Back in January, Bre Pettis (founder and former CEO of MakerBot) launched his own boutique 3D printed product brand called Bre & Co.
Their site and presentation is a fascinating study in ways to make 3D printed products appeal as a premium product to the current 25-35 year old middle income consumer market. It also shows what a website would look like when an artisan boutique is created to sell mostly or fully 3D printed retail products.
This marks an interesting evolution in the development of the CAD/CAM and 3D printing in the jewellery market. While we have talked about how CAD/CAM is portrayed to customers in the jewellery market before, it seems we are now seeing several distinctly different business strategies evolve which use 3D printing as a key component not only for manufacturing, but also for retail presentation. Each of these strategies shows how CAD/CAM is used and presented in a different target market.
For this month’s Something Beautiful in Jewellery, I present a jeweller and fashion accessory designer Kali Ratcliffe, and her new brand ELIXIR.
Embossed leather hat, made with Rhino and a CNC milled mould
Kali is a graduate of the Royal College of Art who has studied under several jewellery and silversmithing masters before collaborating with a few London-based fashion labels. What makes her work so interesting is the diversity of approaches she’s willing to take to make the piece she wants, combining resourceful application of Rhino and Zbrush with laser engraving and control over metal and leather to make quite diverse (yet cohesive) forms.
More examples of her work after the break. Continue reading
i.materialise published an article in their blog not too long ago which I feel is too valuable a lesson for CAD modellers who are serious about 3D printing.
But, just like I normally do here, I don’t normally post these things without adding my own additional advice:
It’s not easy to find an example of generative jewellery design which has successfully cracked the fashion market. But for this month’s edition of Something Beautiful in Jewellery, we found one. Today, I bring you the work of one John Robertson and his company VerticesEdge.
The Curvaceous collection from VerticesEdge
<UPDATE – The original article has been updated to include some more accessible schemes and programmes not previously mentioned.>
BBC Business News recently aired a segment on How Crafts Workers are Learning to Sell their Work. In the segment, both the mentors and the craftsmen highlighted the importance of learning business skills. The mentors also pointed out the balancing act required to stay a luxury manufacturer without devoting all your time on building the brand. While the examples provided were silversmithing and leatherwork, this is every bit as true for a new jewellery business.
Walpole’s Brands of Tomorrow mentoring scheme mentioned in the video is an interesting one for ambitious luxury craft designers, but highly competitive (as you can see from the description on their own site). Since not everyone is aiming for the top end luxury market, I think it’s worth sharing some of the other UK business training schemes and support out there for craftsmen and budding jewellery businesses.
For this month’s Something Beautiful in Jewellery, I present the bold and elegant work of Primal Crafts.
Primal Crafts is the creation of Danish designer and one-man-show Kristoffer Rønn-Andersen from Copenhagen. With a taste for Nordic tribal tattoos and ancient weaponry, and a flair for Scandinavian modernist design, he has been producing some quite remarkable sculptural forms as 3D printed jewellery through Kristoffer’s store on i.materialise.
More after the break.
It seems even with old-fashioned fine jewellery techniques, innovation is still possible.
With their new Merveilles collection, Swiss jeweller Boghossian has unveiled an entirely new diamond setting technique they call merveilles setting. Within this setting, the surrounding stones play as much a part in holding the diamonds in position as the metal itself.
See for yourself: