A Study of promotional strategies of design Jewellery brand in India

RESEARCH PROJECT REPORTSubmitted toVeer Bahadur Singh Purvanchal UniversityIn partial fulfillment of the requirements of the degree ofBACHELOR OF BUSINESS ADMINISTRATION

Submitted by Under the Supervision of: Gopal Singh Mr. Arif SultanB.B.A 6th Semester Assistant ProfessorRoll No:5460023 Department of Business Administration

2015Technical Education & Research Institute,Post-Graduate College, RavindrapuriGhazipur-233001 CertificateThis is to certify that Gopal Singh pursuing BBA 6th Semester from this Institute has prepared the research project report entitled A Study of promotional strategies of design Jewellery brand in Indiain partial fulfillment of the requirements of the degree of Bachelor of Business Administration from Veer Bahadur Singh Purvanchal University, Jaunpur, during the session of 2013-14.

This report is based on research project undertaken by Gopal Singh under my supervision during the course of sixth semester and fulfills the requirements of regulations relating to the nature and standard of BBA course of V.B.S. Purvanchal University.

I recommend that this survey project report may be sent for evaluation.

Rahul Anand Singh Arif Sultan Associate Professor & Head, Assistant Professor, Dept. of Business Administration Dept. of Business Administration

DeclarationI, Gopal Singh,hereby declare that this research project report entitled A Study of promotional strategies of design Jewellery brand in India has been prepared by me under the supervision of Mr. Arif Sultan, Assistant Professor T.E.R.I., P. G. College affiliated to Veer Bahadur Singh Purvanchal University.

This research project report is my bonafide work and has not been submitted in any form to any university or Institute for the award of any degree or diploma prior to the under mentioned date. I bear the entire responsibility of submission of this project report.

30th May 2015Gopal Singh

BBA VI SemesterDepartment of Business Administration,Technical Education & Research Institute, P.G. College Ghazipur

TABLE OF CONTENTSI:-PrefaceII:-AcknowledgementCHAPTER1:1. IntroductionCHAPTER22. Objectives3. Importance of the study4. Scope of the studyCHAPTER3: Research Methodology CHAPTER4: Data Analysis &InterpretationCHAPTER5: Findings &RecommendationsCHAPTER6: Conclusion & Limitation Bibliography

PREFACENo doubt theory provides the fundamental stone for the guidance of practice but practice examines the element of truth laying in the theory. Therefore a strong co-ordination of theory and practice is very essential to make a B.B.A perfect.Proceed (for which) with inadequate knowledge of facts. research is a tool by which mgt. is supplied with the information which convent imagination into a stronger competitive position. The first and foremost talk of any commodity exchanges is to create a investment of consumers in this and also it define the risk of former in diversify and they can get easily benefit without such a anymore risks. Financing of any product largely depends upon consumers afford depilates and attitudes. The availability in the market of a product, habit of usage product attributes and market structure.To utilize the theoretical knowledge of Institutional investment in Indian mobile phone market, I decided to choose my topic which may cover all and as a result I selected A Study of promotional strategies of design Jewellery brand in India After deciding the topic I went to search the materials related to the research report from the different source i.e. Internet, books, magazine, newspaper and from the under guidance of sir, and I studied the mobile phone market and the important of institutional investment, that what is institutional investment, which companies are involved in mobile phone market, what are restriction on this investment by the Indian government. Is the domestic mobile phone market investment and different brand mobile phone market same or there is any difference between both. Is there is any negative point of institutional investment. This project report has been divided into six chapters The first chapter starts with Introduction concept of Jwellary.In second chapter I focus the Objective, Importance, scope In third chapter research methodology & Limitation.In chapter fourth data analysis and interpretation.In chapter five finding and recommendation.In chapter six conclusion & limitation \At lastly Bibliography.

ACKNOWLEDGMENTThe research project report on A Study of promotional strategies of design Jewellery brand in Indiaan original work of mine, but I would never have been able to complete it on my own. I always needed help and support to complete it. This help and support come from different people. So I have a long list of people to thank to.First of all thank to almighty GOD and I would like to thank my HOD Mr. Rahul Anand Singh, who gives me chance to work on this topic. I would also like to say thanks to my supervisor Mr. Arif Sultan, under whose guidance I completed the report. Without his support it was literally impossible to complete it. This guidance was like a streak of light to me. It was of immense or importance. It was he who explained the topic in detail to me, told me about various sources from where I could get the information related to the topic and also help me in acquiring and gathering information. It was he who corrected my faults at each and every step and helped me in making this report presentable.A word of thanks to our Mr. Arif Sir. Under whose guidance all our works are accomplished.My mother has always been a real source of inspiration and great support to me. Their support was urgently needed by me whom they always provided to me. I would also like to thank my friends, specially rahul and my elder brother upon whom I greatly resided for the completion of this report.A special thanks to my batch mates who always supported and encouraged me to do better and better. They all help me greatly in the collection of secondary data from various sources.Its my duty to thank my friends who out of their precious time spared some time for me and answer my question. Their contribution is the greatest because without their support, it was impossible to prepare, this report. Their responses are the base of this report, so they need a special word of thanks.Last but not the least; I would like to thank all other who helped me in one or the other way. May be I have missed some names, for that I extremely regret and once again thanks all those whose names couldnt be mentioned here.

Gopal Singh B.B.A 6th semester

INTRODUCTIONJewellery or jewelry[1] (/dulri/) consists of small decorative items worn for personal adornment, such as brooches, rings, necklaces, earrings, and bracelets. Jewellery may be attached to the body or the clothes, and the term is restricted to durable ornaments, excluding flowers for example. For many centuries metal, often combined with gemstones, has been the normal material for jewellery, but other materials such as shells and other plant materials may be used. It is one of the oldest type of archaeological artefact with 100,000-year-old beads made from Nassarius shells thought to be the oldest known jewellery.[2] The basic forms of jewellery vary between cultures but are often extremely long-lived; in European cultures the most common forms of jewellery listed above have persisted since ancient times, while other forms such as adornments for the nose or ankle, important in other cultures, are much less common. Historically, the most widespread influence on jewellery in terms of design and style have come from Asia. Jewellery may be made from a wide range of materials. Gemstones and similar materials such as amber and coral, precious metals, beads, and shells have been widely used, and enamel has often been important. In most cultures jewellery can be understood as a status symbol, for its material properties, its patterns, or for meaningful symbols. Jewellery has been made to adorn nearly every body part, from hairpins to toe rings, and even genital jewellery. The patterns of wearing jewellery between the sexes, and by children and older people can vary greatly between cultures, but adult women have been the most consistent wearers of jewellery; in modern European culture the amount worn by adult males is relatively low compared with other cultures and other periods in European culture.

The word jewellery itself is derived from the word jewel, which was anglicized from the Old French "jouel",[3] and beyond that, to the Latin word "jocale", meaning plaything. In British English, New Zealand English, Hiberno-English, Australian English, and South African English it is spelled jewellery, while the spelling is jewelry in American English.[1] Both are used in Canadian English.Form and functionKenyan man wearing tribal beadsHumans have used jewellery for a number of different reasons: functional, generally to fix clothing or hair in place, or to tell the time (in the case of watches) as a marker of social status and personal status, as with a wedding ring as a signifier of some form of affiliation, whether ethnic, religious or social to provide talismanic protection (in the form of amulets)[4] as an artistic display as a carrier or symbol of personal meaning such as love, mourning, or even luck[5]

Most cultures at some point have had a practice of keeping large amounts of wealth stored in the form of jewellery. Numerous cultures store wedding dowries in the form of jewellery or make jewellery as a means to store or display coins. Alternatively, jewellery has been used as a currency or trade good; an example being the use of slave beads.[citation needed]Many items of jewellery, such as brooches and buckles, originated as purely functional items, but evolved into decorative items as their functional requirement diminished.[6]Jewellery can also symbolise group membership (as in the case, of the Christian crucifix or the Jewish Star of David) or status (as in the case of chains of office, or the Western practice of married people wearing wedding rings).Wearing of amulets and devotional medals to provide protection or ward off evil is common in some cultures. These may take the form of symbols (such as the ankh), stones, plants, animals, body parts (such as the Khamsa), or glyphs (such as stylised versions of the Throne Verse in Islamic art).[7]Materials and methodsIn creating jewellery, gemstones, coins, or other precious items are often used, and they are typically set into precious metals. Alloys of nearly every metal known have been encountered in jewellery. Bronze, for example, was common in Roman times. Modern fine jewellery usually includes gold, white gold, platinum, palladium, titanium, or silver. Most contemporary gold jewellery is made of an alloy of gold, the purity of which is stated in karats, indicated by a number followed by the letter K. American gold jewellery must be of at least 10K purity (41.7% pure gold), (though in the UK the number is 9K (37.5% pure gold) and is typically found up to 18K (75% pure gold). Higher purity levels are less common with alloys at 22 K (91.6% pure gold), and 24 K (99.9% pure gold) being considered too soft for jewellery use in America and Europe. These high purity alloys, however, are widely used across Asia, the Middle East and Africa.[citation needed] Platinum alloys range from 900 (90% pure) to 950 (95.0% pure). The silver used in jewellery is usually sterling silver, or 92.5% fine silver. In costume jewellery, stainless steel findings are sometimes used.

Bead embroidery design.Other commonly used materials include glass, such as fused-glass or enamel; wood, often carved or turned; shells and other natural animal substances such as bone and ivory; natural clay; polymer clay; Hemp and other twines have been used as well to create jewellery that has more of a natural feel. However, any inclusion of lead or lead solder will give an English Assay office (the building which gives English jewellery its stamp of approval, the Hallmark) the right to destroy the piece, however it is very rare for the assay office to do so.Beads are frequently used in jewellery. These may be made of glass, gemstones, metal, wood, shells, clay and polymer clay. Beaded jewellery commonly encompasses necklaces, bracelets, earrings, belts and rings. Beads may be large or small; the smallest type of beads used are known as seed beads, these are the beads used for the "woven" style of beaded jewellery. Another use of seed beads is an embroidery technique where seed beads are sewn onto fabric backings to create broad collar neck pieces and beaded bracelets. Bead embroidery, a popular type of handwork during the Victorian era, is enjoying a renaissance in modern jewellery making. Beading, or beadwork, is also very popular in many African and indigenous North American cultures.Silversmiths, goldsmiths, and lapidaries methods include forging, casting, soldering or welding, cutting, carving and "cold-joining" (using adhesives, staples and rivets to assemble parts).[8]Diamonds

DiamondsMain article: DiamondDiamonds were first mined in India.[9] Pliny may have mentioned them, although there is some debate as to the exact nature of the stone he referred to as Adamas;[10] In 2005, Australia, Botswana, Russia and Canada ranked among the primary sources of gemstone diamond production.[11]The British crown jewels contain the Cullinan Diamond, part of the largest gem-quality rough diamond ever found (1905), at 3,106.75 carats (621.35 g).Now popular in engagement rings, this usage dates back to the marriage of Maximilian I to Mary of Burgundy in 1477.[12]Other gemstonesMain article: GemstoneMany precious and semiprecious stones are used for jewellery. Among them are:AmberAmber, an ancient organic gemstone, is composed of tree resin that has hardened over time. The stone must be at least one million years old to be classified as amber, and some amber can be up to 120 million years old.AmethystAmethyst has historically been the most prized gemstone in the quartz family. It is treasured for its purple hue, which can range in tone from light to dark. Spanish emerald and gold pendant at Victoria and Albert Museum.EmeraldEmeralds are one of the three main precious gemstones (along with rubies and sapphires) and are known for their fine green to bluish green colour. They have been treasured throughout history, and some historians report that the Egyptians mined emerald as early as 3500 BC.JadeJade is most commonly associated with the colour green but can come in a number of other colours as well. Jade is closely linked to Asian culture, history, and tradition, and is sometimes referred to as the stone of heaven.JasperJasper is a gemstone of the chalcedony family that comes in a variety of colours. Often, jasper will feature unique and interesting patterns within the coloured stone. Picture jasper is a type of jasper known for the colours (often beiges and browns) and swirls in the stones pattern.QuartzQuartz refers to a family of crystalline gemstones of various colours and sizes. Among the well-known types of quartz are rose quartz (which has a delicate pink colour), and smoky quartz (which comes in a variety of shades of translucent brown). A number of other gemstones, such as Amethyst and Citrine, are also part of the quartz family. Rutilated quartz is a popular type of quartz containing needle-like inclusions.RubyRubies are known for their intense red colour and are among the most highly valued precious gemstones. Rubies have been treasured for millennia. In Sanskrit, the word for ruby is ratnaraj, meaning king of precious stones.SapphireThe most popular form of sapphire is blue sapphire, which is known for its medium to deep blue colour and strong saturation. Fancy sapphires of various colours are also available. In the United States, blue sapphire tends to be the most popular and most affordable of the three major precious gemstones (emerald, ruby, and sapphire).TurquoiseTurquoise is found in only a few places on earth, and the worlds largest turquoise producing region is the southwest United States. Turquoise is prized for its attractive colour, most often an intense medium blue or a greenish blue, and its ancient heritage. Turquoise is used in a great variety of jewellery styles. It is perhaps most closely associated with southwest and Native American jewellery, but it is also used in many sleek, modern styles. Some turquoise contains a matrix of dark brown markings, which provides an interesting contrast to the gemstones bright blue colour.Some gemstones (like pearls, coral, and amber) are classified as organic, meaning that they are produced by living organisms. Others are inorganic, meaning that they are generally composed of and arise from minerals.Some gems, for example, amethyst, have become less valued as methods of extracting and importing them have progressed. Some man-made gems can serve in place of natural gems, such as cubic zirconia, which can be used in place of diamond.[13]Metal finishesAn example of gold plated jewelleryFor platinum, gold, and silver jewellery, there are many techniques to create finishes. The most common are high-polish, satin/matte, brushed, and hammered. High-polished jewellery is the most common and gives the metal a highly reflective, shiny look. Satin, or matte finish reduces the shine and reflection of the jewellery, and this is commonly used to accentuate gemstones such as diamonds. Brushed finishes give the jewellery a textured look and are created by brushing a material (similar to sandpaper) against the metal, leaving "brush strokes." Hammered finishes are typically created by using a rounded steel hammer and hammering the jewellery to give it a wavy texture.Some jewellery is plated to give it a shiny, reflective look or to achieve a desired colour. Sterling silver jewellery may be plated with a thin layer of 0.999 fine silver (a process known as flashing) or may be plated with rhodium or gold. Base metal costume jewellery may also be plated with silver, gold, or rhodium for a more attractive finish.Impact on societyJewellery has been used to denote status. In ancient Rome, only certain ranks could wear rings;[14] later, sumptuary laws dictated who could wear what type of jewellery. This was also based on rank of the citizens of that time. Cultural dictates have also played a significant role. For example, the wearing of earrings by Western men was considered effeminate in the 19th century and early 20th century. More recently, the display of body jewellery, such as piercings, has become a mark of acceptance or seen as a badge of courage within some groups but is completely rejected in others. Likewise, hip hop culture has popularised the slang term bling-bling, which refers to ostentatious display of jewellery by men or women.Conversely, the jewellery industry in the early 20th century launched a campaign to popularise wedding rings for men, which caught on, as well as engagement rings for men, which did not, going so far as to create a false history and claim that the practice had medieval roots. By the mid-1940s, 85% of weddings in the U.S. featured a double-ring ceremony, up from 15% in the 1920s.[15] Religion has also played a role in societies influence. Islam, for instance, considers the wearing of gold by men as a social taboo,[16] and many religions have edicts against excessive display.[17] In Christianity, the New Testament gives injunctions against the wearing of gold, in the writings of the apostles Paul and Peter. In Revelation 17, "the great whore" or false religious system, is depicted as being "decked with gold and precious stones and pearls, having a golden cup in her hand." (Rev. 17:4) For Muslims it is considered haraam for a man to wear gold and women are restricted to ear jewellery.[18]HistoryThe history of jewellery is long and goes back many years, with many different uses among different cultures. It has endured for thousands of years and has provided various insights into how ancient cultures worked.PrehistoryThe first signs of jewellery came from the people in Africa. Perforated beads suggesting shell jewellery made from sea snail shells have been found dating to 75,000 years ago at Blombos Cave. In Kenya, at Enkapune Ya Muto, beads made from perforated ostrich egg shells have been dated to more than 40,000 years ago.Later, the European early modern humans had crude necklaces and bracelets of bone, teeth, berries, and stone hung on pieces of string or animal sinew, or pieces of carved bone used to secure clothing together. In some cases, jewellery had shell or mother-of-pearl pieces. In southern Russia, carved bracelets made of mammoth tusk have been found. The Venus of Hohle Fels features a perforation at the top, showing that it was intended to be worn as a pendant.Around seven-thousand years ago, the first sign of copper jewellery was seen.[6] In October 2012 the Museum of Ancient History in Lower Austria revealed that they had found a grave of a female jewellery worker forcing archaeologists to take a fresh look at prehistoric gender roles after it appeared to be that of a female fine metal worker a profession that was previously thought to have been carried out exclusively by men.[19]EgyptAmulet pendant (1254 BC) made from gold, lapis lazuli, turquoise and carnelian, 14 cm wide.An Egyptian 18th dynasty pharaonic era princess' crown.The first signs of established jewellery making in Ancient Egypt was around 3,0005,000 years ago.[20] The Egyptians preferred the luxury, rarity, and workability of gold over other metals. In Predynastic Egypt jewellery soon began to symbolise power and religious power in the community. Although it was worn by wealthy Egyptians in life, it was also worn by them in death, with jewellery commonly placed among grave goods.In conjunction with gold jewellery, Egyptians used coloured glass, along with semi-precious gems. The colour of the jewellery had significance. Green, for example, symbolised fertility. Lapis lazuli and silver had to be imported from beyond the countrys borders.Egyptian designs were most common in Phoenician jewellery. Also, ancient Turkish designs found in Persian jewellery suggest that trade between the Middle East and Europe was not uncommon. Women wore elaborate gold and silver pieces that were used in ceremonies.[20]Europe and the Middle East

MesopotamiaPair of Gold Hair Ornaments, Mesopotamian, circa 2000 BC (Isin-larsa period). Decorated with granulation and cloisonn.Walters Art Museum collections.By approximately 5,000 years ago, jewellery-making had become a significant craft in the cities of Mesopotamia. The most significant archaeological evidence comes from the Royal Cemetery of Ur, where hundreds of burials dating 29002300 BC were unearthed; tombs such as that of Puabi contained a multitude of artefacts in gold, silver, and semi-precious stones, such as lapis lazuli crowns embellished with gold figurines, close-fitting collar necklaces, and jewel-headed pins. In Assyria, men and women both wore extensive amounts of jewellery, including amulets, ankle bracelets, heavy multi-strand necklaces, and cylinder seals.[21]Jewellery in Mesopotamia tended to be manufactured from thin metal leaf and was set with large numbers of brightly coloured stones (chiefly agate, lapis, carnelian, and jasper). Favoured shapes included leaves, spirals, cones, and bunches of grapes. Jewellers created works both for human use and for adorning statues and idols. They employed a wide variety of sophisticated metalworking techniques, such as cloisonn, engraving, fine granulation, and filigree.[22]Extensive and meticulously maintained records pertaining to the trade and manufacture of jewellery have also been unearthed throughout Mesopotamian archaeological sites. One record in the Mari royal archives, for example, gives the composition of various items of jewellery:1 necklace of flat speckled chalcedony beads including: 34 flat speckled chalcedony bead, [and] 35 gold fluted beads, in groups of five.1 necklace of flat speckled chalcedony beads including: 39 flat speckled chalcedony beads, [with] 41 fluted beads in a group that make up the hanging device.1 necklace with rounded lapis lazuli beads including: 28 rounded lapis lazuli beads, [and] 29 fluted beads for its clasp.[23]Greece

Gold earring from Mycenae, 16th century BC.Gold WreathThe Greeks started using gold and gems in jewellery in 1600 BC, although beads shaped as shells and animals were produced widely in earlier times. Around 1500 BC, the main techniques of working gold in Greece included casting, twisting bars, and making wire.[24] Many of these sophisticated techniques were popular in the Mycenaean period, but unfortunately this skill was lost at the end of the Bronze Age. The forms and shapes of jewellery in ancient Greece such as the armring (13th century BC), brooch (10th century BC) and pins (7th century BC), have varied widely since the Bronze Age as well. Other forms of jewellery include wreaths, earrings, necklace and bracelets. A good example of the high quality that gold working techniques could achieve in Greece is the Gold Olive Wreath (4th century BC), which is modeled on the type of wreath given as a prize for winners in athletic competitions like the Olympic Games. Jewellery dating from 600 to 475 BC is not well represented in the archaeological record, but after the Persian wars the quantity of jewellery again became more plentiful.[25] One particularly popular type of design at this time was a bracelet decorated with snake and animal-heads Because these bracelets used considerably more metal, many examples were made from bronze. By 300 BC, the Greeks had mastered making coloured jewellery and using amethysts, pearl, and emeralds. Also, the first signs of cameos appeared, with the Greeks creating them from Indian Sardonyx, a striped brown pink and cream agate stone. Greek jewellery was often simpler than in other cultures, with simple designs and workmanship. However, as time progressed, the designs grew in complexity and different materials were soon used.Pendant with naked woman, made from electrum, Rhodes, around 630620 BC.Jewellery in Greece was hardly worn and was mostly used for public appearances or on special occasions. It was frequently given as a gift and was predominantly worn by women to show their wealth, social status, and beauty. The jewellery was often supposed to give the wearer protection from the Evil Eye or endowed the owner with supernatural powers, while others had a religious symbolism. Older pieces of jewellery that have been found were dedicated to the Gods.Ancient Greek jewellery from 300 BC.They worked two styles of pieces: cast pieces and pieces hammered out of sheet metal. Fewer pieces of cast jewellery have been recovered. It was made by casting the metal onto two stone or clay moulds. The two halves were then joined together, and wax, followed by molten metal, was placed in the centre. This technique had been practised since the late Bronze Age. The more common form of jewellery was the hammered sheet type. Sheets of metal would be hammered to thickness and then soldered together. The inside of the two sheets would be filled with wax or another liquid to preserve the metal work. Different techniques, such as using a stamp or engraving, were then used to create motifs on the jewellery. Jewels may then be added to hollows or glass poured into special cavities on the surface. The Greeks took much of their designs from outer origins, such as Asia, when Alexander the Great conquered part of it. In earlier designs, other European influences can also be detected. When Roman rule came to Greece, no change in jewellery designs was detected. However, by 27 BC, Greek designs were heavily influenced by the Roman culture. That is not to say that indigenous design did not thrive. Numerous polychrome butterfly pendants on silver foxtail chains, dating from the 1st century, have been found near Olbia, with only one example ever found anywhere else.[26]

These Hellenistic bracelets from the 1st century BC show the influence of Eastern cultures. Walters Art Museum, Baltimore.Hexagonal gold pendant with double solidus of Constantine the Great, one of a set of four that date from 321 AD (British Museum)[27]Rome

Roman Amethyst intaglio engraved gem, c. 212 AD; later regarded as of St. Peter.Although jewellery work was abundantly diverse in earlier times, especially among the barbarian tribes such as the Celts, when the Romans conquered most of Europe, jewellery was changed as smaller factions developed the Roman designs. The most common artefact of early Rome was the brooch, which was used to secure clothing together. The Romans used a diverse range of materials for their jewellery from their extensive resources across the continent. Although they used gold, they sometimes used bronze or bone, and in earlier times, glass beads & pearl. As early as 2,000 years ago, they imported Sri Lankan sapphires and Indian diamonds and used emeralds and amber in their jewellery. In Roman-ruled England, fossilised wood called jet from Northern England was often carved into pieces of jewellery. The early Italians worked in crude gold and created clasps, necklaces, earrings, and bracelets. They also produced larger pendants that could be filled with perfume.Like the Greeks, often the purpose of Roman jewellery was to ward off the Evil Eye given by other people. Although women wore a vast array of jewellery, men often only wore a finger ring. Although they were expected to wear at least one ring, some Roman men wore a ring on every finger, while others wore none. Roman men and women wore rings with an engraved gem on it that was used with wax to seal documents, a practice that continued into medieval times when kings and noblemen used the same method. After the fall of the Roman Empire, the jewellery designs were absorbed by neighbouring countries and tribes.[20]Middle AgesMerovingian fibulae, Bibliothque nationale de France.6th century bronze eagle-shaped Visigothic cloisonn fibula from Guadalajara, Spain, using glass-paste fillings in imitation of garnets.Post-Roman Europe continued to develop jewellery making skills. The Celts and Merovingians in particular are noted for their jewellery, which in terms of quality matched or exceeded that of Byzantium. Clothing fasteners, amulets, and, to a lesser extent, signet rings, are the most common artefacts known to us. A particularly striking Celtic example is the Tara Brooch. The Torc was common throughout Europe as a symbol of status and power. By the 8th century, jewelled weaponry was common for men, while other jewellery (with the exception of signet rings) seemed to become the domain of women. Grave goods found in a 6th7th century burial near Chalon-sur-Sane are illustrative. A young girl was buried with: 2 silver fibulae, a necklace (with coins), bracelet, gold earrings, a pair of hair-pins, comb, and buckle.[28] The Celts specialised in continuous patterns and designs, while Merovingian designs are best known for stylised animal figures.[29] They were not the only groups known for high quality work. Note the Visigoth work shown here, and the numerous decorative objects found at the Anglo-Saxon Ship burial at Sutton Hoo Suffolk, England are a particularly well-known example.[20] On the continent, cloisonn and garnet were perhaps the quintessential method and gemstone of the period.Byzantine wedding ring.The Eastern successor of the Roman Empire, the Byzantine Empire, continued many of the methods of the Romans, though religious themes came to predominate. Unlike the Romans, the Franks, and the Celts, however, Byzantium used light-weight gold leaf rather than solid gold, and more emphasis was placed on stones and gems. As in the West, Byzantine jewellery was worn by wealthier females, with male jewellery apparently restricted to signet rings. Woman's jewellery had some peculiarities like kolts that decorated headband. Like other contemporary cultures, jewellery was commonly buried with its owner.[30]RenaissanceThe Renaissance and exploration both had significant impacts on the development of jewellery in Europe. By the 17th century, increasing exploration and trade led to increased availability of a wide variety of gemstones as well as exposure to the art of other cultures. Whereas prior to this the working of gold and precious metal had been at the forefront of jewellery, this period saw increasing dominance of gemstones and their settings. An example of this is the Cheapside Hoard, the stock of a jeweller hidden in London during the Commonwealth period and not found again until 1912. It contained Colombian emerald, topaz, amazonite from Brazil, spinel, iolite, and chrysoberyl from Sri Lanka, ruby from India, Afghan lapis lazuli, Persian turquoise, Red Sea peridot, as well as Bohemian and Hungarian opal, garnet, and amethyst. Large stones were frequently set in box-bezels on enamelled rings.[31] Notable among merchants of the period was Jean-Baptiste Tavernier, who brought the precursor stone of the Hope Diamond to France in the 1660s.When Napoleon Bonaparte was crowned as Emperor of the French in 1804, he revived the style and grandeur of jewellery and fashion in France. Under Napoleons rule, jewellers introduced parures, suites of matching jewellery, such as a diamond tiara, diamond earrings, diamond rings, a diamond brooch, and a diamond necklace. Both of Napoleons wives had beautiful sets such as these and wore them regularly. Another fashion trend resurrected by Napoleon was the cameo. Soon after his cameo decorated crown was seen, cameos were highly sought. The period also saw the early stages of costume jewellery, with fish scale covered glass beads in place of pearls or conch shell cameos instead of stone cameos. New terms were coined to differentiate the arts: jewellers who worked in cheaper materials were called bijoutiers, while jewellers who worked with expensive materials were called joailliers, a practice which continues to this day.

Romanticism

Starting in the late 18th century, Romanticism had a profound impact on the development of western jewellery. Perhaps the most significant influences were the publics fascination with the treasures being discovered through the birth of modern archaeology and a fascination with Medieval and Renaissance art. Changing social conditions and the onset of the Industrial Revolution also led to growth of a middle class that wanted and could afford jewellery. As a result, the use of industrial processes, cheaper alloys, and stone substitutes led to the development of paste or costume jewellery. Distinguished goldsmiths continued to flourish, however, as wealthier patrons sought to ensure that what they wore still stood apart from the jewellery of the masses, not only through use of precious metals and stones but also though superior artistic and technical work. One such artist was the French goldsmith Franoise Dsire Froment Meurice. A category unique to this period and quite appropriate to the philosophy of romanticism was mourning jewellery. It originated in England, where Queen Victoria was often seen wearing jet jewellery after the death of Prince Albert, and it allowed the wearer to continue wearing jewellery while expressing a state of mourning at the death of a loved one.[32]In the United States, this period saw the founding in 1837 of Tiffany & Co. by Charles Lewis Tiffany. Tiffany's put the United States on the world map in terms of jewellery and gained fame creating dazzling commissions for people such as the wife of Abraham Lincoln. Later, it would gain popular notoriety as the setting of the film Breakfast at Tiffany's. In France, Pierre Cartier founded Cartier SA in 1847, while 1884 saw the founding of Bulgari in Italy. The modern production studio had been born and was a step away from the former dominance of individual craftsmen and patronage.This period also saw the first major collaboration between East and West. Collaboration in Pforzheim between German and Japanese artists led to Shakud plaques set into Filigree frames being created by the Stoeffler firm in 1885).[33] Perhaps the grand final and an appropriate transition to the following period were the masterful creations of the Russian artist Peter Carl Faberg, working for the Imperial Russian court, whose Faberg eggs and jewellery pieces are still considered as the epitome of the goldsmiths art.Art NouveauIn the 1890s, jewellers began to explore the potential of the growing Art Nouveau style and the closely related German Jugendstil, British (and to some extent American) Arts and Crafts Movement, Catalan Modernisme, Austro-Hungarian Sezession, Italian "Liberty", etc.Art Nouveau jewellery encompassed many distinct features including a focus on the female form and an emphasis on colour, most commonly rendered through the use of enamelling techniques including basse-taille, champleve, cloisonn, and plique--jour. Motifs included orchids, irises, pansies, vines, swans, peacocks, snakes, dragonflies, mythological creatures, and the female silhouette.

Ren Lalique, working for the Paris shop of Samuel Bing, was recognised by contemporaries as a leading figure in this trend. The Darmstadt Artists' Colony and Wiener Werksttte provided perhaps the most significant input to the trend, while in Denmark Georg Jensen, though best known for his Silverware, also contributed significant pieces. In England, Liberty & Co. and the British arts & crafts movement of Charles Robert Ashbee contributed slightly more linear but still characteristic designs. The new style moved the focus of the jeweller's art from the setting of stones to the artistic design of the piece itself. Lalique's dragonfly design is one of the best examples of this. Enamels played a large role in technique, while sinuous organic lines are the most recognisable design feature.The end of World War I once again changed public attitudes, and a more sober style developed.[34]Art DecoGrowing political tensions, the after-effects of the war, and a reaction against the perceived decadence of the turn of the 20th century led to simpler forms, combined with more effective manufacturing for mass production of high-quality jewellery. Covering the period of the 1920s and 1930s, the style has become popularly known as Art Deco. Walter Gropius and the German Bauhaus movement, with their philosophy of "no barriers between artists and craftsmen" led to some interesting and stylistically simplified forms. Modern materials were also introduced: plastics and aluminium were first used in jewellery, and of note are the chromed pendants of Russian-born Bauhaus master Naum Slutzky. Technical mastery became as valued as the material itself. In the West, this period saw the reinvention of granulation by the German Elizabeth Treskow, although development of the re-invention has continued into the 1990s. It is based on the basic shapes.AsiaIn Asia, the Indian subcontinent has the longest continuous legacy of jewellery making anywhere, with a history of over 5,000 years.[35] One of the first to start jewellery making were the peoples of the Indus Valley Civilization, in what is now predominately modern-day Pakistan and part of northern and western India. Early jewellery making in China started around the same period, but it became widespread with the spread of Buddhism around 2,000 years ago.ChinaThe Chinese used silver in their jewellery more than gold. Blue kingfisher feathers were tied onto early Chinese jewellery and later, blue gems and glass were incorporated into designs. However, jade was preferred over any other stone. The Chinese revered jade because of the human-like qualities they assigned to it, such as its hardness, durability, and beauty.[6] The first jade pieces were very simple, but as time progressed, more complex designs evolved. Jade rings from between the 4th and 7th centuries BC show evidence of having been worked with a compound milling machine, hundreds of years before the first mention of such equipment in the west.[36]Jade coiled serpent, Han Dynasty (202 BC220 AD)`Xin' Shape Jewellery from Ming Dynasty Tombs, (13681644)In China, the most uncommon piece of jewellery is the earring, which was worn neither by men nor women.[citation needed] Amulets were common, often with a Chinese symbol or dragon. Dragons, Chinese symbols, and phoenixes were frequently depicted on jewellery designs.The Chinese often placed their jewellery in their graves. Most Chinese graves found by archaeologists contain decorative jewellery.[37]Indian subcontinentTwo-Tiered Enamel Earrings, late 18th-early 19th century. Qajar Dynasty. Brooklyn Museum.The Indian subcontinent (encompassing India, Pakistan and other countries of South Asia) has a long jewellery history, which went through various changes through cultural influence and politics for more than 5,0008,000 years. Because India had an abundant supply of precious metals and gems, it prospered financially through export and exchange with other countries. While European traditions were heavily influenced by waxing and waning empires, India enjoyed a continuous development of art forms for some 5,000 years.[35] One of the first to start jewellery making were the peoples of the Indus Valley Civilization (encompassing present-day Pakistan and north and northwest India). By 1500 BC, the peoples of the Indus Valley were creating gold earrings and necklaces, bead necklaces, and metallic bangles. Before 2100 BC, prior to the period when metals were widely used, the largest jewellery trade in the Indus Valley region was the bead trade. Beads in the Indus Valley were made using simple techniques. First, a bead maker would need a rough stone, which would be bought from an eastern stone trader. The stone would then be placed into a hot oven where it would be heated until it turned deep red, a colour highly prized by people of the Indus Valley. The red stone would then be chipped to the right size and a hole bored through it with primitive drills. The beads were then polished. Some beads were also painted with designs. This art form was often passed down through the family. Children of bead makers often learned how to work beads from a young age. Persian style also played a big role in Indias jewellery. Each stone had its own characteristics related to Hinduism.Jewellery in the Indus Valley was worn predominantly by females, who wore numerous clay or shell bracelets on their wrists. They were often shaped like doughnuts and painted black. Over time, clay bangles were discarded for more durable ones. In present-day India, bangles are made out of metal or glass.[38] Other pieces that women frequently wore were thin bands of gold that would be worn on the forehead, earrings, primitive brooches, chokers, and gold rings. Although women wore jewellery the most, some men in the Indus Valley wore beads. Small beads were often crafted to be placed in men and womens hair. The beads were about one millimetre long.A female skeleton (presently on display at the National Museum, New Delhi, India) wears a carlinean bangle (bracelet) on her left hand. Kada is a special kind of bracelet and is widely popular in Indian culture. They symbolizes animals like peacock,[39] elephant,[40] etc.According to Hindu belief, gold and silver are considered as sacred metals. Gold is symbolic of the warm sun, while silver suggests the cool moon. Both are the quintessential metals of Indian jewellery. Pure gold does not oxidise or corrode with time, which is why Hindu tradition associates gold with immortality. Gold imagery occurs frequently in ancient Indian literature. In the Vedic Hindu belief of cosmological creation, the source of physical and spiritual human life originated in and evolved from a golden womb (hiranyagarbha) or egg (hiranyanda), a metaphor of the sun, whose light rises from the primordial waters.[41]Antique Pearl & Gold Nose Ring, India, 19th centuryJewellery had great status with Indias royalty; it was so powerful that they established laws, limiting wearing of jewellery to royalty. Only royalty and a few others to whom they granted permission could wear gold ornaments on their feet. This would normally be considered breaking the appreciation of the sacred metals. Even though the majority of the Indian population wore jewellery, Maharajas and people related to royalty had a deeper connection with jewellery. The Maharaja's role was so important that the Hindu philosophers identified him as central to the smooth working of the world. He was considered as a divine being, a deity in human form, whose duty was to uphold and protect dharma, the moral order of the universe.[42]

A Navaratna ring.

Navaratna (nine gems)is a powerful jewel frequently worn by a Maharaja (Emperor). It is an amulet, which comprises diamond, pearl, ruby, sapphire, emerald, topaz, cats eye, coral, and hyacinth (red zircon). Each of these stones is associated with a celestial deity, represented the totality of the Hindu universe when all nine gems are together. The diamond is the most powerful gem among the nine stones. There were various cuts for the gemstone. Indian Kings bought gemstones privately from the sellers. Maharaja and other royal family members value gem as Hindu God. They exchanged gems with people to whom they were very close, especially the royal family members and other intimate allies. Only the emperor himself, his intimate relations, and select members of his entourage were permitted to wear royal turban ornament. As the empire matured, differing styles of ornament acquired the generic name of sarpech, from sar or sir, meaning head, and pech, meaning fastener.India was the first country to mine diamonds, with some mines dating back to 296 BC. India traded the diamonds, realising their valuable qualities. Historically, diamonds have been given to retain or regain a lovers or rulers lost favour, as symbols of tribute, or as an expression of fidelity in exchange for concessions and protection. Mughal emperors and Kings used the diamonds as a means of assuring their immortality by having their names and wordly titles inscribed upon them. Moreover, it has played and continues to play a pivotal role in Indian social, political, economic, and religious event, as it often has done elsewhere. In Indian history, diamonds have been used to acquire military equipment, finance wars, foment revolutions, and tempt defections. They have contributed to the abdication or the decapitation of potentates. They have been used to murder a representative of the dominating power by lacing his food with crushed diamond. Indian diamonds have been used as security to finance large loans needed to buttress politically or economically tottering regimes. Victorious military heroes have been honoured by rewards of diamonds and also have been used as ransom payment for release from imprisonment or abduction.[43] Today, many of the jewellery designs and traditions are used, and jewellery is commonplace in Indian ceremonies and weddings.[37]North and South AmericaJewellery played a major role in the fate of the Americas when the Spanish established an empire to seize South American gold. Jewellery making developed in the Americas 5,000 years ago in Central and South America. Large amounts of gold was easily accessible, and the Aztecs, Mixtecs, Mayans, and numerous Andean cultures, such as the Mochica of Peru, created beautiful pieces of jewellery.With the Mochica culture, goldwork flourished. The pieces are no longer simple metalwork, but are now masterful examples of jewellery making. Pieces are sophisticated in their design, and feature inlays of turquoise, mother of pearl, spondylus shell, and amethyst. The nose and ear ornaments, chest plates, small containers and whistles are considered masterpieces of ancient Peruvian culture.[44]Moche ear ornaments. 1800 AD. Larco Museum Collection, Lima-PeruAmong the Aztecs, only nobility wore gold jewellery, as it showed their rank, power, and wealth. Gold jewellery was most common in the Aztec Empire and was often decorated with feathers from Quetzal birds and others. In general, the more jewellery an Aztec noble wore, the higher his status or prestige. The Emperor and his High Priests, for example, would be nearly completely covered in jewellery when making public appearances. Although gold was the most common and a popular material used in Aztec jewellery, jade, turquoise, and certain feathers were considered more valuable.[45] In addition to adornment and status, the Aztecs also used jewellery in sacrifices to appease the gods. Priests also used gem-encrusted daggers to perform animal and human sacrifices.[20][32]Another ancient American civilization with expertise in jewellery making were the Maya. At the peak of their civilization, the Maya were making jewellery from jade, gold, silver, bronze, and copper. Maya designs were similar to those of the Aztecs, with lavish headdresses and jewellery. The Maya also traded in precious gems. However, in earlier times, the Maya had little access to metal, so they made the majority of their jewellery out of bone or stone. Merchants and nobility were the only few that wore expensive jewellery in the Maya region, much the same as with the Aztecs.[37]In North America, Native Americans used shells, wood, turquoise, and soapstone, almost unavailable in South and Central America. The turquoise was used in necklaces and to be placed in earrings. Native Americans with access to oyster shells, often located in only one location in America, traded the shells with other tribes, showing the great importance of the body adornment trade in Northern America.[46]Native AmericanMain article: Native American JewelryBai-De-Schluch-A-Ichin or Be-Ich-Schluck-Ich-In-Et-Tzuzzigi (Slender Silversmith) "Metal Beater," Navajo silversmith, photo by George Ben Wittick, 1883Native American jewellery is the personal adornment, often in the forms of necklaces, earrings, bracelets, rings, pins, brooches, labrets, and more, made by the Indigenous peoples of the United States. Native American jewellery reflects the cultural diversity and history of its makers. Native American tribes continue to develop distinct aesthetics rooted in their personal artistic visions and cultural traditions. Artists create jewellery for adornment, ceremonies, and trade. Lois Sherr Dubin writes, "[i]n the absence of written languages, adornment became an important element of Indian [Native American] communication, conveying many levels of information." Later, jewellery and personal adornment "...signaled resistance to assimilation. It remains a major statement of tribal and individual identity."[47]Metalsmiths, beaders, carvers, and lapidaries combine a variety of metals, hardwoods, precious and semi-precious gemstones, beadwork, quillwork, teeth, bones, hide, vegetal fibres, and other materials to create jewellery. Contemporary Native American jewellery ranges from hand-quarried and processed stones and shells to computer-fabricated steel and titanium jewellery.PacificMain article: Jewellery in the PacificJewellery making in the Pacific started later than in other areas because of recent human settlement. Early Pacific jewellery was made of bone, wood, and other natural materials, and thus has not survived. Most Pacific jewellery is worn above the waist, with headdresses, necklaces, hair pins, and arm and waist belts being the most common pieces.Jewellery in the Pacific, with the exception of Australia, is worn to be a symbol of either fertility or power. Elaborate headdresses are worn by many Pacific cultures and some, such as the inhabitants of Papua New Guinea, wear certain headdresses once they have killed an enemy. Tribesman may wear boar bones through their noses.Island jewellery is still very much primal because of the lack of communication with outside cultures. Some areas of Borneo and Papua New Guinea are yet to be explored by Western nations. However, the island nations that were flooded with Western missionaries have had drastic changes made to their jewellery designs. Missionaries saw any type of tribal jewellery as a sign of the wearer's devotion to paganism. Thus many tribal designs were lost forever in the mass conversion to Christianity.[48]A modern opal braceletAustralia is now the number one supplier of opals in the world. Opals had already been mined in Europe and South America for many years prior, but in the late 19th century, the Australian opal market became predominant. Australian opals are only mined in a few select places around the country, making it one of the most profitable stones in the Pacific.[49]The New Zealand Mori traditionally had a strong culture of personal adornment,[50] most famously the hei-tiki. Hei-tikis are traditionally carved by hand from bone, nephrite, or bowenite.Nowadays a wide range of such traditionally inspired items such as bone carved pendants based on traditional fishhooks hei matau and other greenstone jewellery are popular with young New Zealanders of all backgrounds for whom they relate to a generalized sense of New Zealand identity. These trends have contributed towards a worldwide interest in traditional Mori culture and arts.Other than jewellery created through Mori influence, modern jewellery in New Zealand is multicultural and varied.[48]Modern

Contemporary jewellery designDiamond International Awards1994 from BrazilMost modern commercial jewellery continues traditional forms and styles, but designers such as Georg Jensen have widened the concept of wearable art. The advent of new materials, such as plastics, Precious Metal Clay (PMC), and colouring techniques, has led to increased variety in styles. Other advances, such as the development of improved pearl harvesting by people such as Mikimoto Kkichi and the development of improved quality artificial gemstones such as moissanite (a diamond simulant), has placed jewellery within the economic grasp of a much larger segment of the population.The "jewellery as art" movement was spearheaded by artisans such as Robert Lee Morris and continued by designers such as Gill Forsbrook in the UK. Influence from other cultural forms is also evident. One example of this is bling-bling style jewellery, popularised by hip-hop and rap artists in the early 21st century, e.g. grills, a type of jewellery worn over the teeth.The late 20th century saw the blending of European design with oriental techniques such as Mokume-gane. The following are innovations in the decades straddling the year 2000: "Mokume-gane, hydraulic die forming, anti-clastic raising, fold-forming, reactive metal anodising, shell forms, PMC, photoetching, and [use of] CAD/CAM."[51]Artisan jewellery continues to grow as both a hobby and a profession. With more than 17 United States periodicals about beading alone, resources, accessibility, and a low initial cost of entry continues to expand production of hand-made adornments. Some fine examples of artisan jewellery can be seen at The Metropolitan Museum of Art in New York City.[52] The increase in numbers of students choosing to study jewellery design and production in Australia has grown in the past 20 years, and Australia now has a thriving contemporary jewellery community. Many of these jewellers have embraced modern materials and techniques, as well as incorporating traditional workmanship.MasonicFreemasons attach jewels to their detachable collars when in Lodge to signify a Brothers Office held with the Lodge. For example, the square represents the Master of the Lodge and the dove represents the Deacon.Masonic collar jewelsBody modificationA Padaung girl in Northern Thailand.Jewellery used in body modification can be simple and plain or dramatic and extreme. The use of simple silver studs, rings, and earrings predominates. Common jewellery pieces such as, earrings are a form of body modification, as they are accommodated by creating a small hole in the ear.Padaung women in Myanmar place large golden rings around their necks. From as early as five years old, girls are introduced to their first neck ring. Over the years, more rings are added. In addition to the twenty-plus pounds of rings on her neck, a woman will also wear just as many rings on her calves too. At their extent, some necks modified like this can reach 1015in (2538cm) long. The practice has obvious health impacts, however, and has in recent years declined from cultural norm to tourist curiosity.[54] Tribes related to the Paduang, as well as other cultures throughout the world, use jewellery to stretch their earlobes or enlarge ear piercings. In the Americas, labrets have been worn since before first contact by Innu and First Nations peoples of the northwest coast.[55] Lip plates are worn by the African Mursi and Sara people, as well as some South American peoples.In the late 20th century, the influence of modern primitivism led to many of these practices being incorporated into western subcultures. Many of these practices rely on a combination of body modification and decorative objects, thus keeping the distinction between these two types of decoration blurred.In many cultures, jewellery is used as a temporary body modifier, with, in some cases, hooks or even objects as large as bike bars being placed into the recipient's skin. Although this procedure is often carried out by tribal or semi-tribal groups, often acting under a trance during religious ceremonies, this practice has seeped into western culture. Many extreme-jewellery shops now cater to people wanting large hooks or spikes set into their skin. Most often, these hooks are used in conjunction with pulleys to hoist the recipient into the air. This practice is said to give an erotic feeling to the person and some couples have even performed their marriage ceremony whilst being suspended by hooks.[54]Jewellery marketAccording to a 2007 KPMG study,[56] the largest jewellery market is the United States with a market share of 30.8%, Japan, India, China, and the Middle East each with 89%, and Italy with 5%. The authors of the study predict a dramatic change in market shares by 2015, where the market share of the United States will have dropped to around 25%, and China and India will increase theirs to over 13%. The Middle East will remain more or less constant at 9%, whereas Europe's and Japan's marketshare will be halved and become less than 4% for Japan, and less than 3% for the biggest individual European countries, Italy and the UK.

Objective1. To know about the different jwellary brands available in India.2. To know about the role of design in promotion of Jewellary.3. To know about the design changing strategy adopted by the different Jewellary brands.4. To know about the different promotional trends used by Jwellery brands in India.

ScopeWhich has witnessed the rapid expansion in the field of handmade jewellery in the past many decades is now having a new type of competition & challenge in the form of branded jewellery. This is further enhanced by a few local manufacturers & traders introducing the concept of retail branding .Thus the need has arisen to make a perception study of a consumer on branded jewellery to assess the future of this line of business & to study the future of direction and change being adopted by the existing manufacturers & traders in the light of the growth of branded jewellery

Importance

RESEARCH METHODOLOGYRESEARCH A Systematic search for an answer to a question or solution to problem is known as RESEARCH.According to KERLINGER defines RESEARCH , A Systematic , Controlled , Empirical and Critical Investigation of Hypothetical Preposition about Presumes Relation among Natural Phenomen .The marketing research process that will be adopted in the present study will consist of the following stagesa. Defining the problem and the research objective: b. Developing the research plan: c. Collection and Sources of data: d. Analyze the collected informatione. Report research findings:RESEARCH DESIGNA research design is defined, as the specification of methods and procedures for acquiring the Information needed. It is a plant or organizing framework for doing the study and collecting the data. Designing a research plan requires decisions all the data sources, research approaches, Research instruments, sampling plan and contact methods.Research design is mainly of following types: -1. Exploratory research.2. Descriptive studies

Exploratory ResearchThe major purposes of exploratory studies are the identification of problems, the more precise Formulation of problems and the formulations of new alternative courses of action. The design of exploratory studies is characterized by a great amount of flexibility and ad-hoc veracity. DESCRIPTIVE STUDIESDescriptive research in contrast to exploratory research is marked by the prior formulation of specific research Questions. The investigator already knows a substantial amount about the research problem. Perhaps as a Result of an exploratory study, before the project is initiated. Descriptive research is also characterized by a Preplanned and structured design.The research design used in this project is a DESCRIPTIVE DESIGN.DATA COLLECTIONResearch will be based on two sources: PRIMARY DATAPrimary data is that kind of data which is collected by the investigator herself for the purpose of specific study. The data such collected is original in character. The advantage of third method collection is the authenticity. SECONDARY DATA When an investigator uses the data that has been collected by others is called secondary data. The secondary data could be collected from journals, reports and various publications. The advantages of secondary data can be economical, both in the term of money and time spent.

Data Collection Method

Unpublished SourcesPublished SourcesPrimarySecondary

Direct personal Interview Indirect personal InterviewGovt. publicationInformation from correspondentsReport Committees Mailed questionnaire &Commissions Private PublicationQuestion filled by enumerators Research Institute

SECONDARY DATASources of Secondary DataFollowing are the main sources of secondary data:1. Official Publications.2. Publications Relating to Trade:3. Journal/ Newspapers etc.:4. Data Collected by Industry Associations:5. Unpublished Data: Data may be obtained from several companies, organizations, working in the same areas like magazines.NOTE In this research report I have used the Secondary data from the different source of secondary data.TOOLS USED FOR DATA COLLECTION METHODSTATISTICAL TOOL:The researcher has used Simple Percentage Pie- chart. .Period of Study: This study has been carried out for a maximum period of 6 weeks.Area of study: The study is exclusively done in the area of operation. It is a process requiring care, sophistication, experience, business judgment, and imagination for which there can be no mechanical substitutes.Sampling Design: The convenience sampling is done because any probability sampling procedure would require detailed information about the DLW Policy, which is not easily available further, it being an exploratory research.

Sample Procedure: In this study judgmental sampling procedure is used. Judgmental sampling is preferred because of some limitation and the complexity of the random sampling. Area sampling is used in combination with convenience sampling so as to collect the data from different regions of the city and to increase reliabilityMethod of the Sampling:Probability SamplingIt is also known as random sampling. Here, every item of the universe has an equal chance or probability of being chosen for sample.Simple Random SamplingA simple random sample gives each member of the population an equalchance of being chosen. It is not a haphazard sample as some people think! One way of achieving a simple random sample is to number each element in the sampling frame (e.g. give everyone on the Electoral register a number) and then use random numbers to select the required sample.Random numbers can be obtained using your calculator, a spreadsheet, printed tables of random numbers, or by the more traditional methods of drawing slips of paper from a hat, tossing coins or rolling dice.Systematic Random SamplingThis is random sampling with a system! From the sampling frame, a starting point is chosen at random, and thereafter at regular intervals.Stratified Random SamplingWith stratified random sampling, the population is first divided into a number of parts or 'strata' according to some characteristic, chosen to be related to the major variables being studied. For this survey, the variable of interest is the citizen's attitude to the redevelopment scheme, and the stratification factor will be the values of the respondents' homes. This factor was chosen because it seems reasonable to suppose that it will be related to people's attitudesCluster and area SamplingCluster sampling is a sampling technique used when "natural" groupings are evident in a statistical population. It is often used in marketing research. In this technique, the total population is divided into these groups (or clusters) and a sample of the groups is selected. Then the required information is collected from the elements within each selected group. This may be done for every element in these groups or a subsample of elements may be selected within each of these groups.Non Probability SamplingIt is also known as deliberate or purposive or judge mental sampling. In this type of sampling, every item in the universe does not have an equal, chance of being included in a sample.It is of following type:Convenience SamplingA convenience sample chooses the individuals that are easiest to reach or sampling that is done easy. Convenience sampling does not represent the entire population so it is considered bias.Quota SamplingIn quota sampling the selection of the sample is made by the interviewer, who has been given quotas to fill from specified sub-groups of the population. I have chosen convenient sampling for my project work

Chapter 3Data analysis and Interpretation

Data analysis and Interpretation1. About the different jwellary brands available in India.Interpretation-Different jwellary brands available in IndiaThe Gold RushIn the late 1990s, the Indian Jewellery market witnessed a shift in consumer perceptions of Jewellery. Instead of being regarded as only an investment option, Jewellery was being prized for its aesthetic appeal. In other words, the focus seemed to have shifted from content to design. Trendy, affordable and lightweight Jewellery soon gained familiarity. Branded Jewellery also gained acceptance forcing traditional jewelers to go in for branding. Given the opportunities the branded Jewellery market offered; the number of gold retailers in the country increased sharply.Branded players such as Tanishq, Oyzterbay, Gili and Carbon opened outlets in various parts of the country. Traditional jewelers also began to bring out lightweight Jewellery, and some of them even launched their in-house brands.However, the share of branded Jewellery in the total Jewellery market was still small (about Rs. 10 billion of the Rs. 400 billion per annum Jewellery market in 2002), though growing at a pace of 20 to 30 percent annually.The branded Jewellery segment occupied only a small share of the total Jewellery market because of the mindset of the average Indian buyer who still regarded Jewellery as an investment. Moreover, consumers trusted only their family jewelers when buying Jewellery.Consequently, the branded Jewellery players tried to change the mindset of the people and woo customers with attractive designs at affordable prices.Gold Jewellery Market in IndiaBefore the liberalization of the Indian economy in 1991, only the Minerals and Metals Trading Corporation of India (MMTC) and the State Bank of India (SBI) were allowed to import gold.The abolition of the Gold Control Act in 1992(2), allowed large export houses to import gold freely. Exporters in export processing zones were allowed to sell 10 percent of their produce in the domestic market.In 1993, gold and diamond mining were opened up for private investors and foreign investors were allowed to own half the equity in mining ventures.In 1997, overseas banks and bullion suppliers were also allowed to import gold into India. These measures led to the entry of foreign players like DeBeers,3 Tiffany4 and Cartiers5 insto the Indian market. In the 1990s, the number of retail Jewellery outlets in India increased greatly due to the abolition of the Gold Control Act.'This led to a highly fragmented and unorganized Jewellery market with an estimated 100,000 workshops supplying over 350,000 retailers, mostly family-owned, single shop operations.In 2001, India had the highest demand for gold in the world; 855 tons were consumed a year, 95% of which was used for Jewellery. The bulk of the Jewellery purchased in India was designed in the traditional Indian style.6 Jewellery was fabricated mainly in 18, 22 and 24-carat gold. (Refer Table I for carat calculation) As Hallmarking7 was not very common in India, under-caratage was prevalent.

According to a survey done by the Bureau of Indian Standards (BIS),8 most gold Jewellery advertised in India as 22-carat was of a lesser quality.Over 80% of the jewelers sold gold Jewellery ranging from 13.5 carats to 18 carats as 22-carat gold Jewellery. The late 1990s saw a number of branded Jewellery players entering the Indian market.

Titan sold gold Jewellery under the brand name Tanishq, while Gitanjali Jewels, a Mumbai-based Jewellery exporter, sold 18-carat gold Jewellery under the brand name Gili.Gitanjali Jewels also started selling 24-carat gold Jewellery in association with a Thai company, Pranda.Su-Raj (India) Ltd. launched its collection of diamond and 22 -carat gold Jewellery in 1997. The Mumbai-based group, Beautiful, which marketed the Tiffany range of products in India, launched its own range of studded 18-carat Jewellery, Dagina.Cartiers entered India in 1997 in a franchise agreement with Ravissant.9 Other players who entered the Indian branded gold Jewellery market during the 1990s and 2000-01 included Intergold Gem Ltd., Oyzterbay, Carbon and Tribhovandas Bhimji Zaveri (TBZ).Gili: In 1994, Gili Jewellery was established as a distinct brand by Gitanjali Jewels, soon after the abolition of the Gold Control Act by the Indian government. Gili offered a wide range of 18-carat plain gold and diamond-studded Jewellery, designed for the contemporary Indian woman. The designs combined both the Indian and western styles and motifs. With sales of Rs.0.14 billion for the year 2000-01, Gili had a 0.03 percent share of the 400 billion Jewellery market in India and a 1.4 percent share of the branded Jewellery market.Tanishq: In 1984, Questar Investments Limited (a Tata group company) and the Tamil Nadu Industrial Development Corporation Limited (TIDCO) jointly promoted Titan Watches Limited (Titan).Initially involved in the watches and clocks business, Titan later ventured into the Jewellery businesses. In 1995, Titan changed its name from 'Titan Watches Ltd.' to 'Titan Industries Ltd.' in order to change its image from that of a watch manufacturer to that of a fashion accessories manufacturer. In the same year, it also started its Jewellery division under the Tanishq brand.Among the branded Jewellery players in the Indian market, Tanishq is considered to be a trendsetter. When it was launched in 1995, Tanishq began with 18-carat Jewellery. Realizing that such Jewellery did not sell well in the domestic market, the 18-carat Jewellery range was expanded to include 22 and 24-carat ornaments as well. When Tanishq was launched, it sold most of its products through multibrand stores.In 1998, Tanishq decided to set up its own chain of retail showrooms to create a distinctive brand image. By 2002, Tanishq retailed its Jewellery through 53 exclusive stores across 41 cities. To meet increasing demand, Tanishq planned to open 70 stores by the end of 2003 and offer a range of 'wearable' products with prices starting at Rs. 400. With sales of Rs. 2.66 billion in 2000-01, Tanishq had a 0.66 percent share of the total Jewellery market and a 27 percent share of the branded Jewellery market (Refer Table II).Carbon: In early 1991, the Bangalore based Peakok Jewellery Pvt. Ltd., (Peakok) was incorporated and Mahesh Rao (Rao) was appointed director. Peakok realized that the Indian consumer's relationship with gold Jewellery would grow beyond an investment need towards a lifestyle and personality statement.In 1996, within the Peakok fold a new brand of 18-carat gold-based Jewellery called Carbon was launched. In 2000-01, with sales of Rs. 0.14 billion, carbon had a 0.03 percent share of the Jewellery market and a 1.4 percent share of the branded Jewellery market. The company expected Carbon sales to touch Rs. 1.5 billion by 2005-06 and exports to start by 2008.The brand was available at 40 outlets in 16 cities in 2002 and would be made available in 23 cities by 2005.

Oyzterbay: Oyzterbay was founded by Vasant Nangia and his team in July 2000. It began operations in March 2001. By November 2002, the company had 41 outlets across the country. Oyzterbay seeks to build a national brand in the Jewellery industry in India and aspires to be the largest branded Jewellery company in the country with a chain of 100 stores and several hundred-distribution points by 2004. With sales of Rs. 0.17 billion in 2000-01, Oyzterbay had a 0.04 percent share of the Rs.400 billion Jewellery market and a 1.7 percent share of the branded Jewellery market.

Trendsmith: Mumbai-based Tribhovandas Bhimji Zaveri (TBZ), which had been in the Jewellery business since 1864, saw tremendous scope in the branded segment and opened its new concept store 'Trendsmith' in Mumbai in December 2001Encouraged by the response towards its first store, the Zaveris planned to take Trendsmith (India) Pvt. Ltd. all over the nation by opening as many as 50 stores by 2006. Trendsmith offered eight lines of exclusive designer Jewellery from well-known export Jewellery manufacturers and designers from Mumbai and Delhi.Gold Jewellery Becomes Fashion AccessoryTill the early 1990s, the average Indian bought Jewellery for investment rather than for adornment. Jewellery made of 18-karat gold was not favored as it was considered a poor investment. Confidence in the local jeweler was the hallmark of the gold Jewellery trade in India. A jeweler or goldsmith in a local area had a fixed and loyal clientele.The buyer had implicit faith in his jeweler. Additionally, the local jeweler catered to the local taste for traditional Jewellery. However, since the late 1990s, there was a shift in consumer tastes: women were increasingly opting for fashionable and lightweight Jewellery instead of traditional chunky Jewellery.There was a rise in demand for lightweight Jewellery, especially from consumers in the 16 to 25 age group, who regarded Jewellery as an accessory and not an investment. The new millennium witnessed a definite change in consumer preferences. According to Samrat Zaveri, CEO of Trendsmith, "Research shows that the Indian Jewellery sector is in the transition phase with consumers' desire for possession of Jewellery for its aesthetic appeal and not as a form of investment."10In October 2002, Trendsmith conducted a survey to understand the shifting needs, motivations and aspirations of consumers in the Jewellery market, and to identify new trends and opportunities. The research study arrived at the following conclusions: The Indian market was witnessing an accelerated shift from viewing Jewellery as an investment to regarding it as aesthetically appealing ornaments. The focus had shifted from content to design. The younger generation was looking at trendy, contemporary Jewellery and clearly avoiding heavy, traditional gold Jewellery. The consumer wanted a wider selection at a single convenient location and expected an international shopping experience. The Indian consumer was willing to experiment with new designs.In the late 1990s and early 2000s, with the increase in the number of designers from design schools such as the National Institute of Fashion Technology (NIFT), a wide range of new designs became available. In addition, the growing number of manufacturers needed a retailing platform with global and national reach. All these led to the proliferation of branded Jewellery players.

Strategies for Wooing CustomersTanishqIn the late 1990s, players in the branded gold Jewellery market formulated strategies for wooing customers. According to Jacob Kurian (Kurian), Chief Operating Officer of Tanishq, the challenges were many.As the Jewellery market was highly fragmented, lacked branding, and allowed many unethical practices to flourish, Tanishq worked hard on a two-pronged brand-building strategy: cultivate trust by educating customers about the unethical practices in the business and change the perception of Jewellery as a high-priced purchase.Said Kurian, "We are changing the attitudes of customers from blind trust to informed trust."11 To increase its marketshare, Tanishq formulated a strategy for luring people away from traditional neighborhood jewelers. Tanishq's strategy was to create differentiation and build trust.According to Kurian, the first part of the strategy was "to provide a point of differentiation in a highly commoditized category which is the whole point of branding."12 The second part of the strategy was to project Tanishq as an unimpeachable mark of trust. According to Kurian, "If differentiation plays the role of primary attraction, trust takes care of lifelong loyalty."13 One way to create differentiation was through design.The emphasis had to be on design because local jewelers could offer to design any pattern according to the customer's specifications. For a national brand a generic design concept with regional variations had to be evolved. (Refer Exhibit I for Tanishq's design). For this, Tanishq set up a seven member in-house design team and also outsourced designs from freelance designers.The designers travelled the length and breadth of the country to get feedback on Tanishq's designs and learn about customer preferences. On the basis of this feedback, each showroom could select the designs it would carry. To stay ahead of competition from local jewelers, Tanishq decided to focus on quality control. In 1999, it introduced caratmeters which showed the purity of gold.In fact, Tanishq's USP was the purity of its gold. Accordingly, the company's ad campaigns emphasized the purity aspect of all Tanishq ornaments. (Refer Exhibit II for Tanishq's Ad Campaign) In November 2002, Tanishq introduced a new collection of Jewellery called 'Lightweights.'The collection featured neckwear, earrings, bangles, rings and chains in 22 karat gold with prices starting at Rs 1,100. It also launched Lightweight Diamonds, with prices starting at Rs 3,000. Tanishq focused not only on urban markets, but small town markets as well. Real estate was less expensive in the small towns than in large urban centers.Besides, competition from stores in small towns was less stiff than competition from the large Jewellery stores in the metropolitan cities. According to Kurian, the best returns on investment came from small towns.CarbonCarbon's focus had always been to move Jewellery from the vault to the dressing table and bring the selling of Jewellery out of heavily guarded Jewellery stores. This was achieved by persuading a few lifestyle stores to add branded Jewellery to their vast array of products. Besides selling from lifestyle stores, Carbon also sold its products as gift items over the internet. Like Tanishq, Carbon laid emphasis on design.Most of its designs were contributed by students at the National Institute of Fashion Technology (NIFT) through the diploma programme which the company sponsored. In addition, Peakok's team of six designers, (headed by Rajeswari Iyer, an alumnus of a German design school who had worked in the U.K., Germany and India) turned out around 180 to 200 styles in a year, with 75 designs per style.

At any point in time, there were around 600 designs of Carbon on sale, and on an average, 300 to 400 pieces per design were sold. In 2002, Carbon launched its 'Sun Sign' collection, which was based on the symbols of the Zodiac. This collection was a set of 12 pendants designed in a blend of 18 carat white and yellow gold (Refer Exhibit III).While 18 carat gold was commonly used in Carbon products, some of the designs also used white gold, titanium and steel. Diamond was the preferred precious stone, but other colored stones were also used. Comprising items of everyday use, (rings, chains, bracelets, ear studs, tie-pins and cuff links) Carbon items were an impulse purchases. (Refer Exhibit IV) The brand had no offtake cycles in the year, like the marriage season, unlike traditional Jewellery.The creation, manufacture and marketing of Carbon was different from the making and selling of traditional Jewellery. Said Rao, "We are attempting here to eliminate the low productivity, quality inconsistencies and high precious metal loss associated with traditional Jewellery making.We have instituted modern manufacturing practices such as self- contained small groups in the assembly area, self-inspection by the operators, the Japanese Kaizen approach to improvements in operational practices and the like. We have brought down our manufacturing loss of gold to 6.8 per cent. The average in the traditional Indian Jewellery shop is as high as 22 per cent, while the world average is only 2 per cent."14As the profile of the average customer likely to purchase a Carbon item was a well-paid urban professional, 24 to 38 years old, having a credit card, it was decided that Carbon should not be placed in the usual Jewellery shops but made available at `shop-in-shop' outlets in large lifestyle stores (such as Shoppers Stop, Ebony, Globus, The Bombay Store, Lifestyle and Taj Khazana) and some premium boutiques (such as the Helvetica in Chennai).Said Rao, "We are looking at cross-promoting Carbon Jewellery with other branded lifestyle products such as perfumes, clothing and cosmetics."15 Carbon products were priced between Rs. 2,750 and Rs. 20,000 per piece. While the cost of traditional Jewellery was negotiable, the cost of Carbon items was fixed and nationally uniform.OyzterbayOyzterbay, with its tag line "Jewellery for the Living", had become synonymous with the entire gamut of occasions where modern young women would like to wear stylish and affordable Jewellery. Oyzterbay's collection comprised over 1200 designs in 18, 22 and 24 carat gold and sterling silver, with natural colored gemstones.The price of the Jewellery ranged between Rs. 500 and Rs.30000. The initial focus of Oyzterbay was to give a lifestyle value to Jewellery instead of the traditional investment value.In the second year of its launch, Oyzterbay emphasized on marketing and advertising strategies to give the necessary thrust for growth. In order to transform itself from a youth brand to a brand for all occasions, Oyzterbay launched media campaigns in August 2002 highlighting the new look. The new communication strategy focused on addressing the 18 to 34 age group instead of the earlier 18 to 24 age group. The new campaign focused on positioning Oyzterbay as Jewellery for office wear, evening wear or even a fitness session. (Refer Exhibit V) The broadening of focus to include an older segment was the result of market research which showed that the brand appealed to middle-aged working women and affluent housewives.The investment in the new campaign was Rs 50 million. Where Oyzterbay scored over others was its simple and refreshing designs and affordability, making it distinct from the usual gold Jewellery stocked in standard Jewellery showrooms and contemporary Jewellery offered by traditional Jewellery houses trying to cater to the trend.Priyadarshi Mohapatra, Marketing Manager, Oyzterbay, said "We began by selecting a completely different reach - everyday Jewellery for the working woman and Jewellery for the youth. We felt that Jewellery should be brought out of the locker. So we positioned (it) to accessorize the dress of the young, college-going crowd, which otherwise sported junk Jewellery.The second segment was the working woman for whom we sought to build a wardrobe of Jewellery by making it affordable, so that she could pick up pieces regularly."16 Oyzterbay later extended the same brand values to diamonds too, the idea being to target a niche market. Oyzterbay refurbished its collection every few months, keeping in mind international trends. By so doing, they were able to offer exclusive products to clients.As part of the Oyzterbay Summer 2002 collection, it offered pendants, earrings, finger rings, bracelets, neckwear, and chains with natural gemstones set in white gold, as white gold was evolving as a fashion statement across the world.Although Ozyterbay was known for its Jewellery in gold and sterling silver embellished with natural gemstones, it decided to launch 'Your First Diamond', a complete range of diamond Jewellery set in white, pink, and yellow gold. The price of the collection started from Rs. 500 with the most expensive piece not exceeding Rs. 12,000.GiliGili distributed its Jewellery priced between Rs. 500 and Rs. 40,000 through lifestyle and department stores across the country to increase accessibility among its target segment, the 15 to 30 age group.The company's products were also made available through a mail-order catalogue. In 1997, Gili launched a collection of traditional Indian ornaments made of 18-carat gold. In 1999, the Gili Gold range was introduced.This range included rings, pendants, earrings, necklaces and bangles made of 24-carat gold. All Gili products came with a guarantee of diamond and gold quality.When research conducted in February 2000 showed that there was a big gap between the Rs. 1000 and Rs. 10000 price segment and keeping in view the teenage population, and the kind of pocket money they had, Gili brought out a collection targeting teens. In 2000, Gili launched its 'diamond heart collection' targeted at teenagers and priced between Rs 500 and Rs.2500.17.The collection was promoted at college campuses with banners, pamphlets and a few advertisements targeted at teens. Gili soon realized that just pushing its product was not enough; it also had to customize its products for special occasions. Following this, it launched a Diamond Heart Collection specially designed for Valentine's Day. This collection consisting of tiny, heart-shaped diamond Jewellery was well received by teens Special packaging, catchy advertising and extensive press coverage contributed to the success of the collection. Gili also made special promotional offers during festive seasons like Christmas and Diwali. Having captured the low price point market of Rs.2000 to Rs.10,000, in 2000, the company focused on penetrating the premium market of customized Jewellery. For this, Gitanjali jewels opened a Jewellery salon, Gianti, to provide customized Jewellery to clients in India.TrendsmithTrendsmith specialized in premium, exclusive and modern looking Jewellery distinct from TBZ's traditional designs. The brand's USP was that every piece of Jewellery was exclusive and unique. There were different collections for babies, teenagers and weddings. Trendsmith stores had a comfortable ambience and a clutter free display of products.According to Samrat Zaveri, Managing Director, Trendsmith "is a store for those with little time and big pockets." The stores also provided space for other premium Jewellery and accessory brands such as Aashi,18 Blue Fire, Solange,19 Nakshatra, Aura 22, Mimansa,20 Brilliant and Moksh.21 The prices for these pieces of Jewellery started from Rs. 10,000.The range comprised finger rings, pendants, bangles, bracelets and neckpieces. Trendsmith laid emphasis on affordable, fashionable Jewellery. It changed its collection every season. Trendsmith also had a design studio where customers could design their own Jewellery. The company advertised in women's fashion and lifestyle magazines since the readers of such magazines formed 80 percent of its clientele.To remain in the public eye, Trendsmith planned to host events whenever it launched a new collection. The company intended to spend Rs 30 - 40 million annually, on such events.

2. About the role of design in promotion of Jewellary.

Interpretation-Promotion- Promotion is done so that it creates the brand awareness among the people. Promotion also creat