Star Gazing

For our final class we looked at celebrity media. This weeks post, therefore, is about celebrity jewellery and more specifically on celebrity endorsement (celebrities as brand ambassadors).

It seems that we are obsessed with what celebrities are wearing (Braverman 2005)
Blog after blog now dedicate themselves to whatever jewellery the celebrities have been spotted in recently- to list just a few:
(Gem Gossip 2013; Jewellery from the Stars 2013; Jewellery Warehouse 2013; Zoara 2011).

Consumers, looking up towards celebrities wish to imitate them and their style. The media is constantly updating us all on where a celebrity got their jewellery from. More specifically, where can WE get it (or something very similar) from?

Image found online @ (Fashion Jewellery Blog)

 

 



Image found online @ (Emitations 2013)

 

In addition, websites have dedicated themselves to selling 'celebrity jewellery', such as (Boutiquetoyou 2013).

 

Consumers now want to believe that celebrities genuinely like the pieces of jewelery that they wear (Jewellery World 2012). This leads us on to celebrity endorsement. Celebrity endorsement involves a company (and their chosen brand) paying a celebrity to be seen using/wearing their products as a spokesperson for the brand itself (brand ambassador) (Carrillat 2013). Top celebrity endorsers now benefit from huge deals which could pay up to $100 million (Carrillat 2013). Initially, brands were unsure if brand ambassadorship would really work (Jewellery World 2012). However, for the leading brand in this area, Omega, brand ambassadorship has become a very important part of their marketing strategy (Jewellery World 2012).

 

Celebrities are used as brand ambassadors for many companies, with one in four adverts involving celebrity endorsement (Carrillat 2013; Jewellery World 2012; Rabolt and Solomon 2004). Despite the expense, an increasing number of jewellery and watch brands are using celebrities to help sell their products (Jewellery World 2012; Rabolt and Solomon 2004). Celebrity endorsement (and brand ambassadorship) can benefit a brand in a number of ways.

Celebrity endorsement helps:

• "Increase awareness of a firms advertising"
• "Enhance company image"
• "Enhance brand attitudes"
• Tell a story for a brand
• Highlight brand principles
• Generate interest in products
• Have a positive impact on company finances
• Increase attention from consumers
• Enhance brand name recognition
• Enhance positive word-of-mouth
• Create the opportunity to develop a distinct and credible brand persona

(Carrillat 2013; Rabolt and Solomon 2004, p.323; Jewellery World 2012)

 Celebrity endorsement works when consumers can identify products that are associated with a spokesperson (Rabolt and Solomon 2004). Brand ambassadors must be genuine in order to gain consumers trust (Jewellery World 2012). The brand ambassador must love the brand they are representing or else consumers will not believe the product offering and pairing to be trustworthy (Jewellery World 2012). Consumers want to know that the relationship goes beyond the large paycheck that a celebrity will receive (Jewellery World 2012).

"Generally, star power works because celebrities embody cultural meanings" (symbolising important categories such as status and social class) (Rabolt and Solomon 2004, p.333). The meaning of a product is therefore moved from the manufacturer to the consumers with the star as its vehicle (Rabolt and Solomon 2004).

One example of celebrity endorsement in the jewellery world is of tennis star, Maria Sharapova who is a brand ambassador for TAG Heuer, as shown in the photo and clip below:

Here Maria talks a bit about the 2010 collection which she endorses:

Maria Sharapova talks about how she was directly involved with the new collection. Often, celebrities are involved with the design and development of products which they are promoting (Braverman 2005; Jewellery World 2012). In addition to her involvement in the designs, Maria has also been spotted wearing her TAG Heuer watch at the London Olympic Games Opening Ceremony (2012) whilst carrying her Russian flag into the arena (World Tempus 2012). This high publicity event further promotes the TAG Heuer brand and Maria's commitment and belief in the brand (Braverman 2005). In addition, this publicity helps consumers make a connection between the products and the athletes name and image (Braverman 2005).

Although, celebrity endorsement does not always equal success for a brand (or cause) (Rabolt and Solomon 2004). Celebrities, are human and open to failings (Jewellery World 2012). Being both expensive and risky, celebrity endorsement is not a matter to be taken lightly (Jewellery World 2012). If a celebrity happens to become publicly involved in a negative event then their affect on the brand can be hugely counterproductive (Carrillat 2013). Some companies, therefore, will tend to act on the moral (or legal) clauses of their endorsement contracts and end their association with their endorser in order to distance themselves from the negativity (Carrillat 2013). However, some managers will decide to keep a contract as they might believe that the celebrities image can be salvaged (Carrillat 2013).

To conclude, anyone who wears a piece is jewellery product IS technically a brand ambassador.
Although we are not all celebrities and famous, whatever jewellery we wear makes us a representative for that brand (Jewellery World 2012).
Do we, however, represent the image that these brands want?
Perhaps we should look more closely at brand ambassadors for jewellery, would an unsuitable brand ambassador put you off a jewellery product?
I finish with a claim, from Robert Thompson (a professor of popular culture at Syracuse University in Syracuse, New York) who states that:

"Jewellery is one of those luxury items that you get for its association with glamour and wealth, and the kind of lifestyle that only big celebrities can sell and endorse"
(Braverman 2005)

Are celebrities the absolute best endorsers for jewellery? Like everyone else they can make mistakes and hugely misrepresent a brand due to associations (lets not forget Tiger Woods and his shortcomings) (Carrillat 2013; Jewellery World 2012). However, brand ambassadors represent many benefits to brands such as increasing brand image and awareness (Rabolt and Solomon 2004). With big deals, come big risks. Go hard or go home, so they say. Till then lets continue star gazing.

Watch Made in Heaven? Jewellery TV and E-Commerce

In our last class we looked at fashion in television and at lifestyle programmes. I had never considered the order that they do these shows in and how I am technically the exact target audience. To be truthful I am secretly addicted to them so clearly they work!

During this weeks post, the focus will be on TV shopping channels that sell jewellery, and more specifically on the American channel Jewellery Television (TV).

In addition to the millions of consumers who tune into these TV shopping channels, as do brick-and mortar retailers who are keeping an eye on current trends (Green 2003). Some industry leaders, furthermore, agree that home shopping networks are a very useful medium for keeping up with trends (Green 2003). Consumer desires can be tracked on these shopping channels in "real time" through a running tally of purchases displayed on the TV screen (Green 2003). Trend watchers, therefore, can observe was is and is not selling. Being able to test products much quicker than bricks-and-mortar retailers shows a clear advantage in the sector (Green 2003).

Recognising it as a viable business opportunity America's Collectables Network launched their own exclusive jewellery and gemstone channel, Jewellery Television (Braverman 2005). The channel targets a 30-55 female demographic who is buying for the self  (Braverman 2005).
Having a high disposable income, she is considered "typically educated" (Braverman 2005)

These consumers either do not have access to high end shopping outlets or else they are aspirational, seeking luxury jewellery at more affordable prices (Braverman 2005).

In addition, Jewellery TV has recently collaborated with fashion designer, Malan Breton (TBB Reality 2013) to showcase their collection of very affordable Marilyn Monroe's inspired costume jewellery to compliment his Autumn/Winter 2013 collection (see video and images below).

 

Marilyn Monroe Collection with Jewellery TV

 

Malan Breton Autumn/Winter 2013

In terms of selling, Jewellery TV shows others how to sucessfully sell their products through building a relationship and trust with consumers (Green 2003; Baverman 2005). Home shopping channels such as Jewellery TV successfully romance their products (Green 2003). The people presenting these jewellery items have been well trained to sell the desire for jewellery (Green 2003).

For example, the saleswoman Michelle (in the clip below), constantly tells personal stories, thus creating a 'friendship' with the consumer whilst constantly reiterating the product for sale and its quality. 
Michelle draws in the consumer and works hard to link the pieces to her own memories and the ways in which the pieces can create memories for the consumer.
Here, Michelle aims to create a sense of trust with consumers; dispelling any worries over the quality of products bought through this media (Braverman 2005).

 

In 2005, while brick-and-mortar stores were struggling to keep up with the Internet, TV shopping networks saw sales climb (in no small part because of the Internet) (Braverman 2005; Beres 2008). Whilst viewers had to previously catch their favourite item or seller on TV, the Internet has allowed shoppers to make purchases 24/7 and view products they might have missed or to simply browse online (Braverman 2005; Beres 2008).  

However, jewellery shopping channels expect their on-air segments with jewellery designers themselves discussing their pieces (up close and in high definition) to remain viable and to expand alongside Internet sales (Beres 2008).

Although, analysts and e-commerce experts maintain that on-air TV shopping reached its peak during the 1980s-90s (Beres 2008). It is also argued that the market itself has remained stangnant since the rise of e-commerce(Beres 2008).

Despite this, several of the major TV shopping networks claim that on-air TV shopping has yet to reach its peak and they believe that on-air online sales will be complementary towards increasing the sales of jewellery (and other categories) (Beres 2008).

To conclude, Jewellery TV's Vice President of marketing, Randy Sadler claims that:

"As long as women have time and money and a love for a jewellery experience that includes education from an expert and the ability to enjoy high-quality real jewellery, TV shopping for jewellery will continue to grow....We don't see TV shopping and the Internet as competing but working together"
(Beres 2008).

Jewellery sales on television remain a robust category both through television and Internet sales (Braverman 2005).
Future research though, represents an interesting topic on whether TV shopping for jewellery will in due course be replaced by online shopping.
Jewellery TV shopping offers education and fair prices for the keen jeweller (The Who's, What is and Why's of Jewllery TV 2012)
The popularity of the market indicates a successful future but e-commerce might be just that bit stronger.

Rock the boat; Jewellery vs. Masculinity

This week in class we looked at males (in magazines). I was interested to observe the ratio of adverts to editorial in men's magazines in comparison to women's. Male magazines (from observation) have a significantly larger volume of editorial compared to adverts.
Also(in Mens Health) there were very few adverts for jewellery. The only male jewellery advertised was watches.

So, what is the issue behind men's jewellery? Is it to feminine? Are men afraid of not looking masculine?

In ancient times,men wore jewellery to signify power (Forger 2013). Men now wear jewellery to show their status, make a personal statement and "to signify their strength, wealth and style" (Forger 2013; Gemondo)

Johnson (2001), adds to this stating that body adornment is

"rarely purely utilitarian, and involves such factors as individual body state as resources for decoration, aesthetic expression, relative social standing and group norms of appropriate attire" (p.419)

Additionally, men wear jewellery to command respect (from those who can appreciate quality); they want pieces they wear to have personal meaning (Flintoff 2012; Forger 2013; Threadslike 2012)
In congruence with this view, the personal body is described as "a site for the externalisation of emotions connected to lived experience" (Johnson 2011, p.431)

Research indicates that men are seeking advice on how to wear jewellery. This suggests that men do want to wear jewellery but are afraid that they might not look masculine (TSBmen 2011).

Many sights offer advice for men on how to successfully wear jewellery, such as the link below from GQ. The link discusses what pieces are still masculine, in what order to approach wearing jewellery and what materials to go for.

 

Both GQ and TSBmen (2011) recommended anchors as pendants for the male.

 

Iron and gold anchor necklace by Philip Crangi

Handmade leather bracelet with silver anchor charm found online @ etsy

 

Unisex antiqued-brass anchor necklace. Found online @ etsy

 

 

 

Despite the support towards male jewellery, some religions believe that jewellery is for females only. This is the case in the following (rather humorous) clip from the Scandinavian Peace Conference 2011 on Islam in Modern Society. Here the speaker argues that men should be men and women should be women:

 







On on the contrary, architect and jeweller, Kosremelli argues that "men are becoming too homogeneous, many don’t wear jewelry because there is a taboo, but you can subtly play with those stereotypes,” (Massih 2012). Her pieces of jewellery aim to "take a punch at the formidable, solid figure of contemporary manliness"(Massih 2012). While some men are trying to retain their manliness, jewellery designers are instead taking the whole issue very lightheartedly.

 

In addition, Estrada (2010) states that 'real' men will have the courage to wear and put on what they choose. Despite the difficulty men have on finding jewellery that retains masculinity, the right combination of materials, design, texture and colour palette can make it possible (Threadslike 2012)

If worn in the right way, jewellery can compliment a mans clothing and can create an interesting
statement of individualism and contradiction to the norm (Threadslike 2012)

It is claimed that the increase in popularity of male jewellery is from the current celebrity cultures, creating fashion role models, shown wearing jewellery pieces (Gemondo). These sportsmen, film stars, rock stars and designers have helped to re-introduce the fashion on men's jewellery as a celebrations of masculinity (Gemondo). This refers back to jewellery being worn as a reflection of personal status and wealth (Gemondo)

Some male celebrities wear jewellery better...

 

 

 Than others...

Images found online at (McIntyre)

So, the question lies, do real men wear jewellery or not? Despite some clear faux pas's, growth in the market implies that they do (Gemondo)
So, men, why not rock the boat; wear an anchor, don a bracelet, be different.

All work and no (equal) pay

Our focus in class this week was on feminism, post feminism and photojournalism. This weeks blog post will be about Feminist jewellery and the impact that Feminism as a movement has had upon jewellery.

Who are Feminists?

One definition describes Feminists as "women who don't want to be treated like sh*t" (Gay 2012).Feminists are career driven and ambitious women. They earn their own money and can handle themselves without having to depend on others (Gay 2012, p. 88)

Feminism began with women fighting for equal rights as men. First Wave Feminism fought for women's suffrage, the vote and mobilisations for a series of reforms "in the areas of matrimonial law, property ownerships, child custody rights, work and educations opportunities, and government regulation of sexual morality" (Gay 2012) and Xinari 2010, p.8)

Feminism began in the 1830s and peaked during the 1860s and 1870s. The issue of women's suffrage (fought for by the suffragettes and suffragists) finally led to women gaining the vote in 1918 (albeit only for women over the age of 30 until 1928 when all women were permitted to vote) (Xinari 2010).

Poster replicas from the time have been used to create the items of jewellery below:

Feminist Suffragist quote cuff bracelet. Found online @ etsy

Feminist Suffragette pendant Votes for Women Mixed media jewellery piece. Found online @ etsy

The outbreak of World War I in 1914 led women into areas of social life as their work (particularly as nurses) was essential to helping out in the war effort (Xinari 2010). Similarly, during World War II (1939- 1945), women had to leave their homes and domestic spheres to take on the jobs that men no longer could do (Xinari 2010).
Propaganda posters were used to empower women into taking on these roles and responsibilities such as those replicated in the earrings below.




"We can do it" vintage WWII poster Rosie the riveter Feminist earrings. Found online @ etsy

Later on, during the 1960s and 1970s Feminism had matured and was attracting the interests of young women who wanted to enter and challenge male dominated societies (Xinari 2010)

Second Wave Feminism developed during this time, whereby women were becoming involved in "conscious raising".

 

"Marriage, child-rearing, the practice of sexuality, women's right to control her body (with which contracetons and the right to abortion directly related), as well as sexist language and the beauty myth are targeted b the theorists and the activists of what was terms Second Wave Feminism"

(Xinari 2010, p. 8)

In terms of beauty, feminism argues that a woman's worth is separate from her beauty (Xinari 2010), whereas Elizabeth Wurtzel (2012) states that "looking great is a matter of feminism. No liberated woman would misinterpret the cause by appearing less than hale and happy" (Gay 2012)

Many women might not classify themselves as 'Feminists' per say, but instead believe in, and support, equal rights.
Marrissa Mayer (CEO of Yahoo!) said:

"I don't think I would consider myself a feminist. I think that I certainly believe in equal rights, I believe that women are  just as capable, if not more so in a lot of different dimensions, but I don't , I think, have, sort of, the militant drive and the sort of, chip on the shoulder that sometimes comes with that. And I think its too bad, but I do think that feminism has become in many ways a more negative word"
(Gay 2012, p. 91)

Feminism is still a strong and current issue. Feminist women can adorn their bodies with jewellery as a statement that requires no verbal communication such as the necklace shown:




Feminist jewellery found on this blog (opheliasmonologue). Original image from Humans of New York (seen on the subway)



Another piece is shown below whereby the delicate and cursive writing of the word Feminism on the heart draws your attention in. The background is a scrunched up page from Vogue, in reference to the belief that women's magazines fuel women's desires to make themselves more beautiful/appealing. This contradicts the beliefs of Feminism and promotes Post-Feminism (Xinari 2010). Magazines and images from advertising (as feminists believe) encourages the supression of womens (and mens) self-confidence and fuels our consumerism (PinkStinks)
The badge can be found online @ etsy.

 

Some other pieces of jewellery portray the view of Feminists as a "killjoy Feminist", who (according to this vendor) is a humourless Feminist (WickedQueer). The vendor asks the customer:

 

"Do you stop watching television shows when they disrespectfully portray trans women? Did you tell your boyfriend he wasn't getting any until he paid for half of your birth control? Do you resent rape culture with every fiber of your being?"

 

(WickedQueer)

 

The piece is designed to stop people from making the stereotypical comments about the wearer as a Feminist and approaches the topic from a humorous perspective.

Found online @ etsy.

 



Feminist jewellery also depicts womanly features, such as the uterus. Perhaps from a distance the pieces might not be obvious. I quite like the silver and pearl pendant below.

Found online @ etsy

 

 

One that I believe is quite unattractive though is of a menstruation uterus womb. Is that really necessary? I do, however, think that they would be quite a funny conversation starter.

Found online @ etsy.

 

 

Feminist jewellery clearly has a current niche.

These pieces are designed to give women power to show their beliefs.

Feminism makes sense, why shouldn't women be equal? The stigma of being a 'Feminist' is perhaps misunderstood.

We should also appreciate the privileges that women currently have, rights that women like the suffragettes and suffragists fought for. If it wasn't for Feminism we would not be enjoying the postmodern lifestyles we have (Xinari 2010). If these pieces support the continuing fight then why not make a statement about your beliefs and rights?

However, I'm not sure I would wear menstruating uterus earrings but fair (equal) play to those who do.

 



Straight talking: the decorative art

This week in class we studied the 20th century and fashion magazines. We also looked into fashion magazine editing. For my blog post I will be discussing 20th century Art Deco jewellery.

Art Deco began preceding the end of World War I, in 1918 (Bryant 2001). The period was marked as a post-war rebirth and was a rejection of the old in order to embrace the new (Pieces of Eight Gallery 2009). The pieces of this period can be recognisable as Deco and Cubist , whilst some appear incredibly modern and timeless (Pieces of Eight Gallery 2009). This period of decadence spanned from around the 1920s to 1930s. Women were rebelling by wearing their hair in short bobs, decorating their arms with flashy bracelets and wearing dangly earrings (popular due to the short hair styles) (Gem Gossip 2009)

The name Art Deco is derived from the 1925 exhibition held in Paris called  "L'Exposition Internationale des Arts Decoratifs et Industriels Modernes."(Bryant 2001 and Mouillefarine and Posseme 2009).  


Rene Prou, design for a poster advertising the Exposition Internationalie des Arts Decoratifs et industriels Modernes, 1925, Les Arts Decoratifs, Musee de la Publicite, Paris

 

Thirty French jewellers displayed their pieces at the exhibition (Bryant 2001). Three of them (Jean Fouquet, Gerard Sandoz and Raymond Templier) most prominently displayed pieces suited to the time, such as those with:

"simple, geometric forms, clearly defined volumes contained within large, flat surfaces ending with sharp edges, solid colors offsetting each other, and diverse materials, including precious stones and metals"
(Bryant 2001, p.1)

Additionally, Gabardi (1989) defined the fundamental principles of Art Deco jewellery to be:

"linearity, geometrical forms, emphasis on stylisation, sharp edge and chromatic audacity (lot of colour contrasts"
(p. 31)

The two sources here agree that colours were contrasted against each other and that geometric forms were prominent in the designs. Such features can bee seen in Jean Fouquet's brooch below and through the collection of pieces from various jewellers of the time.



Jean Fouquet Brooch, 1925



Selection of Art Deco jewellery created by Jean Depres, Jean Dunand, Georges Fouquet, Jean Fouquet, Gustave Miklos, Gerard Sandoz and Raymond Templier

Art Deco jewellery took great steps towards creating pieces for their artistic quality, rather than being merited for their commerical value (Gabardi 1989). In this time period, aesthetic concerns were becoming more important than concerns over the richness of materials (metals and stones) (Gabardi 1989).

Art Deco was a brief period in history, however it has left a great mark on jewellery thereafter (Gabardi 1989). It is possible to detect hints of Art Deco styles in pieces following on from the period (Gabardi 1989). Art Deco examples how style does not have a set start and finish date- aspects of styles will continue even after the period itself has finished (Gabardi 1989)

This is exampled in Art Deco's revival in popularity (Bougalt 2000). Pieces have been sold for a tremendous amount, like the 1925 Cartier Tutti Frutti bracelet, which sold for $456,000 in 1999 (Bougalt 2000). The piece was later re-sold in 2011 for nearly $963,000! As discussed in the link below:



 

 This growth in demand and popularity is said to be attributed to the high demand and scarce quantity of originals (Lyons 2001). In recent times people have really begun to appreciate the craftsmanship of Art Deco jewellery (Lyons 2001) The most popular, it is said, are the straight line bracelets like the Tutti Frutti Cartier piece (Lyons 2001). The Art Deco period has come through not only in jewellery but also in fashion, the aesthetics of the time continue to be popular for all ages (Melhuish 2011)

 

So, are we finally remembering and recognising the beauty of pieces versus mass produced cheap items? Clearly the short Art Deco period has created a scarcity for the pieces, increasing desirability.

 

From current high street pieces it is clear that Art Deco, despite being short lived, continues to influence and affect current designs.

(Pieces are from Topshop, River Island and New Look)

 

 



Hair today, gone tomorrow....

This week in class we focussed on the 19th century and on the history of fashion magazines.
For this week’s post I'm going to focus on 19th century mourning jewellery, specifically on Victorian hair jewellery.

 Mourning jewellery originally became popular in England during the 15^th and 16^th centuries. Also, after the Civil war, mourning rings were considered to be a status symbol (Poynder, 1981).

The 19^th century saw an explosion of the popularity of mourning jewellery and of hairwork (Guggenheim Navarro, 2001).

 

Victorian mourning brooch with hair

 

During this time period, 18^th century sentiment was replaced with 19^th century sentimentality- as evoked in the popular verse

‘If I should from the world/ Depart you’d have a bit of my/ Hair my hand and heart is we/ Could no more each other see/ You could still remember me’  

(Guggenheim Navarro, 2001 p.485).

Sentimental hair jewellery was worn by everyone- no matter of their societal class (Guggenheim Navarro, 2001).

19^th century hairwork is now very much associated with mourning, and while the majority of it was worn for that purpose, many pieces were made and exchanged to mark happier moments (i.e. an engagement, or friendship) (GuggenheimNavarro, 2001). Pieces made out of human hair included, brooches, pendants, rings, earrings and wreaths.

Here is a clip further describing mourning and hair jewellery

 
It is said that the greatest patron of and influence upon the craft of hair jewellery was Queen Victoria (Guggenheim Navarro, 2001). Victoria may have established her lifelong inclination to accept hair jewellery after receiving several hair bracelets on her 16^th birthday (Guggenheim Navarro,2001).

From the time of her engagement to Albert, Victoria always wore a lock of his hair in a locket, brooch or bracelet (Guggenheim Navarro, 2001). However, his untimely death in 1861 spirited the development and popularity of hair jewellery (Guggenheim Navarro, 2001). Victoria’s intense grief sent herself and the rest of England into what must have felt like a seemingly endless mourning period. The excess of which, made mourning jewellery fashionable (GuggenheimNavarro, 2001).

 Here is a short video on the mourning fashions of the time.

 
Conversely, it is noticed that the majority of hair used in mourning jewellery is of a nondescript brown, whereas fine blond and jet black hair is not often seen (Poynder, 1981). Were these pieces of jewellery always from the heads of those who had passed?

Despite the popularity of this intricate style of jewellery making, the fashion for mourning jewellery as a whole ceased after the death of Queen Victoria (Poynder, 1981)

Despite the rather uncomfortable and uneasy qualities that the material may possess, Victorians fashioned intricate and delicate items that became a big fashion trend.

Do you think they are beautiful?
Perhaps the uneasiness we receive is only from the fact that the hair is from someone who has passed?
Would you wear jewellery made from hair?

I think I would... maybe.
  

Just to get me started, heres an interesting collabroation between Tatty Devine and Louise Gray.
Its a very eclectic combination but I like the idea of the thinking bubble and spech mark earrings. No doubt items along this line will trickle down into something more wearable! For more information on the collection click on the link- Tatty Devine and Louise Gray