A woman with wavy blonde hair wearing a white shirt, black jacket, and a necklace with a cross, standing on a rooftop balcony with stone balustrades and potted orange plants. Behind her, an overcast sky and cityscape with historic buildings, including a domed structure, are visible. A seagull is flying in the sky.

© Ruby Rodriguez · Photography by Claudio Morelli · Roman Rooftop, 2020

Ruby Rodriguez

Brand Anthropology · Global Sourcing · Material Culture Research

Some research stays in the archive. Some sourcing stays in the supply chain. This practice connects both — and everything in between.

A PhD in cultural anthropology. Twenty years of ethnographic fieldwork across jewelry markets, artisan workshops, and museum archives. A supply chain built from the ground up across four continents. A retail concept designed around the body's relationship to adornment. The same intelligence, applied at every point in the process.

At the center of this work is a finding that has held across every field site and every market: certain forms recur independently across cultures separated by oceans and millennia — the disc, the spiral, the serpent, the feather, the eye. Not because they traveled. Because the human conditions they respond to have never changed. These are the Perpetual Archetypes. Understanding why they resonate — and with whom, and when — is what separates a collection that endures from one that merely dazzles.

This is material culture research that moves — from the archive to the atelier, from the field to the factory floor, from the object's history to the consumer who reaches for it before they know why.

Each of the five phases of research described below is documented in depth. A visual portfolio of field photography, prototypes, sourcing documentation, and editorial work — as well as a full research index of papers for each phase — is available upon request. Reach out here to request access.

Research Methodology in Motion: A Five-Phase Career Evolution in Jewelry, Sourcing, and the Art of Meaning


01 | Theory — Qualitative Research & Material Culture

Where does the meaning in jewelry come from?

02 | Scale — Supply Chain Development

Turning Field Research into industrial infrastructure.

03 | Brand — Luxury Retail Operations

Proving the concept in the luxury wing of a Tier 1 Simon Mall

04 | Sourcing — Global Heritage Procurement

Peru, Mexico, India, Italy, Turkey, Ghana: the world as a sourcing archive

05 | Concept — Large-Scale Experiential Retail

The proof of concept that made the next step inevitable

Phase 01 | Theory

Material Culture & Visual Curation

The Research: A PhD-led audit of jewelry provenance, spanning museum archives and raw artisanal markets. By documenting the intersection of historical craftsmanship and traditional material sourcing, I identify the Perpetual Archetypes that define high-value collections.

Person holding a gold-colored necklace with a floral design at an outdoor market.

Phase 02 | Scale

Supply Chain Architecture, Trend Forecasting & Industrial Translation

The Research: This phase identifies the operational infrastructure required to translate 2,000-year-old design archetypes into a scalable, modern supply chain.

Close-up of a woman wearing multiple gold and silver rings, a delicate chain necklace with a circular pendant, and bracelets on her wrist with no visible background.

Phase 03 | Brand

Luxury Retail Operations, Contextual Adjacency & Market Validation

The Research: Selected from a competitive field of local entrepreneurs for Simon Property Group's retail residency program, I architected a physical brand presence within a premier luxury ecosystem — positioned directly adjacent to luxury titans like Versace, Prada, and Cartier. By operating profitably within this context, I conducted an on-the-ground audit of "Contextual Adjacency" — observing how high-net-worth consumers navigate a top-tier luxury environment. The most revealing finding was human: jewelry acquisition is profoundly intimate. Customers do not browse. They confide. They reveal who they are, who they love, what they are marking, and what they hope the object will carry forward. Packaging and display are not presentation — they are ceremony. The velvet, the box, the moment of handover — these are the final ritual acts of a transaction that was never purely commercial. This phase confirmed that sourcing, merchandising, display, and service are not separate disciplines. They are movements in the same ceremony.

Jewelry store window display with jewelry and accessories, mannequins, and Valentine's Day decorative hearts and clouds.

Phase 04 | Sourcing

Global Heritage Procurement Direct-to-Source Audit & Ethical Supply Chain

The Research: An on-the-ground audit of global artisanal networks across Peru, Mexico, India, Italy, Turkey, and Ghana. By bypassing traditional wholesalers to engage directly with heritage specialists, I conducted a rigorous validation of material provenance and multi-generational craftsmanship. This phase identifies the "Human Infrastructure" required to secure museum-quality components — the weavers, metalsmiths, and material custodians whose knowledge cannot be replicated at scale — while establishing the ethical standards and logistical protocols necessary to bring heritage objects into a high-integrity commercial environment.

Multiple ornate, colorful hanging lamps, including white, blue, and multicolored mosaics, illuminated and hanging in a decorative setting.
Storefront for Jewelry with Friends with display windows showcasing mannequins dressed in jewelry and clothing. Signage includes a neon pink 'Come In and Create!' sign and a white sign with red lettering. Inside, various jewelry pieces and accessories are visible.

Phase 05 | Concept

Large-Scale Experiential Retail

Strategic Synthesis & Future-Facing Infrastructure

The Research: The culmination of a decade of field research and supply chain development — realized as a 5,500 sq. ft. experiential flagship deliberately positioned in a community-rooted setting, chosen for its intergenerational, local demographic rather than luxury adjacency. Inspired by the self-assembly accessory culture of Sevilla, the space combined a jewelry-making workshop, a multi-vendor marketplace, and a global supply chain connecting San Diego to China, Peru, Italy, Turkey, and Ghana. By designing ceremonial retail experiences — intergenerational rituals, community summits, and maker workshops — this phase investigated whether the intimacy of jewelry acquisition could be scaled, ritualized, and sustained as the emotional engine of a living commercial ecosystem.

Researching Luxury · Sourcing Beauty · Empowering Resonant Design

© 2026 Ruby E. Rodriguez · ruby@rubyrodriguezsourcing.com

All images and content are my own unless otherwise noted · All rights reserved