Developing vocational practice in the jewelry sector through the incubation of a new ‘project-object’



had acquired some knowledge of production methods and learnt a number of casting
techniques at college. These proved to be particularly valuable during the work placement
at M&M because, in conjunction with the new methods of working that Kate had
introduced her to and listening to Tuwet’s feedback, Shona began to ascertain for herself, at
an increasingly early stage in the design process, the practical difficulties and cost
implications of realizing particular designs. This allowed Shona to develop her own
judgement and to eliminate, at the drafting stage, designs that would be difficult to make
‘downstairs’ in the factory or that were too expensive, even though she might be deeply
attached to them, without having to consult Tuwet (Shona Marsh, interview, 8-3-06).
Once
the models had been completed and fine-tuned to reflect further aesthetic
considerations that emerged in her meetings with Matthew and potential technical
difficulties identified by Tuwet, Shona could confidently send them to be
fabricated in the knowledge that she was not wasting precious time and resources
in the factory (Shona Marsh, interview, 10-5-07).

5.2. Outcomes of incubation

The Design Work Placement Project was deemed by all partners to be a great success.
Shona felt that she has considerably improved her vocational practice as a result of
undertaking the work placement.

I’ve learnt how to monitor the production process so as to ascertain at the model making stage whether
designs are being realised so they’re consistent with my original intentions......, to correct any deviations

from the original design in the models and .... to monitor the final stages of fabrication (Shona Marsh,
interview, 8-3-06).

Moreover, the opportunity to work with a number of precious materials was not only an
invaluable experience, but also a stepping-stone for her to progress to the next stage as a
designer because as, Kate explains, a jeweler’s perception of the actual working materials is
‘a really big thing’ in the design process since it is a major stepping stone to a designer
developing their own style:

If Shona is to do a bespoke design now, she knows what kind of questions she should ask - e.g. what kind of
rings the client wears with - to identify the client’s needs. She is much more aware of how things have to be
made (Kate Thorley, interview, 5-4-06).

Furthermore, because ‘M&M allowed me to work more freely’, Shona not only
significantly broaden her experience and increased her confidence, but also began to
rethink her career trajectory as a jewelry designer. Instead of searching for security and
seeking a permanent position with a jewelry manufacturer, she was now keen to develop a
professional identity and profile as a freelance designer by consecrating a reputation in the
industry as someone who has ‘developed their own style’ (Shona Marsh, 6th Mentoring

10



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