Research

JEWELLERY HAVING A SECRET MESSAGE
AIDA GHAHRAMANI
Master of sience in
Design for the fashion system
Jewellery Design Thesis
Name: Aida Ghahramani

Matricola: 893568
Academic year: 2019/2020
Professor
Alba Cappellieri
Advisor
Susanna Testa
ABSTRACT
Jewelry having a secret message is a collection of thoughtful concepts
motivated by to Victorian era in 19th century when artist change their
perspective of designing jewelry from an adornment and richness
symbol to a meaningful and memorable piece of art. It is a sentimental
jewelry which makes a connection between viewer and wearer subtly.
Using the secret language as a secret compartment make this connec-
tion more strong, sometimes the clearest communication with widest
group of people isn’t the goal. In the times that we prefer not to say our
message out loud. These new secret languages following a new rule to
rearrange or add letters to each word or needs thought and techniques
to be decoded.
0. ABSTRACT
1. RESEARCH
1.1. INTRODUCTION- Jewellery having a secret message
1. JEWELRY AND IDENTITY

1.1 jewelry
1.1.1 Historical jewelry
1.1.2 Contemporary jewelry
1.1.2.1 Jewelry as a vehicle for delivering a message
1.1.2.2 Exploring self, selfhood and understanding
Lofi faces: Identify different hidden feelings we have about ourselves
1.1.2.3. My precious
Chain of wedding rings hich identify a relationship
1.1.2.4 Dialogue
Prong set gems of conversations on earings: Identify cultural identity
1.1.2.5 The body
An Uncoventional Dialogue with the human body and jewelry
2. NARRATIVE JEWELRY
2.1 Narrative jewelry and its importance in the contemporary era
2.2 Reading the jewelry from the perception of the designer
“All my desiers” a jewelry collection from pages of complete novels
The life sycle’s narrative
Narrative of Relationships
Cultural-Political narrative
3. INTERACTIVE JEWELRIES AND SOCIAL WEARABLES

3.1 The jewelry-interaction and memory-perspective
Pixelate image memorable jewelry
Momento jewelry can hold voices
Jewelry storing memory data
3.2 Wearable jewelleries that intimate communication channel
(Un-)chain my Heart
3.3 Augmenting traditional wearable self-expression displays
Smart bracelet featuring by sending VIP text
Necklace contains All of the world’s languages
Jewelry which keep you connected to your loved ones
4. JEWELRY HAVING A SECRET MESSAGE
4.1 Sentimental jewelry and its importance
4.2 Secret jewelry in the Victorian era
Hidden-message jewelries
4.3 Secret jewelry in the contemporary era
Language projection charm
Matching rings set
Secret decoding ring
Morse Code Necklace
QR code Jewelry
Zymbol
5. DESIGN PROJECT
5.1 Target consumer
5.2 Mood board
5.3 Sketches and technical drawing
5.4 Rendering
5.5 Packaging
5.6 Customization
5.7 Business Approach and Branding
5.8 Website
6. Bibliography
1.1. INTRODUCTION- Jewellery having a secret message
“Jewelry is all about personality and pieces with emotion that hold a
personal touch. “Through my research Sentimental jewelries are big
trend this year.”
Victorians were the masters of secretive and forbidden affection, so
when it came to their legacy in hidden romance, they chose a particu-
larly cryptic way of communicating. Acrostic jewellery can spell out
any message your heart desires, in the most colourful of fashions. The
magic behind this hidden message jewellery is that unless you are able
to identify each codes, you cannot unlock the cryptic message to or
from your loved one.
Contemporarily, the concept of hidden message jewellery still has the
same element of excitement shared through a secret, however mod-
ern jewellery aficionados are often more excited by the opportunity for
personalisation. through all the researches I have decided to design a
collection of secret message in a sentimental jewlery with the idea of
hidden message whitch is hide in different layer of the pice and also its
message is not understandable until the wearer can open each layer to
decode the final message , each layer has a custom picture related to
special memories, meaning ful elements and memorable places etc.
Keeping in touch and maintaining relationships with loved ones is an
essential component of wellbeing. For millennia, people used senti-
mental jewelry to create a meaningful sense of connectedness. The
field of social wearables echoes this practice and offers novel inter-
actions and possibilities, many of which are yet to be studied. But the
digital artefacts currently created in this field often have a gadgetlike
form-factor and are easily discarded. In this thesis project, I looked at
what lessons I can derive from modern use of “analogue” sentimental
jewelry, and how these could be applied to the design and research
practice on social wearables. Based on the results, I propose possible
new design directions and interaction scenarios for future research that
can lead to the creation of meaningful and long-lasting social weara-
bles that mediate relationships between loved-ones.
Chapter 1
JEWELRY AND IDENTITY

1.1 Jewellery
Jewelry as a category refers to items that are worn, put on, or

connected to the body in basic terms, although there are sever-
al different branches, subcategories, and changes in this rela-
tionship. This section places contemporary jewelry as a realistic
and academic sub-discipline within the related fields of fashion,
architecture, and craftsmanship and sets out the perspectives and
motivation of contemporary jewelry makers based on important
topics and viewpoints in this area of study.
1.1.1 Historical context
Jewelry has historically functioned as social and cultural

importance, a clever monitor, representing the ups and downs
not only of fashion and wealth but also of political, social and
cultural change. Anthropologist provided a rich explanation of
the role of
jewelry in understanding aspects of any mutual human
coexistence discovery. Jewelry not only serves to reflect social
status but also functions more importantly as a distinguishing
symbol that a group has functioned as a society; jewelry is a cen-
tral aspect of social and cultural positioning. Although in social
anthropology, and many jewelry texts, jewelry is valued as a so-
cial
signifier, in common terms, assumptions regard jewelry as a
primarily in the role of adornment or ornament; a role, which is
often regarded as a fashion accessory or related to demonstra-
tions of wealth and social status.
1.1.2 Contemporary jewellery
After World War II, the influences of modernism and develop-

ments in technology and mechanization prompted many jewel-
ers to re-evaluate the techniques and materials that they used.
Growing social and political consciousness has contributed to a
re-evaluation of the reasons and significance of the art of jewelry.
This change in viewpoint was promoted since the mid-1960s by
the New Jewellery Movement and developed into jewelry edu-
cation and practice as Contemporary Jewelry. Such viewpoints
continue to influence contemporary jewelry practice, as well as
design and role of jewelry as a “medium” by which to explore
more revolutionary relationships between self and object as well
as between designer and user. Contemporary jewelry is the term
used to describe a certain type of jewelry, typically expressing ide-
as other than those expressed by the object’s feature. There are
significant overlaps with the motives of fine artists when using ob-
jects as a symbol or as a meaning; however, the main differences
include a persistent and constant connection to the body and the
function of crafts; as Christoph Zellweger states:
“You can not make paintings without reference to painting, nor
can you make jewellery without reference to jewellery and relating
the jewellery itself to the body.” (Zellweger,1999)
The contemporary jewelry perspective serves to stimulate, question
and expand the assumptions as to the shape and role of jewelry,
but this can only be achieved by preserving a link with the origins
and the historical or traditional sense of jewels.
1.1.2.1 Jewelry as a vehicle for delivering a message
The idea is that a jewelry object can be a medium and a vehi-

cle to delivering a message it carries and evoking a thoughtful
response from the viewer. this is an important and motivating
component of the contemporary era. By definition, conceptual art
is an art in which the concepts or ideas involved in the work take
priority over traditional aesthetic and material concerns. Which
means that the idea follows the object immediately.Throughout
the late 19th century, jewelers decided to call themselves Jewelry
Artists instead of Jewellery makers.
LeWitt’s definition of Conceptual art:
“ In conceptual art the idea or concept is the most important
aspect of the work. When an artist uses a conceptual form of art,
it means that all of the planning and decisions are made before-
hand and the execution is a perfunctory affair. The idea becomes
a machine that makes the art.”
Jewelry continues to have a role in our society, an
enduring ability to express emotions and
communicate ideas. Jewelers no longer have to pro-
duce beautiful and decorative designs, we’ve been
decorating ourselves through the ages or it doesn’t
need to show our wealth and richness through it:
“We can make a stronger, more relevant effects that
could address and oppose the dilemmas in society
over time and between different cultures.” to repre-
sents a person’s status symbol.
1.1.2.2 Exploring self, selfhood and understanding
Jewellery is not only a vehicle for ex-

pression a message from society but
also it is a reflection of the design-
er’s own Self, selfhood and under-
standing. To say that the way we as
humans come to know ourselves, to
experience our bodies. Contemporary
jewelry discovering personality, and
what self-identity means. The piece
introduces narrative objects that form
a metaphor for the transience of our
physical appearance and our feeling,
and the sentimental attachments we
Best friends
have for them. This is actually a way of
design when artist can use it to express
their central issues of their own self-
hood. Each designer can have differ-
ent procedures to explore their sense
of self reflect and their main principle
to show their own self-identity. Others
do so by reflecting on the body, how in-
dividuals can be characteristic by their
own body. As can be seen from these
works, contemporary jewellers deal
Wink
with the theme of self-identity in their
objects which are presented as open
objects which stem from the maker’s
personal history and sense of self.
Lo-fi Face:
Different characters of hidden feelings we have about ourselves
Amelia Toelke is a visual artist, the language of jewelry for her is

exploring the discussion about identity, culture and adornment in her
activities between object, image, reality and representation she
explores the point where humour and sentimentality meet.
Frowny
Lips
Worry wort
Wail
L o-Fi Faces in Munich jewellery week 2020 explores this characters

and the world of the hidden messages they are trying to convey,
through magic, play and making. With these works she explores
what we perceive as a face and how we use this symbol as a form of
understanding of feelings we have for ourselves and our relationship
with the environment and others.
1.1.2.3 My precious
S elf-exploration in contemporary jewelry reflects on the important

things that matter a lot to the person. The things that are individual-
ly and emotionally important to us. They are special and precious,
when we keep things close, they catch in our gravity, sit in our or-
bits. We share forces like power, identity, and memory. Above all
memory, loss, and interaction with others, little joggers of places,
moments, and words that happened, Our past selves are discussed
in these terms of this category that can not possibly abandon. Jew-
elry functions in part as objects that carry personal associations with
an emotional significance to the owner or creator, and as objects
that are private and personal, emotional language between people.
Jewelry not only works in this way but can “touch people” because of
its emotional meaning.
Chain of wedding rings: which identify a relationship
A typical example is the wedding ring, in which an identity as hus-

band or wife is codified. Otto Künzli’s chain of wedding rings is an
individual wedding ring symbolises a relationship like marriage,
which is emphatically associated with the issue of identity, then a
chain of such rings presents a constellation of the histories of such
relationships, wearable like trophies around the neck.
Künzli’s wedding-ring chain is made of forty eight used wedding rings
of gold obtained through advertisements. The chain is not supposed
to be viewed merely as a piece of jewellery composed of other pieces
of jewellery but also as an invitation to a personal and rather deli-
cate experiment with the wearing of jewellery, based on the question:
What happens to me, what happens to my identity, if I wear around
my neck a chain of wedding rings and the stories of other past mar-
riages between strangers unknown to me and now dead?
Otto Künzli, Kette, chain of wedding rings,
1.1.2.4 Dialogue
C ontemporary jewelry practice involves not only exploring or

expressing identity as an individual producer, but also includes
various ways of dialog with an intimate or general audience,
something that defines as “a continuous two-way process”.
To certain designers it’s a way to explore these emotions by
making them and then express them to an audience as a piece of
jewelry. The use of jewelry as a dialog was more specifically dis-
cussed through the Correspondences: it communicated by creat-
ing and exchanging jewelry alone over the course of a year. Then
the pieces became the components of an extended conversation
between the two people. As already we understand jewellery also
works within and to indicate interpersonal relationships. These
associations and referents give particular and distinct qualities
to jewelry which allow dialog around these notions. The “poetic
discourse” in languages is also used to communicate an emotion
or express feelings instead of semantic contents. By concentrating
on a single theme influenced by the emotional content of person-
al stories told by a community of people, this approach allows for
discussions that can intentionally lead to new theme understand-
ings.
Ada Chen, a recent Pratt Institute graduate who draws inspiration

from internet culture, memes and her own Chinese-American back-
ground, teamed up with Eda Yu to give an artist talk at Wing On Wo
& Co about Asian American identity.
Both earrings are based on real conversations, these viral ear-
rings are contribute to the conversation around Asian dispersal
internationally. She tried to expand her under-standing of how
her identity affects her own experiences as a Chinese-American
woman. She says that “I want our community to talk in-depth
about our positions in America, to actively participate in improv-
ing our communities, and to stop avoiding top-ics our immigrant
families cannot and therefore fail to address. Ultimately, I want to
highlight my identity in ways that we can be proud of it.”
Prong set gems of conversations on earings: identify
cultural identity
1.1.2.5 The body
I t is important to define the relationship between contemporary

jewelry and the body. Jewelry has a constant relationship with the
body. This interaction and connection with the body can be ex-
tending it, amplifying it, accentuating it, distorting it, concealing
it, or transforming it.
Jewelry has the power to draw a viewer in and engage them in
dialogue through the artwork’s intimate placement on the body.
Through this dialogue which is a highlight point in the area of
modern art jewelry, we can realize the smallest and the most
characteristic parts of each individual’s body. Or some jewelers
work in the section of the “mimicked body” to use a variety of
materials and methods to mimic or literally represent the physical
body. Mimicry is not only used to be a form adoration but also
it can be used as a method of self-defense and protection. By
recreating, simultaneously and exploring the interior and exterior
of the body in a variety of the materials viewer may be forced to
confront feelings of attraction based on the forms.
Gerd Rothman Developed what

is considered as his “most con-
vincing work in an unconventional
dialogue with the human body.”
He introduced body casts into the
arena of artistic jewellery by con-
centrating on forms of reflection
and contact with personal asso-
ciations. His work really allowed
people to interpret traditional
forms of jewellery.
Gerd Rothmann: An Uncoventional

Dialogue with the Human Body, 1985
Ocular Romance by Natasha Morris is
a traditional sentimental and romantic
jewelry locket which reveals the ab-
stract and textural surface with raw and
flesh-colored threads. When the piece
turned over the secret will be revealed
for the wearer.
Ocular Romance,
Natasha Morris,
2016
Skin Adornment,
Stephanie Voegele
2010
Voegele’s Skin Adornment and Ruffles and Pearls reference pearls

captured within the silicone rubber, suggest to the type of adorn-
ment, the pearl necklace. This association speaks to the origin of
pearls themselves, the tiny spot of irritation that become part of an
oyster’s body.
Earing with artist’s earing
Bracelet with the artist‘s mouth
My ring of the day“ my husband‘s fingerprint always with me

Ada chen’s jewelry confronts asian stereotypes
“Speak English We’re in America” — which appears in her collection
on a set of grillz — is based on a memory of talking to her Canton-
ese friends. She made this piece with her mother tongue which is Chi-
nese on her own teeth by stimulation in order to make a statement.
Chapter 2
NARRATIVE JEWELRY
2.1 Narrative jewelry and its importance in the contem-
porary era
Our brain is a functionally closed structure that functions on the
basis of general adaptation, cultural patterns and previous inter-
nal experiences. We should thus define the brain as a self-referen-
tial and self-explanatory organ, which does not have
clear access to the world but creates and expresses meaning
‘only for itself and within itself. consequently, perception acts as
a self-organizing information system based on our own personal
history, which explains the fact that designers view the same given
design problem in quite different and subjective ways.
Over the last thirty years creative thinking and working process
of designers has grown rapidly. Designers decide what to do and
when, on the basis of the personally perceived and reconstructed
design problem or task. Usually the creative process of jewelry
pieces reflects on the importance perception had in the evolution
of the project and the emergence of the semantic and material
solutions. not only in terms of the process of viewing and inter-
preting. Looking at jewellery, by describing what you see, is very
helpful in getting an understanding of what it could mean. Sight
and insight go hand in hand.
‘small objects that have the potential to speak of large issues,
make bold statements and question accepted values. Like a piece
of poetry, this is the art of condensing, of distilling thoughts and
ideas into a reduced visual representation’. (Cunningham, 2007,
Chapter 1)An example that Cunningham uses is the historical love
token, the lover’s eye miniature, used ‘to convey to the wearer that
they were being watched by the person painted, in their absence
or in death. Narrative jewellery therefore, whilst being something
we can observe historically, is not referred to in this way until quite
recently, when meaning and content are more deliberately invest-
ed in the work.’ (Cunningham, 2007, Chapter 1)
which could be read to mean that the purpose of narrative jewel-
lery isn’t necessarily to tell the story but to use the story as a tool to
tap into a certain feeling or emotion in the wearer or viewer of the
piece.
2.2 Narrative jewelry and its importance in the contem-
porary era Jeremy May
All my desiers by Jane Austen
Ring made from pages of Complete Novels by Jane Austen, nestled in book
Bracelet made out of pages a book of plays And nestled in the book
Brooch made from pages of book and lacquer. Nestled in the book.
2.1. Reading the jewelry from the perception of the de-
signer
From the many approaches to jewelry, the narrative is the one

that asks for a more profound understanding of its meanings
and content that leads observation to a process of interpretation.
Though we can find many examples sharing the same principles
and intentions in the Middle Age and Victorian Era, the term “nar-
rative” has been associated to jewelry only since the XX century,
since the jewelry maker manipulates meanings and contents in
a conscious manner. Narrative Jewelry, is defines as a wearable
object constructed by a designer with a clear intention of commu-
nicating a message, through a wearer, to a viewer. Telling a story
and transferring its narrative essence through different means
implies the study of several elements related to the communication
process. The same narrative source, when adapted to a different
language, receives the perceptive and interpretative contribution,
not only from the author or narrator, but also from the semantic
language used in its representation. ”conscious awareness is a
sort of focusing of the brain on its own internal processes, most
important at a given moment”. Thus at the moment a jewelry
designer is looking for new semantic and narrative possibilities,
he has to recall relevant information from his memory to respond
to the contextual conditions of the project. A creative perception
of the situation depends mainly on the designers‘ previous expe-
rience and from his ability to handle his wealth of experience in
a flexible and imaginative way, applying creative thinking oper-
ations, such as associative thinking, thinking in analogies, visual
reasoning and perception with all of the senses.
What I try to show, on the basis of just a few examples, is that the
narrative is embedded in a piece of jewellery, while other stories
and memories can attributed to it by the viewer. Describing what
you perceive is not an objective activity. As Mieke Bal and others
have pointed out, perception is a psychosomatic process, depend-
ent on the vision, personality, and cultural background of the one
who describes.
signer
The life sycle
The Silk Cocoon by Jo Pond

Silk coccon life sycle
signer
‘Relationship’ Series
Jack Cunningham would describe himself as a contemporary

narrative jeweller. Relationships, place and memory, are factors
of particular significance in the dialogue present in his jewellery.
Equally important in the process of communicating his ideas
are the materials incorporated, which include found objects and
ready-mades. Through the process of association and personal
viewing methodologies, Cunningham is interested in the narrative
that is consequently established between the maker – the origina-
tor of the artefacts statement, the wearer – the vehicle by which
the work is seen, and the viewer – the audience who thereafter
engage with the work.
‘Relationship’ Series by Jack Cunningham
‘Together & Alone’ 2003 , Brooch
‘Your Love is King’ 2003 , Brooch
‘Every Cloud’ 2003 , Brooch

signer
Marriene hunter : Everything about my artwork is personal; how I
taught myself, how I practice it and how I feel about what it en-
compasses. It is driven by passionate yearning.
The sustaining motive for my work remains the same whether the
subject is the natural world, the cultural world or a mythical world:
to become immersed in the beauty and mystery of the world and
sometimes, through my work, to momentarily turn away what is
painful in that world by overpowering it with benevolence. Each
piece is a story I tell myself while I am working.
kabukikachina loves democracy, voteblue ,freedom

signer
All pieces are one of a kind, with the number, metals, poem ,sig-
nature, and date engraved on the back. I hope the images and
poems of these intricately detailed, complexly constructed, and
heart felt pieces move you.
Kabuki Kachina, Peacemaker.

Engage without rage
Chapter 3
INTERACTIVE JEWELRY AND

SOCIAL WEARABLES
3. Interactive jewelry
Jewelry has a long history of being an explicit private and social

communication tool. We all grow up in the digital age, our lives
are involved with the technology even if we do not notice about
it. The emergence of wearable technologies has expended the
opportunities for jewelry to be a communication tool by integrat-
ing digital technology. Many of the latest wearables have a tech-
nology-driven background, in interactive jewelry, functionality is
not the only major issue, value of personal and social-culture are
also important. While we are talking about wearables we should
notice that designing wearable jewelry can help us to make a
bridge between the technological world and the personal-cultural
world and make a “memento” for the user. Contemporary jew-
elry breaks the culturally-informed role of bodily adornment and
exists as conceptual artwork that constantly challenges traditional
thinking. Just like traditional jewellery, interactive jewellery might
in a profound way contribute to the shaping, confirmation and
expression of our identity.
3.1 The jewellery-interaction and memory-perspective
The majority of the design proposals that we studied primarily

focuses on jewellery as memento. From a memory-studies per-
spective a memento is a physical cue to autobiographical mem-
ory. Events in one’s life are stored in autobiographical memory.
Mementos can refer to a very specific memory or a broader set of
experiences. Among other functions AM contributes to the con-
struction and maintenance of the self-concept and self-history.
Moreover memories play a role in shaping our (dis)likes, enthusi-
asm, beliefs and prejudices. Typically memento jewellery refers to
a (late) person, a (life) event or a place.
The relation between a piece of jewellery, its wearer and the
interaction that connects them is not static, but will develop over
time. The physical object will get scratched and its glimmer will
change. Our body changes: oftentimes jewellery that is taken off
after years of wearing leaves traces in our flesh. Fidgeting with our
jewellery becomes part of our daily habits. In these ways jewellery
becomes part of our identity and we feel ‘naked’ or ‘incomplete’
without it.
they found that an emotional relation with an – at first nondescript
– physical piece of jewellery could be established through interac-
tion and that interactive jewellery holds the quality to make im-
plicit emotions related to a piece of jewellery can be made explicit
through interaction.
Design a piece of jewellery that contains some sort of intelligence,
in a way that it accentuates, enlarges or enriches the emotional
value of the piece. The design proposals focuses on jewellery as
memento.
From this we understood the importance of our collective memory
on jewellery, which is composed by our individual histories with
jewellery. In this perspective interactive jewel-lery emerges where
the histories of wearable technology and jewellery come together.
Interactive jewellery then broadens our understanding of jewellery,
just like contempo-rary jewellery does in its own way.
Pixelate image memorable jewelry by Laura Claas
Pictures are taken for many reasons. Sometimes we want to ac-
curately document a specific situation, yet quite often it is not the
details that we want to hold on to, but invisible things like atmos-
phere and experience. Pix is a ring that allows the wearer to take
a picture that appears as low-resolution image on the ring. Due
to the low resolution not only irrelevant details are blurred, but the
image also becomes only readable for those who know what is
depicted. The camera is positioned on the hand-palm-side of the
ring. To take a picture one directs the camera and pushes with the
other hand on both sides of the ring. The body posture to do so
reminds of the one used to admire a ring. Pictures can’t be down-
loaded from the ring and making a new photo implies overwriting
the previous one.
Through the conscious action of taking a picture Pix creates a
cue for future remembering. The ring is the carrier of an abstract
visual memory cue (the pixelated image) that is associated with
the much richer content of the memory.
wants to hold on to is something invisible like an atmosphere or

a feeling. So, an image of the Eiffel tower for example is not so
much about the object, but about the proposal you received there
and the romantic feelings that it evoked.
Momento jewelry can hold their voice
Traditional lockets can hold a loved one’s picture. But Momen-
to jewelry can hold their voice. Though it looks like a traditional
piece of pearl, gemstone or diamond jewelry, every pendant,
earring or ring from the Momento Collection is embedded with
an NFC chip that remains unseen to the naked eye. Using our
Galatea app, a voice message can be recorded and played back
whenever Momento touches the enabled NFC mobile phone.
Images, texts and web links can also be uploaded and saved for
posterity. The Momento Collection is an incredible blend of tradi-
tional jewelry and technology, available only from Galatea: Jewel-
ry by Artist.
Jewelry storing memory data
Leth is a radical concept that proposes to accept the useless abun-

dance of digital files, without neglecting their emotional signif-
icance. It is a hard drive that can be worn as a pendant. When
storing data on Leth the files are consciously corrupted and be-
come unreadable. The only trace a file leaves in the digital world
is a dot on the milky-way-like interface of the uploading software
on the computer. This way the meaning of the digital files is sup-
posed to be passed on to the physical object, which becomes an
abstract container of cherished memories. In order to hold on to
an individual memory one scratches Leth’s casing with the accom-
panying tool and documents both the position of the scratch and
the content of the memory in the booklet. In this case the pendant
is both carrier and medium of the memory cue. Leth embodies
a series of cherished events and therewith refers to what Con-
way and Pleydell-Pearce call a ‘lifetime period’. The notes in the
accompanying booklet can cue ‘general events’, for example a
holiday trip to Italy. Leth is less suitable for cueing event-specific
knowledge, like what wine we drunk during that holiday. Next to
being a memento, Leth is a safeguard that protects ones digital
identity.
2.2 Social wearbles
Simple and low bandwidth communication on computers has

been found to promote in-timacy between couples. In this work,
we further explore this minimal communication in the form of
wearables. This pictorial presents an in-the-wild concept study of
low band-width ambient wearable displays as a communication
channel between couples. The goal is to understand the contexts
in which the technology might be used and provide benefit. Our
findings show that simple communications through a wearable
device could provide an additional channel for communication.
The wearable form factors also cre-ates the feeling of being al-
ways connected. We highlight the importance
And influence of form factors, contexts, and activities towards user
experience. We dis-cuss the opportunities this study opens for the
future design of wearable ambient dis-plays.
The ubiquity of smartphones allows people to stay connected
through text messaging, phone calls, or social networks. While
these are rich means of communication, they de-mand attention
and can be distracting from other ongoing activities at hand. Min-
imal communication is proposed as an alternative communica-
tion approach. Minimal com-munication on computers has been
found to promote awareness between remote couples.
smartwatches are usually not considered as a jewellery, but rath-
er form their own category. Jewellery is worn close to the body,
thus, naturally creates the feeling of intimacy. Furthermore, it also
containsm symbolic meanings related to identity and memories,
creating a multi-layered experience, which are often considered
lacking in technology-driven wearable gadgets.
In the era of smartphones, video calls, voice calls and text mes-
sages are available communication channels to help a couple to
stay connected. While these channels could offer efficient com-
munication channels, they are considered generic and lacking in
emotional and intimate experience.
3.2.1 Wearable jewelleries that Intimate Communica-
tion Channel
(Un-)chain my Heart
Anja Eichler
From series: So Social
(Un-)chain my Heart, 2019

Bracelet with brooches.
tion Channel
Smart bracelet featuring by sending VIP text
The bracelet’s interior features a sapphire-glass screen displaying

Gmail, Google Calendar, and Facebook notifications. Through
a partnership with TomTom, women wearing the cuff can receive
alerts when it’s time to leave for the next appointment, based on
the user’s current location.MICA’s features reveals how even a
behemoth like Intel (founded in 1968 with a market cap of $164.5
billion) can gain fresh perspective through partnerships from a
range of fields. Intel’s team had to let Opening Ceremony (a retail
brand founded in 2002) take the lead for the sake of style.
First, they had to have a clear perspective of what the MICA
wouldn’t be. “We knew it wasn’t going to replace their phone or
take pictures,” Lim says.The company chose to focus on keeping
women connected to the closest people in their lives, a desire that
surfaced during market research. To this end, Intel and Opening
Ceremony added a “VIP texts” feature. The curated contact list
allows users to choose up to 10 VIPs to whom they could send
customizable quick replies directly from the wrist – eliminating the
need to fumble through a handbag or interrupt a dinner meeting.
Ildeniz and Lim agree that compromise was key in the final de-
tion Channel
This Necklace Contains All of the World’s Languages
Language and cultural preservation never goes out of fashion
Love is a language all its own. Say it in 100 different ways with
our exclusive “Hidden Love Languages Necklace”! This incredibly
beautiful and sophisticated pendant has “I Love You” nano en-
graved into its center crystal in 100 different languages. Shine
a light through it to project the message onto a wall or surface, or
use a mobile camera lens to peak inside and display it on your
phone.
3.3 Augmenting Traditional Wearable Self-Expres-
sion Displays
Jewelry keeps you connected to your loved one
Talsam keep you connected to your loved ones at all times. smart
jewelry that provides intimacy, connection and peace of mind.
“At a time when the idea to create a device that can support inti-
mate dialogues between lovers came, I was struggling to find a
creative gift idea for my girlfriend,” said Omar Farha, the founder
of Talsam.
“To me, current communication choices, like email, text messages
or even social media platforms have always been too noisy and
impersonal. So, I set out to answer the question: how can I cre-
ate a beautiful, gift-worthy piece of jewelry that helps people stay
connected with each other?
taught us that fashion-conscious women didn’t want to wear tech
devices that were too noticeable,
added a “VIP texts” feature. The curated contact list allows users to
choose up to 10 VIPs to whom they could send customizable quick
replies directly from the wrist – eliminating the need to fumble
through a handbag or interrupt a dinner meeting.
Chapter 4
SENTIMENTAL JEWELRY
3. Sentimental jewelry and its importance
A Source of Strength and Inspiration

In a world that may seem uncertain at times, there’s an argument
to be made that sentimental jewelry is something that one simply
just cannot do without. When we are unsure of the world around
us, sentimental jewelry can give us the strength to carry
on. There’s nothing quite like being able to hold in your hand a
piece of jewelry that means so much to you. And be able to drawn
strength from it. Sentimental jewelry has a power that is simply
unexplainable. It provides comfort, inspiration, joy, and
so much more to its owner. And sentimental jewelry gives us an
opportunity to bond with others when asked the origin of the
piece. Sharing stories and experiences with others brings us closer
together.
3.1 Sentimental jewelry in victorian era 18th &19th
century
The Victorian Era was the most popular period for the sentimental
jewelry. Thanks to the Industrial Revolution and the discovery of
diamond mines in South Africa, in this period was a great time of
change in the area of technology, art and fashion. Great in-ven-
tions including the birth of photography were made during this
time period. Thanks to all these developments in technology, trade
and the growth of the middle class,
jewelry production arrived at an important level during Victorian
Era. This era took its name from Queen Elizabeth which influ-
enced it in many aspects from politics to fash-ion and jewelry. Her
style of fashion and jewelry was affected the world. Moreover,
Vic-torian Era was divided in three distinctive periods in terms of
jewelry styles called “The
Romantic Period” (1837 to 1860), “The Grand Period” (1861 to
1880) and “The Aesthet-ic Period” (1880 to 1901). The Romantic
Period was affected by the union of Queen Victoria and Prince Al-
bert in terms of jewelry design. In this period, jewelry gained new
meaning than being just a jewelry piece by carrying sentiment
and symbolizing love, romance, friendship and faith. Cameos,
keepsake lockets and miniature portraits and hairwork pieces of
mourning jewelry were the important jewelry examples of this pe-
riod. Symbology and sentimentality were taken very seriously that
through jewelry, intimate messages were conveyed which could be
read if the vocabulary was known by the reader. And these mes-
sages were carrying the sender’s
feelings and hopes. Moreover, acrostic jewelry was also common.
It was created by specific gemstones which represent different
meanings. The Grand Period became as a distinctive period by
the death of Prince Albert. After her husband’s unexpected death,
Queen Victoria went into deep depression which was impacted
her black ap-parel and
jewelry. (Bernstein,2018) Jewelry were mostly made by dark and
sombre natural ston-essuch as jet, onyx and deep red garnet.
Furthermore, Renaissance, Greek and Gothic styles were again
revived during the period. The Aesthetic Period was the period of
century
Hidden-message ring 19th century
Enamelled with roses and daisies, this ring was a charming lover’s
gift. The little hinged panels set around the hoop open to reveal
the French inscriptions: ‘I love you a little, a lot, passionately and
not at all’, based on a game played by plucking the petals from
a daisy. The language of flowers is believed to have come to
Europe from the Ottoman court. Lady Mary Wortley, wife of the
British ambassador to Constantinople, described the custom in a
letter of 1718:“There is no colour, no flower... that has not a verse
be-longing to it; and you may quarrel, reproach, or send Letters
of passion, friendship, or Ci-vility, or even of news, without ever
inking your fingers.”In 1819 Louise Cortambert, writ-ing under the
pen name ‘Madame Charlotte de la Tour,’ wrote ‘Le Langage des
Fleurs’, the first dictionary to lay out the significance of each flow-
er. According to this, the roses on this ring symbolised love and
daisies, innocence.The idea of hinged panels was also used by the
Parisian jeweller Jean Baptiste Fossin (1786-1848) who created
a ring for the Duchesse de Fitz-James combining lockets of hair
under panels bearing the initials of her six children.
century
This intricate wedding ring is decorated with symbols of love and

quotations from the marriage ceremony. The central motif comes
from the Italian mani in fede (hands clasped in faith), which was
a popular symbol of love. The three connecting hoops, each with
an attached hand or heart, fit together and appear as one band
when worn. The in-scriptions can only be read when the hoops of
the ring are opened out.
century
Opening secret compartmenr masonic ring 19th century
Inside the locket bezel: 19th Century French Ring

with enamel carnival mask. Inside is the message
“Pour Vous Tout Seule” (“For You All Alone”).
century
Georgian black enamel mourning ring, English, circa 1822
Georgian black enamel mourning ring. A wide conforming gold

band, centrally inscribed ‘IN MEMORY OF *’ with black enamel
ground, bordered to top and bottom by a fine ropework trim and
a carved surround with ornate floral and foliate motifs, engraved
in italic script to the interior ‘My dear Mother, Mary Rowbotham,
died 25 May 1822 Aged 42’.
Projection Crystal Pendant Necklace with Words Nano

Engraved into Center
How To Project The Message Within: Shine a light through the
center crystal to project the message onto a wall or surface, or
use a mobile camera lens to peek inside and display it on your
phone.
The Personalised Secret Message
The Personalised Secret Message Slider Necklace is a beautifully

tactile and subtle design. Personalise the bar with your chosen
message this can include dates, names and special words. Move
the slider bar downwards to hide your message and slide it up-
wards to reveal your special words.
Matching rings set
Finding your one true love is like finding that missing piece of the
puzzle that perfectly fits. What better way to show that than with
wedding rings that complete each other when brought together?
A good, simple idea will forever be powerful and delicacy at the
same time. We use a natural red enamel to fill the heart notch
completely
Secret decoding ring
CRYPTEXT Spinner ring
flat spinner with alphabet, you can create any 4 letters words, Da
Vinci code ring.
Here’s a cryptext ring band where you can create any 4 letters
words! Its a spinner ring with 4 spinners, each with the alphabet
engraved. There is a reading plate on the top to isolate 4 letters
and read a word! The ring is completely handmade in solid ster-
ling silver.
Morse Code Necklace
Morse code necklace Personalized jewellery, secret message

QR code Jewelry
The QR code pendant is applied with color composition and is

one of a kind. Download a free QR reader in your smartphone
and simply scan the picture, and then your personal message or
video link will show up instantly.
ZYMBOL
Zymbol™ is a line of inspirational jewelry based around ONE design

that contains every letter of the alphabet and every number, hidden in
plain sight...
Zymbol™ was ‘accidentally’ created when company founder Sally
Short doodled the phrase ‘LOVE IS ALL U NEED’, stacking each letter
on top of the next. She then added a peace sign to complete the design.
Wear your Zymbol™ and TRACE OUT names, dates phrases, goals,
intentions, positive affirmations or a reminder of things you are thankful
for. The possibilities are endless...
All symbols stand for something and tell you what they mean. When
you see a peace sign, musical note or the YinYang, you immediately
know what the symbol stands for. Zymbol® is completely open to
interpretation - you tell it what it means! 50 people could be wearing
Zymbol® in the same room and it would mean something different &
unique to each one of them.
6. Bibliography
https://www.pdpaola.com/blogs/inside/a-time-for-love-the-engrave-me-
collection
http://ameliatoelke.com/portfolio/gem-face/
https://www.artsthread.com/news/new-york-city-jewelry-week-2019-
one-future/
https://ylwrngr.com/2019/09/15/ada-chens-viral-jewelry-line-claps-
back-to-asian-fetishes-and-stereotypes/
https://kristyhsu.wordpress.com/2012/02/05/gerd-rothmann-an-uncov-
entional-dialogue-with-the-human-body/
https://www.picuki.com/tag/gerdrothmann
https://www.jaggedart.com/artists/jeremy-may
https://www.instagram.com/p/B8Czof-HuWG/
http://www.hunter-studios.com/M/galleries/gFS/1FSg.html
https://www.jopond.com/the-silk-cocoon.html
https://www.picuki.com/tag/inspi_rings
https://klimt02.net/jewellers/anja-eichler
https://www.academia.edu/8041544/Re-thinking_relationships_
through_augmented_jewellery
https://www.jackcunningham.co.uk/about/
https://www.researchgate.net/publication/336604179_Graceful_Interac-
tions_and_Social_Support_as_Motivational_Design_Strategies_to_En-
courage_Women_in_Exercising
new
https://www.smithsonianmag.com/smart-news/necklace-con-
tains-all-worlds-languages-180961876/
https://www.entrepreneur.com/article/239995
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JEWELLERY HAVING A SECRET MESSAGE

Jewellery Design Thesis

Name: Aida Ghahramani

1. JEWELRY AND IDENTITY

3. INTERACTIVE JEWELRIES AND SOCIAL WEARABLES

JEWELRY AND IDENTITY

Jewelry as a category refers to items that are worn, put on, or

1.1.1 Historical context

Jewelry has historically functioned as social and cultural

After World War II, the influences of modernism and develop-

The idea is that a jewelry object can be a medium and a vehi-

Jewellery is not only a vehicle for ex-

Amelia Toelke is a visual artist, the language of jewelry for her is

L o-Fi Faces in Munich jewellery week 2020 explores this characters

S elf-exploration in contemporary jewelry reflects on the important

Chain of wedding rings: which identify a relationship

A typical example is the wedding ring, in which an identity as hus-

C ontemporary jewelry practice involves not only exploring or

Ada Chen, a recent Pratt Institute graduate who draws inspiration

I t is important to define the relationship between contemporary

Gerd Rothman Developed what

Gerd Rothmann: An Uncoventional

Voegele’s Skin Adornment and Ruffles and Pearls reference pearls

Bracelet with the artist‘s mouth

My ring of the day“ my husband‘s fingerprint always with me

From the many approaches to jewelry, the narrative is the one

The Silk Cocoon by Jo Pond

Jack Cunningham would describe himself as a contemporary

‘Together & Alone’ 2003 , Brooch

‘Your Love is King’ 2003 , Brooch

‘Every Cloud’ 2003 , Brooch

kabukikachina loves democracy, voteblue ,freedom

Kabuki Kachina, Peacemaker.

INTERACTIVE JEWELRY AND

Jewelry has a long history of being an explicit private and social

The majority of the design proposals that we studied primarily

wants to hold on to is something invisible like an atmosphere or

Leth is a radical concept that proposes to accept the useless abun-

Simple and low bandwidth communication on computers has

(Un-)chain my Heart, 2019

The bracelet’s interior features a sapphire-glass screen displaying

Language and cultural preservation never goes out of fashion

A Source of Strength and Inspiration

This intricate wedding ring is decorated with symbols of love and

Inside the locket bezel: 19th Century French Ring

Georgian black enamel mourning ring. A wide conforming gold

Projection Crystal Pendant Necklace with Words Nano

The Personalised Secret Message Slider Necklace is a beautifully

Morse code necklace Personalized jewellery, secret message

The QR code pendant is applied with color composition and is

Zymbol™ is a line of inspirational jewelry based around ONE design

Adamson, Glenn (2007) Thinking Through Craft, Berg Publishers

Adamson, Glenn (2010) The Craft Reader London: Berg Publishers

Anderson, Hephzibah (2010) Smile Ruthin Craft Centre

Animavienna (2017) A Box Project At: http://www.animavienna.com/

den Besten, Liesbeth (2012) ‘On jewellery A compendium of interna-

Bland, Adrian (2018) The Concept of Context Farnham [Lecture at

Bland, Adrian (2018) [Conversation within the tutorial on the narrative

Cappello, Bianca (2018) [Interviu by email, 8th October 2018]

Cuningham, Jack (2005) ‘Maker, wearer, viewer. Contemporary Narra-

Dahlén, Micael (2009) Creativity Unlimited : Thinking Inside the Box

Dewey, John (2005) Art as experience. London: Penguin

Editors of Phaidon (2013) The Design Book, Phaidon Press

Hughes, Philip (2010), Director, Ruthin Craft Centre, ‘Foreword’ In