Where Metal Meets Velvet on a Display Set墨绿绒布展架的金属与绒
The SJ11 display set is, from across the room, green-and-gold and nothing more. Up close it is all workmanship. It gathers a necklace bust, an earring post, a ring tray, a bangle stool and a geometric backdrop onto one dark-green velvet-and-gold-metal frame. Pretty is easy; the hard part is how the metal and the velvet actually hold together.
Start with the gold metal frame. It is not one welded cage but several extruded sections joined together. The tube is aluminium, finished in gold — by electrophoresis or by powder coat. Powder coat is cheaper but chips at the corners and shows silver underneath, which looks terrible. Electrophoretic coating lays an even film with a warm gold tone that survives knocks. We use electrophoresis. Joints are clip-plus-screw, never glue; a glued frame shipped overseas through heat and cold cracks open, and the client opens a flat-pack of regret. The clip tolerance sits within a fraction of a millimetre — too loose and it wobbles, too tight and the worker curses after the twentieth set.
The velvet is stretched over the bust, posts and trays afterward. Dark green is unforgiving about nap direction. On one panel, if the velvet runs two ways, the spotlight shows one side dark and the other pale, like a shirt that missed the iron. You pull from the centre to the four corners with even tension so the nap lies flat. The bust has an ABS core wrapped in velvet and needs weighting, or the moment a necklace hangs, the neck tips forward and the whole stand leans. The posts and stool are filled cores with a thin foam under the velvet so rings and earrings press in with a slight rebound instead of scraping.
The ring tray and bangle stool are separate, so they slot and separate. That is the room we leave the client: push the tray forward on a ring day, crown the stool on a bangle day. The backdrop is geometric, gold-framed, matte-faced, so it never upstages the jewelry. The whole set ships flat and assembles in-store, which saves a fortune in freight and breaks far less in transit.
One more thing clients underestimate: the weighting. A display that looks balanced on the workbench tips the moment real jewelry hangs from it, because gold and silver are heavier than the sample stones used in the studio. We weight the bust and stool to the weight of actual product, not the prop, so the set stays put on a busy counter.
The gold tone itself is a choice. A yellow, almost brass gold reads 'budget hotel'; a warmer, slightly muted champagne-gold reads 'boutique.' SJ11 uses the latter, which is why the same green velvet looks more expensive here than on a brighter frame. Colour is cheap to specify and expensive to get wrong.
Care is simple but non-negotiable: the velvet picks up counter dust and skin oil, and once it mats, no amount of rearranging hides it. A soft brush once a week, never water, keeps the green reading deep. A display that looks tired sells less, full stop.
Overseas clients particularly like the modular design. European and American counters are small and owners rotate themes weekly — all rings one week, all bracelets the next — and ten minutes of assembly fits that rhythm. The failure we shipped once was clip tolerance left too loose; vibration in transit popped the frames open and several sets arrived as loose parts. We changed the clip to a push-then-twist lock so tension stays put either way. The velvet also fears sea-freight damp: a container left a month will arch flat velvet as it drinks humidity, so we give the nap a moisture-resistant spray before shipping and drop desiccant in the carton.
Honestly, a deluxe set like this is not expensive in material; it is expensive in whether it stays together and whether the velvet lies flat. Electrophoresis on the frame, consistent nap on the velvet, tight tolerance on the clips — land those three and the green-and-gold earns the word 'high-end.' Miss them and no colour saves you once it falls apart.珠宝展示套装 SJ11 这套东西，远看是墨绿配金，近看全是活儿。它把项链人台、耳环立柱、戒指托盘、手镯圆凳和一块几何背景架凑成一套，墨绿色绒布裹着金色金属框架。好看归好看，真要做出来，金属和绒这两样怎么咬合才是考验。
先说那个金色金属框架。它不是一根焊死的架子，是几段型材拼的。管是铝合金的，表面做金色，要么电泳要么喷粉。喷粉便宜，但边角一磕就露底，露出银白，很扎眼；电泳的膜厚均匀，金色调温润，磕碰也不容易掉。我们一般用电泳。拼合处是卡扣加螺丝，不是胶粘，胶粘的架子运到海外一冷一热就开胶，客户拆箱发现散了，这单就砸了。卡扣的公差得卡在零点几毫米，太松晃，太紧装不上，工人手装二十套就烦。
绒布那层是后人台、立柱、托盘面上绷的。墨绿这种深颜色，最怕绒面倒顺毛。同一块板上，如果绒的方向不一致，灯一打，一边深一边浅，像没烫平的衣服。绷的时候要从中心往四角均匀地拉，拉力一致，绒才平。人台是 ABS 内芯外裹绒布，内芯要配重，不然项链一挂，脖子往前栽，整座歪。立柱和圆凳是实芯或填芯的，绒面底下垫一层薄海绵，戒指耳钉压上去有轻微回弹，不会硬碰硬刮花。
戒指托盘和手镯圆凳是分体的，能拆能组。这是给客户留的余地——今天主推戒指，就把托盘往前摆；明天上手镯，圆凳顶上。背景架是几何形的，金框嵌板，板面是哑光，不抢首饰的戏。整个套装拆开是平板包装，到店自己拼，运费省一大截，也少压坏。
海外市场尤其吃这套分体设计。欧美客户柜面小，喜欢自己按周换主题，今天全戒指明天全手链，拆装十分钟搞定。我们出过一次岔子：卡扣公差放得太松，运输震动里框架自己弹开，到货好几套散成零件。后来把卡扣改成'按入再旋转锁死'，松紧都稳。绒布还怕海运的潮，集装箱里闷一个月，平绒吸水会起拱，所以我们出厂前绒面做一次防潮喷涂，外箱加干燥剂。
金属框架的配重也别省。很多厂家为减重把底座掏空，摆上真首饰一压就前倾，柜台上看着晃。我们底座里填配重块，整套重心压在底部，人台挂满项链也不栽。绒面脏了用软毛刷顺一个方向扫，别沾水，沾水留下水痕更显旧。
说句实在话，这种豪华套装，贵不在材料，在拼起来稳不稳、绒面平不平。框架电泳、绒布顺毛、卡扣合公差，这三样做到位，墨绿配金才撑得起'高端'俩字。否则再好看的色，散架一次就没人认了。这也正是我们挑腕表陈列道具时最在意的几处。
Start with the gold metal frame. It is not one welded cage but several extruded sections joined together. The tube is aluminium, finished in gold — by electrophoresis or by powder coat. Powder coat is cheaper but chips at the corners and shows silver underneath, which looks terrible. Electrophoretic coating lays an even film with a warm gold tone that survives knocks. We use electrophoresis. Joints are clip-plus-screw, never glue; a glued frame shipped overseas through heat and cold cracks open, and the client opens a flat-pack of regret. The clip tolerance sits within a fraction of a millimetre — too loose and it wobbles, too tight and the worker curses after the twentieth set.
The velvet is stretched over the bust, posts and trays afterward. Dark green is unforgiving about nap direction. On one panel, if the velvet runs two ways, the spotlight shows one side dark and the other pale, like a shirt that missed the iron. You pull from the centre to the four corners with even tension so the nap lies flat. The bust has an ABS core wrapped in velvet and needs weighting, or the moment a necklace hangs, the neck tips forward and the whole stand leans. The posts and stool are filled cores with a thin foam under the velvet so rings and earrings press in with a slight rebound instead of scraping.
The ring tray and bangle stool are separate, so they slot and separate. That is the room we leave the client: push the tray forward on a ring day, crown the stool on a bangle day. The backdrop is geometric, gold-framed, matte-faced, so it never upstages the jewelry. The whole set ships flat and assembles in-store, which saves a fortune in freight and breaks far less in transit.
One more thing clients underestimate: the weighting. A display that looks balanced on the workbench tips the moment real jewelry hangs from it, because gold and silver are heavier than the sample stones used in the studio. We weight the bust and stool to the weight of actual product, not the prop, so the set stays put on a busy counter.
The gold tone itself is a choice. A yellow, almost brass gold reads 'budget hotel'; a warmer, slightly muted champagne-gold reads 'boutique.' SJ11 uses the latter, which is why the same green velvet looks more expensive here than on a brighter frame. Colour is cheap to specify and expensive to get wrong.
Care is simple but non-negotiable: the velvet picks up counter dust and skin oil, and once it mats, no amount of rearranging hides it. A soft brush once a week, never water, keeps the green reading deep. A display that looks tired sells less, full stop.
Overseas clients particularly like the modular design. European and American counters are small and owners rotate themes weekly — all rings one week, all bracelets the next — and ten minutes of assembly fits that rhythm. The failure we shipped once was clip tolerance left too loose; vibration in transit popped the frames open and several sets arrived as loose parts. We changed the clip to a push-then-twist lock so tension stays put either way. The velvet also fears sea-freight damp: a container left a month will arch flat velvet as it drinks humidity, so we give the nap a moisture-resistant spray before shipping and drop desiccant in the carton.
Honestly, a deluxe set like this is not expensive in material; it is expensive in whether it stays together and whether the velvet lies flat. Electrophoresis on the frame, consistent nap on the velvet, tight tolerance on the clips — land those three and the green-and-gold earns the word 'high-end.' Miss them and no colour saves you once it falls apart.珠宝展示套装 SJ11 这套东西，远看是墨绿配金，近看全是活儿。它把项链人台、耳环立柱、戒指托盘、手镯圆凳和一块几何背景架凑成一套，墨绿色绒布裹着金色金属框架。好看归好看，真要做出来，金属和绒这两样怎么咬合才是考验。
先说那个金色金属框架。它不是一根焊死的架子，是几段型材拼的。管是铝合金的，表面做金色，要么电泳要么喷粉。喷粉便宜，但边角一磕就露底，露出银白，很扎眼；电泳的膜厚均匀，金色调温润，磕碰也不容易掉。我们一般用电泳。拼合处是卡扣加螺丝，不是胶粘，胶粘的架子运到海外一冷一热就开胶，客户拆箱发现散了，这单就砸了。卡扣的公差得卡在零点几毫米，太松晃，太紧装不上，工人手装二十套就烦。
绒布那层是后人台、立柱、托盘面上绷的。墨绿这种深颜色，最怕绒面倒顺毛。同一块板上，如果绒的方向不一致，灯一打，一边深一边浅，像没烫平的衣服。绷的时候要从中心往四角均匀地拉，拉力一致，绒才平。人台是 ABS 内芯外裹绒布，内芯要配重，不然项链一挂，脖子往前栽，整座歪。立柱和圆凳是实芯或填芯的，绒面底下垫一层薄海绵，戒指耳钉压上去有轻微回弹，不会硬碰硬刮花。
戒指托盘和手镯圆凳是分体的，能拆能组。这是给客户留的余地——今天主推戒指，就把托盘往前摆；明天上手镯，圆凳顶上。背景架是几何形的，金框嵌板，板面是哑光，不抢首饰的戏。整个套装拆开是平板包装，到店自己拼，运费省一大截，也少压坏。
海外市场尤其吃这套分体设计。欧美客户柜面小，喜欢自己按周换主题，今天全戒指明天全手链，拆装十分钟搞定。我们出过一次岔子：卡扣公差放得太松，运输震动里框架自己弹开，到货好几套散成零件。后来把卡扣改成'按入再旋转锁死'，松紧都稳。绒布还怕海运的潮，集装箱里闷一个月，平绒吸水会起拱，所以我们出厂前绒面做一次防潮喷涂，外箱加干燥剂。
金属框架的配重也别省。很多厂家为减重把底座掏空，摆上真首饰一压就前倾，柜台上看着晃。我们底座里填配重块，整套重心压在底部，人台挂满项链也不栽。绒面脏了用软毛刷顺一个方向扫，别沾水，沾水留下水痕更显旧。
说句实在话，这种豪华套装，贵不在材料，在拼起来稳不稳、绒面平不平。框架电泳、绒布顺毛、卡扣合公差，这三样做到位，墨绿配金才撑得起'高端'俩字。否则再好看的色，散架一次就没人认了。这也正是我们挑腕表陈列道具时最在意的几处。
