Jesper Nielsen, founder of Endless Jewelry and former CEO of Pandora Central Western Europe, says the challenge in developing a super brand is not only spending millions in marketing dollars to create awareness, but coming up with a design concept that is both tied to fashion trends and can be personalized.
“We know that after 10 years in mature markets, the journey is over,” Nielsen says.
Rather than focusing solely on tried and true charm designs like hearts, stars, and flowers, Nielsen turned his attention to the leather bracelets from which they dangle, specifically their colour.
“The fashion industry tells us there’s a new colour this season, but next year, it’s something else,” Nielsen says. “We know that not only will a client come back and buy charms over the years, but they will buy bracelets.”
Brand support is the other part of the equation. Nielsen says part of Pandora’s success when he was at the helm was the fact the company embraced a ‘yes’ philosophy toward its retail partners.
“Every retailer has needs we have to respect,” he explains. “We should make everything possible for a jewellery store. If you create a philosophy within a company where you say yes, you create a lot of energy. ‘Yes’ is always a positive word. ‘No’ destroys energy.”
Sandro Reginelli, head of product development for Maurice Lacroix, says each facet of a watch’s design should convey brand attitude. This is particularly important when it comes to presenting a company as a younger face in a crowd of Swiss watches.
Continuity in design philosophy is critical, he stresses. A team of 10 engineers, watchmakers, and product managers work with a design agency to ensure brand integrity. “This helps us to have a design language that is pretty clear,” he adds. “Substance is an important element, particularly for brand attitude.”
Despite a better economic landscape, price point remains a concern, which is why Canadian designer Hera Arkarakas is expanding her line to include more demure designs that will appeal not only to conservative consumers, but also those purchasing gifts for the holidays, Mother’s Day, or even bridal parties. Maintaining brand identity, she stresses, is a must.
“I wanted to make something a little bit more classic that you can wear every day,” Arkarakas says. “I like designing bold, edgy pieces, but you also have to create for a wider customer base.” Her plan to develop a couture line is geared toward supporting trunk shows, helping to boost store traffic and attract regular and new clients.
“I want to be able to present something special that I brought along with me, so people have a reason to come in,” Arkarakas says. “And they can only buy the couture pieces at the trunk shows. It’s an opportunity for me to explain the pieces and present them myself [so they resonate on a deeper level].”
Yellow gold in bridal appears to be on the cusp of making a comeback, while east-west marquise and emerald cuts, vintage looks created with filigree, and rose gold accents against white metal beckon.
“Rose gold is a great colour on almost every skin tone and it really makes diamonds pop,” says Jill Suddendorf, Kim International’s head designer. Cushion cuts surrounded by a halo—or the illusion of one created with a round cut set slightly above a cushion frame—is another style bridal designers are leaning toward this year, partly for esthetic, but also for practical reasons.
“Rounds are always easier to source,” Suddendorf says. “We’d love to put cushions in everything, but you can’t always find that perfect shape all the time.”
