-fashion commercial jewelry industry can advance their innovation strategy with the integration of design thinking to their existing processes.

The authors reflect the design factors and strategies that jewelry designers consider during the creative process. Jewelry designers pay attention to the details of the materials and their attributes as the core factors of their design. The ultimate goal of the jewelry designer’s creation is to achieve the individual’s aesthetic quality that they desired. The information gained from this article might be applied to the fast-fashion jewelry process to help strengthen the creativity motivation.

Giertz-Martenson details the process of recognizing fast-fashion brand integrity and its evolution, in the context of the H&M company’s development through time. The author emphasizes the history of the company and how society has played a huge impact on the unfolding of the company. This societal force also includes how the media portrayed the fashion industry at the current period of time. Hence, this reflects that one of the forces that direct the path of the industry is not only the end-consumers but other external forces from the society as well.

Edelstein, C. (2015). 6 Key ingredients to create bestselling jewelry designs. Retrieved January 2, 2016, from http://www.ganoksin.com/borisat/nenam/successful-jewelry-designs.htm

Ghemawat, P., Nueno, J. L., & Dailey, M. (2003). Zara: Fast fashion.

Harvard Business School, 9, 703-497. Retrieved from https://xa.yimg.com/kq/groups/.../Zara+Fast+Fashion+Case+Study.pdf

The author identifies different attributes that jewelry designers should be aware of when designing their jewelry pieces. If designers are able to encompass these design factors to their products, the end-consumers should be more attracted to designs, promising a better selling point. The information provided by the source can be helpful to the project in terms of understanding various design attributes that jewelry designers hold. These factors are important as they will affect the product innovation of the jewelry industry.

This is a case study on Zara apparel company, and it is particularly valuable in revealing the infrastructure of fast-fashion companies. The authors breakdown the system of how fast-fashion works in the world of Zara by analyzing the process of how the product unfolds from designing to retailing. This information will assist the project as it reveals the process needed in the fast-fashion industry to push the product out in the market.

Caro, F., & Martinez-de-Albeniz, V. (2014). Fast fashion: Business model overview and research opportunities. Retail Supply Chain Management: Quantitative Models and Empirical Studies, 2, 1-28, doi: 10.1007/978-1-4899-7562-1_9 The authors reveal the structures of the fast-fashion industry that differentiate the industry from other parallel fashion industries.

Fast-fashion industry relies on two key features which are “operational agility and time-based variety” of the retailers and supply chain. Other main factors that conclude the fast-fashion products are consumers, price, level of response, and the variety of products’ assortments. This study helps to clarify the structure of the fast-fashion industry. It determines the study of which brands should be considered as part of the project and which should not.

Designing an in-store line, part 2: The design process. (2014). In JCK. Retrieved January 2, 2016, from http://www.jckonline.com/2015/10/21/designing-store-line-part-2-design -process%2A The source outlines the design process delivered by the jewelry industry. The list ranges from understanding the target customers to properly pricing the products. This shows that designing jewelry is not only about the aesthetic quality but also the design of the go-to market as well. This information shows that jewelry desi

Gaimster, J., (2012). The changing landscape of fashion forecasting.

International Journal of Fashion Design, Technology and Education, 5(3), 169-178, doi: 10.1080/17543266.2012.689014 Gaimster discusses a collective study on fashion forecasting through the analysis of the forces that drive the direction of changes. Fashion forecasters have to acquire a certain set of skills to be able to analyze the trend for their clients. One of the skills that forecasters need to have is the ability to conduct proper research in order to gain accurate information. Thus, the study supports the project by reassuring that the fashion industry is conducting a research process that guides and directs the outcomes of the products in the market.

Hassi, L., & Laakso, M. (2011). Design thinking in the management discourse: Defining the elements of the concept. Proceedings of the 18th International Product Development Management Conference, Delft, The Netherlands. Retrieved from http://www.mindspace.fi/wpcontent/uploads/2013/12/HassiLaakso_2011_IPDMC.pdf Hassi and Laakso describe the true meaning of what design thinking is. The subject is broken down into three parts, which are practices, thinking styles, and mentality. These are attributes that design managers should hold on to when processing their processes.

Hence, the information from this study will help guide the mindset of how the problem of the project should be tackled.

126

Hencke, S. (n.d.). Problems and mistakes in unsuccessful introductions of jewelry. Retrieved January 2, 2016, from http://www.ganoksin.com/borisat/nenam/jewelry-marketing-mistakes.htm

Kulpa, S. (2015). 2015 Musings - Industry leaders share their thoughts on the future of the industry. Retrieved January 2, 2016, fromhttp://www.ganoksin.com/borisat/nenam/2015Musing.htm

Olson, E., Slater, S., & Cooper, R. (2000). Managing design for competitive advantage a process approach. Design Management Journal, 11(4), 10-17. doi:10.1111/j.1948-7169.2000.tb00143.x

The source lists out problems and mistakes that jewelry designers make in introducing their new designs to the market. Hence, it reflects the importance of knowing and understanding the target market as a key to successfully push the products out to the market.

This source evokes the need to understand the end-consumers if the products want to find success in their marketplace. This ensures that there is an opportunity to introduce user-centered design thinking to better understand the target market.

This popular media reveals different forecasts for the future of jewelry industry. The author compiled a list of leading members of the industry on various trends that are promised to change the industry in the coming future. The project can benefit from this information as it reveals the trends that will definitely effect the future outcome of the jewelry industry. Hence, the future products might change as well due to these variables.

The authors study on how design management can improve the design process if they are adopted by the firms. The steps are broken down into five distinct practices, and the details of the process are elaborated in the article. The information provided by this article is useful to the project as it accentuates the importance of design as a competitive advantage to the firm. This source proves that design should be taken into a consideration when the firm is seeking to innovate.

Jacobsen, T. (2010). Beauty and the brain: culture, history and individualdifferences in aesthetic appreciation. Journal of Anatomy, 216(2), 184-191doi: 10.1111/j.1469-7580.2009.01164.x

Kulpa, S. (2016). The shop of tomorrow. Retrieved January 2, 2016, from http://www.mjsa.org/publicationsmedia/mjsa_journal/the_shop_of _tomorrow/

Jacobsen exemplifies the concept of human aesthetic appreciation that progresses due to the evolutionary anatomical and physiological constraints of each individual. The article reveals various factors that play into the aesthetic judgement of an individual such as culture, history, and individual differences. This data from this article is useful to the project by understanding the true psychological meaning behind aesthetics, which is the foundation of jewelry design.

Kulpa analyzes the current and future trends of the technological push that will alter the jewelry industry. CAD and cloud are examples of the trends that the author reveals in the article. This information is useful to the development of the project, knowing that these driving forces will come into play upon designing the jewelry products. It informs that jewelry is moving into the high technology manufacturing procedures, eliminating the existing traditional processes that are currently employed in the industry.

Kielarova, S., Pradujphongphet, P., & Bohez, E. (2015). New interactive-generative design system: Hybrid of shape grammar and evolutionary design - An application of jewelry design. Advances in Swarm and Computational Intelligence, 9140, 302-313. doi:10.1007/978-3-319-20466-6_33

Kumar, V. (2013). 101 Design Methods: A structured approach for driving innovation in your organization. Hoboken, NJ: Wiley.

The authors discuss intelligent jewelry design technology based on the collaboration of designers with computer-aided design systems to achieve aesthetically pleasing jewelry designs. According to the study, this technique is considered revolutionary as it helps speed up the process of creation. Thus, these techniques have potential application in this study as many computer-aided design systems have become more accepted by various design industries.

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This book offers design-oriented models and tools used by the field of design management. The models compress the data into a format that is user friendly and easy to consume. The tools in the book will ease the design process for this project during the data analysis phase of the research. Different models from this book will be pulled out for the digitalizing process of the data collection.

Pereira, A., & Tschimmel, K. (2012). The design of narrative jewelry as a perception-in-action process. Proceedings of the 2nd International Conference on Design Creativity, Glasgow, UK, 97-106.

Retrieved from http://www.academia.edu/1963787/The_Design _of_Narrative_Jewelry_as_a_Perception-in-Action_Process In this study, Pereira and Tschimmel recognize the jewelry designer’s meaning behind the creation of their pieces. The jewelry pieces are designed as messages that communicate to the viewer, through the wearer. Hence, jewelry design is a form of semantic language as a representation of ideas that the designers want to portray. The information gained from this study can be use to support the design of fast-fashion commercial jewelry to push forward innovation in design.

Snyder, T. (2013). Why the line between fine and fashion jewelry is disappearing. Retrieved January 2, 2016, from http://www.ganoksin.com/borisat/nenam/fine-vs-fashion-jewelry.htm Snyder reveals the dissolving of the line between fine and fashion jewelry in the current marketplace. This is due to the crossover use of various materials in both fields to create variety in the final products. The source reflects the importance of material usage in the design as a competitive advantage in reaching a vast target market. The project can benefit from this information by understanding that material should be considered as a significant factor in the design in order to bring forward innovation.

Sun, Q., Williams, A., & Evans, M. (2011). A theoretical design management framework. The Design Journal, 14(1), 112-132. doi: 10.2752/175630610X12877385838885 The authors underline the universe of design management by elaborating on different theories and practices. They map out the application of design management activities and evaluate how the field can advance the existing design industry framework. The authors accentuate the position of design management in the design field, targeting processes in which design management comes in to play. This information is useful to the project as it echoes how the design management framework applies to any field that is associated with design. Not only just structured-based design but also aesthetic design such as the jewelry field as well.

Reinach, S. (2005). National identities and international recognition.

Fashion Theory - the Journal of Dress Body & Culture, 15(2), 267-272. doi:10.2752/175174111X12954359478889 Reinach’s article discusses the fashion industry by understanding how fashion is perceived and consumed by different nations. This raise the question of whether the different attitude toward fashion in various cultures is based on the different design processes from different locations or not. This information is useful in gaining a deeper understanding of fast-fashion market trends. It reflects different needs and preferences that the end-consumers are seeking. Also, it reveals that there is a possibility to evolve the design innovation by refiguring the design process.

Rocheska, S., Kostoska, O., Angeleski M., Mancheski, G. (2014).

User-driven innovation: towards a new innovation paradigm.

Economic Review - Journal of Economics and Business, 12(1), 31-41.

Retrieved fromhttp://www.ef.untz.ba/images/maj2014/Paper3.pdf The authors frame the importance of user-driven methodologies in different stages of the innovation process that can be used to gain competitive advantages. Customers have the power to assist in innovation by involving collaboration and value co-creation with companies. This information defines the importance of bringing in end-consumers to the process of the project as a promise for the better results and the success of innovation.

Rosolowski, T. (2002). The work of Jay Song. Retrieved January 2, 2016, from http://www.ganoksin.com/borisat/nenam/Jay-Song.htm

Woolton, C. (2001). Drawing jewels for fashion. Munich, Germany: Prestel.

Rosolowski elaborates on a jewelry designer, Jay Song, and the meanings of her works. The designer’s approach to her outcomes is to communicate her personal experiences that she has encountered in her lifetime. Thus, jewelry has become a platform of communication that the designer has created in a tangible form. This information reveals a perspective on jewelry design as not only an adornment piece but also a format of semiotics that communicate to both the wearer and the viewers.

Woolton’s book reveals the inspirations and creative processes of different world renowned jewelry designers. The book also compiles massive amounts of sketches during the conceptualization process, showing how jewelry designers compress and communicate their ideas on to a tangible platform. This book is a resourceful source for the project as it compiles processes, especially motivations and inspirations, of jewelry designers in detail. This information is useful as it prevails various actions that jewelry designers accumulate during their creative process.

Vyas, Dhaval & van der Veer, Gerrit C. (2006). Experience as meaning: some underlying concepts and implications for design.

Proceedings of the 13th European conference on Cognitive ergonomics: Trust and control in complex socio-technical systems, Zurich, Switzerland, 81-91. doi:10.1145/1274892.1274906 This article exemplifies experience as a meaningful quality in an artistic context that can be achieved in the design world. The authors recognize the importance to create meaningful experience for end users to establish user’s satisfaction. This article can provide insight on integrating the art and design that this project is embracing.

Wade, S. (2004). Creative freedom. Retrieved January 2, 2016, from http://www.ganoksin.com/borisat/nenam/creative-freedom.htm The author underlines the ability of the jewelry designers to innovate by exploring and experimenting. The freedom of using new tools and technologies lead to new design ideas, opening doors to better innovate their products. The information is useful to the project as it shows that the freedom to experiment and create prototypes is essential in designing new outcomes.

Wylant, B. (2008). Design thinking and the experience of innovation.

Design Issues, 24(2), 3-14. doi:10.1162/desi.2008.24.2.3 Wylant reflects on different categories of innovation, breaking the idea down into three classifications. The author also emphasizes various triggers needed to create innovation. In order to innovate, specific skill sets and motivations should be considered by the innovators. This article is useful to the project as it explains, in detail, what innovation is and how to pursue it.

Xia, M., Xue, H., Jiang, Y., & Tong, F. (2013). Methods of creative design of the jewelry’s shape. Information Technology Journal, 12(21), 6420-6429. doi:10.3923/itj.2013.6420.6429 The authors reflect on the importance of forms as the principle of designing jewelry to achieve the competitive advantage of creative jewelry design. The forms of the jewelry piece can reflect the designer’s creative input and reveal the design thinking that the designer had during the creative process. Design factors such as principle of beauty, composition, material, and meaning behind the jewelry design come in to play for creative jewelry design. With the details given by the study, the project can use the information to further analyze the process of how jewelry is designed and what factors are taken into consideration by the designers.

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KAMOLWAN KAEWKOON mintkaewkoon@gmail.com www.mintkaewkoon.com 129