How Imitation Jewellery Is Made: From Sketch to Shine

A pair of jhumkas or a necklace set passes through many skilled hands and processes before it reaches a jewellery box. Understanding how imitation jewellery is made helps you appreciate its craftsmanship and recognise quality. This guide follows the typical journey from idea to finished piece.

Important: Several industrial steps described here, including casting, chemical cleaning and electroplating, involve high temperatures, hazardous chemicals and specialist equipment. They must only be carried out by trained people in properly equipped workshops. For safe home projects, see DIY Artificial Jewellery: Beginner Projects.

Overview of the process

The exact order varies: stones that cannot survive plating are usually set after plating, while some metal-set stones are set before.

1. Design

Every piece begins with an idea, inspired by tradition, nature, architecture, trends or customer needs. Designers consider:

• Function: how it will be worn and fastened
• Weight and comfort
• Manufacturing method and cost
• Materials and finishes

See Jewellery Design Fundamentals and Sketching Jewellery Designs.

2. Model making

The design is turned into a three-dimensional master model. Traditionally, skilled model-makers carve or fabricate masters by hand in wax or metal. Today, many workshops use CAD (computer-aided design) and 3D printing to produce precise masters.

3. Mould making

For production, a mould is made from the master, often in vulcanised rubber or silicone. Wax copies (for lost-wax casting) or metal parts can then be produced repeatedly.

4. Producing the parts

Different methods suit different designs:

• Lost-wax casting: wax models are invested in plaster-like material, the wax is melted out and molten metal poured into the cavity. Excellent for detailed traditional designs in brass.
• Die-casting: molten alloy (often zinc-based) is injected into steel moulds under pressure. Fast for high volumes.
• Stamping and pressing: sheet metal is cut and shaped by dies. Common for lightweight components and hollow forms.
• Wire forming: wire is bent and shaped, by hand or machine.

See Casting, Moulding and Metal Forming.

5. Cleaning and finishing

Raw parts have seams, sprues (casting channels) and rough edges. Workers cut, file, sand, tumble and polish parts to create smooth surfaces. Good finishing at this stage is essential for good plating later.

6. Soldering and assembly

Components such as earring posts, jump rings, hinges and decorative elements are joined by soldering or mechanical connections.

7. Plating and surface finishing

Parts are cleaned, often given an underlayer, and electroplated with gold, silver, rhodium or rose gold. Antique, matte or oxidised effects may be added, followed by protective lacquer. See Plating and Surface Finishing.

8. Stone setting and decoration

Stones are set using prongs, bezels, channels, pavé, or adhesive in prepared cups. Kundan-style pieces use foil-backed glass in frames. Pearls, beads and enamel are added. The Victoria and Albert Museum shows traditional craftsmen in Mumbai and Jaipur preparing enamelled pieces and kundan-setting stones, a reminder of the specialist skills involved in this tradition. See Stone Setting Techniques.

9. Quality control

Inspectors check for:

• Even plating and colour
• Secure stones and correct alignment
• Working clasps, hinges and earring backs
• Smooth edges and comfort
• Correct dimensions and weight

See Jewellery Assembly and Quality Control.

10. Packaging

Finished pieces are carded, bagged or boxed. Good packaging protects jewellery during transport and storage. See Jewellery Packaging and Presentation.

Handmade, machine-made, or both?

Most imitation jewellery combines machines and hands: machines for repetitive precision, artisans for setting, assembly and finishing. See Handmade vs Machine-Made Jewellery.

Key takeaway

Imitation jewellery is the product of design, engineering and many skilled hands. Knowing the steps helps you recognise care in the details: smooth finishing, even plating, secure stones and reliable findings.

Sources and further reading

• Victoria and Albert Museum — Traditional Indian jewellery making

Written by

HANSINI369 Editorial Team

Our editors research jewellery types, materials, care and craft, and review guides when materials, standards or recommendations change. Read our editorial policy.