Collectibles and Jewelry Content – How to Write Collectible Jewelry Articles

If you go online and search Jewelry topics you will find that there are a number of books, and articles on this subject. One of the biggest topics in the category of jewelry is collectible jewelry. Apparently, there is a huge following for those authors that specialize in this venue. And many of them make quite a bit of money selling these articles to magazines, or newspapers.

There are many authors that have columns that run regularly and are syndicated around the country, it’s their only job and they make a good a bit of money as writers producing content of this type.

When writing “how to articles” on collectible jewelry you need to get into the mind of your reader, you need to consider what they are searching online, the types of questions they are asking, and gear your articles to answering those points of curiosity. One of the most important questions people ask is how do they value the collectible jewelry they already have, or the handed down jewelry that has been in their family for generations.

Another question is; “How Much Can I Get on eBay If I Sell This Collectible Jewelry?” And along the same lines is “how do I know the collectible jewelry I buy on eBay is really worth the money?”

These are all important things to the readers of such articles. As long as you are asking questions of the consumers, and collectors of such jewelry, and then answering those questions in your articles you will produce excellent content for the Internet, magazines, newsletters, and newspapers. Please consider all this.

Jewelry from 3000 BC Egypt to the 21st Century

Egypt

The use of gold jewelry can be dated back to Egypt 3000 BC. Gold was the preferred metal for jewelry making during ancient times. It was rare, it was easy to work with, and it never tarnished.

Magnificent bracelets, pendants, necklaces, rings, armlets, earrings, collars, and head ornaments were all produced in ancient Egypt, the land of the Pharaohs. In 1922 Howard Carter’s excavations led to the discovery of Tutankhamun’s tomb and many gold artifacts, all showing the art work of ancient Egypt.

Greece

In ancient Greece, gold beads in the shape of shells, flowers and beetles were very common. In Northern Greece beautiful necklaces and earrings have been excavated from burial.

By 300 BC the Greeks were using gems such as emeralds, garnets, amethysts and pearls. They also created colored glass stones and enamel stones. Carved agate cameos and gold filigree work were widely made.

Italy

The Italian Etruscans produced granulated textured gold work. They made very large, necklaces, bracelets and earrings. They were also known for producing hollow gold pendants that were filled with perfume. Even today the Italians are still known for the quality gold jewelry.

Rome

The Romans used 18 and 24 carat gold for their coins. Coinage gold was readily available so it was popular with craftsmen for decorative jewelry. Over 2000 years ago the Romans were using sapphires, emeralds, garnets, and amber in their jewelry.
Europe.

During the 13th century the Medieval Sumptuary Laws were enacted which put a cap on luxurious jewelry and clothing. The town folk of France, banned from wearing girdles made from pearls or any other gemstone.

They were also banged from wearing gold or silver. Similar laws existed in England banning artisans from wearing gold and silver. These laws show how fine jewelry had spread beyond nobility to the town folk.

For as long as mankind has existed gems and jewels have been used as token of ones love for another. While many pieces of jewelry existed adorned with fine gems and made from precious metals, there was also some very good fake jewelry.

True gemstones and pearls originated in the east and they were bought mainly by the Italians. The Italian merchants then sold the jewelry to the Europeans.

High quality glass imitations were often used and sold with the intent to deceive. These high quality glass stones were often used in the Royal funeral robes and in children’s jewelry.

Valued more than gemstones, were the flawless, round, natural white pearls. South India provided some of the finest pearls. The Italians were able to make quality imitation glass gems and pearls that could only be identified by a gemologist.

There is historical proof that recipes for false pearls existed as far back as 1300. White powdered glass was mixed with albumen and snail slime to produce imitation pearls.

Earrings and Dress Jewelry

During the 17th century woman always wore earrings, whether they were dressed or undressed. It was very acceptable to wear faux pearls and paste gem earrings during the day saving fine diamond jewelry and gem jewelry for evening attire.

Dress ornamentation decreased in size. Sleeves or skirts were often decorated with matching brooches.

During the 16th it was very fashionable to wear large quantities of pearls. Both jewelry to clothing accessories were adorned with pearls.

During the 17th century Jaquin of Paris patented a method of making fake pearls. Hollow blown glass balls were coated with varnish mixed with iridescent ground fish scales. The hollow balls were then filled with wax to strengthen them. This discovery made Paris the main producer of faux pearls for well over 200 years.

Paste is a compound of glass containing white lead oxide and potash. Paste jewelry was very common in the later part of the 17th century. The highest quality and most long lasting paste jewelry was produced after 1734 by Georges Strass.

Paris lead the production of faux gems [paste] and faux pearls. Just about any kind of fake gem could be made, including fake opals.

After 1760 the production of fake jewelery spread to London and to Birmingham. During the industrial revolution steel was produced in large quantities so it was easily available. It was ues for setting marcasite and jasper ware cameos. Glass and Wedgwood porcelain paste cameos were made in English factories and were also very popular.

The fashion from this era also included ornate shoe buckles of paste, steel and tin, elaborate paste jewel buttons, as well as semi precious for day wear.

Empire Jewelry

In 1804 Napoleon emerged as Emperor of France, resulting in a revival of jewelry and fashion as a new court of pomp.
‘Joailliers’ worked fine jewelry and ‘bijoutiers’ used less precious materials.

The members of the new French imperial family had the former French royal family gems re-set into the latest neo-classical style. The new trends soon found their way to Europe, particularly England. The main influence for design was the Greek and Roman.

Parures and Cameos

Parures were a matching suite of coordinating precious gems which could include a necklace, a comb, a tiara, a diadem, a bandeau, a pair of bracelets, pins, rings, drop earrings or and cluster stud earrings and possibly a belt clasp.

A full parure consisted of a minimum of four pieces. A demi parure consisted of three or less pieces. Both Josephine and Napoleon’s second wife had magnificent parures.

Once Napoleon’s cameo decorated coronation crown was seen, cameos became the rage. Cameos were carved from hard stone, conch shells and even from Wedgwood porcelain.

Victorian Jewelry

In 1837 when Queen Victoria came to the throne jewelry was romantic and nationalistic. It focused on European folk art, which later influenced the Arts and Crafts Movement. Until mid century most western jewelry came from Europe, with some jewelry being produced in North America and Australia.

Mass production of mid Victorian jewelry in Birmingham, Germany and Providence, Rhode Island resulted in lower jewelry standards. Victorian women rebelled when they saw some the poor quality of much of this machine made jewelry.

Woman rebelled by wearing no jewelry at all, or buying from the emerging artist craftsman. Some jewelers like Tiffany recognized a niche market and began to make fine jewelry of a very high standard, opening shops in main European cities.

Mourning Jewelry

During the Victorian era mourning jewelry was very fashionable. The initial months of mourning were unadorned by jewelry of any kind. As the mourning rituals increased, mourning jewelry developed as a fashion item. Queen Victorian wore a great deal of jet mourning jewelry after Prince Albert’s death.

Jet from Whitby, North of England was set into mourning pieces. All types of material that were black were used and almost all included a lock of the dead loved one’s hair. Hair was also plaited, braided or twisted very tightly until it became hard and thread like.

Arts and Crafts Jewelry

During the 1870s the Arts and Crafts movement evolved as a reaction to mass produced shoddy goods and inferior machine made products which were a result of the industrial revolution.

William Morris and John Ruskin were both leaders of the arts and crafts movement in England. They promoted simple Arts and Crafts of designs based on floral, primitive or Celtic forms worked as wallpapers, furniture and jewelry.

The polished stones used in Arts and Crafts jewelry gave a medieval, simpler, gentler, tooled hand made look and feel to items.

Art Nouveau

The Art Nouveau followed the arts and crafts movement resulting in a new jewelry look. The movement began in Paris and its influence went throughout the Western world. Art nouveau jewelry had curves, sinuous organic lines of romantic and imaginary dreaminess.

It was very ethereal turning into winged bird and flower forms. French, René Lalique was the master goldsmith of the era of Art Nouveau producing exquisite one off pieces. Today, the Art Nouveau style is still admired, sought after, and copied.

Pearls

Various combinations of pearl necklaces come in and out of fashion with regularity so pearls too are a must. Today pearls are still a wardrobe essential. Both faux pearls and cultured pearls are very affordable today.

Since the opening of trade with China in the 1990s, many pearls are imported from China dropping the price to about 1/3 of what it was prior to China entering the market.

The Japanese have suffered disease in their pearl beds as well as facing competition and are finding it hard to compete with China’s prices.

Pearl necklaces and pearl earrings can lift a complexion and bring light and radiance to the face taking years off a woman whatever her age. They have been a wardrobe staple for centuries, and a wedding attire tradition.

Cultured pearls have become very affordable, and faux pearls are very cheap and the quality can be excellent. Currently Pearls are a very “hot” fashion statement and with the modern twist of being interspaced on gold wire or floating on special synthetic cord they are essential to the millennium look.

Cocktail Jewelry

During the 1920s Lalique mass produced and designed high quality glass jewelry. Fake, or costume jewellery was sometimes then called cocktail jewelry.

Costume or Cocktail jewelry was greatly influenced by designers such as Coco Chanel, and Elsa Shiparelli as well as a host of other designers. These two designers were particularly known for encouraging clients to mix their fine jewelry and costume jewelry. Both designers offered imagination and fun and both often sported fabulous fakes.

In the late 1930s Napier of the USA was at the forefront of manufacturing fake cocktail jewelry offer glamour and escapism. Today, Napier still produces excellent contemporary costume pieces.

Hollywood Influence

By the 1940s and 1950s American culture was very dominant in Europe. The influence of movie films and the prominence of film stars set the fashion stage for womens make-up, hair and wardrobe.

People wanted copies of outfits and jewelry worn by the actresses. Women believed that the glamour of Hollywood would rub off on them if they dressed and looked like the glamorous Hollywood actresses.

During the Second World War metals were rationed, halting the production of fine jewelry. Quality costume jewelry picked up the now defunct fine jewelry market. Costume jewelry flourished becoming an acceptable alternative to fine jewelry.
1980’s Television Influences Jewelry

During the 1980s with the evolution of glitzy television soaps such as Dynasty and Dallas, costume jewelry once again became a “hot” fashion statement. With over 250 million viewers, it didn’t take long for costume jewelry to be reborn.

Glitz and sparkle by day was not only acceptable, it became the norm. Earrings grew to an unbelievable size, as did other pieces of jewelry. By the 1990s this sparkly dazzling jewelry phenomena was dead, replace with tiny real diamond studs or a fine stud pearls.

21st Century Jewelry

For the 21st century women believe a mix is good. Fine jewelry combined with costume jewelry are wardrobe essentials. The sophisticated women of this century know what they want from their jewelry and how to wear it to make their fashion statement.

They recognize that costume jewelry can liven up their wardrobe. The types and quality of costume jewelry has grown enormously. Today one can purchase what is classified as fine costume jewelry which is usually plated at least seven times with 10 22 ct gold.

Swarovski crystal set in gold are common accessories, and cubic zirconium, man’s imitation diamond, can be purchased for a fraction of the cost of real diamonds allowing every women to add diamond styled jewelry to their wardrobe.

Ciro, Adrian Buckley, Butler and Wilson, Swarovski Crystal Jewelry Napier, Joan Rivers, Joan Collins, Christian Dior, California Crystal, Property of A Lady and of course Kenneth J Lane to name just a few continue to produce high quality fashion jewelry for today’s women.

Costume jewelry can take you from the board room to a night out of dining and dancing to your most intimate evening. It can make you look your best for your wedding, or a day at the beach. You can make Your Fashion Statement With Costume Jewelry!

Machine Embroidery on Jackets

Of all the different wearable items that can be embroidered, jackets would appear to be the easiest. When most of think of jackets in terms of embroidery, large areas for full back and left chest designs come to mind. What many of us often forget are the little curveballs apparel manufacturers are adding into their designs such as box pleats and seams down the back. Fashion forward styles may have things like raglan sleeves which can throw off design placement since they lack the guideline of a shoulder seam.

One sure way to begin with a jacket that is fit for embroidery is to focus on working with styles that give the fewest headaches. Therefore, do some research on the newest trends. In addition, start with a machine that is in top notch condition, with fresh needles and bobbins. Below are the other basic elements to consider in your quest for trouble-free jacket embroidery.

Choosing a hoop

The best choice in hoops for jackets is the double-high hoop. This hoop is taller than the average hoop so offers more holding power. You can wrap your hoop with white floral tape, medical gauze, twill tape or bias tape to prevent hoop marks and help give a snug fit. Tissue paper, backing or waxed paper can also be used. Hoop these materials on top of the jacket, then cut a window for the embroidery. A thin layer of foam under the tape can also help. But avoid masking tape as it tends to be sticky and leaves a residue on jacket and hoop. When choosing your hoops, remember that oval hoops hold better all the way around than do square hoops with oval corners. The “square oval” holds better in the corners than on the sides, top and bottom.

Needles

The size and type of needle will depend on the fabric of the jacket. Leather jackets call for an 80/12 sharp. (Wedge shaped “leather” needles tend to do more harm than good.) Use this same sharp needle on poplin and other cotton-type jackets. Use a 70/10 or 80/12 light ballpoint on nylon windbreakers and a 75/11 fine ballpoint on satins and oxford nylons to avoid runs in the fabric. Heavy wool jackets, canvas and denim jackets require a stronger sharp needle. Corduroy stitches well with either ballpoint or sharp. Remember that ballpoint needles nudge the fabric out of the way in order to place the stitch, while sharps cut through the fabric. A good rule of thumb is to use the same size needle to embroider as you would to sew the seams of the jacket in assembly.

As for thread, polyester is a good choice for embroidery on jackets that will be exposed to the weather and coastal climates. Be sure to include washing and dry cleaning instructions with your finished product. Consider choosing a large-eye needle when working with metallic and other heavy specialty threads

Placing the design

Hold a straight-edge across the jacket back from side seam to side seam at the bottom of the sleeves. Mark a horizontal straight line, then double check this with a measurement from the bottom of the jacket to the same line. Jackets are not always sewn together straight. Measure the straight line and divide in half to find the center of the jacket. Place a vertical line through the horizontal line at this point. The intersection of the two lines will be the center. If you are rotating the design to sew upside-down or sideways, take this into consideration when measuring and later when hooping. Use tailor’s chalk, disappearing ink pens or soap to mark your garments. Avoid using pins. Masking tape is available in thin strips at graphic and art stores. It is easy to remove and leaves no marks. Wider masking tape, though, can leave residue.

Centering the design eight inches down from the back of the collar is a good place to start, and should work with most jackets. Small sizes may do better at six inches; very large ones may end up at 10 inches. The top of the design should fall about 2 ½ inches down from the collar of the jacket. But remember that this will change if the jacket has a hood. Then it will be necessary to place the design below the hood.

The best way to determine the center point of the design is to have someone try the jacket on, or invest in a mannequin. Pin an outline of the design or a sew-out to the back, making sure to include lettering and graphics to determine size and placement. Left or right chest designs should be centered three to four inches from the edge of the jacket and six to eight down from where the collar and the jacket body intersect. When embroidering on jackets with snaps or buttons, use the second snap or button as a guide.

Be careful not to place the design too close to the sleeve side of the jacket. Designs are not to be centered on the left chest. The correct placement is closer to the placket than to the sleeve. The center of a sleeve design should fall three to four inches below the shoulder seam of the sleeve. When placing a design on the sleeve of a raglan style jacket, mark the placement using a live model or a mannequin.
Backings

The complexity of a design will often be the major factor when choosing a backing for embroidery. Stitch intensive designs may need the extra stability backing provides. Even jackets made of fabrics such as poplin and satin (that might not otherwise cry out for a backing) can benefit from its use, especially if the design is complex. Consider attaching the backing to the jacket with spray adhesive before hooping to increase stability. Attaching a piece of light cut-away backing-or even rear-away-to a satin jacket can hold the jacket better while stitching, allowing for good registration in your design. And, if you should need to remove stitching, the presence of a backing can make your job easier and safer. Backing can also prevent residue from coated canvas fabrics from raining down into the bobbin housing.

Most jacket materials do not require topping. The exception to this might be the corduroy or fleece jacket where the use of a topping can tame the fluff of the fleece and prevent stitches from falling into the valleys of the corduroy. The use of underlay does a better job than topping for challenging fabrics-and as an added benefit, it does not wash away.

Hooping technique

When hooping, especially large or bulky items, start from the “fixed” side of the thumbscrew and travel around the hoop to the “free end.” Use the heels of your hands to alleviate stress on your fingers and wrists. When hooping flat on a table, make sure that there is nothing between the hoop and the table. If any adjustment is needed, hold as much of the upper hoop in place as you can while adjusting. This prevents the garment from popping out of the hoop.

Always make sure the jacket lining is smooth, and double check to determine that the outer shell and the lining are even. Turning the sleeves inside out can help with hooping a lined jacket.

Hooping too loosely can cause puckering, too tightly can cause fabric burn. It can also stretch the fabric causing it to “spring back” when unhooped, meaning more puckering. Tips to prevent puckering include lightening the tension upper and lower, using tear-away if lettering is fill, using mid-weight cutaway if lettering or design is satin stitch. Adjust the hoops before hooping the garment and do not pull or stretch the fabric after it is hooped. Puckering is a risk when stitching on satin, and the lighter the weight of the satin, the more the danger of puckers. You will have the best results when the hold is firm. If you can move the satin around in the hoop, it will move while stitching.

A light pressing or steaming of the area to be embroidered can improve results and ensure that lining and jacket are lined up correctly. While you are checking to make sure your bobbins are full, it is a good idea to check that no part of the jacket is doubled up under the hoop. And please make sure you are not sewing pockets shut, especially inner ones.

Hooping the jacket upside-down and reversing the design is a good way to keep the bulk of the jacket away from the needles. Make sure the arms of the jacket are out of the way of any stitching before you begin. Use clothespins, bulldog clips, quilting clips or even large hair clips. Make sure that you support the weight of the jacket during embroidery to prevent the fabric from slipping out of the hoop, and to help ensure good registration. Embroidering jackets on the tabletop instead of in the tubular mode can help prevent the weight of the jacket from hampering the job. Check also to make sure the material is flat against the throat plate. If you can push down the fabric, the presser foot will too, and this can cause flagging. Flagging can cause stitching problems and poor registration.