How jewellery and plated jewellery brands in Brazil use UGC, the formats that sell and how creators shoot them.
Why UGC fits the Brazilian jewellery market
Seven reasons specific to this category and this market.
The product is small, so badly served by photography, which gives no scale.
Sparkle only exists in movement, which a catalogue cannot show.
The plated jewellery market is huge and highly competitive, which makes proof of use decisive.
Buying often happens online from small brands, where trust is built through video.
Resale and direct selling between individuals are frequent, and video content travels with the pieces.
The climate raises a real durability question, dealt with above.
And jewellery is given as a gift: the video serves the person buying for themselves as much as the one buying a present.
The formats that sell small shiny products
Seven formats, from the most useful to the most decorative.
Real wear over a day, filmed with no staging.
Layering several pieces, which is how they are actually bought.
Comparing two chain lengths on the same neck, a rarely produced format.
Trying pieces on different skin tones, indispensable in this country.
The clasp test, a gesture nobody films and everybody dreads.
The thirty-day follow-up, dealt with above.
And the unboxing, which is only worth anything if it shows the real size of the piece in the hand.
Light and shooting: making small pieces shine
Seven settings that change everything.
Filming near a window, turning the piece slowly so the light travels across it.
Avoiding direct sun, which produces a white spot instead of sparkle.
Placing a dark matt cloth under the piece for close-ups.
Coming in to fifteen centimetres with the wrist or neck resting, never freehand.
Cleaning the piece just before, since fingerprints are enormous at that distance.
Filming in movement, since a static shot kills a piece of jewellery.
And adding a familiar object in frame for scale, a hand often being enough.
The thirtieth day, and what it shows
Six points to document in the follow-up video.
The state of the plating, without dramatising or flattering, filmed in the same place as on day one.
The behaviour of the clasp after a month of daily use.
The friction areas, wrist and clasp, which mark first.
The habits that accompanied the wearing, shower, sport, perfume, to be stated honestly.
How you stored it, information the brand appreciates.
And what you would do differently, the most watched part of the video.
Sizes, lengths and what gets returned
Seven pieces of information that avoid half the returns in this category.
Ring size, said out loud, bearing in mind it varies with the hour and the heat.
The exact chain length, shown against a ruler or a known object.
The precise point where the pendant falls, which changes everything depending on build.
The felt weight of an earring after a few hours, never expressed in grams.
The diameter of a bracelet once closed, compared with the wrist on screen.
Compatibility with a piercing or a sensitive ear, described with no medical conclusion.
And the procedure for a size exchange, information the brand has to supply and the video can recall.
Where to run the videos, and how to license them
Six uses, with their effect on the contract.
The product page, the first use requested and the most durable.
Paid advertising, invoiced separately with a written duration.
Marketplaces, where video strongly reduces size questions.
Resellers and direct sellers, a very frequent use here and to be included explicitly if intended.
In-store screens and windows, often forgotten in the contract.
And reposting by the brand on its own accounts, to be distinguished from paid advertising.
What you cannot claim about a piece of jewellery
Five precautions, to be validated with a lawyer and with the competent authority before the shoot.
Mentions of material, purity and plating thickness come from the technical sheet, never from your estimate.
Any claim about the absence of allergy or skin reaction is to be set aside.
The lifespan of the plating is the brand's data, to be quoted as it is and not promised.
Regulated terms designating precious metals have a precise meaning, not to be used approximately.
And a guarantee stated in the video commits the brand, which has to confirm it in writing.
What a jewellery video must show
| Shot | What it solves | Technical detail |
|---|---|---|
| The piece worn | The real size on the body | A hand or neck at camera height |
| The close-up under light | The shine and the finish | A light that moves slightly |
| The clasp in use | How easy it is to put on | A continuous shot, no cut |
What goes wrong most often
Uncontrolled reflection. A polished piece throws back the window, the lamp and sometimes the camera. A white cloth placed to one side diffuses the light and removes the distracting hotspots.
What is never said without a document
A metal, a purity, a stone, a treatment or a warranty. Each is read on the maker's certificate, and a wrongly stated material exposes the brand as much as the creator.
How to brief creators and get started
Seven points for a collaboration that works.
Sending the piece early enough to allow the thirty-day follow-up.
Providing the exact reference and material, to be shown on screen.
Asking for one objection per video: size, durability, clasp, sparkle.
Letting the creator choose their setting and outfit, which create credibility.
Planning the return or buyout of the piece, a systematic question in this category.
Ordering a batch of three videos rather than one, since adaptation is the real use.
And buying the rushes, often reused when the collection changes.
One last marker: in Brazil a plated jewellery video showing a piece still in decent shape after a month sells better than a perfect video on day one. The audience in this category has already been disappointed, and it no longer buys the promise, it buys the dated proof.
