Carmine

Jewellery Design Internship
INDUSTRY SPONSOR: Caratlane: A Tanishq partnership
GRADUATION PROJECT REPORT

submitted in partial fulfillment of the Graduation Project of
Fashion and Lifestyle Accessory Design Department
at National Institute of Fashion Technology, Mumbai.
Student name: Shrishti Raheja

Faculty guide: Kumar Sudeepta
Designation:Assistant Professor

Graduation Project | Caratlane | 1

Jewellery Design Internship at Caratlane:A Tanishq Partnership
(Caratlane Trading Pvt.Ltd)
A subsidiary of Titan Company Ltd
INDUSTRY SPONSOR: Caratlane Trading Pvt. Ltd.

submitted in partial fulfillment of the Graduation Project of Fashion and Lifestyle Accessories Department at
National Institute of Fashion Technology, Mumbai.
May, 2017

Jewellery Design Internship at Caratlane:A Tanishq Partnership
INDUSTRY SPONSOR: Caratlane : A Tanishq partnership

submitted in partial fulfillment of the Graduation Project of
Fashion and Lifestyle Accessories Department
at National Institute of Fashion Technology, Mumbai.
Student name: SHRISHTI RAHEJA
Faculty guide: KUMAR SUDEEPTA

Designation: Assistant Professor

May. 2017

CERTIFICATE
This is to certify that Ms.SHRISHTI RAHEJA of Fashion and Lifestyle Accessory Design Department at National Institute of Fashion Technology -
Mumbai, has been evaluated for his or her Graduation Project report: jewellery design internship at Caratlane:A Tanishq partnership and have fulfilled the re-
quirements set by the institute and the evaluation jury. Her work has been found satisfactory.
…………………………………… ……………………………………
(Faculty Guide) (Centre Coordinator)
…………………………………… ……………………………………
(Joint Director) (Director)
Copyright © 2017 by National Institute of Fashion Technology.
All rights reserved. No part of this document may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechani-
cal, photocopying, recording and scanning or other wise in any form without the written permission of the copyright owners.
Design: SHRISHTI RAHEJA

Printed at: ……………………………………

Acknowledgement
I would like to acknowledge and extend my heartfelt gratitude to the following people who gave me an opportunity and have made the completion of this intern-
ship possible.
I would like to take the opportunity to extend my gratitude to our director , Mrs. Nilima Rani Singh, our Course Co-ordinator and Head of Department, Mr.
Saurabh Kumar and our professor, my faculty guide,Mr. Kumar Sudeepta, for guidance at every crucial and minor juncture of this internship.
I would also like to thank my Industry mentor, Ms. Pradnya Mhaske (Assistant General manager of merchandise), for providing meaningful guidance at every
step of the internship, without her the completion of this project would not have been possible.
Also, my heartfelt gratefulness extended to Mr. Mithun Sacheti (CEO, fouder) and Mr. Aakrosh Sharma (Vice- President) for their continuing guidance at every
phase of the internship journey.
Finally, I would like to thank my parents, without whose constant help and support the completion of this project would not have been succesful.

Synopsis
The objectives as percieved and subsequently fulfilled by me, during the period of my internship were:
•To holistically understand how an organisation functions:

–The structure of hierarchy in a company.
–How essential it is for a company to have a well balanced team,where work is systematically divided and handled.
–The importance of all elements of an organisation to function in unison with one another so as to eventually deliver products on time.
–Having a basic understanding of each department in an organisation so that there is an understanding of how as a part of a symbiotic organisa-
tion, at the end of the day, optimum efficiency can be achieved in all aspects, thereby increasing productivity.
•Developing a range of products, as per the company requirement, customer, market and season specification.
–The design brief at the beginning of this internship was to conduct a market research on the jewellery for the upcoming season of Akshay Tritiya :
–Researching on the jewellery trends for the season, at the same time scanning several designs and designers to gain inspiration for something
fresh and new; something that hasn’t been seen before.
–The USP of the company includes conceptualisation of jewellery that is traditional with a twist of modern design.
–Conceptualisation of jewellery in the form of illustrations and graphic iterations with technical precision, using softwares of Corel draw, as the
first phase.
–Working in close interaction with the CAD team, for development of the product 3 dimensionally,to send designs towards production.
–Working on developing designs with the craftsmen, who would actually be working on completion of the designs on the manufacturing side.
–Finally, on completion of designs giving the marketing team a brief about the kind of garment style the designed jewellery would be coupled with.
–Lastly, understanding how the designs would be presented on the virtual online website and also how they would appear offline in physical stores.
•Understanding the USP and design identity of the company and creating designs according to that style that caters to the design persona of this category of
consumers.
–The most important identity of Caratlane as a brand is to create a brand that sells jewellery that is purchased and worn on a day to day basis, by
women everywhere.
–The idea is to sell jewellery that everyone can purchase, having the quality of everyday wearibility and also reasonable prices that are affordable.
–The purchase of jewellery should give the user a sense of empowerment, with the ability to purchase something in an affordable price.
–The main challenge in this project of Akshay Tritiya was to create gold jewellery that would essentialy be purchased during the period of Akshay
Tritiya, and the jewellery had to have the traditional feel with a modern twist.

Contents
Chapter 1:Introduction
Company Profile
Caratlane: A Tanishq partnership
Titan picks up majority stake in etailer Caratlane
Chapter 2 : Client profile
Branding
Chapter 3: Design Process
Chapter 4: Manufacturing Process
Gold department
Chapter 5: Collection 1 (Ikat)
Theme board
Discovering the beauty of Ikat
Weaving technique of Ikat
Form explorations
Design explorations
Final designs (Corel illustrations and final product imaging)
Cad screenshots
Final product shoots
Model shoot
Chapter 5: Collection 1 (Chokapora)
Theme board
Inspiration from ridged beads
Design explorations
Final designs (Corel illustrations and final product imaging)
Final product shoots
Model shoot
Chapter 7: Stamping collection
Chapter 8: Peacock designs
Chapter 9: Conceptual designs
Chapter 10: Lotus (bangles and bracelets)
Chapter 11: Organic designs with pearls
Chapter 12: Competitors
Chapter 13: Conclusion
Chapter 14: Bibliography

Chapter 1
Introduction
Company Profile
Caratlane: A Tanishq Partnership

Introduction
About CaratLane:
CaratLane - a Tanishq partnership, India’s first omni-channel jewellery brand was founded in 2008, by Mithun Sacheti and Srinivasa Gopalan, with a simple but
courageous objective – to make beautiful jewellery accessible, affordable and forever wearable. All CaratLane collections draw design inspirations from a strong
historical legacy and interpret them in a modern theme. With the new-age woman as a muse, the design philosophy at CaratLane is to make jewellery which
makes the wearer ‘feel’ beautiful, drawing out her compelling individuality, inner confidence and self-esteem.
With a strategic investment from Titan Company Limited, CaratLane is now partners with India’s largest retail jeweller Tanishq. The partnership aims to work
towards a common mission – to offer customers beautiful jewellery and a distinctive shopping experience that fits today’s values and lifestyles - enabling Carat-
Lane to grow as India’s 21st century jewellery brand.
CaratLane is also known for its signature jewellery-buying experience across all platforms. Along with the website, which is India’s largest online jewellery desti-
nation, CaratLane, has over 13 brand stores across the country. The stores bring the seamless jewellery buying experience with a no barrier access to all jewellery,
along with Magic Mirrors for virtual try-ons. CaratLane also pioneered a unique Try@Home feature for jewellery buyers in the country, where customers can
book an appointment, get their desired jewellery delivered at their doorsteps, and try them at their comfort with no-obligations to buy.
Further CaratLane also launched a revolutionary virtual try-on app – the Perfect Look App – which enables jewellery buyers to try multiple pieces without, lit-
erally, having to putting them on. CaratLane integrates the StreamLaneTM system to eliminate inefficiencies in the supply chain. It keeps the overheads low and
enables CaratLane in efficient delivery, along with bringing forth savings of up to 25% over retail costs to customers, while continuing to give the best quality.
Facilitating the diamond-buying experience in India, CaratLane stores include a Solitaire Lounge to assist diamond buyers to find the perfect solitaire.
CaratLane is an Indian online portal that sells jewellery. It was founded by Mithun Sacheti and Srinivasa Gopalan in 2008.
CaratLane’s inventory includes diamond jewellery and gold coins.
Mithun Sacheti, a jewellery retailer, collaborated with Srinivasa Gopalan who is an IT entrepreneur and the founder of Lister Technologies, to form CaratLane.
Instead of maintaining a conventional inventory, the company relies on several thousand vendors who supply gems on request. As of August 2015, the company
operated ten physical stores in India.
Tiger Global, a US-based hedge fund, has been investing in CaratLane since 2011.In its fourth round of fundraising (in 2015) CaratLane received ₹192 crore
(US$29 million) from Tiger Global making the sum total invested by the Hedge Fund approximately ₹318.31 crore (US$47 million).
In July 2016, Titan purchased a 62% stake in CaratLane for ₹357.24 crore (US$53 million).

Company Profile
Name of the firm : Caratlane: A Tanishq partnership
(Caratlane Trading Pvt.Ltd)
Date of Incorporation : October 1, 2008
Ownership : Mithun Sacheti

Srinivasa Gopalan
Co-founders: Avnish Anand

Gurukeerthi G
Ownership : Mithun Sacheti

Srinivasa Gopalan
Co-founders: Avnish Anand
Gurukeerthi Gurunathan
Industry Mentor Pradnya Mhaske

(Assistant General Manager of Merchandise)
Address: 1st & 2nd Floor, Parmeshwari Building, Unit C-6, WICEL
Compound, Near Seepz, MIDC, Andheri East, Mumbai,
Maharashtra 400093
Phone Number: 022 3006 7537
Number of Employees: 100-150 employees
Specialities: India’s largest online jewellery brand
Brand personality: Their core customer is a young, independent woman living in India’s larger cities.
Brand offering: The brand offers a variety of jewellery from earrings, to necklaces, to tanmaniyas, giving the modern woman all options of pur-
chase at her fingertips along with its availibility in the online domain as well as in physical stores along with some convienient
purchase options such as try at home.

Caratlane: A Tanishq Partership
History
The world was a different place back in 2008, when CaratLane was founded. That was the year the Nano hit the roads, the Kindle changed our reading habits,
the younger generation of professionals routinely began earning more than their parents did at retirement and had only begun to experiment with buying things
online, because e-commerce seemed risky.
But CaratLane co-founder and CEO Mithun Sacheti saw the scenario a little differently.
Gold prices had been continuously rising, jewellery stores were getting bigger, and still, the consumer didn’t necessarily have a lot of choice. “We spoke to dozens
and dozens of women across the country. Hundreds, actually. About their tastes, their lifestyles, what was important to them. We discovered a crazy paradox.
Despite their love for jewellery – and how important jewellery is for their personal style and individuality – most women were forced to keep their jewellery in
bank lockers, where it was safe but unwearable on an everyday basis,” says Sacheti.
Consumer Persona
The contemporary Indian woman was no longer wearing jewellery to look beautiful or to elicit compliments, but because she appreciated beautiful jewellery that
drew out her compelling individuality and made her feel beautiful, rather than just look good.
A large store or even a chain of stores, Sacheti decided, was not going to solve this problem.
Caratlane’s target customers – young, successful and financially independent women – are breaking through stereotypes to forge a new identity.
These women based their decisions on the power of knowledge and access to information. His business, Sacheti decided, would leverage the same things. He
decided to change the process of discovery by building a jewellery business that was online, effectively disrupting the existing jewellery retail business model.
Brand Mission
Sacheti started CaratLane with a mission to democratise jewellery – to make beautiful jewellery accessible, affordable and forever wearable. A refreshing and
courageous objective at that time.
He says that the experiment to take the business online started at his earlier jewellery store, Jaipur Gems. When he saw that he could sell expensive solitaires
based on the power of information alone, without actually carrying any inventory, he realised that CaratLane as a business could happen.
“Whenever I mentioned the idea of CaratLane, my co-founder Srinivasa Gopalan would hear me out patiently, but I don’t think he had the conviction that this
would work out. But when Gopalan witnessed a customer at Jaipur Gems purchasing a diamond worth $30,000 without seeing it and only based on the specifica-
tions available, he was finally convinced that if someone could spend this kind of money based on information alone, then an online jewellery store might actual-
ly work.”
Mr. Mithun Sacheti talks passionately about how he has learnt so much from customers. “A 75-year old lady spoke to us enquiring about a diamond she wished
to purchase. We showed her an image of the diamond and took her through the specifications in details. She did her own research with other retail stores and
came back to us, not only was our price much lower but also because we invested our time in educating her about the diamond” recounted Sacheti. This interac-
tion taught him that customers had no age bar and one of their biggest needs for decision-making was transparency and education.
Titan picks up majority stake in etailer Caratlane for Rs 357 crore
Titan Company, part of the salt-to steel conglomerate Tata Group, is investing Rs 357 crore for a 62% stake in online jewellery retailer Caratlane, it said in a filing
to BSE. The announcement which was first made in May this year, without details of the transaction being shared by the group, values Caratlane at Rs 575 crore.
At the time, Titan, which makes watches and jewellery under the Tanishq brand, said it had picked up a majority stake in the Chennai-based company.
Titan would be acquiring 19,142,545 shares representing approximately 62% of the company’s share capital, the filing said. This marks the second such deal
wherein a brick-and-mortar retail has invested in an e-commerce firm over the past few months. In April, Kishore Biyani-led Future Group bought out cash-
starpped and troubled online furniture retailer Fabfurnish which was backed by Germany’s Rocket Internet.
Titan’s shares shot up when the markets opened Friday but ended just marginally higher from its previous close at Rs 417.50 on the BSE .
Started in 2008 by Mithun Sancheti, whose family is in the jewellery business, Caratlane has over a dozen offline stores across the country.It has raised about $50
million from Tiger Global Management. For Tiger, a New York-based investment fund, which has been one of the most ferevent consumer internet investors in
India, Titan’s majority stake acquisition essentially means it has recovered the capital it had ploughed in the company with a tiny profit. According to VCCEdge
data, Tiger infused about Rs 302 crore ($52.22 million) since 2011 to buy 19.14 million shares of Caratlane, which Titan is acquiring now.
Titan’s managing director Bhaskar Bhat said, Caratlane will give them the access to a growing consumer base online, mainly that of the youth. “This investment is
not about the present but the future. They are the biggest and oldest online player and it fits our business proposition well now,” Bhat said over the phone. Jewel-
lery contributes atleast 80% to Titan’s revenues. But it’s growth has been slowing down since the last quarter of financial year 2016 as well for the full fiscal year.
There’s been an overall sluggishness in business sentiments with new restrictions kicking in wherein consumer’s have to furnish their permanent account number
(PAN) cards for purchases over Rs 2 lakh .

Chapter 2
Branding

Branding # WomanOfMettle
It has been nine years since the brand Caratlane was launched. And it's remarkable how much has changed in that short time- Women have crushed through
stereotypes and are making unprecedented progress, Some were skeptical. But the culture has truly changed. What started as a drop in the water, became a ripple
and then an unstoppable current. Caratlane as a brand aims to embody the spirit of independent women and salute the achievements of lndian women
change-makers who've made the brand proud ín the past nine years.
Caratlane has done that by highlighting the progress women have made along with some of Caratlane’s milestones.
Caratlane believes that women are responsible for their success, so what better than to highlight theirs made, along with some of the brand’s milestones. After
all, women are responsíble for Caratlane’s success, so what would be a better way to represent the combination than to highlight theirs ,better time to híghlíght
THEIRS!

Infographic highlighting the prominent achievements of women parallelly with the achievements of women.

Chapter 3
Design Process

Discussion for design direction Story ideation Final design compilation
Inspiration brief Form generation Virtual prototyping
Understanding the CAD development

Form selection
inspiration and research
Market Research Translating forms to Jewellery sampling

jewellery designs
Consumer research Final design selections Final production
Client study Technical illustraions Design imaging
Developing design stories Product specifications Launch on website

Design Process
Step 1:
Identification of upcoming peak season
•Determination of trends in the upcoming season, and also determining what is not already available in the company’s product catalogue.
•Identifying the season for which designing is to be done and also the need of clients during that particular season.
•The design team was working on the task of developing designs for the auspicious period of
Akshay Tritiya during which Indians purchase jewellery (gold, silver and other precious metals).
{Akshay Tritiya falls on the 29th of April,2017}
•Identifying what the consumer is going to purchase during that season, and bifurcating it into categories depending on the demographic and the
requirment of the category of consumers that has been identified.
Step 2:
Research phase
•After the core idea of the collection has been decided, i.e., the path that has to be taken, after analytic requirement of the upcoming season , then
the team of designers proceeds to research on the general rough idea that is in everyone’s mind, that has been decided upon.
A large set of topics are covered,ranging from trends in clothing and home accessories, to
upcoming trends in jewellery. Other old crafting techniques are also researched and studied and we try to study if some old product crafting tech-
nique can be taken inspiration from ,
or reinvented. Same with looking at and researching unexplored segments like taking inspiration from traditional textiles, weaving patterns, other
intricacies involved in developing garments,etc.
The research is done by both primary and secondary methods,
Primary methods include:
1) Market visits, those done to understand this particular collection were done to certain places like
•Colaba causeway and other local street fashion places, to understand the trends in street fashion and the kind of style people prefer to buy .
•Palladium ,Phoenix,Lower Parel, since that is one of the places that actually has all stores from multiple brands, from clothing,to cosmetics,
home accessories, jewellery, bags , stationary among other things.
So it gives the researcher a wholistic understanding of how trends run parallely in different areas of design and how some mega and micro
trends impact all sectors of design.
Other places that we visited include Good Earth, Versace Rosenthal, Ishatvam,Pepper fry.
This practice of visiting home accessory and interior designers was done to understand trends in the home accessory segment and how inspira-
tions are materialistically translated in the form of products that adorn homes and lifestyle spaces,etc.

Prints developed by Sabyasachi for Nilaya Prints developed by Rohit Bal inspired by
Peacock

At Good Earth, we had the opportunity to see how the theme and spirit of India are
infused with sophisticated elegance in a chic manner, using themes like peacock and lotus that very much speak of the spirit of the country.
Designers like Rohit Bal, and Sabyasachi have taken the design style of this brand to a whole other level and given it an Indian touch like no other
Indian home accessories brand.
Step 2:
Research phase
Secondary methods include:
•Research in trend books so as to understand upcoming trends that could be used as a source of inspiration. Intensive research on the topics of
jewellery that is being made
globally and in the domestic market and talking to senior designers and merchandisers who have been in the industry for years and have
knowledge about what can be made and cannot, what are the kinds of designs to which consumers react and in what manner, positively or
egatively and other bits of information are very helpful in understanding what new paths could be taken or what traditional paths with a twist
can be applied to creating new jewellery that would be fresh and could recieve positive reception from future
consumers.
•Another important source of information could be communicating with manufacturing experts to figure out new manufacturing techniques
that could be used to enhance designs and also to experiment with old ones to blend two or more manufacturing techniques to bring out a
different aesthetic to traditional designs so as to be able to reinvent traditional designs with a modern twist.
•Reading magazines like Vogue, VO+ , Jewellery editor, helps in gaining exposure to
designers and their designs who are in different parts of the world and whose designs are impacted by different cultures.
Step 3:
Creating Reference boards
–In a theme like this of Akshay Tritiya, the entire idea was to design jewellery that was Indian with a modern twist, so in the initial phases the
entire team were asked to make reference boards, where everyone could collectively learn about the different styles of jewellery from different
parts of the country, the cultural origins from where these products arose and also learn about region based trends and preferences.
So all designers from the design team collected images and references of jewellery from different parts of the country and put it together, after
whish there were common discussions and meetings to analyze and understand what was and was not possible

Chapter 4
Manufacturing Process

Manufacturing Process

TREE MAKING : flask is removed and slurry is allowed to dry and set Therefore,
The process begins with setting the main runner for 25-30 minutes before the burnout process. The 18/24 * 100 = 75%
(trunk of the tree) on the base of a rubber flask. The ideal time for allowing the investment cast to set is Thus, amount of pure gold will be 75 % and
worker goes through the pieces which are to be set 1 hour approximately. After the slurry is set the tape remaining
and sorts them according to their order number. is removed from the flask which was blocking all the 255 would be alloys to attain the karat required
Further the pieces are sorted and separated based on perforations. that is 18K.
the metal type. After the sorting, the process of tree CASTING PRO CESS FOR GOLD, SI LVER
making begins. Then the flask is kept in the burnout machine for 12 AND
The pieces of same order number are preferred to be hours. The temperature is gradually increased from BRASS :
set in one tree. The pieces are set at the angle of 45. 50 to 600 C. The temperature is gradually increased Earlier, 18K Gold was made in the company by
They maintain minimum 2-3 mm distance between from 50 C because wax melts at 72 C, so if the tem- mixing alloys and pure gold but now they buy
every piece. One inch of space is left at the bottom of perature 18K
the tree. After the tree is ready it is removed for the is kept high from the start then wax would gold from the vendors abroad. So after the 12-14
rubber flask and weighed. After weighing it is again immediately melt and along with it the stones would hours of burnout process the casting is done. In
set in the rubber flask used in the casting department. come out as well. Even the slurry has moisture in the this
Once the weight is estimated, the wax tree is set on start so the shape would get distorted if the tempera- method the temperature of the casting machine
the rubber base and flask is fixed on the rubber base. ture is gradually increased from 50 to 1020 C for
This flask has perforations and they are blocked by a is kept higher than 50 C at the start. gold, for
duct tape because the investment slurry would drain (NOTE : For casting of an alloy regular investment brass it is 50 to 1030 C, and for silver 50 to 1000
out of it when poured. After the flask is ready, the cast is used.) C.
investment slurry is made. CON VERSION OF PURE GOLD : So the flask is removed from the burnout pro-
There are two types of investment powders : one for Pure gold is 24K and for lower the karat of gold cess at
normal gold casting and other for diamond studded various types of alloys are added. For white gold 550 – 600 C and inserted in the casting machine.
gold. The difference in the both being that diamond : silver, zinc and copper are added where the propor- Then gold is added in the heating flask above it
cast is hard and has stronger grip than normal cast. tion at
One flask needs 2 to 2.5 kilograms of powder. While of silver is more than other alloys. For pink 650 – 700 C and allowed to melt. When the
making the slurry, water is added to the investment gold : copper, brass and zinc are added where the temperature
powder and they are mixed well in the mixer for 2-3 proportion of copper is more than other alloys. reaches 1020 C, gold melts and it is ready
minutes to become slurry. The proportion of invest- Similarly, for yellow gold : brass, zinc and copper are to be poured into the flask. Gold is then poured
ment added where proportion of brass is more compared within 5 seconds and flask gets filled in 2-5
powder to water is 1 kilo : 400 ml of water. to other alloys. seconds,
This slurry is then poured into the flask up to the Karat required /24 * 100 = percentage of pure gold because if time duration is extended to some
rim and then flask is kept in the vacuum machine to For example more
remove all the air bubbles from the investment slurry. Karat required = 18K seconds gold will start to solidify.
It is kept for 2-3 minutes in the machine. Then So after the metal pouring is over the flask is
kept in the machine until the temperature comes CASTING PRO CESS OF PLATINUM : allowed to cool then investment cast be-
down to 700 C and then removed and kept aside for For platinum, palladium and stainless steel there is comes hard
30 minutes so that the metal (all types of gold and different kind of investment powder called platinum and does not break easily.
silver) cools down naturally. If the flask is cooled plus which is able to resist a higher temperature of Later the metal tree is cleaned with water jet
artificially by spraying cold water or dipping it in the 1200 to 1300 C. and
cold water, there would be greater amount of metal For platinum casting, small trees are made of 3 all the investment powder is removed. Metal
shrinkage and diamonds might break or loose shine inches or less as the height of the flask is of 4 inches. tree is
in some cases. The weight of wax tree is measured and approximate then dried off with the help of air gun. Pieces
Whereas in the case of brass, the flask is required to metal weight is calculated and then wax tree is stuck are cut
come to room temperature before dipping it in the on the paper. Then the flask is adjusted on the paper from the tree and all the runners attached to
water, and for cooling down it takes around 3 hours. of the wax tree. The paper is taped on the flask. After it are
If it is cooled down artificially the Cubic Zircon used the flask is ready, investment slurry is made. cut as well. Then the pieces are weighed and
would break. So to make investment slurry the composition required sent for grinding. After grinding again the
is for 100 gram investment powder, 30 ml of piece is weighed
After the cooling process the flask is subject to water water and 8 ml of chemical called binder is required. and then sent for further for quality check.
jets where the investment cast breaks leaving the This mixture is mixed in the mixer for about 20 In quality check the shape of the piece, metal
metal tree behind. Then metal tree is dipped in the minutes, till it is mixed well and becomes slurry. impailing,
solution of water and Hydrochloric acid so the cast After the investment slurry is ready it is kept in vacuum missing prongs, diamond loss, diamond
comes out and then again it is washed with the help machine for 2-3 minutes to remove all the air shine, diamond matching, stone setting etc
of water jet and further dried off using the air gun. bubbles. Then the slurry is poured into the flask and is checked. If approved it goes further for
Next step is to cut off all the pieces from the tree again flask is kept in the vacuum machine for about finishing else it sent for
and then cut the runners of the individual pieces 1 minute to remove all the remaining bubbles. re casting.
as well. Weight of the pieces is then measured and Then immediately the flask is kept in the burnout The purity of the metal depends on the carat
noted down. Then the pieces are sent for grinding machine for the burnout process. Temperature is and not on colour. The purity also depends
where the extra metal is removed with the help of gradually increased from 50 C to 850 C for 14-16 on the customer’s orders.
the grinder. hours. After the burnout process, casting is done. In case of gold, 1 gm wax = 16 gm gold
Again the weight of the pieces is measured, gold loss For casting platinum there is a machine called In case of platinum, 1 gm wax = 23 gm
is calculated and then sent further for quality check. vacuum centrifugal casting machine. So depending platinum First the gm of wax tree is calculat-
In quality check the shape of the piece, metal impal- on the calculated wax to metal weight, platinum is ed, then that no. is multiplied by ‘16’ to know
ing, taken and heated. Platinum melts at 1850 C approximate- the amount of gold gm to be poured in the
missing prongs, diamond loss, diamond shine, ly. flask.
diamond matching, stone setting etc. is checked. If So it is heated from 1370 C to 1850 C gradually. For eg – if a wax tree weighs 30 gms, 30 * 16
approved it goes further for finishing else it is sent Once the platinum is melted, it poured into the flask = 480
for re casting. automatically in 9 seconds. After the casting process gm
when temperature goes back to 1370 C it is removed 480 gms of gold will be poured.
and dipped into the cold water immediately. If it is
Heating temperatures – INVESTMENT REMO VAL 2 hour – 300 F/149 C
- G old = 1030 C Sudden temperature shock normally results in 2 hour – 700 F/371 C
- P latinum = 1850 C cracking of stones. Therefore, the flask is allowed 3 hour – max temp
- S ilver = 950 C Heating temperatures – 1 hour – casting temp
- Copper / brass = 1070 C - G old = 1030 C INVESTMENT REMO VAL
22/24 kt = 1050 – 1100 C - P latinum = 1850 C Sudden temperature shock normally results in
10/14/18 kt = 850 – 1000 C - S ilver = 950 C cracking of stones. Therefore, the flask is allowed
Technical casting information : www.kerrcasting. - Copper / brass = 1070 C
com 22/24 kt = 1050 – 1100 C
Instructions for gold investing powder : 10/14/18 kt = 850 – 1000 C
Satin Cast Diamante – investing powder for diamonds Technical casting information : www.kerrcasting.
and normal com
This gold investing powder is used for both gold / Instructions for gold investing powder :
silver and also for brass / copper. Satin Cast Diamante – investing powder for dia-
Heavy casting = 38 ml water to 100 gm powder monds
Regular casting = 40 ml water to 100 gm powder and normal
1) Weigh investment This gold investing powder is used for both gold /
2) M easure water silver and also for brass / copper.
3) Always add investment to water and not vice Heavy casting = 38 ml water to 100 gm powder
versa Regular casting = 40 ml water to 100 gm powder
4) M ix till 3 – 3.5 mins 1) Weigh investment
5) Vaccum 20 seconds after boil 2) M easure water
6) P our into flask 3) Always add investment to water and not vice
7) Vaccum upto 90 seconds versa
8) Leave still at room temperature. 4) M ix till 3 – 3.5 mins
Stones recommended – Diamond, sapphire, ruby, 5) Vaccum 20 seconds after boil
Cubic Zirconia and synthetic stones. 6) P our into flask
A burnout process is a typical 8 hour cycle. 7) Vaccum upto 90 seconds
Max temperature refers to : 8) Leave still at room temperature.
Diamond – 566 C / 1050 F Stones recommended – Diamond, sapphire, ruby,
Gemstones – 593 C / 1100 F Cubic Zirconia and synthetic stones.
Cubic Zirconia – 732 C / 1350 F A burnout process is a typical 8 hour cycle.
2 hour – 300 F/149 C Max temperature refers to :
2 hour – 700 F/371 C Diamond – 566 C / 1050 F
3 hour – max temp Gemstones – 593 C / 1100 F
1 hour – casting temp Cubic Zirconia – 732 C / 1350 F

Casted jewellery piece
Tree casting (for mass manufacturing requirement)

Gold Department
(Filing,bangle fixtures)

GOLD DEPARTMENT
Filing Process :
- First, the shape of the piece is checked and if ring or bangle then size is checked as well. Then the process of filing begins.
As the stone bob is hard the pieces are filed with it initially to remove all the extra metal and other residues. Then if the design has layering then it is further filed
with thinner bob – idli bob.
- Then the inner surface or the back portion of the design is filed with the round bur so that the surface gets cleaned and small idli bob is used for final
finishing of the piece. After the back portion of the design is filed; the edges and the slits in the piece are to be filed and cleaned. So cross bur is used for filing
these slits and edges in the piece.
- Then red emery paper disc is used to remove the filing marks and the surface becomes smooth. Then blue emery paper disc is used for developing
smoothness and removing any filing marks which red emery paper disc could not remove. If after the process of filing if soldering is to be done in any
piece then it is dusted in the boric powder so that it does not lose its shine and also for protecting the diamonds. If diamonds are exposed to direct heat
there are chances they might break or lose their shine and get burnt.
- In earrings, if after the process of filing is done the posts are soldered to the earrings, the post and screw are separated and earring is placed upside
down on the glass wool. Then small solder chip (diamond almost equal to post) is heated and then post is placed on it further while the solder is still
hot it is touched to the alum and then again heated and placed on the earring.
- The alum helps in softening the metal and melting it faster so the portion where alum is applied melts faster. Similarly, solder has KDM in it which again helps
it in melting faster and earlier then the gold.And after soldering and polishing of the piece is done then it is dipped in the boric powder and solution
of acetone for protecting the metal shine and also the diamonds.
Filing

For bangle locking, first the metal surface along the locking mechanism is leveled and the holes are drilled with the help of round bur before putting the hinge.
Then wire is passed from the holes and piece is checked and then filed if required. After the hinge, next step is to file and level the G.B box. The slot which is
given in one side of the bangle where
G.B box is to be fit is filed and drilled with round bur so the plate used it its mechanism is fit properly.
The internal locking of the G.B box is made with the white gold since this gold is hard and has well enough springing principle required for this lock.
The white gold plate is filed until it goes inside the slot smoothly. Then the plate is soldered.
- Ruse is used while soldering so that solder does not spread and remains in one place. Since the G.B locks works on spring mechanism, to secure this - lock one
more lock is used called safety pin lock.
Making the hinge of bangle and checking the movement
Checking fixtures for smooth movement

Polishing :
- In the polishing process of polishing different
types of lusters are used for getting the metal surface
smoothed and finished.
- The first step is to polish and clean the inner slits Differenent brushes for different finishes
(khachas) in the design with the help of thread. for surface polishing
Black and brown lusters are used for this process.
Black lustre is for removing the casting marks and
giving the shine to the metal surface.
- After leveling, cleaning and polishing the inner
slits, the piece is polished with the baal buff using
brown lustre to remove all the marks and leveling
the metal surface. There are two types of baal buff
single line and double line ball buff.
- After cleaning the piece with ball buff, small pesa
buff is used for cleaning and leveling the smaller
surfaces and edges. It cleans and polishes all the
small areas where ball buff could not reach.
- Then thubi (brushes) are used for cleaning and Polishing is done on fast moving rollers ,by
polishing slots and edges. There are two types of hand.
thubis : the black thubi which is made of hard hair
is used for cleaning and leveling the metal surface
while the white thubi which is made of soft hair
gives the piece light and shine.
- Then for rings and bangles laapi is done to make
the shank smooth and to give it a shine. Black lustre
is used while doing laapi. After laapi, white lustre is
used with hard buff. It cleans if there are any marks
which are left after doing laapi.
- Then chalk powder is dusted on the piece and the
piece is cleaned with the ball buff. Chalk powder Cleaning the inside crevices in
helps in removing the extra lustre which remains on preparation for polishing the jewellery
the piece. For final finish red ruse is used along with piece
light buff and then pesa buff to give the piece light
and shine it requires.

TUMBLING : machine at the speed 500 R.P.M or more. Then the
After the process of filing, the pieces are sent for pieces are kept in the magnetic cleaning machine
tumbling except for bangles. The big pieces like for giving the full shine to the piece. In this machine
bangles are not sent for tumbling because during 30 ml of PR LMR2 named chemical is added to 3-4
the process there are chances that the shape of these liters of water along with large amount of magnet
pieces might get distorted. There are two types of sticks. The pieces are kept in this machine for 30
tumbling machines. minutes at 2000 R.P.M or more. The continuous rotation
BASIC TUM BLING MACHINE: of the pieces with the magnets helps in cleaning
The pieces go through four different stages during the piece and giving it a good shine as well.
the tumbling process in this machine. In the first ADVANCE TUM BLING MACHINE:
stage the material that tumbles along with the pieces This machine works on the principle of vibration
is plastic media. In the container along with the and temperature. 10 litres of UNI-01 and 70 cc of
plastic media, 45 litres of water and 1 litre of chemical ADD -SI chemicals are added in this machine.
is added. The pieces are kept for 3 hours in the These chemicals help in leveling the metal surface
machine at the speed 200 R.P.M or more. In the first and smoothening it as well. Time duration for this
stage the roughness of the piece is toned down with procedures is 30 minutes. Temperature varies for
the help of plastic media. Even the leveling of the different carats of gold from 42 – 64 C. After this
surface of the metal in the piece is taken care of. process the pieces are transferred to another machine
Then in the next stage the pieces are kept in the machine for cleaning and polishing. 10 kg of EN0010
with the wooden media. In this machine along chemical is added in the machine which gives light
with the wooden media 3 table spoons of PA LMVE and shine to the piece.
chemical paste is added, this paste helps to smooth Time duration required is 25 minutes. After this
the surfaces of the pieces and giving it some amount process for cleansing the pieces, 1 litre of ENJ010
of shine. The pieces are kept for three hours at the solution in ½ litre of water is added and pieces are
speed of 400 – 450 R.P.M or more. cleaned. Between every stage the process of ultra
In the third stage again the pieces are tumbled along cleaning is mandatory.
with the wooden media, but in this stage the sizes
of these media is much smaller than the last stage.
These small wooden media would help in cleaning
and smoothening the smaller slots in the piece
where initial media could not reach.
Along with the wooden media, 2 tablespoons of
chemical paste are added for giving light to the
pieces. The pieces are kept for three hours in this

ULTRA AND RHODIUM : GOLD:
The ultra machine is used for cleaning the piece and For gold plating if there are diamonds studded then Covering part not to be plated with protective chemical
removes all the dirt and lac and lustre. The container the whole piece except for the area of the diamonds
is a 30 litre tank. The solution is basically a mixture where rhodium is to be done is painted with nitro
of 300ml of ultra clean solution, 810 grams of cellulose paint.
ultra liquid and water. So therefore if the piece has The piece dries in about 25-30 minutes usually but
light polish then it is kept for 3-4 minutes and if the it even depends on the design of the piece. Later
piece has full polish then it is kept for 8-10 minutes. while in the process of plating the piece is dipped in
Further mini steam generator is used for drying the the normal and then filer water to remove any extra
piece. dirt or solution and then dipped in rhodium for 2-3
Pieces are dipped in acid as well for cleaning and minutes at 2-3 volts. Again after rhodium the piece
removing is dipped in water twice. Lacer is removed with
the dirt from the piece. Acid solution is the the help of the acetone. Later the piece is kept in
composition of 50% sulphuric acid and 50% water. degreasing machine for 2-3 minutes to remove any Equipment for electroplating
Piece is dipped in it for 2-3 minutes. oily or greasiness.
RHODIUM PLATING FOR BRASS: Then there is a quality check in which the piece
For the plating of the brass piece which is made for goes through quality control in which the piece
sample line, at first nickel plating is done on the is checked if it is plated from all sides and all the
brass for giving it a base. Then based on the require- prongs are checked if the prongs or some part of
ment prongs are not plated then rhodium pen is used to
of the piece rhodium plating is done. After plate those small parts.
rhodium plating the piece is sent for painting. So the
lacer is painted on the top of the diamonds or cubic
zircon and then allowed to dry usually for 15-20
minutes or based on the design of the piece. After
the piece is dried it is again sent for plating then Equipment for electroplating
again it is plated in the required colour of the metal.
Later the piece is dipped in the degreasing machine
for removing oily and greasiness from the pieces.
The machine contains 60 grams degreasing solution
per litre.

Diamond Department
Assorted
- Cut
- Clarity
- Colour
- Carat
Sizes are already assorted. All the broken diamonds
are rejected and else with even impurities or yellowness
are selected.
Sieve Size
All the stones are then assorted according to their
sieve size. Steel plates of every sieve size are present.
Stones are passed through these plates to determine
their sieve size.
All the diamonds are assorted first by the issuing
company and come in sections, then the broken S/R
is done.
EDP Assortment
Required diamonds from different sections are
packed and attached with the EDP sheet. Later
another person counts them again and writes all the
required info (quality, cts, no. of pieces, total wt., net
wt.) on the EDP and records are made in the system
too.
VVS – Very very slight inclusions
IF – Internally Flawless
I – Imperfect
SI – Slight inclusions
VS – very slight inclusions
Stones are separated according to their shine in categories
like hydro, synthetic and precious.
Hydro is considered to be semi precious and shines
lesser than the synthetic ones. Synthetic ones shine
the most and are artificial.
The precious/original diamonds/ colour stones shine
(light) the least.
Filing gold for creating proper place for setting diamonds
Arranging prong settings for setting of diamonds

Ruby and diamoned ear stud
(Hand set diamonds and ruby)
Image shows a finished earring being subjected to scrutiny

Final quality check
From all the departments : Sampling, Gold and platinum all the pieces after fin-
ished and approved are sent to the final quality control department. In this
department piece again goes through all the stages of the quality control.
First the shape and the size of the piece is checked.
Next filing marks and polishing marks on the surface are checked, the metal sur-
face should be smooth leveled and radiate light and shine. Then the stone setting
is checked, in this the stone placement, leveling of the collets, prong size and
prong shapes are checked. After checking all of this diamonds are counted.
Later, the piece is weighed and then approved or rejected. If rejected it goes back
to the concerned department and if the piece is approved it goes to the
hallmarking section.
Hallmarking
Based on the pieces all the details of the piece are checked and the entries are
made. These details of diamond quality, diamond carat, metal karat, weight
of the piece are sent to the organization which does the hallmarking and certifies
the piece.
The pieces are sent to the organization along with the details. These pieces return
after thee process of hallmarking in 4 days. Then based on the client’s require-
ments the piece is sent for diamond certification from where it returns in a day.
After the piece goes through this certification, the product code karat and weight
of the piece is etched on the piece with laser.
All the details to be etched and where to be etched on the piece are given by the
client. After this process pieces are sent to EDP department from where
it sends to the next department.
Hallmarking for
caratlane products
(All products are subjected to
rigorous quality checks and the
products are certified
according to requisite stan-
dards)
This certification guarantees
purity of gemstones and gold,
that the product is made of.

Demystifying Gold Wastage and Making Charges
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Gold is among the most loved precious metals in the world. It’s timeless, versatile and always expresses your personal style. But how well do you know about
latest gold jewellery wastage or making charges? What things should you keep in mind while buying gold ornaments? Intrigued?
Here’s an excerpt of our conversation with Keshab Sengupta, Head of Manufacturing at CaratLane, on everything you need to know to understand gold wastage
and making charges:
First things first
Karat is a measure of the purity of gold (NOT Carat, which is a measure of the weight of diamonds). So while 24KT is considered pure gold it is too soft to make
any jewellery out of it. Metals such as copper, silver, cadmium etc. are hence added to make it strong and shine and with the desired shade. Based on how much
extra metals are added, the Karat value of the gold reduces to 22KT, 18KT, 14KT or even 10KT.
For instance, 18KT gold is 75% pure and 22KT gold, the most valuable for making jewellery, has 91.6% purity. And this is what is called 916 gold (symbolizes
91.6%). In order to make sure that the jewellers actually sell 91.6% pure gold (when they claim to sell 22 carat gold), the Bureau of Indian Standards (BIS) made
it mandatory to emboss a hallmark on all standardized gold jewellery. And such a jewellery is known as a BIS Hallmark jewellery.
Understanding making charges
As explained, certain metals are added to pure gold to make it tough and good enough to craft jewellery. This is the first level of added cost to the making process
followed by the actual making charges to convert the gold bars or blocks into beautiful jewellery patterns.
The making charges is therefore the cost of converting raw gold into jewellery. This is usually expressed in Rupees per gram of gold. This varies from a type of
jewellery to another, a certain category of jewellery to the other and also from one jeweller to another.
The calculation therefore used to arrive at price of gold ornament is:
Price of gold ornament = Price of (22KT or 18KT) gold X (Weight in gms + Wastage) + Making Charges + VAT.
So what’s wastage?
The goldsmith or craftsman creates handmade gold jewellery by melting gold, cutting and shaping it into tiny pieces and joining them together. In this process
there is a certain quantity of gold that is wasted. Jewellery that is manufactured by machines, like chains and bangles, predominantly used for everyday wear
leads to lesser wastage. On the other hand, studded jewellery that is crafted through the casting method tends to result in a higher wastage of gold. Irrespective,
wastage is not really all waste as of course, the goldsmiths will actually collect or retrieve most of the gold, minimising the actual wastage!
‘Wastage’ is often expressed as a part of the costs by traditional jewellers in terms of ‘percentage’. And the wastage charges typically vary from 3% to 35% with
most traditional jewellers in India.
In addition, if your jewellery has any precious or semi-precious stones and pearls, that cost will be added up as well.
Using Caution
As a smart buyer, you may keep the following things in mind when you deal with traditional jewellery shops:
While buying studded gold jewellery, jewellers may weigh the entire piece and charge for it. However, in case of exchanging the piece, jewellers tend to deduct
the stone weight as impurity from the total value. Let’s assume, these stones weigh 10% of the total weight of the product, hence, at the time of exchange you
would be paying 10% extra. However, certain jewellers do provide transparency on the net weight of each product. You need to be aware and buy from the right
jeweller
Most jewellers offer customers a period of about one week to exchange their products, if they are not satisfied with the design or have size issue. This exchange
of jewellery, allowed within one week, is on the bill value. However, post that week, if the customer opts for an exchange the valuation will be done as: Weight X
Rate. The customer will therefore lose out on the making charges. Choose a jeweller who offers a minimum of one month for exchange with full value
Check for the BIS hallmark on the inner or back side of each of the pieces you are buying

Chapter 5
Collection 1
Ikat

Ikat theme board
Geometric motifs Symmetry Textile weaving Indian handicraft

Discovering the beauty of Ikat in all it’s glory: The Ikat Making Process
An amalgam of beautiful colours and patterns, Ikat has transcended boundaries to become a raging trend across the globe. It is a dyeing technique that is used
to pattern textile yarns before they are woven into a fabric. It is an Indonesian word, which literally means ‘to tie’. Rubber threads or bundles of grass are ‘tied’ to
loose threads and dyed to showcase beautiful designs.
Although Ikat cannot be traced back to its origin, it was a predominant dyeing technique practised across Asia.
The Ikat Making Process
> Ikat artisans first draw a desired pattern on the yarns by hand.
> The yarns are now tied using wax threads or impermeable substances to match the drawn pattern.
> The tied yarns are dyed in specific shades to impart colour on the untied part; the tied part retains the yarn’s original colour.
> The yarn is now untied and strung on the loom to begin the weaving process.

Weaving technique of Ikat
WARP DOUBLE
WARP IKAT DOUBLE IKAT

In this type of weave, only the warp yarn is dyed using In this technique, both the warp and weft yarns
the Ikat technique. The weft yarn, on the other hand, is are dyed and woven together to form colourful
dyed a solid colour. With this technique, the Ikat pat- and intricate Ikat patterns. This type is undoubt-
tern is clearly visible in the warp yarns even before the edly the most complex and expensive of all Ikat
fabrics. Double Ikat however only practised in
weft is woven in. WEFT Indonesia, Japan and India.
WEFT IKAT
In this type, only the weft yarn has the dyed patterns.
The Ikat pattern only starts appearing as the weaving
proceeds on the loom. This is a much slower and
skilful process as it requires the weaver to adjust the
weft in order to get clarity on the design.

Ikat
Crafted in 22kt gold
Weaves of Ikat reimagined in Gold and enamel

Form Explorations-Ikat motifs

Design Explorations
Designs made are a combination of Enameling and granulation

Design Explorations

Design Explorations

Mirror maze gold stud earrings
Final Product imaging
Ikat pattern in circular repitition with central granulation

To scale illustration Front view
Details and dimensioning

Side View
Total weight- 21.74 gms

Back Perspective view
Square gold stud earrings
Ikat pattern in square repition, pyramid shape, with granulation

and square enameling in the centre
Front view
To scale illustration

Side View
Total weight- 9.3 gms Perspective view

Two disc gold drop earrings
To scale illustration Final Product imaging

Front view
Perspective view
Side View

Mirror maze gold ring
Illustration Final Product imaging
Dimensioning
Perspective view Front perspective view
Back perspective view

Side View
Total weight- 12.2 gms Side View (split shankGraduation
for shank to hold the
Project | Caratlane | 52
Sunflower gold ring
Illustration
Side view
Perspective view

Perspective view
In-Circle gold ring
Illustration
Details
Cocktail ring with enamel and triangular granulation units, with
a shank connecting from the inner to outer circle and a central
cabochon ruby.
Dimensioning
Reference image for structure of ring

Side view
Perspective view
Perspective view
Front view Graduation Project | Caratlane | 55

Ikat Bangle Explorations
The designs made have a mixture of enameling and granulation, in alternation
some explorations have been made using only Ikat motifs.
The interplay of colours gives the illusion of the creation of a weave like pattern,
which is the characteristic of Ikat fabric weaves.

Enamel Deco Broad Bangle
Illustration

Wide Intricate Gold Bangle
Illustration
Total weight- 38.45

Enamel Deco Broad Bangle
Front view
Perspective view
Side view
Wide Intricate Gold Bangle
Front view
Perspective view
Side view
Dimensions of Ikat motif
CAD images of incircle gold ring

CAD images of bangles
Enamel Deco broad bangle Wide Intricate gold bangle

CAD images of sunflower ring
CAD images of square stud earrings

CAD images of disc drop earrings
CAD images of mirror maze

First phase sampling pieces
In the first phase of sampling, the
pieces are first made in CAD, then
developed in resin and then finally
casted.Before meenakari is done, the
pieces are checked, or else they are
re-done.
In this range, initially the chosen com-
bination was black and red which was
changed to red and dark blue.

Square enamel stud earrings
Wide Intricate gold bangle Deco enamel gold bangle

Mirror maze ear studs
Mirror Maze ring

In-circle gold ring

Model shoot Monica Dogra as the modern muse

Chapter 6
Collection 2
Chokapora

Inspiration: Mala Jewellery
Layered malas
Vaikhari beads
Textured beads

Ridged beads used to make necklaces
What are Mala Beads?
Mala is a traditional string made usually of 108 beads that are used to count the number of times a mantra or shlok is recited while praying or chanting the Lord’s
name. Widely used in Hinduism and Buddhism, mala beads have over time become a predominant part of other cultures and religions too. About two-thirds of
people across the globe use rosary beads, prayer beads, or worry beads in their spiritual practices.
Types of Mala Beads

Mala or prayer beads are crafted from a wide variety of materials including wood, glass, metal or gemstones. The most common type of beads used in Hinduism
for praying and meditation are the Rudraksha and Tulsi beads. Other materials such as sandalwood, lotus plant and animal bones are also used to make mala
beads in different cultures and faiths.
In India, beaded jewellery has an age-old history that dates back to the Indus Valley Civilisation era. Traditional beaded jewellery found in India includes an ex-
tensive range of styles made from a variety of different materials and treatment processes. Some traditional mala jewellery examples specific to India are Mohan
Maal, Jondhali Haar, Vajratik & Thushi of Maharashtra and Gundla Haram and Nakshi Mala of Southern India. Mohan Maal uses two or more strings of gold
beads, which are woven together with a pendant to form a long necklace. It is typically worn with silk sarees on special occasions like weddings and religious
celebrations. Jondhali Haar, on the other hand, is a beaded gold necklace inspired from Jowar, a staple grain used in Maharashtrian food. Vajratik & Thushi are
chokers made out of small gold beads grouped together on a lac base. These are worn together with longer necklaces to complete the ensemble. Native to the
south, Gundla Haram means round necklace; the round in its name denoting the shape of its gold beads. Just like its Maharashtrian counterparts, this necklace is
made with various strings of gold beads and a pendant at the centre. It is usually worn by brides during their wedding ceremony with a pattu saree. Just like these
beaded designs, India has a range of mala jewellery designs worn and styled differently.
Design Explorations
Designs made are a combination of various sizes of ridged beads that are
handmade and strung/soldered together
Chokapora Chand Bali
Chokapora 3 layered bali

Design Explorations
Chokapora and Ruby waterfall danglers
Double layered chokapora bali Chokopora ring earrings

Design Explorations

Dangling beads gold drop earrings
Illustration Corel Illustration Final product image
Total gold weight- 6.6 gms
Sleek Beaded Gold Drop Earrings

Illustration Corel Illustration Final product image

Illustration
Dew beads gold drop detachable earrings
Final product image
Corel Illustration Front View
Perspective View
Total gold weight- 10.99 gms GraduationSide View

Project | Caratlane | 79
Bevy beads gold drop detachable earrings
Illustration Final product image
Front View
Corel Illustration
Perspective View
Total gold weight- 9.82 gms Side View

Final product image
Ridged beads Y gold necklace
Corel Illustration

Tri Line Beads Gold Necklace
Details (front view)

3 row mala, made of graduating chokapora
and nakshi beads
Final product image

Tesselated chokopora and rubies necklace
Concept design for tesselated chokapora beads

and rubies at alterating levels
Beaded conch gold Necklace
Corel Illustration

Final product image
Details (perspective view)

1 row 16 inch necklace with alternating
standard size round chokopora beads and
pointy component,lending it a tribal feel.

Duo-line beads gold necklace
Final product image(2 rows necklace)
Initial corel illustration(4 rows necklace)

Abstract Two-Line Bead Gold Necklace
Final product image
Corel Illustration

Chokapora photoshoot
Tri line choakapora necklace

Chokapora photoshoot
Monica Dogra as the modern muse

Chapter 7
Other Designs
Stamping collection

Stamping collection, made on hands in the component centre
at Tanishq factory
For the stamping collection, in 22 kt gold, the designs were made in the
component centre factory of the Tanishq factory.
The design team was working on hands with gold pieces, using tweezers
and wax. We had selected shapes that are already producable in the com-
ponent centre. The casts of those forms are already ready in the factory
and the design we would be making are from the certain bracket of the
pre-exisiting forms.
The design team and merchandising team along with our mentors
(10 people) and some technical production specialists along with some
karigars sat in the component centre and made designs using the
components and synthetic gem stones. The brief was to work on develop-
ing larger sized jewellery, something that would be used during occassions
or festivals and not just for everyday wear. The team was given complete
freedom to explore and we worked on designing statement earrings, cock-
tail rings, oversized studs, floral motifes pendants and front open rings an
some bangles as well.
Some pieces had synthetic rubies/emeralds as the central piece. A lot of
silhouettes were explored, and the production experts nd karigars were
explained how to work on manufacturing and construction of the final
pieces.
Designs made by the team, using gold components(set in wax)

Grand Nakashi Beads Gold Necklace
Corel Illustration
Final product image

Design made in 22kt gold compoent, set in wax.

When in repition , it is converted to a necklace

Reesha Gold Chand Bali
First production sample Total Gold weight- 21.359 gms

Blazing Sun Stud Earrings
Design made in 22kt gold compoent, set in wax.

When in repition , it is converted to a ear stud
First production sample.

Total Gold weight- 9.42 gms
Chapter 8
Other Designs
Peacock earcuffs and Tanmaniyas

Peacock

Peacock Ear Cuffs

Peacock Tanmaniyas

Breakup details

Chapter 9
Conceptual Designs

Design explorations
These designs are inspired from nature and organic forms seen in nature.

Design explorations

Design explorations

Design explorations

Design explorations

Conceptual design renders

Chapter 10
Other Designs
Lotus collection- bangles and bracelets

Chapter 11
Other Designs
Organic forms with pearls

Chapter 12
Competitors

Global Competitors of Caratlane

Caratlane and Bluestone (statistics as competitors)

Chapter 13
Conclusion

Conclusion
During the period of this internship , I got to learn a lot about all the minor and major details that go into making jewellery .
The experience beginning from design meetings and conceptualisation to creating moodboards, to discussing materials to working on sketches to 2dimensional
work to 3dimensional CAD development, all of it was step by step learning.
As a designer , my involvement at every step helped me to gain experience in all aspects. Without the help of an extremely supportive team, the completion of my
projects would not have been possible.
Caratlane is a highly structured organisation where everyone works towards the achievement of a common goal, and there was a lot to learn from everyone
working towards that goal.
Reflecting back on the 22 weeks that I spent in the Caratlane design studio, doing my graduation project,I realized how immensely enriching the experience was.
The graduation project contributed not only to the development of my skills ,but also in improving my practical knowledge.
I got to know that the frequency difference between the thinking of a design student and the requirement of the market was explicitly large.
There were also certain parameters that were to be followed while designing which helps in the design being production friendly as well as cost – effective. My
entire project was full of challenges and helped to bring out the best in me. I gained knowledge of jewelry industry in the context of infrastructure, organization
and interaction between various disciplines, product range, manufacturing processes, assembly line, quality control processes, marketing and
design team management, team spirit and designers role in the industry.
I learnt how a certain product is developed from the raw material to the final finishing and shipping.
This experience helped in developing a better understanding of the working scenario in the industry, different criteria taken into consideration while a product is
being mass produced, limitations, waste reduction,recovery, different parameters for quaity control inspection,etc.
It was a very good experience working at Caratlane Design Studio.
They provided me with a great opportunity to learn and develop understanding of the jewelry industry.

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Jewellery Design Internship

INDUSTRY SPONSOR: Caratlane: A Tanishq partnership

GRADUATION PROJECT REPORT

Student name: Shrishti Raheja

Graduation Project | Caratlane | 1

INDUSTRY SPONSOR: Caratlane Trading Pvt. Ltd.

GRADUATION PROJECT REPORT

National Institute of Fashion Technology, Mumbai.

Graduation Project | Caratlane | 2

INDUSTRY SPONSOR: Caratlane : A Tanishq partnership

GRADUATION PROJECT REPORT

Student name: SHRISHTI RAHEJA

Faculty guide: KUMAR SUDEEPTA

Graduation Project | Caratlane | 4

Copyright © 2017 by National Institute of Fashion Technology.

Design: SHRISHTI RAHEJA

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•To holistically understand how an organisation functions:

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Ownership : Mithun Sacheti

Co-founders: Avnish Anand

Ownership : Mithun Sacheti

Industry Mentor Pradnya Mhaske

Phone Number: 022 3006 7537

Number of Employees: 100-150 employees

Specialities: India’s largest online jewellery brand

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Inspiration brief Form generation Virtual prototyping

Understanding the CAD development

Market Research Translating forms to Jewellery sampling

Consumer research Final design selections Final production

Client study Technical illustraions Design imaging

Developing design stories Product specifications Launch on website

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Tree casting (for mass manufacturing requirement)

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Making the hinge of bangle and checking the movement

Checking fixtures for smooth movement

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Arranging prong settings for setting of diamonds

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