Communication theory: aër
aër is a jewelry embodiment of ephemerality and lightness, of the constantly changing form of fabric trembling under the breath of air, of a petal bending in the gust of wind. Inspired by weightless and elusive matter, we transform it into something eternally stable and timeless.
Content of the presentation
- The general theoretical part - Brand Presentation to a Broad Audience - Presentation for a Professional Audience - Brand Strategy - Conclusion - Bibliography and list of image sources
The general theoretical part
Jewelry as a Coded Message
In jewelry design, communication goes beyond marketing and becomes the very basis of meaning‑making. Communication theory views information transfer as a continuous symbolic process. Accordingly, a piece of jewelry functions as a coded message from the designer, decoded by the wearer and observer. aër deliberately employs this concept, focusing on meaning generated through the interpretation of fleeting forms. The meaning of an aër piece is never static; it shifts with personal experience, wearing context, and interpersonal situation, reflecting the feedback loop inherent in communication.
Branding and design are inextricably linked to the audience for which they are created and exist within the context of communication with users
Semiotics and the Rhetoric of Weightlessness
For aër, semiotic and rhetorical approaches are paramount. Semiotically, aër’s works act as sign systems: a curved metal strand or a rough texture signifies movement, air, or a fabric fold. These signs draw on universal associations with lightness and grace. Rhetorically, the brand uses visual rhetoric to persuade—polished or matte surfaces that mimic light on fabric, and asymmetric, «unstable» shapes evoke an emotional response of weightlessness and poetic fragility.
Communication theory allows us to understand aër jewelry not just as jewelry, but as a structured message, where the design language is the language of movement and ephemerality.
Brand Presentation to a Broad Audience
aër: Capturing the Moment of Migration
aër is a jewelry brand whose mission is to stabilize and eternalize the most fleeting natural and tactile phenomena: the tremor of fabric, the bend of a petal in wind, the subtle breath of air. Following communication theory, which holds that meaning arises through interpretation, each aër piece offers a personal narrative of transitory beauty.
Message to the Mass Market
The brand offers contemporary amulets that symbolize freedom, lightness, and grace, appealing to those who value conceptual elegance, emotional depth, and motion‑evoking design over overt luxury. aër’s mission is to translate the poetry of ephemerality into a modern jewelry language, allowing the wearer to feel refinement and weightlessness.
Positioning
aër frames its jewelry as an emotional communication tool, reminding users of the importance of the moment and the beauty of delicacy, thereby linking consumers to deeper symbolic values beyond the traditional material worth of gems.
Presentation for a Professional Audience
A Semiotic System of Ephemerality
The brand adopts a research‑oriented approach in which jewelry functions as a symbolic communication system rather than mere decoration. Each piece becomes a sign that the owner deciphers through associations with lightness and aerodynamics. Collections embody air and motion motifs in modern abstractions, avoiding direct imitation; instead, forms reinterpret folds, bends, and flows via organic yet minimal geometry. Finishes—matte, sometimes rough, or perfectly polished—highlight plasticity and texture, echoing light on moving matter.
Communication Channels
Narrative descriptions, airy visual documentation, and minimalist framing (packaging, background) act as communication channels that amplify the interpretation of lightness and ephemerality.
aër — the art of lightness, the strength of form.
Brand Strategy
Communication Strategy: Interpretation and Poetics
aër’s strategy rests on interpretive communication theory, emphasizing semiotic and rhetorical traditions.
Semiotic Foundation
Each piece is treated as a sign system where irregularities and curves encode references to elusive motion, offering a poetic, graceful reading rather than random form.
Sociocultural Context
aër positions itself as a modern response to the demand for immaterial values, turning jewelry into a symbol of inner lightness and moment awareness, aligning with trends toward conceptual rather than ostentatious luxury.
Systemic Approach
The strategy ensures consistent messaging across visual (light, airy imagery), narrative (metaphoric texts about air, fabric, movement), and product (form and material texture) channels.
Conclusion
аër establishes itself as a coherent communicative environment where jewelry functions as a coded message. Rooted in communication theory, each piece is an open sign, designed for personal interpretation. Its meaning is fluid, evolving with context and wearer, mirroring the ephemerality it represents.
Through a precise semiotic language of asymmetric forms and textured surfaces, aër constructs signs for weightlessness and movement. This visual rhetoric persuades emotionally, evoking poetic fragility.
This theoretical core drives a consistent strategy. For the wider audience, aër offers contemporary amulets of conceptual elegance. For professionals, it demonstrates design as a tool for symbolic communication.
Ultimately, aër successfully materializes the elusive. It is a self-referential system where theory and practice fuse, making the intangible tangible and the momentary eternal.
Course «Communication Theory: Bridging Academia and Practice»
Lotman Yu. M. Articles on Semiotics of Culture and Art / Yu. M. Lotman. — Moscow: MSU, 2020. — 143 p. — URL: (accessed 10.12.2025).
Selected Articles by Yu. Lotman / Yu. M. Lotman // Yanko, V. G. (ed.) — URL: (accessed 06.12.2025).
Jewelry A Medium of Symbolic Communication // SSRN. — URL: (accessed 06.12.2025).
aër // Deziiign URL: https://deziiign.com/project/c1c09a46d7fb4b32b97ad2c1dd27e5ad (дата обращения: 10.12.2025).
Photographer Safina Gulnara
