If you follow me on social media, you're well aware that I wrote a book about The 1928 Jewelry Company. It published in September, 2020---I can hardly believe it's been out that long. Many of those who follow me also have a copy of my book and the general consensus is that it's quite good.
But I didn't write about it in my blog. Hmmmm. So you might not know about it! Why didn't I?
The last time I wrote in my blog was just after I began to write Making It 1928. It took three arduous years of work from start to finish, and it was the hardest thing I've ever done. I loved the story, and the research I did to write it was fascinating. It also required about six trips to Burbank, California....where the company factory is located. I didn't mind, I loved the trip. BUT: On top of the work it takes to run my business, the book took nearly all the time I had left in a day. Often it overtook my bedtime in a number of unhealthy ways. So, the blog was let go for a few years, after writing in it regularly since 2005. Not good.
Finally the boxes with my first books arrived....what a rush! You can watch me open them right here, and get to see what's inside:
There's a great deal to be said about the writing of a book, and I'll talk about that in blog posts going forward. But, one thing I can tell you right now: I'll never look at the printed word in the same way again.
And...be sure you employ the services of a good editor. I had two and I needed them both! It's virtually impossible to correctly edit your own book--you need fresh eyes and another viewpoint from someone who is experienced in the process. Even if in time you become an experienced author---you STILL need an editor.
I wish I'd read it ON WRITING WELL first, before I began my book--but I found it late in the "adventure". I would have saved my editor a lot of grief if I'd had it on hand beforehand. I thought I knew about writing! HA! But.....writing a book is a completely different animal than anything you've previously written. Ever. Trust me on that.
These days, he works as the personal assistant to a man who is the wealthy CEO of a major brand--a brand just about everyone all around the world knows. As you can imagine, it's a pretty cool job. But.....
Paul is and possibly always will be an antiques dealer first and foremost. Love of old stuff and the thrill of the hunt is in his blood. Let's just say if it was curb day in your neighborhood and Paul was anywhere close by, he'd be out there, checking what you and all your neighbors had thrown out for pick up. He wouldn't be able to help himself! Many a great item is found that way by dealers who aren't afraid to get dirty or too good to do humble work.
Years ago, Paul had a little shop that specialized in antique lighting, fixtures and furniture. Yep, that's a picture of his storefront, above, and his little dog Bubba who was his constant companion. Everyone loved Bubba, and Paul used to say his little dog was his best money-maker. Those were such happy times, too. Dealers who picked higher-end merchandise to sell to interior decorators or had wealthy clientele often shopped at his little place on Long Island, as Paul was known to have impeccable taste and the ability to ferret out some pretty amazing pieces. For them, it was an essential go-to spot any time they were out looking for something special.
Paul's wares weren't a bargain, and they shouldn't have been, either. No matter where he found the things he had in his shop--whether on the last day of a big estate sale for next to nothing, at a flea market, auction, or yes--out at the curb!--he knew what he had and could tell you all about it. He spent time researching pieces so he could discuss the history of their design styles and construction. Not only that, he could repair and restore fine old lamps and fixtures to their former glory. Paul also had an eye for decorating, himself--so he knew just where to place things in his shop to get the most attention as well as the best price.
Like most shops, Paul had his regulars, many of whom were also purveyors of great old stuff. Antiques dealers love to snoop other dealer's shops looking for items that might be under-priced or under-appreciated--sleepers maybe they knew more about than the guy who owned the store. They'd visit Paul regularly to spy out his latest finds, even though most of them knew he was savvy to new trends and was almost never fooled by anything. In fact, my friend Paul was generally 110% sure about what he had in his shop, what it was worth as well as its practical value. Sometimes the regulars just came to learn what he knew about his treasures, his stories.
One gentleman in particular came to the shop regularly to see if he could wear Paul down on his price. He'd say, "Aw, come on, man! You know you picked this up for chump change--give me a break! I bet it didn't cost you anything! Don't be such a hog on your price."
As you can imagine that fellow made 'no' points for his cause, talking down to my friend like that. First, he was ignoring the fact that Paul had overhead---his shop was in a nice area where rents weren't cheap; not only that, his shop was his livelihood. Secondly, whatever the item is, it's not about what a dealer paid for it--or what someone else thinks you paid for it. It's about its VALUE....what it's WORTH. Maybe the lamp in question was out of the ordinary and unlikely to be found again in a lifetime of picking. Why should it be let go as a bargain? Most dealers will give another dealer or a good customer 10% off, but to expect more than that on a rare piece is a bit ridiculous.
This very subject came up just yesterday after I'd written my last blog post. A long-time colleague, Nancy Jamar of Vintage Design Resource brought it up in an email conversation, after she'd read my post. Nancy is proprietor of a wonderful shop in Fullerton, CA called Gilding the Lily. She has a beautifully curated selection of exotic and rare pieces, fabrics, trims, and stand-out jewelry components, some of which she has had cast from old pieces she's found in her travels. She also has clever, trendy things she's put together herself, such as her handmade rosary chain made of semi precious stones and vintage glass beads.
She's big on first considering what a piece is worth and discussing it with customers who ask, "Why so much?" These folks often don't even realize the cost is already excellent on her inventory items.
Nancy likes to talk about how a new designer will visit her shop and comment on how beautiful her things are, yet lament they will probably never be able to use them, or must use them sparingly because of cost. Often they will simply buy something for the inspiration it gives them, rather than use it to build value into their own design work. While there's nothing wrong with that, Nancy feels the first job with that sort of customer is to educate them. It's not about what an item costs--it's about what it's worth!
There will always be stuff you really can't afford no matter what---high karat gold, fancy gemstones, rare items of antiquity. But that's not what we are talking about, here. It's all about unique items that absolutely can be worked into a design if done judiciously, things that increase its value and make it worth more; the things that will enhance a good design, a designer's skill and the other components in the composition!
If you work has all three of those essential elements, don't be upset when a customer asks why it costs so much. Take the positive view and realize they've just given you the opportunity to expand their horizons and explain. That's how Nancy Jamar looks at it. She takes advantage of every chance to advance her cause regarding value/worth over cost/price. She does it in an intelligent, informative way exuding enthusiasm rather than taking offense to what some might feel is an impertinent question.
By taking the high road, she often she closes the sale, and the customer walks away with a bag full of goodies-- goodies they can't wait to tell others about!
I once had a shop in a small town where artisan jewelry wasn't the first thing on the minds of the people living there. Just the same, my shop was as cute as the proverbial box of chocolates! The back wall of the selling space which separated it from our shipping and inventory, was made of old house doors, which my father hinged together for me, and then I mix-media painted:
Every day I came to work, I had to pinch myself--I couldn't believe this was my own little shop!
Since we also operated our online business from the shop, there was always a lot going on and it could get a little congested and messy. Still it was a great family place: All of those who worked there were family! Donna, Rob, Jordan, Lauren, Javi and Shelley. Here, Donna and Javi were making jewelry to sell in our little store.
One day a lady came in and asked me why this necklace we had on display, cost so much:
I'm not gonna lie. It had been a long day with far too many interruptions, and I was in no mood.
But then I realized she didn't know what she was looking it. Here was a unique piece made with quality American-made historical stampings. It had a hand-applied finish, a tassel made with Czech beads, charms and semi precious stones---all bursting from a vintage thimble I'd drilled out and hand-patina'd. Everything was my own idea. The design had good balance and was unique from anything you'd find in town---actually, probably for 35-40 miles from town, going in just about any direction.
I also recognized the woman as a teacher from the school my son Jordan, once attended...someone well respected and loved in town. Now it was my turn to educate! She listened attentively and thanked me for explaining, but then she left. Oh well....I tried!
The next day she came into the store early and bought the necklace. She explained she might not ever wear it, as she tended to be timid when it came to jewelry--but she just had to have it. She'd never owned anything handmade before, and she said it opened her eyes to all the great stuff out there she didn't know about.
I'll never forget that experience!
Mel Bernie of 1928 Jewelry began what turned out to be a successful 50-year business from basically nothing. His became a brand known worldwide, and there isn't much he doesn't know about the business of making jewelry people will enjoy for many years to come. If he's told me once, he's told me ten times that it's not so much what it cost you to make the piece, but the value you build into it as you go and ultimately what people will pay for it. Sometimes they will pay more than you realize. Where else in the world would you find a realistically priced design that has parts molded from bits out of the Vatican Library, except at 1928? Or items inspired by rare pieces exhibited in the most famous museum collections all around the world? What company even gets to be privy to them? But 1928 Jewelry has been, for many years. YES--at the end of the day, it's not what it costs, it's what it's worth, why it's so special.
Below is a photo of some of the earliest 1928 Jewelry pieces made by the company. Even then, they were using a mix of new vintage and true vintage components in stand-out ways. Even the hardest nuts to crack when it came to costume jewelry---the old-school producers from Providence, Rhode Island---had to admit the infant company was on its way to making something in a league all its own.
In the end, how did my friend Paul the antiques dealer get his price from the most annoying customers?
When given the opportunity he always told the piece's story and built up the worth of the lamps or fixtures he had in his shop to sell. If there was a good story about its provenance---where it came from---he was there to tell it in an engaging way you probably wouldn't forget. Telling those stories built value and worth, and they often often closed the sale for him even if the customer was tough.
Hopefully these short vignettes will help you understand why you should always educate yourself first, and then others, if they'll listen. Don't give up too soon and let something go because you haven't found the right person to appreciate your story and what your jewelry is worth, yet. Good salesmanship and an interest in people can help you sell to the most difficult customers--and keep them coming back, too.
Here's to Bubba, who helped my friend Paul make many a sale:
Many of us frequently wonder why we can't seem to get a price for our jewelry that is worthy of the work, time and components used to make it.
Some artisan jewelers agonize over using better quality components. They love to use them....because they appreciate their value. THEY know what they are, and why they make such a difference in their work. When I create a piece (the one in the photo above is mine) I can hardly bear to use anything less than the best I can possibly afford. If I can buy it as a bargain, so be it; but you often get what you pay for, so watch for flaws and defects if you buy closeouts and destash items to save money.
Smart artisan designers plan their work very carefully. The bracelet below was made by Lisa from The Vintage Heart. Lisa saves special vintage parts, bezels, chains and novelty components to make a perfect charm bracelet. Some of the pieces in her bracelets are even quite rare!
Many of the pieces in Lisa's bracelet are vintage---and some are made at 1928 Jewelry Company. 1928 is not known for their components, but rather for the sum-total of them. They sell vintage style jewelry. So, being able to get parts like these is pretty special. You can't just get them anywhere.
Lisa has always looked for unique things to build her bracelets and she is a master at it. But she sells her work on line only. In that case, the photo has GOT to talk.
So along with all the special guilloche/dresden style vintage enamels and hand-cut china hearts, she's used USA made vintage style bezels and mounts, a sterling bracelet base not that easy to find, and in this case, more 1928 components.
But that's not all she chose. She thought very carefully about what background she would use for her picture and how she would place the piece in the photo to make the bracelet really pop.
A fantastic photo is of highest importance when you sell on line. At Etsy, the template provides you with places to put up quite a few photos so that you can show the piece at every possible angle.Each photo is a selling opportunity.Do you take advantage of every opportunity? If you don't, it's quite possible that you won't be able to sell your piece for your asking price. Since people can't pick the piece up, try it on, look at it closely, it's on you to that for them---with your pictures.
Also, when you sell on line, you need to use every keyword possibility. If it's on a site, it's via metatags, if Etsy, it's those thirteen keywords you place on the listing to try and reach out to just the right customer.
As you can well imagine, Lisa's bracelet is not inexpensive; it can't be. But in this market where 22-55.00 sells best, how does she snag her customer?
First, I'd say it's her photos. Also, she does a lot of the hand painting herself...so, she is not shy about calling that out in the listing. Hand painting is a big deal! She doesn't cut corners, and the work is impeccable. She also chooses her selling platform carefully. Many of her bracelets have sold best and for the most at Ebay auctions that have a reserve. If she doesn't get the reserve, she tries selling the bracelet again in the future, or on another platform---and she might even take a whole new set of photos. She also has sold successfully at Ruby Lane, known for a more discerning clientele always searching for high quality, unique work.
Lisa builds value by describing all the lovely vintage items she uses, and sometimes talks about where she collected them. Maybe it was in a quaint antiques stores on one of her vacation trips to Cape May or other favorite haunts that she and her husband Paul, an antiques dealer, like to visit. Telling people about the little details is like telling them a story. People LOVE stories.
STORIES sell jewelry!!
Lori Prull Meyer of Pariesienne Girl at Etsy also knows the value of a word picture....a story told with a photograph and just enough carefully-selected text to intrigue a possible buyer.
These parts cost more than inexpensive imports, but they also have more style and character---and quality---than all the other cast pewter lines, including others made in the US..
Lori also creates in lines....meaning there is always an upsell available (in other words, an add-on sale): a matching bracelet, several pairs of matching earrings, maybe another necklace that is similar but a bit simpler. Every collection has a name and a Parisian mystique that she develops via a series of photographs chosen to go with it. Lori also plans a launch for her lines sold at Etsy, showing her customers her gorgeous photos BEFORE the line even comes out, and telling them what date to expect to find it on her website.
She almost always sells OUT of a collection in a few days; often she sells out sooner!
Just a little extra effort to make her jewelry appealing and desirable almost always pays off. Lori is also diligent with her Etsy keywords, which target the customer she hopes to attract.
If you sell jewelry in person, then a beautiful display is imperative:
My friend Cynthia de Fatima always makes her booth inviting and warm...a place customers will want to hang out for awhile. She dresses up for her shows to show that she has some fashion sense, and no customer is ignored when they visit her booth. Cynthia is engaging in a way that makes people feel like they are important to her. And the truth is, they are. She makes them all feel like dear friends, and while making a sale is always the goal, she also tries not to make them feel 'sold.'
The first details in planning her booth have to do with the 'ambiance'....and the last ones, placing her beautifully hand-made pieces in just the right places in her booth to catch the light as well as customers' attention.
You can make a very nice, effective show booth on just one table, too. You don't have to make it over the top and you don't have to do something expensive. This is Danielle Clarke's show booth. In the past she has tried to do a number of shows every year on just one table. She's done well---but let me call your attention to the business cards in a prominent place in her booth. Danielle wants people to be sure they can find her after the show. One way they can do that is through her Etsy shop, which has done very well over the last several years.
Danielle sells her things reasonably but not cheap. For some, a decision might take more than just the first day they saw an item. Or, they may think of a need for it, later. If they have a card, they can always find Danielle, and she can close the sale--at her Etsy, or over the phone.
Don't be afraid to brag a little on your work. More than brag, it's more about letting people know that you LOVE what you do.Show great enthusiasm for the lovely parts you use and more so, for your design skills. Tell people why you love what you made. They can't love it if you don't, and no, they can't value it if you give it away.
If you use brand-name parts in your work, don't hesitate to tell your customers that you do. If the crystals in your beaded chain are Swarovski, don't hold back on letting that be known. That name has been known to close a sale. If the parts are vintage, the same used by a famous designer of days gone by, tell potential buyers a story about that designer. Tell them why you love their work, how they've inspired you and why you are so happy to be able to use the same parts they did. And of course, if you use the 1928 parts, tell people that you do. So many of my customers for those parts tell me people often get excited to learn that what? You can get 1928 parts? Take a moment to show them the characteristic marking that appears on the backs of most 1928 pieces.
These are a lovely pair of earrings Danielle Clarke made using 1928 parts. She sold these online in her Etsy shop, but she also tagged them with the B'sue by 1928 mark, to let people know these are her own design version of 1928 Jewelry, using their parts.
If you MAKE your own components, be sure you point that out too. If the customer wants to chat, show them how you make your jewelry. At Etsy you can now add short videos to your listings. You could use that video to show a bit of your process on your online listings. You can also do that with social media, on You Tube, Facebook and Instagram as well as Tik-Tok. Video is very effective when you're selling things you've made online. Carry your tablet to a show, as you can show an interested customer those videos....or use it to take them to your Etsy shop, so you can show them other things you've made. This way you can show them your range, and possibly get some commissioned work for yourself, as well.
All of these things contribute to your brand image. If your brand image is weak, you may indeed have trouble getting your price. Artisans often say, oh, I live in an impoverished area, I can't use good things in my designs. If you are such an artisan maker, continue to think about the power of a brand. Even those with limited amounts of money to spend will appreciate a good brand name. They might be a buyer who would would rather have one really good piece, than a drawer full of 5.00 throw-away jewelry.
Develop your personal image by dressing up a bit, doing your nails and of course, by wearing your own pieces. Establish it by demonstrating how you make the jewelry and talking about all the things that go into it. Be proud of it, but in an engaging way. If you can weave a story into the design, then by all means do it.
So often you are selling yourself, more than you are selling anything else. Jewelry is highly personal, so selling yourself, your personality, and your stories is essential. Keep thinking of interesting outside the box ways to do it, and try them.
I think you'll be surprised at the difference it makes!
Oh for the love of a cat. And what we let them get away with! Meet Millie, current mascot at B'sue Boutiques
No, I do not allow her on the table, but at least it's not the kitchen table, it's just a table with a nice cloth on it in my living room. You know cats....turn around, and they do EXACTLY as they please. Even if it's up on the table!
Whatever we go through with our feline friends, I am of the opinion that it is worth it. We do what we do for the love of a cat, not just ours for them, but their love for us. A loving little nudge, sweet kitty kisses, warm purring as they sit in our laps on a cold winter day. Or maybe a day when we just need comfort.....the love received from a cat is hard to forget.
And don't forget play time!
They can be the silliest things!
Or the most curious....
Evie, the tuxedo kitty in the photo above, was my comfort kitty. He knew my pain and my angst, he always knew when I was down. Somehow, he felt it was his job to make me feel better, somehow. If he heard one sob, he would literally run from wherever he was in the house, to where I was, and he would plaster himself up against me for however long it took, til I was happy again.
I miss him. He lived to be 17 1/2 years old. Evie came to me as a tiny stray kitten about five weeks old, just barely old enough to leave his mother. We found him at the back door, opened it, and he trotted right in with his tail in the air as if to say, "Here I am!" We couldn't find anyone to whom he belonged, so he quickly became ours.
I lost Evie about 2 years ago and it seems like yesterday. I said I would never have another cat, I just couldn't bear the thought of having anyone but him. But only five days later, grief made it unbearable and I had to welcome Miss Millie into my home. She was a rescue kitty.
And then of course, there was Meep. Meep's story and daily doings were often chronicled on this blog. If you have followed B'sue for awhile, you know good old Meep. He was comical.
When we found ourselves at the little brick and mortar shop some time ago, Meep, being a younger cat, was very lonely. We couldn't take him down there, it was a rented building and just not the right place for him to be. He was left at the house with Evie, an older cat who wanted to be left alone to sleep. Meep was very frustrated and it just seemed wrong for me not to try and find him a new home with people who would dote on him. I just was not at home very much and he needed attention.
I did. He is a very blessed cat, because now he has Catherine Shattuck as a cat-mother. He's the cream in her coffee, she and her husband, Everett, are nuts about him.
Every year, in fact, October 29 is designated as National Cat Day!
At the B'sue Boutiques Creative Group you will find that not only do we love to make jewelry....but we are a bunch of cat lovers. I'd love to show you a few of the pieces some of the friends at the group have made. Here is a nice pendant from Harry Wood:
This is a cuff bracelet that I made for a blog hop, a long time ago!
A sweet bracelet made by Cindy Peterson:
Danielle Clarke's cat tassel earrings:
Jennifer Merrill Williams:
Monica Rangne:
Pamela Anger's shopping kitty:
And Pam's Gone Fishin' cat:
Danielle Clarke again, with her Parisian cat bangles:
I made this cat brooch from an old image and gingerbread patina created over brass:
and this cat ring....well it's in the middle of this collage of my pieces of artisan jewelry:
And then....there is Cat In Pearls, from Pamela Anger:
And there are so many more we could share! Maybe next year, or I will start a Pinterest board for our cat pieces!
But I'll wrap this up with a piece by 1928 Jewelry Company. This one is an old chestnut that has delighted people for years....I carry it in in the Vault section of my website at B'sue Boutiques:
I hope you enjoyed our cat parade! And now I have to stop cattin' around....and get some jewelry made!
Looks like somebody's got a great Work Table Wednesday going on!
Well, it was a little more than that.
When our friend and polymer clay artist, Paula Gaskill, passed away suddenly just a couple of weeks ago....she left a very important job unfinished. A big wedding was coming up in the family! Paula had promised to make the hair ornaments and the bride's jewelry, as well as other things. Only part of the job was done. The items on the table above are the beautiful roses and leaves that Paula had made to finish the work.
After getting over the initial shock of losing her, one of the first things that some of Paula's creative friends asked was how would the wedding jewelry get finished? Only a few weeks remained, and there really was no one in the family to do it.
Terrie Taylor was the first to contact to me and ask if she might tackle the work. She had been a florist for quite a number of years, a trained florist. I thought, who but a florist to handle Paula's roses? So I put her in touch with Paula's daughter in law Ashley, and Ashley agreed that it was a great idea to have Terrie do the job. Everything was quickly packed up and over-nighted from Virginia, where Paula lived.... to California, where Terrie lives.
Apparently, Paula's first intention was to put the necklace on wire:
This was as far as she got. It was going to be beautiful!
Yet Terrie felt a little tentative about continuing this way, afraid there might be errant wire which would make the piece uncomfortable to wear. There would be no time for a re-do or any adjustments. Everything had to be perfect when it was returned to Ashley. Time was of the essence!
So, Terrie did what came naturally. She made a floral arrangement!
When you think of it, flower arranging is just another form of assemblage. So.... putting together a remarkable assemblage necklace just made sense.
Paula loved assemblage. She would have been over the moon to to see this end result!
And there's more to show you:
These are the hair ornaments for the bridesmaids and flower girls. And here are the bride's earrings:
Terrie Lohrey Taylor is a steampunk artist who loves to dress up and participate in steampunk conventions and events. I love this picture of her. You can bet she made that hat!
This beautiful lady has been with us at the B'sue Boutiques Creative Group for awhile now. She's has been very active with the group, and even took the leap and joined us last year for the May Workshop! Here are some of the things she had fun making:
Terrie often had admired Paula's gift for working with polymer clay, but their paths had never crossed. So sadly, Terrie never really knew Paula. Now, after working with the things Paula meticulously made with her own hands, I daresay she probably knows her in ways that many who DID know Paula personally, never will know.
At the B'sue Boutiques Creative Group at Facebook we will always be in awe of Paula's polymer clay skills, and we can never possibly forget her. She was a real character yet compassionate and very loving. Many of us own some of her flowers and we have all promised to use them and not hide them away in workshop drawers. But, we will use them only in the most worthy of projects.
The roses are all one of a kind, just as their maker was:
Thank you, Terrie, for stepping up to offer your time and talents. What you have done is bittersweet. Your gift to finish what Paula couldn't, was a gift of genuine friendship.
We hope the bride loves what you have done for her and for Paula's memory, as much as we all do. And, may she have the most beautiful of wedding days.
Such a talent our friend, Paula Gaskill, had for making roses from polymer clay. Don't they just look like spun sugar? Masterful at blending color, she could make them in any color you wanted. It brought her such joy!
I remember one day a couple of years ago, Paula called me to ask me about her roses. "Do you think people would buy them? Should I try and offer some for sale?", she asked. BUT OF COURSE!! I recall telling her, why don't you pierce them side to side on the bottoms, so people can use them to do cagework beading, too, as an option.....so they can also wire them into a design.
She did so and they worked perfectly. Paula got so excited that she set about to making enough for every attendee of last year's annual B'sue Boutiques Workshop, to make sure we had some for our cagework class. She was not able to come but she wanted to be sure that she was represented. Everyone delighted in the little rose treats she sent for each and every one.
Paula was able to come to the first workshop....here is a little collage of special photos:
That's Paula in the top center photo, the one in the middle. That year she had brought us all little polymer clay owl pendants. She really was a master with her clay creations.
She also loved to make mixed media jewelry:
More of those wonderful roses!
Paula also loved to play along for as many Work Table Wednesdays as she could:
Just like the button in the photo, Paula lived her life with joy and had a wonderful sense of humor. She loved her family, she loved children, she loved her jewelry making friends and her craft....so much.
This morning I received some difficult news:
"Hi Brenda, this is Ashley, Paula Gaskill's daughter-in-law. Her husband, Stuart, wanted me to reach out and let you know that sadly she suffered an aneurysm and the family had to let her go peacefully. She was very fond of you, thank you for being a great friend and presence in her life. Stuart asks you to please pass this news along to the ladies in the jewelry group."
I couldn't even react to that news immediately. Paula was not up in years, she still had a lot of living to do. Gone? Really? It cost me a bit to consider it, and then I sat down to figure out how to tell you, her creative friends, in the best way.
Paula would want us to celebrate her and to go on creating and being joyful, as she certainly was. She would not want to see you despair, or let your hands drop down. If you have some of Paula Gaskill's roses, put them in a special place and promise yourself to use them in worthy creations. Don't just save them all back. Use them. This keeps her memory going.
We all have our own way of dealing with loss and the differences between us must be respected. But I must say, I always find the words of John the Apostle comforting when things like this happen:
"He will wipe out every tear from their eyes, and death will be no more, neither will mourning not outcry nor pain be anymore. The former things have passed away." --Revelation 21:4
We were never created to be sick or to die. That was not in the original plan. One day what is wrong will be made right and we will see our loved ones, like Paula, again. They are not forgotten by us, nor are they forgotten by the Creator.
Until we meet again......our Paula, the way we should remember her:
Much love to each one of you and especially to the family of Paula Gaskill who are undergoing this loss in the most personal of ways.
The 2017 Build a Line challenge began in mid-January. So far, we've been examining our style, what it says about us as artisan-designers, and trying to identify our customer. For many, some of concepts are things that can't be answered in a just a few days. It might well be a process. That's the purpose of the class, to re-route thinking and help the artist to discover which path to take.
To get started, the students were first required to make photo collages of past work. This way we would have a sense of where they were in their journeys, so far. The collages also helped the students step back, with a visual, so that they could be more objective about their work. They were asked to try and imagine they they are NOT the artist who made the collage, but someone else entirely. And then....to ask themselves, does it look like the same person made this stuff or a bunch of different people? They were also asked to try and identify common elements in the collages of their work.
A big reason for the class is to help them pull their look together so that it will speak 'one voice'. Some of us become too intrigued numerous techniques and design styles that we never do two pieces that look as if the same person made them! To be successful in developing a line, you need to get that 'one voice' concept, down. Your lines must flow and hopefully, get to a place via your hand and your branding, where people may come to realize who made them even before they are even told who made it.
We've come to the place in the class where we are sharing what our theme will be for our prototype lines developed as a class exercise. The photo collage at the top of the page was one made for the theme reveal by Suzanne Valeriano, of A Silk Purse. She's going with Art Deco-inspired jewelry design.
Here is another, which happens to be a color palette...from Joy Turner of Fireskye Designs:
I have to say, I'm quite drawn to that palette and would love to make things in those hues, myself!
Erika price went with a lovely collage of vintage pieces that inspire her to make jewelry. I believe she is the maker of some of them:
I am working along with the students but doing something a bit different....I am developing the B'sue by 1928 cast findings line:
That line has been out with its beginning 30 pieces, since late December:
The students posted 4-6 collages or photos that identified their theme feeling, like inspiration boards. Then on a final photo, the theme was revealed.
All of the photos are marked, and can be found at this Pinterest board. Believe me, you want to take time to have a look....no more long reading like we had in the blog hops! All visual!!! And they have knocked it out of the park....go over and look, just for the inspiration!
The final round will be the BIG reveal: the showing of the prototype lines made for this class. That's always so exciting! So be sure to check out the first round and come around again for the second! You get to see the BIG REVEAL by the end of the first week in April, 2017.
There's a line from the song, "Happy Talk", which is part of the score of the Rodgers and Hammerstein musical SOUTH PACIFIC. It goes something like this:
"Happy Talk, keep talkin' happy talk,
Talk about things you'd like to do,
You got to have a dream,
If you don't have a dream...
How you gonna have a dream come true?"
Allison Murray has a dream.
She is the designer of Bordeaux and Pearl Jewelry. It's an artisan line that has a great deal of heart and lots of vintage elements. Much of what is presented can be mixed and matched. The components used are culled from U.S. jewelry making history, parts also employed in many of the golden-age lines made in the Victorian Revival period of the 50's. As you can see, the work is assemblage. It has a hint of the old Miriam Haskell look with a twist of Hattie Carnegie and modern repurpose on the side.
Many, just like Allison, dream of becoming jewelry designers. Often they start out on an incredible high, but it's inevitable, there will be obstacles to overcome. Some will really hit a wall. Hitting that wall too many times can kill a dream.
Why does something so much fun, something they love to do so much, all of a sudden become so difficult for newer jewelry designers?
There are many reasons.
For one, it's common to loose viable opportunities due to not having enough components on hand. It also might be that their work is too much one of a kind, custom work. Their prices might be too high or even too low for the market. There may be a failure to completely identify the target customer. Maybe what is being made is dated work, too fussy, much to be admired but not what customers want to buy. Or, perhaps the craftsmanship is not consistent and the artist is frustrated by having returns caused by issues with skill level, or even components.
Allison is working hard on her dream. Right now she is in that spot where she's learning new techniques and experimenting with many ideas. Each demi-line of jewelry or parure that she makes, shows more thought and more skill than the one before it. She is working hard at presentation, photography, and knowing her target customer well. If she keeps that up, and continues to work hard on her brand through all the glitches, she just may arrive at her destination. Her dream of being a self-supporting artist or a jewelry designer with her own company might just come true.
I felt the same way back in the 90's when as a fluke and maybe a little natural talent, I created a jewelry line quite by chance, and it worked. In a few years we had 500 wholesale accounts and the line was 300 styles deep. Yet, within a decade, it had run its course....as many small lines do.
Why?
I didn't have a good plan. The line didn't change as trends changed, so it lagged behind. I had trouble having enough inventory on hand to ship quickly, and trouble hiring enough competent help. My line was hard to make, so it was hard to train people to make it the same way I did. Eventually, I threw in the towel. I had had enough. I have no regrets because I learned so much for having the experience. Still, I have to be honest: I jumped in madly with no mission, no view of what I wanted of the future, no knowledge of the trade. It's amazing that it worked for me at all, actually!
My friend, Mel Bernie, owns the 1928 Jewelry Company. Back in the late 60's, not long out of the service, he decided his vocation would be to create and sell jewelry to small chains of retail stores. From what he could see, it didn't look like it would be so hard! So, he saved up from his day job of selling watches so that he could buy some basic tools and manufacturing equipment, and then he tried to teach himself to use it in his garage. He had great ideas, but bringing the great ideas out to the public in a sophisticated way was going to take more expertise than he could quickly learn. He really didn't know how to make jewelry.
Since his dream was to go BIG, he needed to surround himself with competent, knowledgeable, highly-trained jewelry makers who could not only help him make his dream come true, but teach him how to make jewelry in the process. Mel was now on a mission and would not quit until he found the right people.
Well, he found them. In a very few years, the company catapulted to huge success, selling their lines to the buyers of every major department store around the world. And....many of the people who are working today at 1928, have been with him for years.
On the right is Pia, who has been designing for 1928 since the very beginning. She has designed many of the 1928 pieces that you have collected and loved. And yes, that guy next to her is Mel. We were out having Thai food. Pia is an expert on Thai food, as she originally comes from Thailand.
Here I am in the factory at 1928 with my friends, Rene, who is the factory manager for many years, and Oscar, who came to 1928 a long time ago after having trained as a goldsmith. He knows well how to cast gold and other precious metals, but he is amazing at spin casting the proprietary blend of pewter that 1928 uses to make their products.
The guys explained to me that the 1928 pewter blend flows exceedingly well and contains a bit of silver. The best lead free pewter blends do! Their expertise as well as this special pewter blend is why 1928 is able to cast intricate filigree like no other company can.
Check this out and you'll see what I mean:
This is a very special vintage piece, a locket, from their castings archive. A few of you may even own one!
Every creative or business journey has its ups and downs....there are always highs and lows! But when many US companies have failed or pulled the plug on their enterprises, Mel Bernie's continues. 1928 is still known as one of the largest costume jewelry makers in the United States. They have not only made their own lines, but they have made jewelry for many other companies as well, under private contract.
There has ALWAYS been a plan at 1928. Since I've become friends with Mel and some of the great folks who work with him day in and day out, I've learned a great deal about working "smarter, not harder" in the jewelry business. Here is Mel meeting with some of his designers, working out a few bugs on a new line for New York Market Week:
I got to be the proverbial 'fly on the wall', listening to them and even having a tiny part in the conversation that day.
The line they were working on did not have lots and lots of pieces. It was pulled together just right, with a certain type of customer in mind. Everything about it was costed out to perfection so that it could be wholesaled to department stores and still allow the company to make a profit.
When they decide to put a piece into a line at 1928 Jewelry Company, the piece is sketched in such a way that every component is obvious. There is NOTHING that is casual about it. Every casting that is needed for the piece is referenced. The designers must come out into the large archive of over 35,000 molds owned by the company, and find the part number for every last piece used in that style. They made need to consult with Rene and Oscar or the mold maker, Herman, to see if the mold just right to do the job and if there is anything impractical about using it in the design. All the other components must also be referenced so that they can be sure they have enough to make hundreds, if not thousands of pieces of the style. If they don't have enough, it must be ordered immediately.
Then: every component is counted, down to the last jump ring. Quality is number one; only the pieces that truly work for the design and that are durable are used. It's been done this way, from day one. Every piece in the style must be referenced, costed, and then, the entire design costed out, including the cost to plate the pewter. It all has to work, or they cannot put it in the line.
Do you approach your design work this way? Yes, I know, it doesn't sound like tons of fun! Who wants to do all that dull planning? But if you do not have your information at hand when you work your dream and design a line, you could make little profit or even lose your shirt! Or, you might be caught short right in the middle of a huge order, where you have a strict deadline.
I said I would never design a line again. I had had the experience and was very glad for it. I was content to share what I learned about having done it with others. For a lark, though, I did it in miniature for my yearly Build a Line business class last year. The initial plan for the line and its sublines made a great deal of sense and everyone loved it. I even seriously considered going ahead with it:
I decided to call the line Sugar Shop Jewelry. I even purchased the online domain for that name and I began to think about creating a dedicated website so that I could sell it. The photo above was when I was in the planning stages of the first part of the line, which was going to be done in segments. This segment was to be called Chocolate Frosting.
Why didn't I refine and simplify the line, cost it out properly and keep going?
Well, my 'day job' is running B'sue Boutiques which is a small jewelry supply company where we sell very unique things and have been doing it online since 1997. It takes most of my day to manage it! Part of managing B'sue Boutiques is providing a great deal of support to new to intermediate jewelry makers who are working hard to work and live their dreams. They need quality findings and they trust me to provide them.
These days you cannot have a supply company without providing strong support. In these days of strong competition and burgeoning social media, it can be quite a juggling act!
Another blow to progress on Sugar Shop Jewelry was that the choxie finish on the brass I was using suddenly became inconsistent. Apparently there have been some changes on what chemicals may be used for plating in the US. A crucial part of the plating 'blend' became unavailable. So, I couldn't get the chocolate ox finish to match, batch to batch. Not good.
Lastly, I was offered another opportunity that I felt was much better for me and for my customers. Mel Bernie asked me if I would consider pewter and have my own proprietary castings made for B'sue Boutiques. I would also be permitted to curate part of the line from their castings archive.....and I would be allowed to put my own designer finishes on them.
Two factors here were extremely unique: first, pieces and parts made for 1928 Jewelry have never been released to the creative marketplace. It was never considered to allow artisans take their specially-designed pewter and use it to make their own jewelry. Second, 1928 would never put my custom finishes on their lines. These finishes are by plan very funky and geared to current trend in the crafts industry. They wouldn't work for most department store buyers.
Since last fall I have been working very hard on this line, which is called B'sue by 1928. The name of this venture includes the 1928 logo because it IS 1928. At the same time, it is my B'sue line, totally B'sue Boutiques, echoing my roots in the vintage jewelry trade and everything I personally love about designing jewelry. I curate the collection based on my knowledge of selling components for parts of three decades. It is a high-end designer line of unique components like no other.
We got our first batch of samples back from the finisher at the end of November:
By the end of December we had nearly 30 styles and were ready to launch. The line has done very well ever since. In fact, it was just on the back inside cover of the current BELLE ARMOIRE magazine:
The editor of the magazine liked it so much, she gave it a full page "Editor's Picks" review:
They said such nice things about B'sue Boutiques and the 1928 Jewelry Company, too!
I am still pinching myself that Mel not only invited me to test the waters with pewter findings this way, but he allowed me to be called, in part, by the 1928 name. He gave permission to use their logo known all around the world, melded with my own, to establish a brand.
The line I created in the 90's was a dream that came true out of nowhere. By all rights, it should never have succeeded at all, because there was no adequate planning. For my B'sue by 1928 components line, the game has changed. All I do is plan!
What's coming down the road for The 1928 Jewelry Company?
Well, I think their catch phrase says it all: Then. Now. Forever.
As the company reaches out to its public through its website, 1928.com more and more people will be able to enjoy new designs as well as the timeless ones they have always loved. When you visit their website, be sure to click on the top drop-down boxes and see how many lines there are.
Each line has that unforgettable 1928 look that we know and love. Everything is well planned and beautifully designed and crafted. Much of the work is done by hand! Nothing has happened by accident. It's classic and will never go out of style.
Well, there are certainly no plans to try to corner the market, not now, anyway. For now there is more need to observe what happens and how people use the components. I need to be thinking of new ways we can use them. It's about enjoying the journey and presenting constantly via our You Tube channel: B'sue Boutiques at You Tube
We hope to partner with other artists who successfully submit to quality craft magazines, or who have a proprietary line that would blend with this one, being ambassadors for each others' lines. We will continue to advertise in print in BELLE ARMOIRE as well as JEWELRY AFFAIRE, both being jewelry crafts magazines produced by the Stampington Publishing Company.
Perhaps down the road we'll will do a little wholesaling, but we are not ready for that or for distribution, now. I don't think we will be, for awhile. I'm still building the line. In a few weeks what we have to offer will more than double. After that, the intention is to add new pieces more slowly, 5-6 at a time, every 6 weeks to two months.
It's all about experimenting, watching and working the line, listening to what community and customers have to say and suggest.
Mel Bernie calls it 'chasing the business'.
So....the clock is ticking! I guess I'd better run!
Here is the code for the 2017 Build a Line Class Badge:
<p><a href="http://bsueboutiques.typepad.com/bsue_boutiques_jewelry_su/2016/11/class-syllabus-build-a-line-master-challenge-class-2017.html" target="_blank"><img src="https://bsueboutiques.typepad.com/.a/6a00d8348f44da53ef01bb09526b21970d-800wi" alt="B'Sue Boutiques Build A Line Master Challenge Class 2017" width="225" height="384" border="1" /></a></p>
If anyone would like to join us in getting the word out about the class, which commences January 9, 2017......we would really be obliged! THANK YOU
There are still spots left in the class. DO NOT assume the class is filled, 'cuz it isn't, quite! YOU can still come and be a part of this most-excellent exercise. Doesn't matter how new you are to jewelry craft....learning to build cohesively is so important, and the earlier you learn in your journey, the better off you are.
For more information on the class, what to expect, what you'll need to participate and more....
and you may always write to me at [email protected] for more information on how you can be a part of this amazing group learning experience at Facebook.
The application process for this year's Build a Line Master Challenge Class begins Monday, November 14, 2017. I will accept approximately 35 students into class.
Alumni are welcome to join us again, and this year we have option for a few who are more comfortable auditing the class. I will accept students up until the end of December if we still have openings so if you still need a bit of time to decide, it's fine. The only thing is, the sooner you sign up, the better your chance of having the choice of theme you'd like to do for your project pieces. More about that in the application blog post, and continuing, below.
How far have you come in your jewelry making journey?
Are you a hobbyist, a maker....a production designer? Do you work in many types of media? If you do....is there one that speaks your artistic voice louder than the others? Have you found ONE COHESIVE LOOK that identifies you and pulls everything you do together?
Do you sell your work or aspire to sell it? Would you like to sell MORE of your work and see more people wearing the pieces you make?
Do you simply wish to supplement your income, or is it your dream to become a self-supporting artist with a recognizable brand and steady clientele? These are the things you'll uncover if you take the three-month BALC class.
It will commence January 9, 2017 and continue through April 14, 2017. The class is conducted in a special, private Facebook classroom and consists of modules/discussions that address important topics to lead to your discovery and improvement in what you do.
All skill levels are invited to join us...in fact, the 'younger' you are in your journey, the better off you will be. Being young in your journey and taking this class will help you to avoid some of the pitfalls that many of us, myself included, had to work through before learning that less is more, cohesive and pulled together is best. You will also learn why staying lower on the pyramid of sales means growth in income and quicker success.
In class you will create a cohesive five piece prototype line. If you aren't quite sure what cohesive is, check the dictionary....or come to class! We will teach you.
My line from last year speaks my voice as an artist and is cohesive, so I will use it for an example:
As discussed in the post regarding the application, you'll simply write me starting November 9, 2016 at [email protected] with
NAME
ADDRESS
PHONE
BLOG NAME AND URL
NAME of the PHOTO EDITING PROGRAM you use and ASSURANCE that you can make a collage, using it
YOUR CHOSEN THEME (see the application post in my blog, just previous to this, for ideas).
Having the working blog with a URL that clicks through and knowledge of the photo editing program are imperative. With out them, you would not be able to participate in this class.
Only two students can use the same theme for your line, so pick several when you write me. Also, please include the PayPal email you use so I can invoice you for the class when accepted. If you would like to pay by credit card, you can let me know when you write, too, and you can call that in when you're accepted to participate.
Class fee is 75.00 alumni, 100.00 new student, and 125.00 for those who wish to audit rather than participate fully. (No more than 3 will be accepted for auditing). Class fee must be received within 48 hours of acceptance.
There will be two blog hops in class. The first will be Friday, February 10, 2017. In this hop you will talk about what you have discovered so far and tell a little about what you plan to accomplish in the class. The second will be March 31, 2017. This is when you will reveal your line.
As soon as you have paid your class fee, you will gain entry to our classroom, which is the same one used last session. All of the modules are there in the FILES section, so you can start reading. You can also scroll back and see some of what we did last year. We will not, however, be discussing modules before class begins, and I reserve the right as instructor to decide in what order they will be discussed.
Since it is online, the classroom is open 24/7. Students should plan on checking in to class at least 4-5 times a week. The class is not in real time, however....so you can fit it in to your schedule as you like. The two blog hops are mandatory to staying in the group and to graduate, or finish the course. If you cannot meet those deadlines, you cannot continue the class. That's pretty firm with me.
Other than that, you can come or not come as often as you like, you can participate or not participate in discussion in class. There is no requirement there. BUT! Like everything worthwhile in life....you'll get out of this what you put into it.
Class materials you will find helpful:
A subscription to Netflix. Don't worry if you don't have it! But there are some wonderful fashion documentaries on Netflix that are more than worth your time. I'll check to see what all is available when we start filling the classroom and make you a list.
A subscription to VOGUE or at least a couple of current copies, the SEPTEMBER ISSUE being the one most important.
A journal or planner with a calendar for notes.
Materials to 'build your line'. You do need to use visible pieces from the B'sue Boutiques website in your work, but you can use ones you already have and you may also fill in with things you may have picked up here and there, so long as you can make a full line.
I will building a line along with the class, but it will be quite unique. First I will be choosing pieces to develop my own proprietary line of findings, which will be pewter castings with special finishes. Later they will be available to others at B'sue Boutiques
After I have enough chosen and made for me, I will develop them into a prototype jewelry line.
I am working with the 1928 Jewelry Company to make this happen, it's a joint project we are developing. So students will get to be privy to this most unique process as well as learn a few new little chestnuts I have picked up from working with Melvyn Bernie, the owner of the company. He is the perfect model for this class, as he began his jewelry making career with nothing at all, not even any knowledge of making jewelry! With focus, determination and a few shekels saved from his meager job as a watch salesman, 1928 Jewelry Company was born in a humble garage in Van Nuys, California....in 1968.
And as they say....the rest is history!
My story is similar to Mr. Bernie's. I began with a 20.00 bill and a whole lot of hope in my heart. Inside of three years I had a 300 piece line of gift jewelry that was sold to 500 gift shops, florists, hospitals, museum shops, catalog houses and small department stores. I continued making my line available for nearly a decade. I'll explain why I quit.....and why Mr. Bernie was able to continue until his jewelry line was known worldwide, worn by many brides, prom and homecoming queens, a gift purchased by many a husband for a wife, or a boyfriend for a girlfriend....collected! and worn to work, too.
There are many lessons the students can learn from both these unique jewelry making experiences.
CLASS PLANS:
Before the FIRST HOP, we'll talk about why we chose our lines and why we think our choice was practical.
I'll ask you to begin doing internet research on current trends in fashion. Think about what sort of clothing would go with the sort of jewelry you plan to design and form into a line. Begin to define your customer....their age, their style, the sort of money they can spend.
We will discuss what it means to be "artistically generous".
The reason for the subscription to VOGUE will be explained in class.
There will be a discussion of jewelry design periods, concentrating on the Golden Age of Jewelry Design (late 40's through early 70's) and successful designers, past and present.
You will be examining your design style by way of making collages of photos of your work and sharing them in class. These collages will not be shared outside this class by me and should not be by you, until our first blog hop.
More information on the first hop in class, again it's February 10, 2017.
After the first hop, we'll talk about whether you feel you are a hobbyist, a maker, or a production designer....and what the difference is. Also, we'll talk about if it even MATTERS!
We will discuss one of a kind designing versus a line of jewelry that can be reprised in production or in limited edition.
We will talk about efficiency and the cost of your time in producing your pieces. And we'll talk about pricepoints. Which sell best? What IS the pyramid of sales? What about pricing your pieces for profit?
Wholesale versus retail....which one is for you?
We will also talk about our design influences and we will share photos of jewelry made by contemporary designers or artisan makers that we admire.
Heading into the home stretch in March, we'll talk about the importance of a good schedule and productive channeling of energies. We will talk about deadlines, inventory management, and custom work.
Very important will be the discussion of developing your personal brand via good photos, marketing, blogging and packaging. Some of our alumni rejoining us this year have done a brilliant job of that and will be happy to share with you their progress as well as their thought process in developing packaging, brochures, signage, etc.
We will talk about why you should regularly BLOG, and why a social media promotion schedule is so important. And, we will discuss garnering return business, the power of lagniappe, and making each customer feel important.
The final blog hop is FRIDAY, March 31....and that is when we will reveal our lines.
Within a week after class finishes, a team of judges formed by alumni of this class and myself, will determine who hit the marks best. There will be a winner and a runner up. The runner up gets a 50.00 gift certificate to B'sue Boutiques, and the winner gets a 100.00 certificate, plus the privilege of joining us for the next year's class for FREE.
Last year's winner was Erin Whitacre and I do believe she is excited to be with us again this year. In fact, if she makes it, it will mean she has attended ALL of the Build a Line classes so far!
In summing up, we will talk about what we learned and where we hope to sell our lines. We will talk about if we will continue the line from class and grow it, or start a new one....or do both!
After final discussions, all who complete the course, or graduate! will be moved from the classroom to the alumni group where everyone else who has finished the course is waiting to congratulate you.....and continue the discussion among peers. The class modules are also housed at the Alumni group so you will always have access to them. It will be like the little class that never quit!
I hope to see your application in my [email protected] email box tomorrow! There must be 25 students for me to present the class, but if past years are any indication, I think we will be okay. ;-)
Here's to Build A Line Master Challenge Class for 2017!
