Browsing by Subject "korumuotoilu"

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  • Teräväinen, Karoliina (Helsingin yliopisto, 2020)
    The purpose was to study the reasons why Finnish jewellery designers and artists have chosen jewellery as their means of expression, what are the starting points for designing and making their jewellery and what it means for them to make jewellery by hand. Jewellery designers and artists often find it difficult to verbalize their work. The purpose of the study was to reveal the world of ideas of jewellery designers and artists and the backgrounds of these difficult-to-say things. The theoretical framework of the dissertation dealt with the development of artistic jewellery in Finland, jewellery designations and the significance of making jewellery by hand for jewellery makers. The study was a qualitative interview study using phenomenography as a research strategy. The data was collected using a thematic interview as an interview method. Five jewellery designers and artists were selected and three of the target individuals participated in the group discussion and two of them were interviewed as individuals. What all the interviewees had in common was that they design and make their own jewellery by hand. The group interview data consisted of 35 spelled pages, person D's interview of 20 spelled pages, and person E's telephone interview of 15 spelled pages. The analysis of the data was theory-based and used thematic design as a method. The themes of the analysis arose from the concept of the theory, but their meanings and contents came from the data. The reason for the choice of jewellery as a means of expression appeared to be essentially related to the nature of jewellery as a bodily object and its relation to the proportions of the human body. Jewellery was seen as a fascinating, limitless, and opportunity rich means of expression. The accuracy and technicality of jewellery making were also reasons for choosing jewellery, as well as how the design and manufacture process of the jewelry feels like the right way for the interviewees to express themselves. The starting points for designing and manufacturing jewellery were largely based on the jewellery makers themselves, their values, thoughts, and preferences, both in terms of the materials, themes and the usability of the jewellery. The meanings of touch, creating, self-expression as well as the mental well-being and lifestyle of the jewellery makers came to the fore in the meanings of making jewelry by hand. The professional perspective also emerged, as the focus of the research was on the professional design and manufacture process of jewellery.
  • Puustjärvi, Eeva (Helsingfors universitet, 2016)
    Kalevala Jewelry, the most well-known jewelry company of Finland, was founded in 1937 and is owned by The Kalevala Women's Association, a cultural organization which preserves and advances national heritage. Traditionally, Kalevala Jewelry is known for its historical jewelry, but in the 2000's the company has focused particularly in modern design. This study analysed the collections and operation of the company in the context of cultural heritage theory. The study focused on the collections and operation of the company during the era of its establishment in the 1930–40's and during the modern era in the 2000–2010's. The objective of the study was to analyse if the operation and collections of the company were consistent with the changes in the prevailing heritage conceptions. The secondary objective was to decipher how company's own heritage has impacted Kalevala Jewelry's collections and operation. The analysis was based on literature of Kalevala Jewelry and The Kalevala Women's Association, jewelry catalogs from different eras, articles about Kalevala Jewelry published in the Pirta magazine and press releases of the company. Furthermore, Kalevala Jewelry's design leader Kirsti Doukas and Petra Nikkinen, who is in charge of company's communication, were interviewed. The analysis was conducted following the NCT-model for the qualitative content analysis. The collections and operation of Kalevala Jewelry in its first decades were found to be advanced compared with the prevailing heritage conception of the decades. The development, which has occurred in the operation of the company in the 2000's, were shown to reflect the development in the prevailing heritage conception. Traditional cultural heritage was found to be the most evident in Kalevala Jewelry's historical jewelry. However, manifestations of modern unofficial and intangible cultural heritage were found in the company's modern collection. The own heritage of Kalevala Jewelry was shown to be a fundamental part of the company's operation. The heritage of Kalevala Jewelry is also seen in the company's jewelry collections.