Tools, Skill and Identity: The Work of British Manufacturing Jewellers, 1945-1965

研究的重点是1945至1965年间英国制造业珠宝商的工作，当时他们从生产武装部队的装备转向更新的珠宝制造。主要的研究问题是，战后的实体(机械、工具、材料和珠宝)和社会(男性和女性；熟练、半熟练和学徒工人)车间如何促进在珠宝商中制造和识别工匠的新方法？我将对工作坊重新调整机器的用途提出问题，以了解制造者的角色和工具的分配以及它们与技能概念的联系。我会问，物质限制、购置税和公共消费方式是如何影响制造商、材料和社交网络的。研究将质疑员工如何回应男子气概、阶级和教育的概念，以了解他们帮助实施的变化。1965年，V&A和金匠公司举办了重要的国际现代珠宝展览会，标志着生产的转变。对这些变化的关注将为战后劳工和英国手工艺史学贡献新的知识。现有的学术研究很少关注珠宝商，而行业主导的研究强调设计；这个项目通过关注珠宝商将这两个方面结合在一起。这项研究建立在《国家生活故事》的《手工艺生活》基础上，其中包括三位设计师珠宝商战后工作的口述历史。这项研究中进行的较大作坊的珠宝商的新口述历史，对于理解在这一时期产生大多数珠宝的更大规模的生产至关重要。这项研究将为当前关于新技术的采用及其对劳动力分配、车间社会等级和职业教育的影响的生产辩论提供见解。这项研究建立在我的关于英国珠宝商1939-1945年间技能适应战争工作的硕士论文和我在珠宝贸易中的专业研究的基础上。我在理论和实践界的地位决定了我的方法：我将在档案研究和口述历史的同时，对战后时期对珠宝商非常重要的工具、机器、材料和珠宝进行基于对象的分析。行业协会和商业档案以及材料供应的经济数据揭示了制造商、行业委员会和政府之间的关系。我将使用设计史、人类学和社会学的理论来解释来源，包括演员网络理论和“去杀戮”辩论。这些方法一起反映了影响战后制造者的许多影响。我是艺术与人文学院(SoAH)设计史V&A/RCA博士，也是珠宝与金属(J&M)的第二位导师，我属于高级历史和应用艺术实践研究小组。

Research focuses on the work of British manufacturing jewellers between 1945 and 1965 as they moved from production of Armed Forces equipment to renewed jewellery manufacture. The main research question asks how did the physical (machinery, tools, materials and jewels) and social (male and female; skilled, semi-skilled and apprentice workers) post-war workshop contribute to new methods of making and identifying as a craftsperson amongst jewellers? I will problematise workshops' repurposing of machinery to understand makers' distributions of roles and tools and their link to concepts of skill. I will ask how material restrictions, Purchase Tax and public approaches to consumption influenced makers and material and social networks. Research will question how workers responded to concepts of masculinity, class and education to understand the changes they helped enact. The research period closes in 1965 following the V&A and Goldsmiths' Company's pivotal International Exhibition of Modern Jewellery, which marked a shift in production.Attention to these changes will contribute new knowledge to historiographies of post-war labour and British craft. Existing academic research focuses little on jewellers, whilst trade-led research emphasises design; this project unites both strands by focusing on makers. Research builds on the National Life Stories' Craft Lives, which includes oral histories of three designer-jewellers working post-war. New oral histories of jewellers from larger workshops conducted in this research are vital in understanding larger-scale production that generated most jewels in this period. The research will provide insight for current production debates about the adoption of new technology and its impact on labour distribution, workshop social hierarchy and vocational education.Research builds on my MA dissertation on British jewellers' adaptation of skills to war work, 1939-1945 and my professional research in the jewellery trade. My position in theory and practice communities shapes my methodologies: I will pursue object-based analysis of tools, machines, materials and jewels important to jewellers in the post-war period alongside archival research and oral history. Trade association and business archives and economic data of material supply reveal relationships between makers, trade councils and the government. I will interpret sources using theory from design history, anthropology and sociology, including Actor-network theory and 'deskilling' debates. These methods together reflect the many influences impacting post-war makers. Location in the V&A/RCA PhD in History of Design, School of Arts and Humanities (SoAH), and a second supervisor in Jewellery and Metal (J&M), situates me within advanced historical and applied art practice-based research groups.