This essay will analyse the new culture growing around the jewellery trade, and how people, both consumer and makers, adapt to these new services. It will answer the question of how modern technology is affecting our relationship with jewellery through studying the main themes presented from the two lectures, “Immaterially” (Pengelly, 2018) and “The Thingness of Things” (Peach, 2018). For thousands of years people across the globe have decorated their bodies with a wide range of captivating jewellery pieces, all created with a different kind of exotic material. On a global scale, over 90 million carats of rough diamonds and 1,600 tons of gold are mined for jewellery designers each year, creating billions in revenue. (Human Rights Watch, 2018.) Diamond and gold jewellery are most commonly purchased as gifts for loved ones or for special occasions, but also have historic uses of protecting the wearer against misfortune and evil spirits. (British Museum, 2010.) Jewellery is deeply enriched with tradition and meaning, but with the constant growth of modern technology our relationship with jewellery has also changed.
(Meyer 2015 fig. 1)
Humans across the globe have many stories and religions that have jewellery design incorporated into them, by using the body adornment to display aspects of their personalisation to the world. “Jewellery was man’s answer to the profound human need for self-adornment and, consequently, is one of the oldest forms of decorative arts.” (Hugh Tait, 1986.) However, with the ever-growing development of technology in the modern era our interaction and relationship with jewellery is also changing. This growth begins with the general making of jewellery. With computer technology, there is now programs that silversmiths and jewellers can use to create a digital copy for the finalized jewellery design for potential consumers to see. Many jeweler retailers claim that this new approach is relatively high in price, and that the pieces may still require significant work before sale. “The 'toner' used in the laser sintering process is rather more expensive than that found in a laser printer cartridge. Eighteen-carat gold powder is worth about £18,000 a kilo.” (Chris Vallance, 2013.) Furthermore, this development affects craftsmen’s interaction with jewelry pieces in the development stages, thus challenging the deep heritage in the craftsmanship. Now in silversmith’s workshops there is a growing number of three dimensional printers that resemble photo printers in an office. Yet these machines, produced by the German manufacture EOS, have many advantages. Complex designs can now be made rapidly as well as quickly altered if desired, saving considerable amounts of time for the designer. Designs that would be casted in solid metal can now be manufactured as hollow shapes, reducing the amount of precious metal used and their weight. Also paired with the development of digital programs, such as Rhino and Keyshot, jewelers no longer need to draw up graphs of the design for the potential buyer to decide on, but can now change any corrections with a single action. (Shapeways, 2018.) Jewellers who also may not have access to a workshop or the material in which to create the design can now send off their digital copy’s, in programs such as Rhino, to companies that will create the design for them at a cost. This also opens more doors for the customer, as they can now better personalize jewellery with the craftsman. "It's inevitable that this will become an integral part of our industry – as it has in the other industries it's been implemented in – but it's a shape changer to the industry.” (Chris Vallance, 2013.) To better suit the modern era of jewelry making many students are now learning to incorporate these new techniques into their designs, but all must still abide to learn the traditional techniques of jewelry making, "I think the craft skills will still be here, after 700 years they'll still be here,". (Chris Vallance, 2013.)
(Pike 2018 fig. 2)
Many trends have come and gone through, and yet are still relevant in jewellery. For example in the Victorian era, especially so during the time of Queen Victoria’s grieving, the largest trend seen was in the industry of death, Memento Mori, or better known as Mourning Jewellery (John Benjamin, 2003.) Brooches and necklaces of this time are often inscribed with ‘In Memory Of’, or a locket compartment with a piece of hair with the name and date of the deceased inscribed inside. (John Benjamin, 2003.) Today this kind of trend would be strongly viewed as morbid, if not a little eccentric or obscene. Even so, people now have the option to turn their loved one’s ashes, or hair, into diamonds. Modern science now gives people the option to turn a piece of their deceased, or living, loved ones into a diamond by taking carbon-bases in their DNA. (Dave Mosher, 2017.) Every living being has carbon in them, and as do diamonds. Scientist claim that they only need to find the middle ground of the two to create the stone. “The average person has enough carbon in them to produce between 50 and 100 diamonds. We're basically taking the fact that all living creatures are carbon-based, and so are diamonds. Once we figured out how to get between the two, the process worked.” (Amanda Leesburgh, 2002.) This development in the jewelry industry offers a new coping mechanism for people dealing with depression and mourning the loss of a loved one. “'These alternatives are normally done in quite good taste,' said a spokesperson for the Funeral Standards Council in Cardiff. ‘People want to deal with grief in different ways. Some might find the concept of using cremated remains in diamonds useful to come to terms with their loss.'” (The Guardian, 2002.) There are many different responses towards this development, while some people feel disturbed by the idea of having their loved one’s ashes turned into a stone, others feel more positive towards this and have even changed their attitude towards diamonds in general. Some people feel that what gives them value in an item is through personal history. By buying a diamond from a store there is little to no personal connection towards that object or meaningful history. (Hearts In Diamond, 2018.) There is also the aspect of uniqueness to the diamond, after all the definition of what you truly own is often what other people don’t own. (Lionel Shriver, 2018.) There is also a sense of identity in a ring with the ashes of your loved one, as to the eyes of others that ring is yours as you are the one who holds the most sentiment towards the object. If anything, this new development in the diamond industry affects people’s relation to jewelry more so by offering a new kind of settlement for them. “Not only do people produce design, either professionally or as a user, but these design things are also reflections of who we are – our wants, needs, desires, responsibility’s, or lack of them.” (Wava Carpenter, 2009.)
(Simson 2017 fig. 3)
From the many man-made objects in the world, jewellery often most represents the methods of commitment and showing affection between a lover and one’s friends. In its simplest form – a band of gold or silver – the tradition can be traced back to the Romans when a ring would be given as a legal pledge or an agreement between families. (John Benjamin, 2003.) Jewellery rings are often related today as a symbol of an engagement and between a couple at their wedding, for people to publicly display to others their commitment and relationship status. Now through the joint efforts of designers and scientists there is now the option of rings that are made of actual human bone, which can be grown for couples. "By talking about science breakthroughs as designers, we can make objects and engage the public, their imagination and their desires and so on," (Tobie Kerridge, 2005.) By using bioglass, a bioactive ceramic that mimics the structure of bone material, designers are able to create the rings for couples. This idea of instead having a piece of metal to be the symbol of connection and relation, to have an actual piece of the significant other is a new symbolism which challenges the general perception of jewelry. "We are interested in how technological innovation is used by human needs and desires rather than the pure functionality of the innovation," (Mr Kerridge, 2005.) The reason why researches of the bone ring have chosen rings as their main design is that it gives them an instant connection with the public, as a majority of people have a connection towards ring jewelry. It is to encourage them to imagine the other possibility that modern technology can achieve and to debate the ethics of such techniques. Using bones in jewelry is by no means new, throughout history many cultures have incorporated bones into their jewelry making, either as talismans or body adornments. However, in today’s world it provides people with a possibility to feel even closer to their significant other by having an actual part of them at all times. “…objects have the ability to signify things – or establish social meaning – on behalf of other people,” (Ian Woodward, 2007.) By holding a piece of their lover or friends close, it may improve or change our initial thoughts about jewelry itself.
In conclusion, the constant growth of technology will surely continue to affect and develop upon traditional methods of designing within jewelry. This is not a new phenomenon, we have been continually using new technological advances for thousands of years. We will always connect jewelry with profound emotions, significance to events, and fashion trends. The future offers a wider scope for design and new material possibilities for both the designer and the individual to call upon. Today unique pieces can be designed with the customer’s individual specifications in mind, more easily than ever and together with the technology now available offer an unlimited spectrum for the designers and jewellers.