The history of jewellery is a long one, with many different uses among different cultures. It has endured for thousands of years and has provided various insights into how ancient cultures worked.
The first signs of jewellery came from the people in Africa. Perforated beads made from 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. Outside of Africa, the Cro-Magnons 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 7,000 years ago, the first sign of copper jewellery was seen. Egypt
Amulet pendant (1254 BC) made from gold, lapis lazuli, turquoise and carnelian, 14 cm wide.
An 18th dynasty pharaonic era princess' crown The first signs of established jewellery making in Ancient Egypt was around 3,000-5,000 years ago. The Egyptians preferred the luxury, rarity, and workability of gold over other metals. Predynastic Egypt had Jewellery in Egypt 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 precious gems. The colour of the jewellery had significance. Green, for example, symbolised fertility. Although lapis lazuli and silver had to be imported from beyond the country’s borders, many other materials for jewellery were found in or near Egypt. Egyptian jewellery was predominantly made in large workshops. 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.
Europe and the Middle East
Mesopotamia By approximately 4,000 years ago, jewellery-making had become a significant craft in the cities of Sumer and Akkad. The most significant archaeological evidence comes from the Royal Cemetery of Ur, where hundreds of burials dating 2900–2300 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 jewelheaded pins. In Assyria, men and women both wore extensive amounts of jewellery, including amulets, ankle bracelets, heavy multi-strand necklaces, and cylinder seals. 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 cloisonné, engraving, fine granulation, and filigree. 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. Greece
Gold earring from Mycenae, 16th century BC. The Greeks started using gold and gems in jewellery in 1600 BC, although beads shaped as shells and animals were produced widely in earlier times. 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 630-620 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. The largest production of jewellery in these times came from Northern Greece and Macedon. However, although much of the jewellery in Greece was made of gold and silver with ivory and gemstones, bronze and clay copies were made also.
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. 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. Middle Ages
Merovingian fibulae, Bibliothèque nationale de France.
6th century bronze eagle-shaped Visigothic cloisonné 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 6th-7th century burial near Chalon-sur-Saône 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. The Celts specialised in continuous patterns and designs, while Merovingian designs are best known for stylised animal figures. 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. On the continent, cloisonné 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. Like other contemporary cultures, jewellery was commonly buried with its owner.
The 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. A fascinating 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, Afghani 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. 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 Napoleon’s 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 Napoleon’s 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.
Mourning jewellery in the form of a jet brooch, 19th century.
Starting in the late 18th century, Romanticism had a profound impact on the development of western jewellery. Perhaps the most significant influences were the public’s 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 Françoise Désire 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. 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 Shakudō plaques set into Filigree frames being created by the Stoeffler firm in 1885). Perhaps the grand finalé – and an appropriate transition to the following period – were the masterful creations of the Russian artist Peter Carl Fabergé, working for the Imperial Russian court, whose Fabergé eggs and jewellery pieces are still considered as the epitome of the goldsmith’s art. Art Nouveau In 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, cloisonné, and plique-à-jour. Motifs included orchids, irises, pansies, vines, swans, peacocks, snakes, dragonflies, mythological creatures, and the female silhouette. René 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 Werkstätte provided perhaps the most significant German 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. Art Deco Growing 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.
Royal earrings, India, 1st Century BC. In Asia, the Indian subcontinent has the longest continuous legacy of jewellery making anywhere, with a history of over 5,000 years. One of the first to start jewellery making were the peoples of the Indus Valley Civilization in what is now predominately modern-day Pakistan. Early jewellery making in China started around the same period, but it became widespread with the spread of Buddhism around 2,000 years ago.
India India has a long jewellery history, which went through various changes through cultural influence and politics for more than 5,000-8,000 years. India has the longest continuous legacy of jewellery making anywhere since Ramayana and Mahabharata times. Because India had abundant amount of jewellery resources, it prospered financially through export and exchange with other countries.While Western traditions were heavily influenced by waxing and waning empires, India enjoyed a continuous development of art forms for some 5,000 years. One of the first to start jewellery making were the peoples of the Indus Valley Civilization (encompassing present-day Pakistan 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 family. Children of bead makers often learned how to work beads from a young age. Persian style also plays a big role in India’s 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. 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 women’s 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. According to Hindu belief, Gold and silver are considered as sacred metal symbolic of the warm sun, the other suggesting the cool moon—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 myth 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. Mughal reign was the most significant period of time in relation to jewellery. A lot of jewellery prospered from sixteenth to the nineteenth century. Jewellery had merit in India’s royalty, it was very powerful that the royalty established laws, which was only limited to the royalty. Only royalty and few others 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 jewelries, Maharaja and people related to the royalty had deeper connection with jewellery. Maharaja's role was so important that the Hindu philosophers identified him as the central to the smooth working of the world. He was considered as a divine being, deities in human form, whose duty was to uphold and protect dharma, the moral order of the universe.
A Navaratna ring. Indian gemstone uses Navaratna (nine gems), which is the powerful jewel Maharaja frequently wore. It is an amulet, which comprises diamond, pearl, ruby, sapphire, emerald, topaz, cat’s eye, coral, and hyacinth (red zircon). Each of these stones was associated with a celestial deity, represented the totality of the Hindu universe with all nine gems all together. Among all the gemstones, diamond is the most powerful gem among 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 whom they were very close to, 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 lover’s or ruler’s lost favour, as symbols of tribute, or as an expression of fidelity in exchange for concessions and protection. Mughal emperors 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.  Today, many of the jewellery designs and traditions are used, and jewellery is commonplace in Indian ceremonies and weddings.
North and South America
Jewellery 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.
Moche Ear Ornaments. 1-800 AD. Larco Museum Collection, Lima-Peru Among 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. 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. 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 Empire, much the same as with the Aztecs. 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. China The 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. 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.
Jade coiled serpent, Han Dynasty (202 BC-220 AD)
`Xin' Shape Jewellery from Ming Dynasty Tombs, (1368–1644) In China,the most uncommon piece of jewellery was the earring, which was worn neither by men nor women. 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.
Main article: Jewellery in the Pacific Jewellery 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.
A modern opal bracelet Australia 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 the most profitable stones in the Pacific. The New Zealand Māori traditionally had a strong culture of personal adornment, 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 Māori culture and arts. Other than jewellery created through Māori influence, modern jewellery in New Zealand is multicultural and varied.
The modern jewellery movement began in the late 1940s at the end of World War II with a renewed interest in artistic and leisurely pursuits. The movement is most noted with works by Georg Jensen and other jewellery designers who advanced 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 Kōkichi 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. 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." 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.
A Kayan girl in Northern Thailand. Jewellery used in body modification is usually plain. 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 10-15 inches long. The practice has obvious health impacts, however, and has in recent years declined from cultural norm to tourist curiosity. 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. 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 practise 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.
According to a recent KPMG study the largest jewellery market is the United States with a market share of 30.8%, Japan, India, China, and the Middle East each with 8–9%, 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.
Jewellery (also spelled jewelry, see spelling differences) is a personal ornament, such as a necklace, ring, or bracelet, made from jewels, precious metals or other substance. The word jewellery is derived from the word jewel, which was anglicised from the Old French "jouel" in around the 13th century. Further tracing leads back to the Latin word "jocale", meaning plaything. Jewellery is one of the oldest forms of body adornment; recently found 100,000 year-old Nassarius shells that were made into beads are thought to be the oldest known jewellery. Although in earlier times jewellery was created for more practical uses, such as wealth storage and pinning clothes together, in recent times it has been used almost exclusively for decoration. The first pieces of jewellery were made from natural materials, such as bone, animal teeth, shell, wood, and carved stone. Jewellery was often made for people of high importance to show their status and, in many cases, they were buried with it. Jewellery is made out of almost every material known and has been made to adorn nearly every body part, from hairpins to toe rings and many more types of jewellery. While high-quality is made with gemstones and precious metals, there is also a growing demand for Art jewelry where design and creativity is prized above material value. In addition there is the less-costly costume jewellery is made from less-valuable materials and is mass-produced. New variations include wire sculpture (wrap) jewellery, using anything from base metal wire with rock tumbled stone to precious metals and precious gemstones
Seth Jewellers [Delhi] India Ashiyana Enterprises [JAIPUR] India Mahavir Gems [Mumbai] India Jaico Impex [Jaipur] India Sudip & Co. [Mumbai] India
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INDIAN JEWELLERY INDUSTRY
Size of the industry Geographical distribution Output per annum
In the year 2003-04 the exports of this sector increased by 16.8 % and crossed a level of US$10.5 billion. All the cities in the country Indian jewellery was valued at Rs.70000 crore in the year 2007
India has a glorious history which affects each and every aspect of Indian lifestyle. Jewellery has always remained an integral part of the Indian lifestyle. The diverse history of India has great influence on the jewellery styles as well. Indian jewellery history goes back to almost 5000 years. Ever since pre-historic times India people had a penchant for adorning themselves with Jewellery especially women. Gold, silver, stones, gems, etc. are the defining aspects of Indian jewellery.
Indian jewellery industry is much varied in styles and designs in accordance to the different regions. Indian jewellery has the unique design to the state and are not found anywhere else in the world. For example the delicate filigree work in silver which is unique to Odisha and Andhra Pradesh; Rajasthan is popular for Meenakari (jewellery enameling work). In south, the temple town of Nagercoil is famous for temple jewellery; Kundan jewellery is famous in Delhi. Indian Jewellery Industry has a variety of ornaments in different styles and designs for every part of the body. In ancient times, people used to adorn themselves with variety of necklaces, rings, anklets made of crude stones and other metals. As time has gone people learnt the art of polishing metals like gold and silver and learnt to extract semi-precious stones and gems from the mines. Even during ruling empires the rich kings wore jewellery that made them look like Gods. Every big and small piece of adornment was made of gold and precious stones like rings, earrings, bangles, chains, crowns, anklets, etc. For past many years India has been ruled by different empires. All these empires have left an incredible mark on the jewellery styles. The Mughals had their own distinctive style of using precious stones and intricate carvings, the Rajputs had their enameled jewellery and so on. In today’s modern world though many new and sophisticated styles have emerged to urban centers, the traditional style of jewellery is in vogue and is usually the first choice in jewellery. In the contemporary Indian market one would find beautiful blend of traditional and modern jewellery in gold and silver that are decorated with gorgeous precious stones that always attract and amuse buyers.
Indian jewellery and Indian women are the terms always linked inherently. In India during wedding as well as numerous other occasions, a woman is gifted jewellery by her parents and relatives. Although such gifts are meant to give her security in contingency, ornamentation is an obvious purpose. All the cities across the length and width of India have outlets of jewellers were some are traditional and some are modern jewellers, catering to the need of all kinds of customers. Indian houses have various kinds of jewellery arts ranging from Meenakari and Kundan to stone & bead work. The craft of cutting and polishing precious & semi-precious stones give them glamorous face whihc is artistic. Emeralds, rubies, garnets, amethysts, corals, sapphires, and turquoises are stones which are used for the enhancement of gold and silver jewellery. In south India, women are most known for Gold jewellery. South Indian gold is considered auspicious as a status symbol. The jewellery which was developed years past is known by the name of 'Antique jewellery.' This has jewellery with dull and rough look, combined with an old world-world charm, and this serves as the major USP of such jewellery. Bead art in India is 5000 years old and was during the time of Indus Valley Civilization.
The Indian Jewellery Industry is growing with a whopping rate & boom in the domestic and exports of Indian jewellery, these shining materials of India brings more sparkle to the economy. Exports of Gems and jewellery make India the second major foreign exchange earner for the country. As more money is flowing into the industry, a new avenue is open for professionals to enter the field with changing taste and the jewel is taking new shapes and charm.
There are different kinds of jewellery in India like:
Custom jewellery which is personalized jewellery. Fashion jewellery also called costume jewellery, Filigree work is done on silver and involves lots of precision and technicality Jewellery that is made from the tusk of an elephant is called ivory jewellery. Jadau jewellery forms are good examples for high skilled craftsmanship of Mughals. The art of kundan work reached Rajasthan from Delhi. Lac jewellery is also called as lacquer jewellery which has its origin in Rajasthan and has gained considerable popularity in India. Meenakari jewellery are precious stones which are set with gold. Navratna jewellery has nine auspicious stones which are used in a single ornament together to ensure well being of the person who wears it. Pachchikam jewellery for craft is good example of jewellery that has come back once again.
Total contribution to the economy/ sales
Indian jewellery is valued at Rs.70000 crore in the year 2007. It is anticipated to grow at a rate of 8% by 2009-10. The CAGR amounts around 14% from 2007-08 to 2010-11. India remains the world’s largest gold consumer.
Domestic and Export Share
In the year 2003-04 the exports of this sector increased by 16.8% and crossed a level of US$10.5 billion. An interesting industry from an Indian standpoint, it involves imported raw materials, domestic value added, and global markets and provides skilled employment.
Jobs in Indian jewellery industry are growing as there are new avenues for training and development, skill enhancement in jewellery design and production. The institutions offering training in gemology and jewellery designing are many in the country like the National Institute of Fashion Technology (NIFT) have opened many training centers across India which is imparting training to professionals for a glittering career. As there is an increase in jewellery exports, more national and international companies in the field are setting up new centers in India and recruiting trained professionals to keep the pace with growing international market. A trained gemologist or jewellery designer in India can find attractive job and sparkling career abroad.
The industry is growing at a rate between 8-10% and is expected to grow much more. Though China and Thailand are slowly increasing their manufacturer of jewellery Indian exports are strong, major markets being USA, Canada, parts of Europe. The Indian Jewellry industry will be relieved if the tax structure is simplified and as the gold prices are heading north the expectations are more bullish movements in the stock market. India consumes around 800 tonnes of gold that account for 20% of global gold consumption and nearly 600 tonnes is used in jewellery making in the country. According to the study of KPMG the Indian Jewelery Industry is estimated to be US$ 13.5 billion in fiscal 2006-07, accounts for 8.3 % of the global jewelery sales. In the year 2006-2007 the xports from Indian Jewellry Industry yielded US$ 17.1 billion which was against US$ 16.64 billion in 2005-06 with a growth of 26%. Today the diamonds accounted for 64 % of the total exports, gold jewelery accounts for 30.47 %, colored gem stones and others accounted for 1.44 % and 1.04 % respectively. In the year 2006-2007 due to the increase in purchasing parity of the middle class and surging income levels resulted in consumption growth of gems and jewellry for about 11% in
the 5 years. The Industry also contributes over 15% of the total exports of country and provides employment to 1.3 million people directly and indirectly. The contribution of gold jewellery is about 80% of the total jewellery market, with the balance comprising fabricated studded jewellery, which includes diamonds as well as gemstone studded jewellery. Indian jewellery Industry is supported by Government policies and the banking sector, with around 50 banks providing about US$ 3 billion credit to the Indian diamond industry. Updated: Jan 2011 Indian Industries Aluminium industry, Cement industry, Construction industry, Copper industry, Dairy industry, Diamond industry, Fashion industry, Fertilizer industry, Film industry, Granite industry, Health care industry, Jewellery industry, Mining industry, Oil industry, Paint industry, Paper industry, Power industry, Printing industry, Rubber industry, Silk industry, Soap industry, Steel industry, Sugar industry, Textile industry, Tabacco industry, Zinc industry Automobile industry, Cotton industry, Hotel industry, Jute industry, Pharmaceutical industry, Tractor industry, Weaving industry Advertising industry, Agricultural industry, Aviation industry, Banking industry, Biotechnology industry, Biscuit industry, Chocolate industry, Coir industry, Cosmetic industry, Cottage industry, Electronic industry, Food Processing industry, Furniture industry, Garment industry, Insurance industry, IT industry, Leather industry, Music industry, Mutual fund industry, Pearl industry, Plastic industry, Poultry industry, Railway industry, Real estate industry, Shipping industry, Solar industry
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Recent History of Jewelry
Georgian Period: 1714-1830
Jewelry designs of nature featuring flowers, leaves, insects, birds, feathers, and ribbons. Engraved gemstones and intaglios were favored along with agates and cabochon cut stones. During the early nineteenth century, cameo brooches and earrings became popular. Garnets, turquoise, amethyst, and particularly pearls were the rage.
Early Victorian Period: 1837-1860
The dominant style of the 1840's featured scrollwork, floral sprays, animal themes and multicolor gold work. There was a surge of deep religious feelings which gave way to a Gothic Revival Movement. This movement brought about a renewed interest in enameled jewelry. Victorian Page
Mid-Victorian(Grand) Period: 1860-1885
Massive suites of colored stone jewelry became popular. Mosaics, sea shells, fringes, and rosettes were used with increasing frequency. Pieces were set in Etruscans style frames. The death of Prince Albert in 1861 threw the entire population into mourning. Jet jewelry became extremely popular and was often imitated. The 1880's saw the rise of heavy lockets and chains, cuff bracelets and brooches. Victorian Page
Late Victorian (Aesthetic) Period: 1885-1900
Diamonds gained an all time high in popularity. Bird, insect, and animal themes took on new meaning as genuine scarabs, birds, and claws were set in metal. Many pieces of jewelry featured spring mechanisms. The delicate pendants of colored stones and pearls were very popular during the late 1880's. Victorian Page
Arts and Crafts Movement: 1894-1923
Arts and Crafts jewelers rebelled against the mass production brought on by the Industrial Revolution. They formed the Arts and Crafts Exhibition Society in 1888. These jewelers were opposed to any specialization of their craft. They worked mainly in silver using uncut and cabochon stones. Color was very important and many pieces were brightly colored.
Art Nouveau Period: 1890-1915
Art Nouveau jewelers used flowing feminine and fantasy figures, stylized flowers, vines, leaves, scrolls, birds, serpents and insects in beautiful enamels. Plique-a-jour enamel was commonly used which is a transparent enamel with out a metal backing. Cabochon gemstones as well as pearls were incorporated into the designs along with the scrolling gold work. Rene Jules Lalique led the French in Art Nouveau jewelry, while Louis Comfort Tiffany was the American Jeweler best known for his Art Nouveau designs. Art Nouveau Page
Edwardian Period: 1901-1910
Jewelry for this period was strikingly feminine with a lacy and delicate appearance. Common motifs are bows, ribbons, urns, stars, crescents and garlands of small flowers. A common trait of Edwardian jewelry is platinum on yellow gold usually with all diamond trim, giving this period its all white appearance. Large focus diamonds were usually Old European cuts, with smaller diamonds in rose or single cuts for accents. Sometimes large high-quality faceted colored gemstones were used as focal points, but diamonds, pearls and moonstones were the most favored.
Art Deco Period: 1920-1935
The introduction of cubism into the art world after 1925 brought about the strong geometrical patterns and angular shapes associated with Art Deco today. Diamonds and platinum were used without regard to cost. Stones were cut into triangles, pentagons, trapezoids along with oblong shapes and emerald cuts. PavŽ set diamonds were often accented with caliber cut colored gemstones- rubies, sapphire, emeralds and onyx in strong contrasting combinations. The Asian influence can be seen by the carved jade and coral in pendants, bracelets, and earrings, as well as carved rubies, sapphires and emeralds from India. Well known French designers were, Cartier, Bucheron, Van Cleef and Arpels, Fouquet and Mauboussin. For the Americans, it was Tiffany and Company and Harry Winston. Art Deco Page
Retro Period: 1935-1949
The late 1930's and early 1940's saw Europe going from the Great Depression directly into W.W.II. All of the platinum and much of the gold and silver were needed to fund the war. It was during this period that the American jewelry market finally came into its own. Colored gold (yellow, pink, and green) sometimes combined in bi-colored or tri-colored pieces, was back after several decades of white metal dominance. Designs were three-dimensional and sculptural incorporating ribbons, bows and fabric-like folds. Gemstones were often recycled from older jewelry, diamonds and synthetic rubies and sapphires were combined for a "patriotic" look. After the United States entered the war, 1941, jewelry became less romantic and took on a militaristic look.
Mid-century modernism influenced this period with the use of abstract sprays of diamonds in mixed cuts, starbursts and "atomic" shapes. Textured gold dominated this decade with Florentine finishes, foxtail chain, twisted rope, braided wire, mesh, reeding, fluting and piercing. Gold jewelry without gemstones was worn primarily in the daytime, with diamond jewelry for the evenings. Amethyst, turquoise, and coral were the favorite colored gemstones while cultured pearls were gaining acceptance into day wear.
This "Anything Goes" period had little restrictions. Yellow gold, platinum and silver were all used with natural gemstone crystals and "drusy" gemstones (micro-crystals forming on a matrix). Cabochon gemstones, such as turquoise, were mixed with round brilliant cut diamonds and other faceted gems set in yellow gold. Artists used organic abstract shapes with jagged edges that were incorporated in textured metals.
1970's In the cool and collected 70's, women began buying their own jewelry. This surge demanded affordable quality and the need for "that something different." To do this, jewelers used nonprecious materials such as rock crystal, exotic woods, ivory and coral. Baguette diamonds were mounted into solitaires, necklaces and bracelets and were worn both at night and during the daytime. Long necklaces remained popular. To accentuate the jewelry, gemstones such as lapis lazuli, coral, and onyx were used.
The 1980's saw women gaining equality in the workplace. The televisions shows such as "Dynasty" and "Dallas" created a demand for glitz and glamour, while Princess Diana's wedding triggered a graceful, refined fashion emergence. Colored pearls were fashionable in long or short strands with diamond clasps that could be worn in the front or back. In the 1990's, tanzanite became popular along with aquamarine, and retro designs from almost every period. Jewelry designs could be large and chunky, elegant and sophisticated, or stark and minimalist. Silver gained tremendous popularity, as did toe rings and body jewelry. Pierced ears with four or five earrings started a whole new fashion craze.
TBZ - THE ORIGINAL has a dedicated exclusive division to cater to the requirements of the corporate sector. This division offers several exclusive advantages to the modern corporals, like:
One of the largest range of precious metal gifts Purity in gold, silver, and diamond Excellent craftsmanship and service standard Products and services at your doorstep Nationwide logistics (packing and delivery) with 100% coverage of transit risk Popular occasions for corporate gifting: Employee milestones (like long service awards) Retirement keepsakes Sales incentives Dealer appreciation Cultural festivities Product launches FMCG sales promotions Customer Loyalty incentives Momentous to business associates / delegates Momentous for conferences / seminars
Immense knowledge of the business and a trust built on loyalty has made TBZ - THE ORIGINAL of Zaveri Bazaar thrives undeterred to this day.
A Wedding is not only a union of two individuals but also their thoughts, beliefs, and cultures and thus impacts the society as a whole. A memoir or gift on such an occasion is pleasant to the giver and receiver. Wedding gifts are something people fondly remember as a momento of good times even years down the line. They signify good luck, best wishes and blessings that your family, friends and well-wishers bestow upon you for the "D" day. At TBZ - The Original we try to have a little something to make moments in a person's life special. A variety of choices are available for Birthdays, Weddings, Festivals, Engagements, Valentines to name a few. In sync with the times, the tastes, preferences, mindsets and financial conditions have changed but what hasn't changed are the emotions. Jewelery is something that people hold dear to thier heart and it speaks volumes.
TBZ - The Original offer Pendants, Earrings, Bracelets, Necklaces and Rings etc with /without coloured stones in gold and diamonds. A wide array of jewellery in light weight, trendy, everyday wear to contemporary, traditional, heavy bridal wear, all is available. The various choices for gifting could include:
A Gold light weight necklace would make an exclusive gift for the bride and only enhance her beauty. A Gold gents rings makes for an apt gift for the groom. A Gold chain in the weight could be the best gift to the bride. A set of couple rings(Gold) would make an excellent gift for the bridegroom. A Diamond ring and/or a pair of Diamond earrings both are best choices for gifting. A Diamond pendent will enhance the beauty of the wearer. A Diamond light weight necklace+earrings would add a jewel in the crown of the bride to be.
Name and details of Company Secretary & Compliance Officer of the Company:
Niraj Rohitkumar Oza Company Secretary & Compliance Officer Tribhovandas Bhimji Zaveri Limited 228, Ground Floor, Mittal Chambers, Nariman Point, Mumbai - 400 021. Tel. No.: 3073 5000 / 1 Fax No. 3073 5088 Email id: [email protected]
Name & Details of Registrar & Share Transfer Agent:
Karvy Computershare Private Limited Registrar & Share Transfer Agent Plot No. 17-24, Vithalrao Nagar, Madhapur, Hyderabad - 500 081. Tel. No. +91 40 4466 5000 Fax No. + 91 40 23431551 Email Id: [email protected]
Website: karisma.karvy.com Contact Person: Mr. M. Murali Krishna We are currently updating this section. Please visit us later. Thank You for your interest. Scroll upScroll down Home | About Us | Showcase | KP Plan | Gifting Ideas | Knowledge Centre | Store Locator | Investors Copyright © 2011 TBZ - THE ORIGINAL
Pioneers in the making
In the jewelry industry, the value of gold would always be lesser than what its price rate. And hence if a customer wished to sell gold jewelry, it would often be deprived of its worth as the jewelers devised innumerable ways to deduct heavily on gold weight, thereby giving the customer an amount, below expectations. In the tenure of Late Shri Gopaldas Tribhovandas Zaveri (son of late Shri Tribhovandas Bhimji Zaveri), TBZ - THE ORIGINAL introduced a revolutionary policy of giving back 100% market-value of gold to the customers so as to increase and sustain faith in the gold jewelry industry.
Quality leaders, still- In the new millennium
Today under the leadership of Shri Shrikant Gopaldas Zaveri, TBZ - THE ORIGINAL has carved a niche for itself and is one of the few jewelry organizations where the operations are run by a team of hardworking, dedicated, qualified professionals. TBZ - THE ORIGINAL cherishes a visionary plan to spread its networks and outlets to other important cities of India, and eventually around the world.
At the threshold of innovation - All different, each unique
With a vision and motto of providing its customers products of quality, TBZ- THE ORIGINAL, has outnumbered many in innovative design and quality.
Furthermore, in order to have control on quality, TBZ - THE ORIGINAL has set up state - of the - art manufacturing facilities.All different, each unique - at TBZ's state - of - the - art factory, the entire process of studded jewelry and design jewelry are done in plain gold for the outcome.
Tribhovandas Bhimji Zaveri Ltd. presently incorporated as a company has had its beginning as a partnership since 1949. It is one of India's most established retailers and is well known in the jewellery retail industry. Its existence for decades signifies the trust reposed in the company which deals in products which are as precious as gold and precious stones jewellery, precious both in terms of value and emotion. As the various factions of the family through the decades went their own ways and established business with similar names, given that this is the organization/location where the original business started it has the words TBZ - The Original in its logo. Commenced 1864 Founder Shri Bhimji Zaveri Present Chairman & Managing Director Mr. Shrikant Gopaldas Zaveri
Tribhovandas Bhimji Zaveri
TRIBHOVANDAS BHIMJI ZAVERI & SONS, Opera House, is a globally reputed jeweler house with a glorious tradition of excellence of over 150 years. It was started in 1864. ts existence for decades signifies the trust reposed in the company which deals in products which are as precious as gold and precious stones jewellery, precious both in terms of value and emotion. It's a dream come true for the connoisseurs of fashionable Diamond, Gold and Silver jewellery. Centrally located at the majestic Opera House, Mumbai, TBZ & Sons showcases one of the breathtaking collections of exquisite jewellery in all its hues and designs. An unparalleled experience for people from all walks of life, our collection is the ultimate manifestation of your dreams and fantasies. The best money could buy. The house of TBZ & Sons stands for traditional and cultural values, fine craftsmanship, exclusive designs and excellent quality materials. The name inspires, trust, confidence and selfesteem among its thousands of valued customers in India as well as abroad. Creativity and reliability have been the hallmark of all our collections. Made with extreme care and strict adherence to quality, they add new items frequently to their irresistible collection matching the latest trends. Glorifying the excellent tradition of TBZ & Sons, world-renowned names like Arisia & Nakshatra, have their dazzling collection of Diamond Jewellery displayed at our stately showroom at Opera House. TBZ & Sons believe in Innovation and quality.
Product Showcase of TBZ & Sons can be categorized as follows:-
Bangles Necklaces Ear-Rings Love bands Rings Pendants
DIAMOND Bangles Necklaces Ear-Rings Bracelets Rings Pendants
GOLD Bangles Necklaces Ear-Rings Sets
Other products include Wedding Collections and Men’s Collection. Apart from purchase for personal use, TBZ & Sons have carved out very good marketing tactics to increase their sales. 1. Festivals It has gifts for every festivals. Some of the most common festivals where gifting has almost become ritual are Dussehra, Eid, Diwali and New Year. And undoubtedly these frolic seasons act as an effective means and boost for TBZ - The Original to enhance their brand name and build a great rapport with their clients. 2. Corporate Gifting TBZ & Sons has increased its customer base 100-fold by revolutionizing the very concept of corporate gifting. Pioneers in corporate gifting trends, they have a scintillating range or creations in Gold and Silver fit to be presented as corporate gifts that can add value to the act of courtesy, gratitude and appreciation in the highest echelons of corporate world. TBZ & Sons has already won the heart of many blue-chip companies in country. Apart from this, they have their own Knowledge Center. It is an online awareness medium on their website whereby they guide their customers on how to take care of their jewellery and hence improve the longetivity of use.
In the tenure of Late Shri Gopaldas Tribhovandas Zaveri (son of late Shri Tribhovandas Bhimji Zaveri), TBZ - THE ORIGINAL introduced a revolutionary policy of giving back 100%
market-value of gold to the customers so as to increase and retain faith on gold jewelry. And in return, it has helped the Indian Jewelry Market sustain itself, putting TBZ - THE ORIGINAL on the pedestal as a pioneer and leader in jewelry business. Thereby it has won hearts of its customers.
TBZ & Sons Presence:
TBZ Ltd. has 14 showrooms in nine cities across five states, which have a total carpet area of approximately 44,000 sq. ft. Its flagship showroom in Zaveri Bazaar, Mumbai, was established in 1864. TBZ – The Original has five showrooms in Mumbai at Zaveri Bazaar, Borivali(2), Santacruz, Ghatkopar and Thane. So, all these factors, being present in the respective field for decades, experience, brand name, trust and attractive schemes, TBZ & Sons have built trust and loyalty amongst its customers, thereby making them successful.