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    <title>Coastal Jewellery Musings</title>
    <link>https://www.bohosilver.co.uk</link>
    <description>We muse on everything that vibes with us. Expect to search for Scottish sea glass, discover Scottish folklore stories, enjoy Scottish elopement advice and gain valuable insights into buying bespoke silver engagement rings and wax carved jewellery. We create with thought, and soul, so we like to share an eclectic mix of material.</description>
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      <title>Coastal Jewellery Musings</title>
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      <title>Ocean-Inspired Jewellery: Meaning, Symbolism and Why Women Are Returning to the Sea</title>
      <link>https://www.bohosilver.co.uk/ocean-inspired-jewellery-meaning-symbolism-and-why-women-are-returning-to-the-sea</link>
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           Ocean-Inspired Jewellery: Meaning, Symbolism and Why Women Are Returning to the Sea
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           I know I'm not alone. There is a pull to the sea that runs deep, to the point it feels visceral.
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           "We sweat and cry salt water, so we know that the ocean is really in our blood."
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           Teresa Teaiwa
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           So many women feel that deep connection and draw to the sea, and to the rocks and ocean life that are shaped by it. The ocean represents scale, depth and a natural rhythm, all of which are largely absent from structured, modern life. Perhaps this creates a form of quiet recognition; something innate. Ocean-inspired jewellery mirrors these qualities through material, texture and form. There is certainly a revival of interest in jewellery that is organic, imperfect and connects; talismans that are not mere decorations, but make the wearer feel something.
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           What Is Ocean-Inspired Jewellery
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           Ocean-inspired jewellery refers to pieces that take their form, texture or symbolism from the sea. This can be literal, such as shells or wave motifs, but more often it is expressed through subtler details.
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           Handmade silver or gold pieces shaped by erosion, uneven surfaces that resemble rocks worn by the tide, or gemstones that hold the colour of deep water are all part of this category. The emphasis is not on perfection, but on natural irregularity; a reflection of the seascape that gives connection.
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           I feel the need to flag an important distinction between mass-produced and handmade work. Mass-produced pieces tend to replicate recognisable symbols in a uniform way, a repetitive pattern that can be replicated ad finitum. Handmade work, by contrast, is nuanced and organic, each piece is different, evolving, much like the coastline itself. When I create, I sit with the feeling and let the work flow - I honestly sometimes have no idea where the process will take me.
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           The Symbolism of the Ocean
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           The sea has held symbolic meaning across cultures for centuries. In jewellery, these meanings are often carried quietly rather than stated directly. The symbolism, energy and folklore of the sea, for women, often carries very significant referential markers.
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           Freedom
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           The ocean represents space without boundary. For many women, this translates into a desire for autonomy. Jewellery inspired by the sea can act as a reminder of that instinct, particularly during periods of constraint or transition.
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           Transformation
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           Nothing in the sea remains fixed. Tides shift, coastlines change, and objects are reshaped over time. This makes ocean symbolism closely linked to personal change. Pieces that reflect this can resonate during periods of growth or redefinition.
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           Feminine Power
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           There is a long association between the sea and feminine energy. Depth, changing tides, unpredictability and strength. This is not a passive symbolism. It reflects something instinctive.
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           Return
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            For some, the sea represents a return rather than an escape. A movement back towards something essential. This is very particularly reflected in the folklore of the Selkie, and is the reason a core and signature collection within our jewellery is the
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           Selkie Collection
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           Why Women Are Drawn to Ocean Jewellery Now
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           The current interest in ocean-inspired jewellery reflects broader changes in how women relate to what they wear.
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           There is increasing fatigue with fast fashion and with objects that carry no personal meaning. At the same time, there is a growing emphasis on connection to place, to material and to self.
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           The sea, particularly around the UK coastline, holds a specific cultural presence. We are an island culture. It is familiar, it surrounds us, and we are quite literally made of water. It is also associated with both solitude and perspective. Jewellery that draws from it can offer a way to carry that experience into daily life.
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           There is also a psychological dimension. Natural forms tend to feel more grounding than highly polished or artificial ones. Irregular textures, weight, and visible marks of making can create a sense of reassurance. They feel tangible, human and connected. You cannot wear a piece handmade with heart and soul, and the energy not flow with that piece. Mass produced jewellery feels like AI in the human world - functional, sterile and without soul.
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           Handmade Versus Mass-Produced Jewellery
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           Which leads to that basic difference between handmade and mass-produced jewellery. It is not only about production method. It affects how a piece of jewellery is experienced by the individual. Handmade jewellery often reflects time and attention. Small asymmetries and variations are not flaws, but indicators of human hands in the process of creativity. For the wearer, this can translate into a stronger sense of connection to the piece..Mass-produced jewellery tends to prioritise consistency and scale. While this makes it more accessible, it can also make it interchangeable. The piece is less likely to feel specific to the individual.
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           Where finding a piece of jewellery that makes you feel something is important, this distinction matters.
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           How to Choose a Piece That Resonates
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           Choosing ocean-inspired jewellery does not require detailed knowledge of symbolism. In many cases, the response is immediate.
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           A useful approach is to notice what draws your attention without analysis. This might be a particular texture, weight or colour. Often, the piece that resonates reflects something already present, even if it has not been clearly defined. It is simply something that you feel, that draws you, without explanation.
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           It can also be helpful to consider context. Some pieces feel appropriate for periods of change, while others feel more stable or grounding/anchoring. Neither is better, but the difference is worth recognising.
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           Jewellery as a Form of Continuity
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           Ocean-inspired jewellery sits outside of rapid trend cycles. Its references are older and more grounding. Because of this, it often remains relevant to the wearer over time. It is something you look at, or touch, and it brings something for you. Jewellery was never meant to be a fashion trend or match an outfit, it was meant to have meaning for the wearer.
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            Explore our
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           Tidelines Collection
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            to find one-of-a-kind ocean pieces that might just make you feel something.
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           Journal thoughts by Elizabeth x
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      <pubDate>Sun, 12 Apr 2026 16:41:26 GMT</pubDate>
      <guid>https://www.bohosilver.co.uk/ocean-inspired-jewellery-meaning-symbolism-and-why-women-are-returning-to-the-sea</guid>
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      <title>Wild Coastlines, Wild Women &amp; Wild Coastal Jewellery: Inspired by Scotland’s NC500</title>
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           Wild Coastlines, Wild Women and Wild Coastal Jewellery: Inspired by Scotland’s NC500
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            There is a particular feeling that comes with travelling the North Coast 500.
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           It is not just the scale of the landscape, or the drama of the weather moving in from the Atlantic. It is something quieter and more personal. A sense of returning to yourself.
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           The Scottish coastline along the NC500 is shaped by contrast. Pale turquoise water against dark rock. Washed greys and silvers beneath a wide sky. Sudden pockets of colour where sea thrift blooms or rusted remnants of the past meet the tide. It is a landscape that does not ask for attention, yet holds it completely.
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           For many women, these places offer more than scenery. They offer space. Space to think, to breathe, to reconnect with something instinctive and uncontained.
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           The colours and textures of the northern coast
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           From the beaches of Sutherland to the edges of Caithness, the shoreline moves through a muted but powerful palette. Seafoam greens, soft greys, washed blues, and deeper tones that appear almost black beneath shifting light.
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           It is a landscape defined by subtlety rather than brightness. Colour here is layered. It reveals itself slowly.
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           Sea glass reflects this softness. Its surface worn matte by years in the tide, its edges smoothed into something tactile and calm. Alongside it, natural sapphires echo a different aspect of the coast. Deeper blues, stormy tones, flashes of light that mirror the sea under changing skies.
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           Together, these materials hold the full range of the coastline. Quiet and reflective. Strong and elemental.
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           Foraging the shoreline
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           Walking the beaches of the NC500 brings a slower rhythm. Eyes drawn to the ground, attention shifting to detail, you begin to notice what is often overlooked.
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           A fragment of sea glass half-hidden in sand. A stone with an unexpected depth of colour. The subtle differences in texture beneath your feet. Sea glass hunting in Scotland is not about collecting in quantity. It is about being present in the landscape. Old harbours, remote coves and lesser-known stretches of coastline often reveal the most interesting finds. Places shaped by both human history and the natural world. Each discovery feels personal. A small moment of connection between you and the shore.
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           Why these places stay with you
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           There is a reason the Scottish coast calls people back. It does not overwhelm, yet it stays with you.
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           The openness of the horizon. The constant movement of the sea. The clarity that comes from being somewhere uncontained. These are not just visual experiences. They are physical ones. You feel them.
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           For many women, especially those drawn to wild places, this connection runs deeper. It is not about escape. It is about recognition. Something in the landscape reflects something internal. Strength, independence, a sense of quiet certainty.
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           Jewellery shaped by the coast
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           Jewellery inspired by these landscapes carries that same feeling when it is created with intention.
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           Sea glass, shaped entirely by the ocean, holds a sense of time and transformation. Sapphires, formed deep within the earth, bring depth and intensity. When set in silver, or pale buttery gold, they sit within a palette that reflects the coast itself. Cool, understated, enduring. Each piece becomes a way to hold onto a place that mattered. A memory of wind, salt air, shifting light. Something that feels both grounding and expansive at once.
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           A different kind of connection
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           For women who are drawn to Scotland, to the NC500, or simply to wild coastal places, jewellery can become part of that connection.It is not chosen to follow trend or to complete a look. It is chosen because it reflects something personal. A way of being. A way of seeing the world. To wear it is to carry a trace of that landscape with you. Not in a literal sense, but in how it makes you feel.
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           Choosing with intention
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           There is a difference between buying and choosing.
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           When a piece reflects a place you have stood, or a feeling you recognise, the choice becomes instinctive. It already holds meaning.
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           Coastal jewellery, whether shaped by sea glass or set with sapphires, offers a way to keep that connection close. A quiet reminder of wild coastlines, open space and the kind of clarity that only certain places can give.
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           Not something to put on for effect. Something to return to, again and again.
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           Find a piece that carries the feeling of the coast, and keep that connection close, wherever you are.
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           Explore our coastal jewellery collection, inspired by Scotland’s wild landscapes and the quiet beauty of the shore.
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&lt;/div&gt;</content:encoded>
      <pubDate>Sun, 05 Apr 2026 13:56:07 GMT</pubDate>
      <guid>https://www.bohosilver.co.uk/wild-coastlines-wild-women-wild-coastal-jewellery-inspired-by-scotlands-nc500</guid>
      <g-custom:tags type="string" />
      <media:content medium="image" url="https://cdn.website-editor.net/s/d674a7b6fba2435cb6f13c4ce16cc476/dms3rep/multi/DSC03457final-4fda0a77.jpeg">
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    <item>
      <title>Engagement Rings for a Scottish Elopement</title>
      <link>https://www.bohosilver.co.uk/engagement-rings-for-a-scottish-elopement</link>
      <description />
      <content:encoded>&lt;h3&gt;&#xD;
  
         Scottish Engagement Rings Inspired by Wild Landscapes
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           Planning a Scottish elopement is about choosing meaning over expectation.
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           Whether you’re exchanging vows on the Isle of Skye, along the North Coast 500, in Glencoe, or on a quiet Scottish beach, the landscape becomes part of your story.
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           Your engagement ring should feel right in that setting — grounded, natural, and timeless.
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           Our Scottish engagement rings are created for couples who are drawn to wild places and intentional beginnings.
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           Elopement Rings Inspired by Scotland
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           Each ring is shaped by Scotland’s coastal landscapes and elemental energy.
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           Hand-worked silver inspired by sea light, mist, and stone
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           Deep green sapphires reflecting kelp forests, moss, and rugged cliffs
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           Organic textures that echo weathered rock and erosion
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           One-of-a-kind designs made slowly and deliberately
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           These are engagement rings designed to be part of your story of stormy skies, salt-stung faces and laughter carried through wind and rain.
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           Why Our Engagement Rings Suit Scottish Elopements
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           Traditional engagement rings can feel overly polished or formal against Scotland’s raw beauty.
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           Our elopement rings in Scotland are different.
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           They’re suited to:
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           Cliffside elopements on Skye
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           Intimate ceremonies along the North Coast 500
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           Woodland or mountain elopements in Glencoe
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           Hebridean beach weddings
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           Couples who value meaning over convention
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           These rings don’t compete with the landscape. They belong to it.
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    &lt;a href="/commissions"&gt;&#xD;
      
           Click to commission a ring to reflect your story
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           Scottish Engagement Rings Rooted in Nature
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           Scotland’s land carries deep symbolism — stone for endurance, water for emotional depth, wind for change.
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           Our engagement rings reflect these elements without overt symbolism. The meaning is subtle, carried in texture, form, and material rather than decoration.
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           For couples choosing a Scottish engagement or elopement, this quiet symbolism often feels more authentic than tradition.
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           Choosing an Engagement Ring for a Scottish Elopement
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           When selecting an engagement ring for a Scottish elopement, many couples look for something that feels natural in the environment they’ve chosen.
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           A ring that feels just as right:
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           Exchanged outdoors in wind or drizzle
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           Tucked into a pocket during a coastal walk
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           Worn daily long after the elopement
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           These are rings made to last — not just physically, but emotionally.
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           For Couples Eloping in Scotland
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           Eloping in Scotland is already a statement: intentional, grounded, and deeply personal.
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           Your engagement ring should honour that choice.
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           A ring shaped by sea, stone, and hand —
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           made for the place where your story begins.
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           COMMISSION A BESPOKE ELOPEMENT RING
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      <pubDate>Sat, 20 Dec 2025 16:30:16 GMT</pubDate>
      <guid>https://www.bohosilver.co.uk/engagement-rings-for-a-scottish-elopement</guid>
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      <title>HAGSTONES: Ancient Protection Stones of Sea and Folklore | Boho Silver</title>
      <link>https://www.bohosilver.co.uk/hagstones-ancient-protection-stones-of-sea-and-folklore-boho-silver</link>
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          HAGSTONES: Ancient Protection Stones of Sea and Folklore | Boho Silver
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          Discover the lore of hagstones — naturally holed stones shaped by sea and time. Learn their meanings, spiritual uses, and why they’re still carried as charms for luck, vision and protection.
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          Sometimes, there are objects the sea either makes or leaves for us like messages: a polished rib bone, a drifted feather, clusters of shells, smooth glass perfectly curved to your thumb. Hagstones are of similar kin. They are ordinary pebbles until they are not — a neat hole bored through the heart of rock as if it has been gifted with a tiny window. Find one upon the shore and you will feel the tug of an old invitation; look through and you might see everything differently.
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           What is a Hagstone?
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          Any stone with a naturally occurring hole through it is counted as a hagstone, and the hole itself has many possible births. Some are the patient work of waves and grit or running rivers. Other holes are the tiny architecture of marine animals such as rock-boring bivalves that carve cavities to live in. In some cases, water also polishes the edges until the stone becomes a ring — a bead formed by the combined powers of land and water.
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          Hagstones wear many names: adder-stones, mare-stones, gloine nan druidh (the Druids’ glass of Scottish Gaelic), witch-stones — and depending on where you find them, the stories shift. Across Britain and northern Europe they have long been carried as everyday charms, hung over cradles, worn as amulets, tied to the harness of a horse, fastened to a boat’s rigging, or kept at a threshold to fend off ill will.
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          In many traditions, the hole was not merely decorative, but a tool. Look through it and you might glimpse the fair folk or the true form of a witch; drop it into a well and you would be provided with a cure; pass a thread through it and the stone could bind good fortune to a house or a horse.
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           Making the Unseen, Seen
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          One of the most evocative traditions surrounding hagstones is their use as a lens. The belief that, by looking through the hole — quite literally making the hole into an eye — you may glimpse hidden things: fairies, spirits, witches, or the true nature of someone’s illness. The hagstone becomes a portal, a framed slit through which the ordinary world thins and the uncanny leaks in.
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          In some tales it may even show you glimpses of the future. In Highland lore surrounding the Brahan Seer (Coinneach Odhar), it is said that his prophetic gift came from a stone-eye.
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           Being Chosen
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          Yet there is a caveat to this powerful talisman. Although you may be desperate to discover a hagstone, no matter how much you search it will be the hagstone that finds you, not the other way round.
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          Custom holds that it will only appear in your life when you need it — perhaps before you even know why. They are a sign that ancient powers are watching over you, providing health, luck, and protection. To be chosen by a hagstone is to be gifted a companion that reminds you of how the world is made of edges and openings, and that looking at things differently may open your eyes to a whole new universe.
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          If you are lucky enough to find one, keep it close and pay attention. It has appeared to you for a reason.
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           Modern Meaning &amp;amp; Use
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          Today, hagstones are still carried as protection charms or used in spiritual practice for grounding, intuition, and energy work. Many people place them on an altar, wear them as pendants, or hang them near doorways to guard their home.
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          At Boho Silver, our
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           solid silver hagstone pendant
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          captures the spirit of these ancient talismans — a modern heirloom cast from a naturally holed stone found by the sea, carrying with it the same sense of unseen protection and quiet magic.
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           Frequently Asked Questions
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          What is the meaning of a hagstone?
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          A hagstone is seen as a natural charm of protection and insight. Its hole represents a gateway between worlds — the known and the unseen.
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          What are hagstones used for?
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          Traditionally, hagstones were used to ward off evil, protect livestock, and see spirits or fairies. Today, they’re often used in meditation, healing, or as good-luck talismans.
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          Can I find my own hagstone?
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          Yes, but folklore says the stone must find you. Walk along a beach or riverbed, and if one appears in your path, it’s believed to have chosen you for a reason.
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          What is a hagstone made of?
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          They are usually limestone, flint, or sandstone — any stone soft enough for water or creatures to bore through naturally.
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      <pubDate>Thu, 30 Oct 2025 16:34:21 GMT</pubDate>
      <guid>https://www.bohosilver.co.uk/hagstones-ancient-protection-stones-of-sea-and-folklore-boho-silver</guid>
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      <title>Wax-Carved Jewellery: what buyers really want to know</title>
      <link>https://www.bohosilver.co.uk/wax-carved-jewellery-what-buyers-really-want-to-know</link>
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           Wax-carved jewellery explained | One-of-a-kind or special edition?
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           Wax carving lies at the heart of fine jewellery making — a process that marries sculpture and metallurgy. From ancient goldsmiths to today’s artisan jewellers, the lost-wax method has been used to create everything from Celtic torcs to contemporary engagement rings.
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           Yet when shoppers encounter the phrase “hand-carved wax”, many wonder: does that mean my piece is one-of-a-kind? Or can there be more than one copy? This guide answers the most-searched questions about buying wax-carved jewellery in the UK, explaining how the process works, what affects uniqueness, and what to look for when investing in handmade pieces.
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           What is wax carving and lost-wax casting?
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           In the lost-wax process, a piece begins life as a delicate model sculpted from wax. The maker carves, scrapes and shapes it with blades and heat tools, often spending hours refining organic curves and textures.
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           That wax model is then encased in a plaster-like investment material. Once heated, the wax melts and drains away — leaving a negative cavity ready to be filled with molten silver, gold, or bronze. When the metal cools, the plaster is broken away, revealing the cast piece. Every contour, texture and tool mark from the wax appears faithfully in metal.
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           This transformation from wax to metal is what gives lost-wax jewellery its sensual, tactile feel — surfaces that seem alive rather than machine-perfect.
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            ﻿
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           Are wax-carved pieces always one-of-a-kind? It is rather like asking if something is an original oil painting, or a print of that painting.
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           So, not necessarily. The key lies in what happens after the original wax is carved.
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            If the original wax is cast once and destroyed in the process, that single metal piece is truly one-of-a-kind.
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            However, many jewellers create a mould from the original wax before casting. This mould (often made of silicone or rubber) can be used to inject multiple wax replicas, allowing the same design to be cast again and again. This we do to make smaller and affordable pieces, like shells.
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            In other words, a ring may begin as a one-off carving — but once a mould is taken, it becomes a repeatable design.
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            Some makers use the mould only for a limited edition (for example, 10 or 25 casts), while others keep it for open production.
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            The artist should be transparent on the number they will make - That distinction matters for buyers who value rarity and originality. A transparent maker should always specify whether your piece is a single cast or part of a limited run. This fact
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            should
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            have a huge impact on cost. If the jeweller is going to keep the design open and reproduced for years, it is worth less than an original one-off piece.
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           So a ring coming from the same mould may be changed up with different gemstones etc, but they are basically being retrofitted to an already existing piece of metal. This is rather like choosing between an original oil painting, hanging only on your wall, or picking a more affordable print of the same design. It can come in a different mount or frame, but is not the original and only painting. That is why a one-of-a-kind piece of wax carved jewellery, with no reproduction of the design, will cost a lot more.
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           How many casts can be made from one mould?
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           A well-made mould can yield dozens — sometimes hundreds — of wax copies before it deteriorates. The number depends on several factors:
          &#xD;
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  &lt;ul&gt;&#xD;
    &lt;li&gt;&#xD;
      &lt;span&gt;&#xD;
        
            Material quality: silicone moulds last longer than natural rubber.
           &#xD;
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            Design complexity: deep textures and undercuts stress the mould and shorten its lifespan.
           &#xD;
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            Handling: careful demoulding and proper storage extend the number of viable injections.
           &#xD;
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  &lt;/ul&gt;&#xD;
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    &lt;span&gt;&#xD;
      &lt;br/&gt;&#xD;
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      &lt;span&gt;&#xD;
        
            While technically a mould could last for years, most artisan jewellers limit their runs intentionally to maintain scarcity and integrity.
           &#xD;
      &lt;/span&gt;&#xD;
    &lt;/span&gt;&#xD;
    &lt;span&gt;&#xD;
      
           When buying, it’s wise to ask: is this part of an edition, and if so, how many exist?
          &#xD;
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  &lt;p&gt;&#xD;
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      &lt;br/&gt;&#xD;
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  &lt;h2&gt;&#xD;
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           What does ‘handmade’ really mean?
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      &lt;br/&gt;&#xD;
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           The term “handmade” can be confusing in jewellery. A wax-carved piece is handmade in its origin — every curve of the wax is formed by the artist’s hand — but the casting process introduces mechanical repetition.
          &#xD;
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           A good rule of thumb:
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      &lt;br/&gt;&#xD;
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    &lt;li&gt;&#xD;
      &lt;span&gt;&#xD;
        
            If the same maker carved the original wax and also finishes, polishes and sets each cast, the work can rightly be called handcrafted.
           &#xD;
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  &lt;/ul&gt;&#xD;
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      &lt;br/&gt;&#xD;
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  &lt;ul&gt;&#xD;
    &lt;li&gt;&#xD;
      &lt;span&gt;&#xD;
        
            If the mould and casting are handled entirely by others, and the item is mass-produced, it leans towards manufactured.
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      &lt;br/&gt;&#xD;
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    &lt;li&gt;&#xD;
      &lt;span&gt;&#xD;
        
            You might also wish to ask whether your jewellery was designed entirely on a computer, 3D printed as a model and cast directly. This takes different skills, but for many buyers who are looking for the soulful creation that comes from crafting by hand, this isn't it.
           &#xD;
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    &lt;/span&gt;&#xD;
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  &lt;p&gt;&#xD;
    &lt;span&gt;&#xD;
      
           Authenticity rests on transparency. Ethical makers explain each step clearly, allowing customers to choose according to their values and budget.
          &#xD;
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    &lt;span&gt;&#xD;
      &lt;br/&gt;&#xD;
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           Hallmarking and authenticity in the UK
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      &lt;br/&gt;&#xD;
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           A hallmark is the buyer’s best assurance of quality. Under UK law, any item sold as precious metal above certain weights must carry an official hallmark applied by one of the four Assay Offices (London, Birmingham, Sheffield or Edinburgh).
          &#xD;
    &lt;/span&gt;&#xD;
  &lt;/p&gt;&#xD;
  &lt;p&gt;&#xD;
    &lt;span&gt;&#xD;
      &lt;br/&gt;&#xD;
    &lt;/span&gt;&#xD;
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  &lt;p&gt;&#xD;
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           A full hallmark includes:
          &#xD;
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  &lt;ol&gt;&#xD;
    &lt;li&gt;&#xD;
      &lt;span&gt;&#xD;
        
            The maker’s or sponsor’s mark – identifying who submitted it for testing.
           &#xD;
      &lt;/span&gt;&#xD;
    &lt;/li&gt;&#xD;
    &lt;li&gt;&#xD;
      &lt;span&gt;&#xD;
        
            The fineness mark – confirming purity (e.g. 925 for sterling silver).
           &#xD;
      &lt;/span&gt;&#xD;
    &lt;/li&gt;&#xD;
    &lt;li&gt;&#xD;
      &lt;span&gt;&#xD;
        
            The Assay Office mark – showing where it was tested.
           &#xD;
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    &lt;/li&gt;&#xD;
  &lt;/ol&gt;&#xD;
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    &lt;span&gt;&#xD;
      &lt;br/&gt;&#xD;
    &lt;/span&gt;&#xD;
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    &lt;span&gt;&#xD;
      
           Hallmarking guarantees metal content, but not uniqueness. Two rings can share identical hallmarks even if one was the only cast and the other part of a batch. For that reason, collectors should look for supplementary authenticity details such as signed certificates, numbered editions, or “one-off” statements from the maker.
          &#xD;
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  &lt;/p&gt;&#xD;
  &lt;p&gt;&#xD;
    &lt;span&gt;&#xD;
      &lt;br/&gt;&#xD;
    &lt;/span&gt;&#xD;
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  &lt;h2&gt;&#xD;
    &lt;span&gt;&#xD;
      
           How to buy wax-carved jewellery with confidence
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    &lt;span&gt;&#xD;
      &lt;br/&gt;&#xD;
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           Before purchasing, ask the maker or retailer a few simple questions:
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           Was the original wax a one-off or made into a mould?
          &#xD;
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  &lt;h3&gt;&#xD;
    &lt;span&gt;&#xD;
      
           If moulded, is my piece part of a limited edition?
          &#xD;
    &lt;/span&gt;&#xD;
  &lt;/h3&gt;&#xD;
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           Was it designed by hand, or by computer and 3D printed?
          &#xD;
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    &lt;span&gt;&#xD;
      
           Who performed the final finishing?
          &#xD;
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    &lt;span&gt;&#xD;
      
           Will I receive a certificate or maker’s statement of authenticity?
          &#xD;
    &lt;/span&gt;&#xD;
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  &lt;h3&gt;&#xD;
    &lt;span&gt;&#xD;
      
           Are the photographs on the website of the exact piece or a representative example?
          &#xD;
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      &lt;br/&gt;&#xD;
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    &lt;span&gt;&#xD;
      
           Reputable jewellers will happily answer these and even show you photos of the wax stage or hallmark close-ups. Transparency is a mark of quality.
          &#xD;
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      &lt;br/&gt;&#xD;
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  &lt;h2&gt;&#xD;
    &lt;span&gt;&#xD;
      
           Caring for cast jewellery
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      &lt;br/&gt;&#xD;
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           Lost-wax pieces, especially in sterling silver, age beautifully. Regular cleaning with a soft cloth or non-abrasive silver polish preserves their lustre. Organic design pieces will never have a mirror shine due to the nooks and crannies that make polishing challenging. Store pieces separately to avoid scratching, in a tarnish prevention bag and avoid chlorine or harsh chemicals.
          &#xD;
    &lt;/span&gt;&#xD;
  &lt;/p&gt;&#xD;
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      &lt;br/&gt;&#xD;
    &lt;/span&gt;&#xD;
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           Because many makers keep their moulds archived, repairs or replacements can often be made even years later — another subtle advantage of the mould-making stage.
          &#xD;
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           Why this matters for collectors and conscious buyers
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           Understanding these distinctions helps you choose jewellery that aligns with your values. A single wax-cast ring carries the soul of a sculpture — no other identical version exists. A limited-edition cast shares that artistry with a few others while remaining far removed from mass production, but should be reflected in the comparative price with a one-off design.
          &#xD;
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           Either way, you’re buying into a story of craftsmanship, not factory output. In a world of instant manufacturing, the quiet patience of a hand-carved wax is a small act of resistance.
          &#xD;
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      &lt;br/&gt;&#xD;
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           FAQ
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           Q: Is wax-carved jewellery always unique?
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           A: Only if the original wax is cast once. Many jewellers take a mould, allowing multiple castings. Always ask whether your piece is a single cast or part of an edition.
          &#xD;
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  &lt;/p&gt;&#xD;
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    &lt;span&gt;&#xD;
      &lt;br/&gt;&#xD;
    &lt;/span&gt;&#xD;
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  &lt;p&gt;&#xD;
    &lt;span&gt;&#xD;
      
           Q: How many casts can be made from one mould?
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           A: Depending on material and care, a mould can produce dozens or even hundreds of waxes. Ethical jewellers often limit editions for transparency.
          &#xD;
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  &lt;/p&gt;&#xD;
  &lt;p&gt;&#xD;
    &lt;span&gt;&#xD;
      &lt;br/&gt;&#xD;
    &lt;/span&gt;&#xD;
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  &lt;p&gt;&#xD;
    &lt;span&gt;&#xD;
      
           Q: How do I know if it’s real silver or gold?
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    &lt;span&gt;&#xD;
      
           A: Look for a UK hallmark from an official Assay Office. This legally guarantees the metal’s purity and identifies the maker.
          &#xD;
    &lt;/span&gt;&#xD;
  &lt;/p&gt;&#xD;
  &lt;p&gt;&#xD;
    &lt;span&gt;&#xD;
      &lt;br/&gt;&#xD;
    &lt;/span&gt;&#xD;
  &lt;/p&gt;&#xD;
  &lt;p&gt;&#xD;
    &lt;span&gt;&#xD;
      
           Q: Is wax-carved jewellery considered handmade?
          &#xD;
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  &lt;p&gt;&#xD;
    &lt;span&gt;&#xD;
      
           A: Yes — the original model is sculpted by hand, but multiple casts can exist. Each maker defines “handmade” differently; check who does the carving and finishing.
          &#xD;
    &lt;/span&gt;&#xD;
  &lt;/p&gt;&#xD;
  &lt;p&gt;&#xD;
    &lt;span&gt;&#xD;
      &lt;br/&gt;&#xD;
    &lt;/span&gt;&#xD;
  &lt;/p&gt;&#xD;
  &lt;p&gt;&#xD;
    &lt;span&gt;&#xD;
      
           Q: How should I care for wax-carved silver jewellery?
          &#xD;
    &lt;/span&gt;&#xD;
  &lt;/p&gt;&#xD;
  &lt;p&gt;&#xD;
    &lt;span&gt;&#xD;
      
           A: Keep it dry, store it individually, and polish gently with a soft cloth. Avoid bleach, chlorine, and harsh chemicals.
          &#xD;
    &lt;/span&gt;&#xD;
  &lt;/p&gt;&#xD;
  &lt;p&gt;&#xD;
    &lt;span&gt;&#xD;
      &lt;br/&gt;&#xD;
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  &lt;/p&gt;&#xD;
  &lt;h2&gt;&#xD;
    &lt;span&gt;&#xD;
      
           In summary
          &#xD;
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      &lt;br/&gt;&#xD;
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  &lt;p&gt;&#xD;
    &lt;span&gt;&#xD;
      
           Wax carving sits between art and alchemy: the sculptor’s touch preserved forever in metal. Understanding how wax originals, moulds, and hallmarks interact helps buyers appreciate the real value of handmade jewellery — and empowers them to make informed, confident purchases.
          &#xD;
    &lt;/span&gt;&#xD;
  &lt;/p&gt;&#xD;
  &lt;p&gt;&#xD;
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      &lt;br/&gt;&#xD;
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      &lt;br/&gt;&#xD;
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  &lt;h3&gt;&#xD;
    &lt;span&gt;&#xD;
      
           References
          &#xD;
    &lt;/span&gt;&#xD;
  &lt;/h3&gt;&#xD;
  &lt;ol&gt;&#xD;
    &lt;li&gt;&#xD;
      &lt;a href="https://www.assayoffices.co.uk/" target="_blank"&gt;&#xD;
        
            Assay Offices UK
           &#xD;
      &lt;/a&gt;&#xD;
      &lt;span&gt;&#xD;
        
             – Official UK Assay Offices, hallmarking and precious metal guidance.
           &#xD;
      &lt;/span&gt;&#xD;
    &lt;/li&gt;&#xD;
    &lt;li&gt;&#xD;
      &lt;a href="https://www.vam.ac.uk/articles/lost-wax-casting" target="_blank"&gt;&#xD;
        
            Victoria &amp;amp; Albert Museum – Lost Wax Casting
           &#xD;
      &lt;/a&gt;&#xD;
      &lt;span&gt;&#xD;
        
             – Historical overview of the lost-wax casting process.
           &#xD;
      &lt;/span&gt;&#xD;
    &lt;/li&gt;&#xD;
    &lt;li&gt;&#xD;
      &lt;a href="https://www.gov.uk/guidance/hallmarking-precious-metals" target="_blank"&gt;&#xD;
        
            Gov.uk – Hallmarking of Precious Metals
           &#xD;
      &lt;/a&gt;&#xD;
      &lt;span&gt;&#xD;
        
             – Legal requirements for hallmarking silver, gold, and platinum in the UK.
           &#xD;
      &lt;/span&gt;&#xD;
    &lt;/li&gt;&#xD;
    &lt;li&gt;&#xD;
      &lt;a href="https://www.craftscouncil.org.uk/" target="_blank"&gt;&#xD;
        
            Crafts Council UK – Jewellery Techniques
           &#xD;
      &lt;/a&gt;&#xD;
      &lt;span&gt;&#xD;
        
             – Resources on traditional and contemporary jewellery making.
           &#xD;
      &lt;/span&gt;&#xD;
    &lt;/li&gt;&#xD;
    &lt;li&gt;&#xD;
      &lt;a href="https://www.thegoldsmiths.co.uk/" target="_blank"&gt;&#xD;
        
            The Goldsmiths’ Company – Education &amp;amp; Craft
           &#xD;
      &lt;/a&gt;&#xD;
      &lt;span&gt;&#xD;
        
             – Guidance on jewellery making, workshops, and professional standards in the UK.
           &#xD;
      &lt;/span&gt;&#xD;
    &lt;/li&gt;&#xD;
  &lt;/ol&gt;&#xD;
  &lt;p&gt;&#xD;
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      &lt;br/&gt;&#xD;
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      &lt;br/&gt;&#xD;
    &lt;/span&gt;&#xD;
  &lt;/p&gt;&#xD;
&lt;/div&gt;&#xD;
&lt;div&gt;&#xD;
  &lt;img src="" alt=""/&gt;&#xD;
&lt;/div&gt;&#xD;
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  &lt;img src="" alt=""/&gt;&#xD;
&lt;/div&gt;&#xD;
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&lt;/div&gt;</content:encoded>
      <pubDate>Wed, 22 Oct 2025 15:13:04 GMT</pubDate>
      <guid>https://www.bohosilver.co.uk/wax-carved-jewellery-what-buyers-really-want-to-know</guid>
      <g-custom:tags type="string" />
      <media:content medium="image" url="https://cdn.website-editor.net/s/d674a7b6fba2435cb6f13c4ce16cc476/dms3rep/multi/L1200183.jpeg">
        <media:description>thumbnail</media:description>
      </media:content>
      <media:content medium="image" url="https://cdn.website-editor.net/s/d674a7b6fba2435cb6f13c4ce16cc476/dms3rep/multi/L1200183.jpeg">
        <media:description>main image</media:description>
      </media:content>
    </item>
    <item>
      <title>Irish Words of the Sea</title>
      <link>https://www.bohosilver.co.uk/irish-words-of-the-sea</link>
      <description />
      <content:encoded>&lt;h3&gt;&#xD;
  
         Irish Words of the Sea 
        &#xD;
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  &lt;img src="https://cdn.website-editor.net/s/d674a7b6fba2435cb6f13c4ce16cc476/dms3rep/multi/ol1aueym.png"/&gt;&#xD;
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&lt;div data-rss-type="text"&gt;&#xD;
  
         Ireland’s west coast is a place shaped by proximity to the ocean. For approximately 3,000 kilometers nothing stands between the rough North Atlantic Sea and the country’s craggy, cliff-lined shores. The cities and towns lining this coastline have roots as fishing villages and ports, and for generations, to speak Irish in them was synonymous with speaking of the sea. 
         &#xD;
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    &lt;br/&gt;&#xD;
  &lt;/div&gt;&#xD;
  &lt;div&gt;&#xD;
    
          Each community developed its own vocabulary: words and phrases for every type of wave and tide, every shift in weather and wind, for the sea’s sounds, plants and creatures, and for the tools and tricks a fisherman used to make a living from the ocean. 
         &#xD;
  &lt;/div&gt;&#xD;
  &lt;div&gt;&#xD;
    &lt;br/&gt;&#xD;
  &lt;/div&gt;&#xD;
  &lt;div&gt;&#xD;
    
          However, this unique vocabulary is slowly disappearing, so in early 2020 Manchán Magan —a writer, documentary filmmaker, and specialist of the Irish language—began collecting coastal words from towns along the west coast, in an attempt to preserve them. With funding associated with Galway’s nomination as a European Capital of Culture for 2020, Magan spent months recording stories and sayings in Ireland’s Atlantic communities. The recordings make up the
          &#xD;
    &lt;i&gt;&#xD;
      
           Foclóir Farraige
          &#xD;
    &lt;/i&gt;&#xD;
    
          , or Sea Dictionary that can be found
          &#xD;
    &lt;a href="https://www.manchan.com/sea-tamagotchi" target="_blank"&gt;&#xD;
      
           here
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          , and sorts the various concepts and definitions by their original region. 
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          Numerous words in the
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           Foclóir Farraige
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          are functional. They describe tools and practices that were essential for coastal life, such as
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           Duaim
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          , the hair from a cow’s tail wound together to form  fishing line and handmade ropes, or
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           Crom’ubhán
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          , a Donegal word for a long stick with a hook used to lure the crabs out of their underwater rock holes at low tide. Yet many of the words are more profound, the concepts often poetic in nature and offering an intimate perspective of the littoral world. In Donegal, there is the expression
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           mada doininne
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          for a particular type of dark cloud lining the horizon that foretells bad weather. The word, literally translated, means “hounds of the storm.” Or
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          meaning ‘Bone in the mouth’, a description for the whitewash at the bow of the boat from Co.Mayo. 
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          The Irish language has been in decline since 1603, but it was the agreement to a shared fisheries policy with the EU that is largely responsible for the loss of coastal terminology in particular. The quotas that resulted from giving EU member states equal access to Irish waters meant much of the Irish fishing industry was driven out of business, and as the fishing industry waned, so did the words connected with it. Now old fishers and mariners are the only remaining keepers of a vocabulary with has limited use, and that is no longer being passed down. 
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          To lose this everyday language is to lose a perspective on the natural world that is currently needed more than ever. Irish, like most Indigenous languages, echoes a deep relationship between humans and the more-than human. Many of the words are based upon close observations of the weather, elements, animals and sound; rich details that make the landscape come alive. Amidst the rush of modern life words such as these, so intimately entwined with our surroundings, remind us to slow down and truly notice what is happening in the present moment; acting as a gateway to more mindful living and deeper connections between ourselves and others.  
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          Although it is unlikely that the words of the
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          will return to everyday use, their preservation is still important.  Within Ireland’s traditional coastal vocabulary are words that capture environments and actions that have been, or will be, lost to modern life and climate change.
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           Borráite,
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          a word for kelp and fish filled offshore reefs, for example, now describes an ecosystem that no longer exists. The type of reef it refers to now exists without its abundant kelp, and by consequence fish, due to climate change and overfishing. Meanwhile, the
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           Scian Coirlí,
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          a 3-bladed knife on a 16ft long pole used with a pike to gather kelp, hasn’t been employed for over 80 years and women no longer
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           cannabhaireacht
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          –  gather seaweed on the shore and load it on cattle to bring home. Although preserving words such as these will not bring back what was lost, they act as memory keepers of times and places, and remind us to consider what is still possible to preserve. 
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          In a world full of uncertainty, languages are the roots which connect us to the past. They hold knowledge and can tell us about the history of the natural environment, its climate, plants, animals, as well as the culture, heritage and traditions of the people living alongside it. To understand this is to know that one doesn’t need to speak a language in order to recognise and honour its importance. 
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          The
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          is a treasure trove of wonderful words, and well worth investigating in your own time, however we have put some of our favourite words and rough translations below.  
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           Caibleadh
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          : Spirit voices heard in the distance at sea on calm nights. 
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           Tuaimneacha:
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          The thunderous beat of the sea. Loud noise made by the sea when powerful, fast-moving waves are banging nonstop against the rocks. 
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           Stranach:
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          The whistling, whooshing murmur of the sea in a cove when the water rushes in and gets pulled out. 
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           Uaigneas an chladaigh:
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          The loneliness of the strand. The sense you are never unaccompanied on the shore, that there is always the spiritual, haunting  presence of people who lived and died long ago. 
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           Cúr:
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          Froth or foam, when seen coming in on the tide a distance from the shore on a calm day it meant the coming of south-easterly wind. 
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           Buailteog:
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          Light grey or blue half-circle surrounding the moon at night. Sometimes it’s near the moon and other times further away. It is seen as a sign of bad weather, and that storms would soon follow. 
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           Márthain Phádraig
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          : An ancient fisherman's prayer or mantra that must be said in a continuous flow of old Irish.   It must be recited verbatim and If you go astray you must return to the beginning. Each person has their own version taught to them by an elder. The words can be stitched inside a piece of clothing. Offers powerful protection. 
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           Éadáil:
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          Flotsam and jetsam. Beach found objects and treasure that can be salvaged. 
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           Gearr Úisc:
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          Storm Petral. Literally means 'short oil', from its habit of drinking oil from surface of the sea above oily fish. 
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           Méaróg
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          : a thin, flat stone for skimming. Also a word for the little rings that radiate out in the water when you throw a stone in, or a fish jumps. 
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      <pubDate>Thu, 24 Jul 2025 10:09:15 GMT</pubDate>
      <guid>https://www.bohosilver.co.uk/irish-words-of-the-sea</guid>
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    <item>
      <title>Why Is My Silver Jewellery Turning Black, Dull — or My Finger Green?</title>
      <link>https://www.bohosilver.co.uk/why-is-my-silver-jewellery-turning-black-dull-or-my-finger-green</link>
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      <content:encoded>&lt;h3&gt;&#xD;
  
         Why Is My Silver Jewellery Turning Black, Dull — or My Finger Green?
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         Have you ever taken off your favourite silver ring only to find your finger has gone green — or noticed your once-shiny necklace now looks more like something found in a shipwreck? Don’t worry, you haven't been sold a fake. This is actually a normal part of silver’s natural chemistry — and it tells a fascinating story about your skin, your environment, and even what you’ve been eating.
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          Let’s demystify why silver jewellery can go dull, darken, or leave colourful souvenirs on your skin — and how to keep it looking bright and beautiful for longer.
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          First Things First: It’s Not a Sign of Poor Quality
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          Let’s bust the biggest myth up front: if your silver is tarnishing or turning your finger green, it doesn’t mean it’s cheap or low quality. In fact, the purest sterling silver (92.5% silver, 7.5% copper) will tarnish over time. It’s simply how silver reacts with the world around it. 
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          It is worth noting that much of the factory produced jewellery, or store jewellery, is plated in rhodium to keep it looking bright and shiny in the shop. That is why it can take longer to see any tarnish here, as the plating needs to be worn off for tarnish to show.
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           Why Does Silver Tarnish?
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          Silver is a bit of a drama queen when it comes to air and moisture. It loves to bond — especially with sulphur, a naturally occurring element that can be found in the air, on our skin, and in the things we cook and eat.
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          When silver meets sulphur, it forms silver sulphde, which appears black or dark grey. That’s the dull film or discoloration you see on your jewellery. It can also look yellowish, bluish, or even iridescent — depending on what it’s reacting with.
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           Common Tarnish Triggers
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          Here’s what could be speeding up the tarnishing of your silver:
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            Air pollution and humidity
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          – Sulphur compounds are in the air, especially in cities or near industry, and within restaurant environments or workshops. High humidity makes it worse.
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            Your skin’s pH
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          – Everyone’s skin is a bit different. More acidic skin (from diet, hormones, or even stress) can cause faster tarnishing.
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          Lotions, perfumes, and cleaning products – These often contain chemicals that silver doesn’t get along with.
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            Sweat
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          – Especially after a workout or on a hot day, sweat contains salt and acids that can accelerate tarnishing.
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            Food!
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          – Eggs, onions, garlic, and even broccoli release sulphur when cooked. Leave your jewellery on the kitchen counter while making an omelette, and it could darken just from the fumes.
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          *Interesting Experiment* - boil and egg, peel the shell off and leave an (simple/easy to clean) item of silver in a Tupperware box with the egg overnight - see how it tarnishes!
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            Storage habits
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          – Leaving silver out in the open air exposes it constantly to moisture and pollutants.
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           What About That Green Finger?
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          If your silver ring is turning your finger green, copper is the likely culprit. Remember that sterling silver contains 7.5% copper — and copper reacts with acids (including the ones in your sweat or skin oils) to form copper salts, which are green. People differ in their skin acidity and the oils they produce, and can do so according to their natural cycles/medications/foods consume, so one person might get the green finger, while another person will not. Totally harmless, just a little surprising. 
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          Fun fact: Copper is antimicrobial, so in a weird way, that green tinge is part of silver’s superhero powers.
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           How to Prevent Tarnish (or Slow It Down)
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          Tarnish might be natural, but you can keep your silver jewellery looking fresher, longer with a few easy habits:
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          &amp;#55357;&amp;#56461; Wear it!
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          Surprisingly, the friction from wearing your jewellery actually helps keep tarnish at bay. Silver likes movement.
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          &amp;#55358;&amp;#56820; Keep it dry and clean
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          Avoid wearing silver in the shower, pool, or gym. Wipe it down after wearing with a soft cloth to remove oils and sweat.
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          &amp;#55356;&amp;#57203; Don’t store it in the kitchen
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          Sulphur-rich cooking fumes (especially from eggs and garlic) can react with silver just by being nearby. Pop your rings off before cooking and keep them in a closed container.
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          &amp;#55357;&amp;#56550; Store it smart
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          Use an airtight storage bag or a jewellery box lined with anti-tarnish cloth. Toss in a piece of chalk, a silica gel packet, or a commercial anti-tarnish strip to absorb moisture and chemicals.
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          &amp;#55358;&amp;#56828; Polish gently
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          Use a silver polishing cloth (not a tissue or paper towel — those can scratch) to restore shine. Avoid chemical dips unless really needed, as they can be harsh and strip away patina you might actually want to keep.
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          Tarnish is Normal — But Not Forever
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          Silver has a beautiful way of telling the story of where it’s been. The darkening, the occasional green mark — its chemistry in action. And it’s totally reversible. With a bit of care (and maybe a polishing cloth), your silver jewellery will shine again and again.
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          So wear your silver with pride — and maybe don’t leave it next to the frying pan while making scrambled eggs.
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          Want more tips on jewellery care or curious about the science behind your favourite metals? Let us know in the comments — or check out our guide on how to clean silver at home, naturally.
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      <pubDate>Fri, 18 Jul 2025 15:55:17 GMT</pubDate>
      <guid>https://www.bohosilver.co.uk/why-is-my-silver-jewellery-turning-black-dull-or-my-finger-green</guid>
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      <title>Silver Engagement Rings for Women: A Stylish, Sustainable, and Unique Alternative</title>
      <link>https://www.bohosilver.co.uk/silver-engagement-rings-for-women-a-stylish-sustainable-and-unique-alternative</link>
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         Silver Engagement Rings for Women: A Stylish, Sustainable, and Unique Alternative
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         When it comes to choosing an engagement ring, tradition often points us in one direction: gold or platinum, solitaire diamonds, predictable settings. Yet, increasingly, women are searching for alternatives that reflect individuality, ethical awareness, and design that transcends the mass-produced. The rising interest in silver engagement rings for women marks a quiet but powerful shift—one that celebrates the beauty of authenticity, craftsmanship, and style that feels personal.
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           Why Choose Silver? A Modern Answer to a Traditional Question
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          There’s a reason the question “can silver work as an engagement ring?” surfaces so frequently. For generations, engagement rings have been cast from harder metals like gold and platinum, and there’s a long-standing assumption that anything less is simply inferior. But let’s unpack that idea.
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          Sterling silver—while softer than gold—remains a durable, time-honoured metal. With proper care, a silver ring will last a lifetime. And in a world where people increasingly change rings, stack them, or update settings over time, the idea that a ring must be eternally untouched is no longer relevant for everyone. For those who wear their rings as symbols of evolving love stories—not static heirlooms—silver is both practical and poetic.
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           Silver Engagement Rings with Real Diamonds and Sapphires
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          Contrary to assumption, silver pairs beautifully with high-quality stones. Whether you’re dreaming of a silver ring with real diamonds, or gravitating towards the mystical depth of silver rings with sapphires, the cool tone of sterling silver enhances clarity and colour with a grace that warmer metals often overpower.
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          Boho Silver’s ethically sourced diamonds and sapphires are set with a deliberate contrast in mind: a celebration of raw elegance, where the organic meets the refined. These aren’t factory-made replicas—they’re wearable stories.
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           From Thin Silver Bands to Bold Statements: Find Your Form
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          Silver engagement rings can be made with thin bands—and are popular for good reason. Minimalist, elegant bands provide a refined frame for any gemstone, and their lightness adds to the everyday wearability of silver. But if you’re looking to make a statement, thick band silver rings with bold textures or sculptural settings offer an equally beautiful, confident choice. The laterals makes for a more robust silver engagement ring.
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           At Boho Silver, our rings are designed with the wearer in mind—not the market. Whether delicate or dramatic, each piece is made to align with the personality of the hand it adorns.
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           Organic Style: The Beauty of Imperfection
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          One of the most distinctive features of Boho Silver’s engagement rings is our signature organic style. Instead of sterile perfection, we embrace natural forms—twists, asymmetries, and hand-forged textures that reflect the individuality of the love they’re designed to symbolise.
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          Mass-produced rings may shine, but they lack soul. In contrast, an organically designed silver ring tells a deeper story: one of process, of craft, and of something real.
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           A Ring That Reflects You
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          Engagement is a promise—but the ring that marks it should be more than a convention. It should reflect your personal style, your values, and your willingness to stand apart from the crowd. Choosing silver isn’t about compromise. It’s about choosing meaning over marketing, individuality over imitation.
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          At Boho Silver, we believe that what you wear on your finger should feel like you. Our designs are ethically made, handcrafted with intention, and rooted in a belief that love—like silver—need not follow rules to shine.
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          Whether you’re searching for a silver engagement ring with sapphires, a real diamond set in a thin band, or a bold, organic-style silver ring that no one else owns, Boho Silver invites you to find your forever piece—one that reflects your spirit, not someone else’s tradition.
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          Your love is unique. Your ring should be too.
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          Use the
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           Commissions
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          page to get in touch so we can start the process to create your unique, ocean-inspired, one-of-a-kind ring.
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      <pubDate>Wed, 16 Jul 2025 18:13:35 GMT</pubDate>
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      <title>Cowrie Shells Meaning: Symbolism, History, and Feminine Power in Jewellery</title>
      <link>https://www.bohosilver.co.uk/cowrie-shells-meaning-symbolism-history-and-feminine-power-in-jewellery</link>
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         Cowrie Shell Meaning: Symbolism, History, and Feminine Power in Jewellery
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         Along the wild, salt-laden fringes of Scotland’s coast, where the land meets the restless Atlantic, you can sometimes find a small, glossy shell glinting among the pebbles and seaweed. This is the cowrie shell, a beach find whose pale ridged surface and evocative slit is a vessel of history and stories, a symbol of feminine power, and a talisman for protection and prosperity. Across continents and centuries, the cowrie has woven its way into the fabric of human culture, linking the tides of the sea to the cycles of life, death, and rebirth. 
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           Shell Money: the currency of cowries 
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          The journey of the cowrie shell is as vast as the oceans themselves. Although most prolific in the warm, shallow waters of the Red Sea, Indian Ocean, and Pacific Ocean they have been found and carried by traders as far North as Orkney and Shetland.  
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          Historically, these shells were so prized that they became the world’s first pan-regional currency in Africa. In West Africa particularly, cowries were exchanged for goods, dowries, and even used to pay tribute to royalty, their value so ingrained that the Ghanaian currency, the cedi, derives its name from them. In Asia and the Americas, cowries were also used as money, their gleaming surfaces a universal symbol of wealth and status. 
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           “Whoever is patient with a cowrie shell will one day have thousands of them”  
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          — Hausa People Proverb 
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          Their relatively small size, hardness and portability meant they could be used as loose currency or strung together into bracelets and necklaces, or to form larger set units. In Bengali markets this meant it was common for large transactions to be made through baskets of cowrie shells, with each basket containing about 12,000 shells. The use of cowries as money continued into the 20th century, and they are still sometimes used in ritual payments. However, the cowrie’s significance extends far beyond commerce, and they were often combined with other elements to form charms or added onto textiles and sculptural designs as decorative elements.  
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           La Mer: Cowries, Seas, and Divine Femininity  
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          Perhaps the most enduring and widespread symbolism of the cowrie shell is its connection to the feminine powers of the sea. Emerging from the waves, the cowrie has long been associated with water’s powers of renewal, fertility, nurture and creation- life giving abilities that are shared by women. This is reflected in its very form, with the shell’s smooth, curved back seen to represent a pregnant belly, and its central slit the vulva, making it a universal emblem of fertility, birth, and womanhood. It is for this reason that in many cultures, the cowrie shell is seen as a physical manifestation of the ocean goddess’s protection and strength, with many African legends describing cowries as gifts from the goddess, bestowing life, abundance, and the wisdom of the tides upon those who carry them. 
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           To wear a cowrie is to carry a piece of the ocean’s magic, a talisman that connects the wearer to the primal, nurturing forces of water and the divine feminine. Their resemblance to female reproductive organs is also believed to endow them with the power to increase fertility and vitality, and in certain African societies they were even referred to as givers or elixirs of life. Anthropologists have also uncovered cowrie-adorned figurines in prehistoric graves, suggesting that the connection between cowries and females has existed for millennia.  Even today, women and girls across the globe are drawn to jewellery that features cowrie shells, finding in it a connection to ancestral wisdom and wearing it to bless pregnancies, ensure safe childbirth, or simply celebrate the power of the feminine spirit.  
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           Cowrie Traditions: Good Luck, Protection &amp;amp; Healing Powers 
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          Throughout history the cowrie shell has been revered as a potent charm for good luck and protection. In Africa, cowries were sewn into garments, worn as amulets, and placed on altars to safeguard against evil spirits and misfortune. The shell’s oval form and slitted aperture was believed to act as an “eye” that watched over its bearer, particularly children, and warded off negativity and the evil eye when placed horizontally.  
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          In India, many households considered cowries to be sacred to the goddess Lakshmi, the deity of wealth and fortune, and were used in rituals to attract abundance and shield against harm. Similar beliefs are held in the ancient Chinese practice of Feng Shui, where cowrie shells are viewed as powerful symbols of prosperity and are often placed near doorways or in living spaces for wealth and protection.  
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          In Scotland, Shetland and Orkney, cowries are known as ‘groatie buckies’ or ‘faoiteag’ in Gaelic. Finding one is said to bring good luck, and that if you carry three of them on your person, you will always find your way in the thickest mist. There even exists a unique Scottish charm known as the “plague spoon” formed of a cowrie shell set in silver with a handle that is hinged. The upper part is formed of two entwined serpents, and on the top is a figure with a bow, which may be intended either for Cupid or for Death. Medicine taken from this spoon was believed to provide an infallible remedy for the plague, and people came from all parts of the country to test its healing powers.   
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           Cowries in Divination: Sacred Tools and Spiritual Magic 
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          Cowrie shells have long been revered not only as ornaments and talismans but also as powerful instruments for divination—a bridge between the material and spiritual worlds. Their use in seeking guidance, insight, and answers to life’s mysteries spans continents and centuries, with each culture developing its own unique methods and meanings. 
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          The roots of cowrie shell divination are deepest in West Africa, particularly among the Yoruba people, where the practice is known as Ifá or Ẹẹ́rìndínlógún. Here, a diviner (often a priest or priestess) casts sixteen cowrie shells onto a sacred mat or tray, invoking the Orishas—deities of nature and ancestors—before interpreting the patterns in which the shells land. Each combination of “open” (slit up) and “closed” (slit down) shells corresponds to an odu, a specific oracular verse or message that provides wisdom, warnings, or blessings. This system is highly complex, requiring years of study to master, and is considered a sacred ritual that connects the seeker with the wisdom of the ancestors and the spiritual realm. The practice spread across the Atlantic with the African diaspora, becoming central to Afro-Caribbean religions such as Santería, Candomblé, and Umbanda. 
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          In India, Cowrie Shastra is a form of fortune telling in Vedic astrology that uses anywhere from five to twenty-five cowrie shells. Practitioners cast the shells to determine the Arudha, a zodiac sign that serves as the starting point for astrological calculations. The number of cowrie shells that land upside down when thrown is interpreted to signify planetary influences and potentially predict future events.   
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          Across all these systems, the act of casting the shells is a ritual in itself. One that is often accompanied by prayers, offerings, invocations and their placement on altars alongside water, flowers, and candles to honour ancestors or mark a life transition. 
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          Today, cowrie shell divination continues to thrive among practitioners of traditional religions and those drawn to holistic and spiritual practices. Some modern witches and holistic healers incorporate cowrie readings into their rituals and alters, using the shells to seek spiritual guidance, attract abundance, connect with ancestors or to set intentions for healing, abundance and clarity. 
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           Cowries and the Afterlife: Rituals of Passage 
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          The cowrie’s role as a spiritual messenger also extends into the mysteries of death and the afterlife. In India, among the Toda and Dimasa peoples, cowries are placed on or around the deceased during cremation and subsequent burial rites. They serve as spiritual “payment” for the land where the body is laid to rest and as tokens to guide the soul safely into the next world.  
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          Their role in providing safety for deceased family is also seen in Ancient Egypt, with cowries being found in tombs, often near the head or worn as amulets, due to the belief that they protected the soul from evil and ensured rebirth. Cowries were also laid as symbolic unclosing eyes upon the eyelids of the dead to guarantee sight in the afterlife.  Similarly, across Southeast Asia, cowries were sometimes placed in the mouths or hands of the dead. This was to symbolise both status and wishes for a smooth journey beyond. 
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          Despite cultural differences, the similarity between these burial rites is significant, and their continuation a testament to the cowrie’s enduring power as a companion in life’s most profound passages. 
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            Modern Resonance: Cowrie Shells in Contemporary Jewellery &amp;amp; Fashion 
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          Today, cowrie shells are increasingly appearing in fashion, transitioning from traditional cultural contexts to modern designs. From high-fashion runways to traditional and artisan jewellers, cowries continue to captivate those drawn to the ocean, nature, and feminine powers, and have remained a powerful symbol of resilience, womanhood and heritage.   
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          They can be found in various forms, from clothing embellishments to jewellery and even hair accessories, with icons like Beyoncé donning cowrie-adorned headpieces, and independent crafters embracing them as a way to produce more sustainable designs.  
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          In a world that often feels unmoored, for many women wearing a cowrie shell offers a tangible link to something timeless and sacred. Whether carried as a talisman, worn as a jewel, or used in ritual, the cowrie invites reconnection with the ocean, the natural cycles and feminine strength. It is a reminder that we, too, are shaped by tides both seen and unseen, and that the power and wisdom of the ocean can be drawn from every shell we hold. 
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            cowrie shell meaning, cowrie shell jewellery, cowrie shell symbolism, cowrie shell rituals, cowrie shell spirituality, ocean-inspired jewellery, Scottish folklore, feminine spirituality, holistic health, sea magick, afterlife rituals, nature symbolism, ancestral rituals 
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&lt;/div&gt;</content:encoded>
      <pubDate>Mon, 23 Jun 2025 16:13:58 GMT</pubDate>
      <guid>https://www.bohosilver.co.uk/cowrie-shells-meaning-symbolism-history-and-feminine-power-in-jewellery</guid>
      <g-custom:tags type="string" />
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    <item>
      <title>Returning Home To Your True Self</title>
      <link>https://www.bohosilver.co.uk/returning-home-to-your-true-self</link>
      <description />
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           Returning to Self &amp;amp; Reclaiming Your Selkies Soul
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           In the old stories, the selkie returns to the sea. 
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           She does not ask for permission. 
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            She does not apologise. 
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            She simply slips back into the skin that was always hers. 
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           For many women, the tale of the selkie is not just a myth, but a mirror. A soft, salt-slick reflection of what it means to lose your truest self in the tides of motherhood, caretaking, expectation and everyday life—and to find a way back. 
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           In folklore, the selkie’s skin is her soulskin—her instinct, her wildness, her knowing. To lose it is to become disconnected from the self. To reclaim it is to remember. 
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           This guide is for those ready to remember. 
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            1.
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           Understand What Your “Sealskin” Really Is 
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           The sealskin is symbolic. It is not a single thing, but the whole of your most essential self. It is what you were before the world told you who to be, before roles, responsibilities, or self-criticism took root. 
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           In the myths, it’s stolen. In life, it’s often handed over slowly, piece by piece: 
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           The creative spark dimmed for the sake of practicality. 
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           The need for solitude buried beneath constant availability. 
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           The desire for a wild life traded for routine, stability, acceptance. 
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           To reclaim it, we must first recognise where it was lost. 
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            Prompt:
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           Ask yourself, How have I dimmed my passions and interests? What parts of myself have I forgotten or lost? What still calls to me in the quiet? 
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            2.
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           Make Space for Your Reawakening 
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           Selkies only emerge from the sea under certain conditions—moonlight and music, stillness and solitude. Your own return will also need sacred space. 
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           Set boundaries, even gently. Decline what doesn’t nourish and seek out that which heals. Claim time that is only yours—whether it’s for silence, walking by water, or tending to creativity. This is not indulgence, but essential for cultivating wellbeing and empowerment.   
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            Action:
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           Create a daily ritual—even ten minutes—that is purely for your restoration. Light a candle. Brew tea. Paint. Write. Breathe. 
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            3.
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           Reclaim the Sensual &amp;amp; Sensory 
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           Selkies live through their senses. They are tactile beings—fur, water, wind, skin. 
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           Many women, particularly in long caregiving or domestic phases, become untethered from sensuality—not just sexual, but the simple pleasure of feeling alive in a body. 
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           Practice: 
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            Expose your body to natural sensations; the tingle of cold water, moss beneath your feet, wind upon a bare face and blowing through your hair, the
           &#xD;
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           gr
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           it of sand between fingers and toes. Engage and notice all five senses. 
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           Dress not for others, but for yourself. Wear clothes than feel good against your skin such as silk or linen. Wrap yourself in colour. Adorn yourself with jewellery that makes you feel powerful, protected and represented. 
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           Engage in movement that connects you to your body- dancing, yoga, running. Whatever makes you feel most alive. 
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           Prioritise pleasure. In a world where bodies are policed, pathologized, and commodified, choosing to prioritise your own pleasure becomes an act of rebellion. This is not simply about sexuality but honouring all bodily desires to reclaim autonomy and allow for self-discovery. 
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           Your sealskin is not just metaphor. It lives in texture, sensation, and the physical reminders of who you are. 
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           4. Return To The Water 
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           Water is the element of the subconscious, the wild, and the in-between. In Scottish folklore, it is the border between this world and the Otherworld—a place of deep wisdom. 
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           It is the home of the selkie and a place of healing. Find your water, whether that’s: 
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           Paddling in the shallows of a tide-churned beach. 
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           Walking along a salt-sprayed clifftop path. 
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           Following a river in the glen. 
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           Wild swimming at sunset. 
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           Dancing in the rain. 
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           A bath by candlelight where you can submerge and dream. 
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           Let the sound of water fill your ears and absorb its negative ions. Go to the water’s edge and let it wash away your worries.   
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            5.
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           Honour the Grief of What Was Los
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           t 
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           Reclaiming your sealskin often brings grief. For the years you abandoned yourself. For the longings ignored. For the dreams shelved. 
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           Let it come. Let it wash through. 
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           There is no healing without mourning. But in honouring that sadness, you also prepare the soil for something more vibrant to grow. 
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            6.
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           Embrace the Return 
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           When the selkie finds her skin, she does not hesitate. She knows the sea is waiting. 
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           And while in the old stories, she often leaves everything behind, in our stories, there is a gentler path. Reclaiming your authentic self doesn’t always mean leaving everything behind. The return to your sealskin is not a retreat, it’s a rising- like a neep tide. It is the conscious integration of all you are and have been. 
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           To embrace your return is to: 
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           Accept your wildness without apology. 
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           Make peace with your cycles of transformation. 
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           Begin again, not from the beginning—but from where you are meeting yourself at this moment in time. 
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           You are allowed to live differently now. 
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            You are allowed to belong to yourself first. 
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            And you are allowed to re-enter your life as your reclaimed self —in all its light and darkness. 
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           The selkie doesn’t leave because she doesn’t love. 
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            She leaves because she loves herself enough to go. 
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           At Boho Silver, we want to honour this journey and create jewellery that acts as modern talismans for sea women, for artists, for mothers rediscovering themselves, for wild spirits who love adventure. 
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            So slip your sealskin over your shoulders again. Wear your silver like it is moonlight. Step back into the tide and realise how wonderful it is to just be you. 
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      <pubDate>Thu, 05 Jun 2025 16:57:37 GMT</pubDate>
      <guid>https://www.bohosilver.co.uk/returning-home-to-your-true-self</guid>
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      <title>Selkies: Scotland's Shape-Shifting Legends of the Sea</title>
      <link>https://www.bohosilver.co.uk/selkies-scotland-s-shape-shifting-legends-of-the-sea</link>
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           Scotland, Sea Magick &amp;amp; Seals
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           “From the silver foams of the sea / Comes the selkie’s call.”- Scottish poet George Mackay Brown
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           Emerging from the wave-tossed folklore of island and coastal communities, the elusive selkie is among the most enchanting and enduring of Celtic myth. Blurring the boundaries between sea and shore, myth and reality, human and otherworldly, stories of the selkie can be found all over Scotland and Ireland. A legacy that continues to remind Celtic people of the intimate ties between humans and saltwater, and the many secrets still held within the depths of our wild surrounding seas. 
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           As shapeshifters, Scottish ‘selkies’ or ‘selchies’ (a form of the Scots word for seal) are said to glide through the waves as seals by day. However, on certain nights, beneath the gleam of moonlight, they come ashore and cast off their seal skins to reveal luminous human forms. The softness of this pelt may also account for why they are sometimes called ‘silkies’. 
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           Following Celtic tradition, Selkies are believed to be a part of the Celtic Otherworld. A place described as either an alternative reality, or akin to an underworld Heaven which is occupied by deities and the dead. It is the Selkies’ connection to this magical realm that bestows them with preternatural powers tied to the moon, tides, weather and water. 
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           The Selkie Story &amp;amp; Scottish Folkore
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           Many Scottish stories and ballads feature a selkie’s presence, but in the most well-known version a fisherman discovers a selkie's seal skin hidden on the beach while she dances with her sisters on Midsummer’s Eve or beneath a full moon. Captivated by the selkie’s beauty, and desiring her for himself, the fisherman steals the skin without which the selkie cannot return to the sea. Now landbound, the selkie is persuaded or forced into marriage and their skin hidden to ensure compliance.  Sometimes this marriage is happy and becomes one of love, others it is possessive imprisonment. However, in either account the selkie’s heart remains tethered to the sea and she begins to wither from home and soulsickness. Over time her skin grows parched, her eyes dim, her hair limp until the lost skin is discovered and she escapes to the sea.  Usually her skin is discovered through the help of a child, born by the human-selkie relationship, who discovers the sealskin and tells their mother. The selkie’s escape is therefore often tinged with sadness, with the choice to heal and live a full life often meaning she must leave behind her human lover or children. 
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           Theories of Origin
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            The myth of the selkie is thought to be at least as old as the Viking age, and it’s been suggested that it originated from initial contact with Sami and Finnish travellers. Reaching Scottish shores by kayak, these travellers wore thick coats of sealskin that could become saturated with water. When this happened, they would come ashore and remove their coats to dry, thus appearing to transform from seal to human. This could also account for why selkies are often referred to as ‘Finn-folk’. 
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           However, older, more superstitious beliefs, hold that selkies are the souls of those lost at sea. Folktales from Orkney specifically have claimed that selkie folk were once humans now fated to live out their days in the sea for some wrong-doing. In the18th and 19th centuries, alterations and additions to these folkloric beliefs were hugely affected by Christian principles. Selkies were consequently claimed to be fallen angels or human sinners who were changed into seals as a form of punishment. 
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           Modern Selkies 
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            Like all folklore, tales of selkies and seal folk have much insight to offer about the world around us, and how to navigate its trials and changes. Ultimately, they are stories to be understood in different ways by the listener. That being said, I would suggest that selkie folklore is especially resonant with women who often find their own experiences mirrored in those of the selkie wife. 
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            Culturally and socially women in particular are expected, if not encouraged, to give up their own freedoms and desires for the benefit of their spouse and children. A woman’s sealskin, her initial and most authentic identity, is therefore relinquished as she takes on the roles of loving wife and caring mother. This does not mean there cannot be joy or happiness experienced in these maternal and domestic domains. In fact, the selkie is often cited as a very good mother and their dual form reflects a woman’s ability to exist fully in both spheres, with each identity being more fulfilled at different phases of life. However, the roles of caregiver, nurturer and dependent that come with this secondary identity can cause the world to shrink, and the societal expectations around them become constrictive. As time passes therefore, many women may feel a loss of self from forcibly withholding their initial, most vital and enchanting part of themselves. 
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           This is where selkie tales show how crucial it is that, when the right time comes, the ‘sense of self’ sealskin must be looked for and reclaimed, to ensure one’s own wellbeing. For, like the selkie, if this essential self remains neglected the ensuing disconnect, unfulfillment and overextension through the prioritising of others is detrimental to one’s own wellbeing. In losing touch with or repressing their personal desires and truths, women risk burnout, depression, anxiety, or a pervasive sense of dissatisfaction. 
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            For a woman to reclaim her sealskin is therefore a reclamation of wild freedoms and authentic identity. This is not selfish, but instead a necessary choice. One that breaks cycles of self-sacrifice and martyrdom to replace them with models of empowerment and self-care. To be oneself again, to be reunited with your original and most fitting skin, doesn’t detract from what you can offer others—it amplifies it. By embracing desires, creativity, and instinctual wisdom, one can tap into a deep reservoir of ideas, solutions, and meaningful action that enriches all aspects of life; including the people who are part of it. 
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           That reclaiming your sealskin is linked to a return to the sea is also significant. At over 3.8 billion years old the sea calls to our most primal and visceral selves, reminding us of the deep bonds we have to nature and the shared origins of our birth from both amniotic and primordial fluid. Finding your sealskin therefore necessitates a reconnection with the natural world, particularly places and beings of water; an element long associated with healing and renewal. That our human bodies are likewise composed of water (as much as 60%), also acts as a pertinent reminder to attend and reconnect with our internal worlds. A place of infinite depths and ceaseless movement, the sea mirrors the subconscious mind and encourages reflection upon one’s inner powers, transformations and personal revelations. 
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           In Scotland specifically the sea also acts as a gateway to the Otherworld. It is therefore seen as a conduit, not just of bodies, but also wisdom, inspiration and spiritual insight. Within its song and shining surface, the sea invites the opportunity to look deeper, listen closer and extend beyond the surface of things. Plunging into its waves therefore signifies a return to artistic practice, a deep dive into the pool of ideas, solutions, and creative energy found through the likes of painting, writing, pottery and dancing. 
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           Final Thoughts
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           In a world increasingly disconnected from nature, selkie folklore invites us to reflect. Are we living in alignment with our true selves, or have we buried our sealskin beneath the weight of obligation? Selkie stories call us to return to the essence of who we are; to honour the wild places within us that crave freedom, to nurture our creativity and to re-establish ties with the moon, tides and fathomless depths. 
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           For those who wander Scotland’s rugged coasts and shoreline, heed the song of the sea. It may just help you rediscover, not only your story, but your soul.   
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      <title>Travelling with Jewellery</title>
      <link>https://www.bohosilver.co.uk/travelling-with-jewellery</link>
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           Can I take jewellery in my hand luggage? And other top jewellery travel tips.
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           Travel Tips with Jewellery
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            For as long as humans have journeyed across oceans and deserts, or through forested paths, we’ve carried with us small, beautiful things. Jewellery, durable and hand-forged, has travelled through time not just as ornament, but as amulet, talisman, and token. Across cultures and centuries, it has offered protection, carried prayers, and marked rites of passage. From the Eye of Horus in ancient Egypt, believed to guard travellers and the deceased on their final voyage, Medieval pilgrims with cross-shaped tokens , or carved Celtic silver worn to shield the wearer from spirits or misfortune, jewellery has been both a companion and talisman.
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           As they journey with us, these pieces of jewellery become part of the memory- the necklace that caught the light on a sun-drenched terrace in Lisbon, the ring that clinked gently against a wine glass at sea, the earrings still scented faintly with salt after a morning on the coast. We create our own Boho Silver pieces with the hope that they not only complement your travels, but quietly accompany them to serve as quiet protectors and memory keepers.
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           So whether you’re boarding a plane, crossing moorland, or sinking your toes into salt-wet sand, this guide offers advice on how to travel with your jewellery—ensuring every ring, pendant and bracelet continues to endure and witness any adventure you choose to go on.
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           1. Choose Solid Metals Over Plated Pieces
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           When packing jewellery for travel, opt for solid metals such as sterling silver or 9ct/18ct gold. Unlike plated or vermeil alternatives, solid metals are less vulnerable to wear, water exposure, and chemical reactions. They age gracefully, acquiring a soft patina rather than degrading. At Boho Silver, we use only solid sterling silver and gold, so your pieces stay luminous whether you’re swimming in saltwater or wandering sun-soaked streets.
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           2. Minimise Moisture
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           Jewellery and water may share a romantic history, but not always a practical one. While solid metals are durable, even they can tarnish in prolonged contact with salt, chlorine, or humidity. The occasional dip won’t cause harm, but be mindful: remove rings before paddleboarding, necklaces before a hot spring soak. When you do swim or sweat, rinse gently with fresh water and pat dry with a soft cloth.
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           3. Avoid Tan Lines and Skin Sensitivities
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           Before sunbathing, take a moment. Apply SPF thoroughly, and check which pieces rest against the skin. Metal on skin in intense sun can lead to uneven tanning — or worse, burns. If you're wearing a pendant, consider turning it around to your back while you sunbathe. It’s a small shift that saves your skin from some questionable tan lines.
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           4. Invest in a Proper Jewellery Case
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           A  jewellery case with soft, padded interiors, separate compartments and closures can ensure security without crushing your pieces. Linen or cotton rolls work beautifully for helping protect delicate items like necklaces and large rings from tangling or damage. For earrings and smaller items, pill organisers or recycled tins offer charm and practicality.
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           Bonus tip
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           : If you’re traveling with multiple necklaces, use a simple straw trick to prevent tangles- simply thread the chain through a straw and secure the clasp. 
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           5. Always Keep Jewellery in Your Carry-On
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           Valuable jewellery should never be checked in. Airlines frequently recommend storing valuables in carry-on luggage, not only for safety but to prevent exposure to sudden pressure or temperature changes. This is especially important for gemstone-set jewellery, which can be sensitive to extreme environments.
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           6. Pack With Purpose: Choose Pieces that Travel Well
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           It’s usually not the best, or safest, idea to take your whole jewellery collection on holiday. Plan your looks ahead and curate a small, versatile collection that reflects your style and your journey. Think: a pair of statement earrings that elevate a linen dress at dinner, a silver stacking ring that feels grounding in the airport, or a necklace that works equally well with a swimsuit and a silk blouse. Choose pieces that adapt and layer; less, here, really is more.
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           7. Can I take jewellery in my hand luggage (UK)?
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           Safety and Security:
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            Keeping jewellery in your hand luggage is a good practice to ensure its safety during travel. Checked baggage can be more vulnerable to loss, theft, or damage. 
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           Security Checks:
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            Precious metals should not set off the metal detectors, but non-precious or plated pieces may well set off metal detectors at airport security, potentially leading to additional checks. If you're wearing jewellery, it's advisable to remove it and place it in your hand luggage before going through security. Non magnetic jewellery such as silver and gold should be fine, but trigger clasps on necklaces, for example, will contain a spring that is magnetic and can set off the security.
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           Packing Tips:
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            When packing jewellery in your hand luggage, consider using a small jewellery case or pouch to keep pieces organized and prevent tangling or scratching. 
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           No Strict Limit:
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            There's no specific limit on the amount of jewellery you can carry in your hand luggage. 
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           Valuable Items:
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            Always keep valuable items like jewellery with you in your hand luggage or on your person. 
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           Airline Policies:
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            While generally allowed, it's always a good idea to check with your specific airline regarding their policies on carrying jewellery, especially if it's particularly large or bulky
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           Traveling with jewelry, jewelry for travel, travelling with jewellery, jewellery for travel, holiday jewellery, summer fashion, vacation jewellery, beach jewellery, holiday outfits, packing hacks, packing tips, how to Pack jewellery for trips, Best jewelry for travel, Best jewellery for travel, Luxury travel jewelry, Adventure travel jewelry, Jewelry for cruise travel,
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           Luxury travel jewellery, Adventure travel jewellery, Jewellery for cruise travel, water resistant jewellery, sea resistant jewellery, How to protect jewelry while traveling, How to protect jewellery while traveling, Best jewelry for travel on airplanes, Best jewellery for travel on airplanes, How to pack jewelry without damaging it, How to pack jewellery without damaging it, how to keep jewellery safe, Can you wear jewelry when flying? Can you wear jewelry through airport security? , Can you wear jewellery when flying? Can you wear jewellery through airport security? , holiday packing tips, jewellery box, travel box
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      <pubDate>Tue, 03 Jun 2025 17:39:51 GMT</pubDate>
      <guid>https://www.bohosilver.co.uk/travelling-with-jewellery</guid>
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      <title>Sea Glass Rarity Guide</title>
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         Sea Glass Rarity Guide 
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         For the avid beachcomber, sea glass is one of the most intriguing and coveted finds. Treasured for its beauty and rainbow hues, one of the largest lures of sea glass is the hint of mystery behind its origins. Formed from broken glass that has tumbled in the ocean for years, often decades, to become smooth and frosted, each piece of sea glass is a unique treasure with an individual story. 
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          Although the specific journey from glassware to ocean to beach will inevitable remain unknown, those curious to discover more about their shoreline finds need not despair!  By studying the specific colour of the glass it is possible to find not only an indication of the glass’ history, but also its rarity. 
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          For ease, we’ve put together a simple guide to understanding the likely origins of sea glass colours, from the most common shades to the rarest and most prized, for anyone who loves collecting, wearing, or simply admiring these ocean gems. 
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          As a jewellery business who loves incorporating sea glass into our designs, we’ve also suggested ways to pair and style each sea glass jewellery hue to enhance different fashion looks and complement a variety of outfits.  
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          Read on for your detailed guide, or scroll to the bottom for a condensed version.
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           White (Clear) Sea Glass
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          Rarity Level: Common 
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          Origins: White or clear sea glass often originates from common household glass items like soda bottles, milk bottles, or windows. Due to its abundant sources, white sea glass is one of the most common colours found. Over time, exposure to saltwater, sand, and sunlight gives it a frosted look, transforming everyday glass into a beautiful, polished piece. 
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          Fashion Pairing: White sea glass is versatile and understated, making it a fantastic neutral piece for any season. Try layering white sea glass necklaces with simple silver chains for a minimal, bohemian look. For casual wear, pair white sea glass earrings with linen dresses in summer, or stack white sea glass rings with chunky sweaters for a cozy winter vibe. 
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           Brown Sea Glass
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          Rarity Level: Common 
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          Origins: Brown is another relatively common colour, its ubiquity stemming from the vast production of brown glass in the 19th and 20th centuries. Valued for its ability to block sunlight and preserve contents, most of the brown sea glass found today typically comes from beer, whiskey, and soda bottles, as well as various glass jars used for food storage. In the Mediterranean some older, thicker brown pieces originate from much older bottles. 
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          Fashion Pairing: The warm, earthy tones of brown sea glass are perfect for rustic and bohemian fashion styles. For a soft, neutral outfit, pair brown sea glass earrings or pendants with a camel or tweed coat, beige turtleneck or maxi corduroy skirt to enhance its rich, organic feel. For a boho-inspired look, a long pendant worn with layered fabrics, suede, or fringe details creates effortlessly cool vibes. Earthy or warm toned dresses and skirts also pair well for a harmonious looking outfit. 
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           Green Sea Glass 
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          Rarity Level: Common to Uncommon 
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          Origins: Green sea glass can come from wine, soda, and spirit bottles, as well as old medicine bottles and ship lanterns. Green sea glass is found in various shades, from deep forest green to light lime. While kelly green is common, certain shades, like seafoam or olive, can be less frequently found and are therefore that bit more special. 
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          Fashion Pairing: Green sea glass adds a natural burst of colour to any outfit. It pairs beautifully with floral prints and light fabrics in spring and summer or with chunky knits in shades of forest green, brown, or mustard during autumn. Try pairing a bright green sea glass pendant with an emerald jumpsuit or wearing olive green sea glass hoops with a pair of complementary khaki cargo trousers. 
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           Seafoam Sea Glass
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          Rarity Level: Uncommon 
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          Origins: This softer green shade often comes from old Coca-Cola bottles, vintage mason jars, and glass tableware. Seafoam green is one of the most sought-after colours in sea glass. It has a soft, pastel quality and is slightly less common than standard green, making it a popular choice for collectors. 
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          Fashion Pairing: With its soft, pastel hue, seafoam green sea glass is ideal for airy and ethereal outfits. This colour looks stunning with flowy white dresses and pale pink or blue silks. For a beachy summer look, wear seafoam sea glass bracelets with a white sundress, or layer seafoam pendants over a soft blue shirt for an elegant, ocean-inspired vibe. Its pale lucent glow can also create a striking contrast when worn with an all-black outfit. 
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           Amber Sea Glass 
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          Rarity Level: Uncommon to Rare 
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          Origins: Often found in vintage beer bottles, medicine bottles, and some food jars, amber sea glass has a beautiful, warm hue that ranges from honey to deep amber. Amber glass is harder to find than green or white, but not as rare as some other colours.  
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          Fashion Pairing: Amber sea glass has a warm, russet colour that’s perfect for vintage-inspired outfits. Pair an amber sea glass ring with autumnal colours, such as burnt orange, olive green, or deep burgundy, to enhance its warmth. For a more rustic look, layer amber sea glass pendants over chunky knits and denim jackets, or style with leather accessories for an earthy, bohemian feel. 
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           Cobalt &amp;amp; Cornflower Blue Sea Glass 
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          Rarity Level: Rare 
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          Origins: Cobalt and cornflower blue sea glass most commonly originates from old medicine, poison, and cosmetic bottles or jars, as well as vintage tableware. Due to the limited production of this glass, particularly the lighter shade of cornflower, it’s a rare find on the beach and is a prize addition to any collection.  
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          Fashion Pairing: The vibrant, deep hue of cobalt blue sea glass is an ideal choice for evening wear or any outfit where you want to make a statement. Pair cobalt blue sea glass earrings with a little black dress to add a pop of colour, or work it into a monochrome blue outfit. For a chic daytime look, both cobalt and cornflower blue necklaces work well when worn with crisp white shirts or denim. Cornflower blue pieces are also a beautiful addition to pale blue or pearl white silk maxi and shirt dresses.  
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           Pink Sea Glass 
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          Rarity Level: Rare 
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          Origins: Mostly originates from Depression era tableware and decorative pieces. Manganese-rich clear glass can also turn pink with extended sun exposure. 
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          Fashion Pairing: From pale to dusky pink, this shade of sea glass always has a lovely natural tone to it. Combine it with materials in neutral tones of cream, warm white, grey or taupe to add a subtle hint of colour to your outfit, particularly when matched to a pink lipstick or lipgloss. Pairing or layering it with pearls also enhances the pink sheen in each jewellery piece, and adds a soft, feminine aura to any outfit.  
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           Aqua Sea Glass 
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          Rarity Level: Rare 
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          Origins: One of the most widely used glass colours prior to the 1920s, aqua sea glass comes from ink wells, condiment jars, electrical insulators, and soda, mineral water, and medicine bottles. 
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          Fashion Pairing: The bright hues of aqua sea glass evoke a sense of summer and the ocean that is perfect for beachy inspired looks. Pair an aqua sea glass pendant with a casual t-shirt and rough-hem shorts for a laid back look, or combine a statement ring with a neutral maxi dress for an evening drink at the bar. For a more bright and quirky summer look, try pairing with sunny colours like yellow, or layer with other sea glass colours for a fun, eclectic vibe. 
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           Purple (Amethyst) Sea Glass 
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          Rarity Level: Rare 
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          Origins: Most often this is originally clear glass that becomes purple due to manganese-induced sun colouration. Occasional, and extremely rare, pieces come from amethyst or lavender coloured decorations, tableware and perfume bottles. 
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          Fashion Pairing: Often lavender-toned in hue, purple sea glass works fantastically with fine knits in smoky grey and charcoal. A pair of purple earrings would also look stunning with a sheer, satin or silk evening dress in silver or grey. For a modern vintage style, matching purple sea glass earrings with velvet or lace fabrics adds a whimsical touch to your outfit. 
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           Teal Sea Glass 
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          Rarity Level: Extremely Rare 
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          Origins: vintage water, ink, wine and sauce bottles, sometimes glass fishing floats from Japan. 
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          Fashion Pairing: Part green and part blue, this oceanic colour is both beautiful and versatile. For an elegant and formal look, try coordinating teal glass jewellery with a teal element in your outfit, such as a pendant with a black polo-neck, silky teal maxi skirt and black boots. Teal also works great with denim, so you might want to try pairing drop earrings with a tailored white shirt and your favourite jeans.  
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           Grey Sea Glass 
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          Rarity Level: Extremely Rare 
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          Origins: largely from crystal tableware popular in the 1800s – 1940s. 
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          Fashion Pairing: Subtle and smoky, grey sea glass suits all complexions and can be styled as both elegant and grunge. For laid back alternative looks, pair grey sea glass jewellery with your favourite leather jackets, mini-skirts, or a pair of grey cargo pants. For more formal occasions you could pair it with a slinky grey slip or shirt dress. Grey glass also works with the full spectrum of blue hues, so whether you prefer stonewashed or indigo denim the addition of grey sea glass jewellery easily elevates your look whilst keeping it casual.  
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           Black Sea Glass 
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          Rarity Level: Extremely Rare 
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          Origins: remains of bottles as old as the 1700s to 1800s that are dark olive-green (or occasionally other colours) when held to light. 
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          Fashion Pairing: Jewellery that features a black gemstone, or in this case glass, setting is more unusual to see than other colours yet always striking. This is especially the case when incorporated in a monochrome look, such as the classic little black dress, or in contrast with a crisp white shirt. As black sea glass is actually an extremely dark shade of green glass, it can also add rich depth when worn with an emerald green dress or more casually with khaki cargo trousers or military style jacket. 
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           Turquoise Sea Glass 
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          Rarity Level: Extremely Rare 
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          Origins: comes from older glass items, typically decorative glassware such as pressed glass dishes, vases and seltzer bottles. 
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          Fashion Pairing: This electric shade is distinctive, eye catching and is great for adding a flash of colour to more neutral looks. Particularly suited to greys and navy, turquoise sea glass is great for elevating casual outfits, and when worn with denim effortlessly creates boho style. For more formal events or statement looks, contrast a bright pair of turquoise sea glass studs with a dark, or even black, jumpsuit.  
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           Red Sea Glass 
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          Rarity Level: Extremely Rare 
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          Origins: As the process to make red glass sometimes required gold to be made, it was often reserved for Victorian lamps, art, and tableware, and is one of the rarest colours. Later types may be from auto, railroad, and marine lights. 
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          Fashion Pairing: Like a ruby, red sea glass is bold and instantly eye-catching, perfect for adding a standout element to any outfit. For a formal occasion, pair red sea glass earrings or a necklace with a monochromatic outfit in black, white, or red to create striking visuals. Red sea glass also pairs beautifully with metallics or green, making it a perfect accessory for the festive season. 
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            Orange and Yellow Sea Glass 
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          Rarity Level: Exceptionally Rare 
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          Origins: Orange and yellow sea glass are the rarest of all, having rarely been used in glass production. They primarily come from decorative tableware, sculptures and vases, sometimes reflector or warning lights. Some clear glass also turns yellow overtime in sunlight due to its selenium content. 
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          Fashion Pairing: These bright, warm colours make a striking addition to any look, especially in summer or autumn. Pair yellow sea glass with bold patterns and warm tones, like mustard or rust, to create a cheerful, autumn-inspired outfit. Orange sea glass adds a touch of warmth to earthy tones and looks stunning when paired with boho-inspired pieces, like fringed jackets, linen tunics, or embroidered fabrics.
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      <pubDate>Tue, 03 Jun 2025 16:19:53 GMT</pubDate>
      <guid>https://www.bohosilver.co.uk/sea-glass-rarity-guide</guid>
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      <title>The Meaning Behind Moonstone</title>
      <link>https://www.bohosilver.co.uk/the-meaning-behind-moonstone</link>
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           The Meaning Behind Moonstone
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            As the name suggests, Moonstone has long been associated with the moon and is known for its
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            adularescence
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            —a phenomenon that creates a soft, glowing sheen that seems to come from deep within the gem as light moves across the surface.
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           Resembling moonlight, adularescence is caused by the diffraction of light as it hits thin layers of the minerals orthoclase and albite within the stone. This effect is particularly striking with rainbow moonstone as it can send iridescent flashes of blue, purple, and even pink hues.
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           Across Cultures
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            Revered across many cultures for millennia, moonstone was believed by the Ancient Romans to be formed from solidified moonbeams, and associated with the goddess Diana, the Roman deity of the moon. Likewise, the Ancient Greeks viewed moonstone to capture the essence of the moon and believed it could harness lunar energy.
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           In India, moonstone has been a sacred gem for centuries, often seen as a symbol of peace, love and intuition. It was also believed that the stone’s lustre grew and weakened in accordance with the transitions of the lunar cycle from a full moon to a new moon. Ancient Hindu mythology held that moonstone was made from moonlight itself and could bring good fortune to its wearer, especially for women.
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           Asian culture views it to embody Yin energy, and there’s a widely reported myth that the most beautiful blue moonstones are brought in by tides once every 21 years.
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           Moonstone also has a long history worldwide as a protector of travellers and used to be known as the "traveller’s stone". When worn, moonstone was said to protect people on long journeys especially those travelling at night. Ancient mariners believed it would protect them when travelling over water, connecting it with the moon’s influence over the tides.
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           Symbolism and Healing Powers
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           Moonstone is often associated with intuition, inner growth, and emotional balance. Known as the “stone of new beginnings,” it is believed to help individuals reconnect with their true emotions, enhance psychic abilities and develop spiritual insight. Many wearers turn to moonstone during times of transformation, as it is said to promote clarity and guide individuals through changes, especially those relating to love and personal growth.
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           In terms of healing properties, moonstone is thought to have calming energy that soothes stress and stabilizes emotions. It’s especially associated with feminine energy, believed to help with hormonal balance and fertility. For centuries, it has been used to support women during pregnancy and childbirth, earning its nickname as the "goddess stone."
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           Moonstone in Jewellery
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            Reminiscent of moonlight reflecting on water, moonstone’s shimmering surface means it is a must have gem for any jewellery lover.
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           A silver setting enhances the stone's natural glow, and complements any cooler hues, for a modern, versatile look. Alternatively, a pairing with gold offers contrast and a vintage-inspired style due to its popularity in the Art Nouveau period (1890–1915). Whatever your preference, moonstone always looks good, and its sheen is sure to catch the eye.
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           Due to its historical and spiritual significance, moonstone jewellery also makes the ideal gift to give as an expression of love and protection, or a meaningful token of positive energy. Alongside pearl and alexandrite, moonstone is the birthstone for June so is the perfect choice for people celebrating birthdays that month.
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           Caring for Your Moonstone Jewellery
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           Despite its mystical appeal, moonstone is relatively soft, ranking between 6 and 6.5 on the Mohs hardness scale. This means it requires careful handling to avoid scratches. When cleaning moonstone, use only mild soap, warm water, and a soft cloth. Avoid harsh chemicals or ultrasonic cleaners, which can damage its delicate structure. Store moonstone jewellery separately to prevent it from being scratched by harder gemstones.
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            ﻿
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           moonstone, crystal healing, crystal witch, chakra, spirituality, crystal jewelry, crystal jewellery, pagan jewelry, pagan jewellery, moon, stones, crystals, crystal magic, crystal magick, fairycore, fairy jewellery, mermaid, fantasy jewellery, ocean jewellery, luna, moon goddess, goddess jewellery, diana, diana jewellery, greek mythology, roman mythology, asian mythology, psychic journey, psychic healing, psychic, spiritual healing, spiritual journey, vintage jewellery, vintage moonstone, birthstone jewellery, june birthstone
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      <pubDate>Tue, 03 Jun 2025 16:12:10 GMT</pubDate>
      <guid>https://www.bohosilver.co.uk/the-meaning-behind-moonstone</guid>
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      <title>Beginner’s Guide to Wire Wrapping Sea Glass for a Necklace</title>
      <link>https://www.bohosilver.co.uk/beginners-guide-to-wire-wrapping-sea-glass-for-a-necklace</link>
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           Wire Wrapped Sea Glass Tutorial
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            Are you inspired by the beauty of sea glass and curious about turning your beach finds into handmade jewellery? As a jewellery artist based in Scotland, I craft intricate, unique designs using sea glass collected from Scottish beaches. While our designs are complex, if you’re new to jewellery making and fancy trying something simple, wire wrapping is a great place to start. This blog post will guide you through wire wrapping sea glass to create your own necklace
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            What is Wire Wrapping?
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            Wire wrapping is a technique where wire is used to secure and showcase objects like sea glass. It’s one of the easiest ways for beginners to start making jewellery, as it doesn’t require soldering or complex tools.
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            Materials You’ll Need
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            Before getting started, gather these materials:
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                •    Sea Glass: A smooth piece of sea glass works best. Choose a piece that you like, which has no sharp edges.
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                •    Wire: The most common wire for beginners is copper, as it’s affordable and easy to work with. Look for 1mm - 1.2mm wire  – this is sturdy enough to hold the glass securely but still flexible enough for wrapping.
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                •    Jewellery Pliers: You will need three types of pliers: flat nose pliers, round nose pliers, and wire cutters. These are essential for manipulating and cutting the wire, nu ae not expensive to buy.
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                •    Chain or Cord: To turn your wire-wrapped sea glass into a wearable necklace, you’ll need a chain or cord for threading.
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            Step-by-Step Guide to Wire Wrapping Sea Glass
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                1.   Prepare Your Wire:
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            Start by cutting a length of wire, roughly 30-40cm, depending on the size of your sea glass. You can always trim the excess later.
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                2.   Make the Bail (Necklace Loop):
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            Using your round nose pliers, make a small loop at one end of the wire. This loop, known as a bail, will be where the necklace chain threads through. Make sure it’s centred and strong enough to hold the pendant.
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                3.   Wrap the Wire Around the Sea Glass:
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            Place your sea glass against the wire, leaving the loop (bail) at the top. Hold the glass firmly and start wrapping the wire around it. Try to form a neat frame around the edges of the glass. You can add little loops and twirls if you fancy. For a rustic look, don’t worry about perfection – just ensure the glass is secure. Use your flat nose pliers to gently press the wire into place.
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                4.   Secure the End of the Wire:
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            Once you’ve wrapped enough wire to secure the sea glass, bring the remaining wire towards the back of the pendant. Trim any excess, and use your pliers to tuck the end of the wire in so it doesn’t stick out or scratch.
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                5.   Final Touches:
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           Inspect your wrapped sea glass, ensuring it’s secure and smooth to the touch. Attach your pendant to a chain or cord by threading it through the loop (bail) at the top.
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           Tips for Success
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               •    Practice Makes Perfect: Wire wrapping takes a little patience. If you don’t get it right the first time, don’t worry! Practice on a few pieces of scrap wire or sea glass before using your favourite finds.
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               •    Experiment with Different Wires: Once you’ve mastered the basics, try using silver-plated or sterling silver wire for a more polished finish.
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           Wrapping Up
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           Wire wrapping sea glass is a fun and rewarding way to create your own handmade jewellery. Whether you’re a beginner or an enthusiast, it’s a great way to display your beachcombing treasures. At our studio, we specialise in intricate, bespoke designs using Scottish sea glass, but this simple tutorial is perfect for anyone looking to start their jewellery-making journey.
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           Why not give it a try on your next Scottish beach adventure? Happy crafting!
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           Image of wrapped sea glass not my own - courtesy of internet via Creative Commons @seaglassbyjules
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      <pubDate>Fri, 06 Sep 2024 14:52:12 GMT</pubDate>
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      <title>Why Jewellery is Art and Makers Should Be Considered Artists</title>
      <link>https://www.bohosilver.co.uk/why-jewellery-is-art-and-makers-should-be-considered-artists</link>
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           Why Jewellery is Art, and Makers Should Be Considered Artists
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           Jewellery Making Is Fine Art
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           Jewellery making is often overlooked in the broader world of fine art, yet it embodies many of the same principles and demands the same level of creativity, skill, and vision. At Boho Silver, we passionately believe that jewellery is a form of art, and makers should be celebrated as artists in their own right. Here's why jewellery deserves recognition in its place in the art world alongside painting, sculpture, and other traditional forms.
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           The Artistic Process
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           Creating jewellery involves a complex process that mirrors the stages of creating a piece of fine art. From initial concept and design to the meticulous crafting and finishing, jewellery making requires a deep understanding of materials, techniques, and aesthetics. Each piece is a unique expression of the maker’s vision, much like a painting or sculpture.
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           Expression and Creativity
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           Jewellery is a powerful medium for personal and artistic expression. Boho Silver draw inspiration from nature, mythology, and personal experiences to create pieces that tell stories and evoke emotions. This creative process is akin to the work of any painter or sculptor, where the artist communicates their inner world through their chosen medium.
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           Craftsmanship and Skill
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           The level of artistry &amp;amp; craftsmanship involved in jewellery making is extraordinary. Techniques such as wax carving, stone setting, and metalworking require years of practice to master. This skill and dedication are on par with those required in traditional fine arts. And creativity and being an artist is certainly not delineated by having an art school degree - unfortunately too many galleries and art critics exhibit snobbery on this point and can be gatekeepers when it comes to exhibiting art or being deserving of a write-up. Individuals can have extraordinary talent in art, having never been officially taught. Instead they have experimented and made their own path without boundaries or rules. Is their art any less deserving because of it? They are certainly no less talented because they did not undertake formal study at a renowned university art school.
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           The Emotional Connection
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           Like other forms of art, jewellery has the power to connect with people on an emotional level. A piece of jewellery can evoke memories, signify important life events, or symbolize personal identity. This emotional resonance is a hallmark of great art. Our jewellery at Boho Silver is designed to create these meaningful connections, making each piece more than just an accessory.
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           Innovation and Originality
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           Art is often defined by its innovation and originality. Jewellery design is no different. We are constantlyexploring new ideas, materials, and techniques to push the boundaries of what jewellery we can make. This spirit of innovation is central to both art and jewellery making, ensuring that each piece is a unique work of art.
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           Recognition in the Art World
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           There is a growing recognition of jewellery as an art form within the broader art community. Museums and galleries around the world are beginning to include jewellery exhibitions, although they do tend to favour showcasing the work of master jewellers who are art school graduates. This trend highlights the evolving perception of jewellery as a legitimate and respected art form.
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           Conclusion
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            Jewellery making is an art, and jewellers are artists. The process, creativity, skill, emotional connection, and innovation involved in creating jewellery are all qualities that define fine art. At Boho Silver, we celebrate creating unique, one-of-a-kind pieces.
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           Next time you wear a piece of jewellery, consider the artistry and craftsmanship behind it, and appreciate it as a true work of art.
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      <pubDate>Sat, 20 Jul 2024 16:55:25 GMT</pubDate>
      <guid>https://www.bohosilver.co.uk/why-jewellery-is-art-and-makers-should-be-considered-artists</guid>
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      <title>Why Sterling Silver Deserves the Adornment of Precious Gemstones</title>
      <link>https://www.bohosilver.co.uk/why-sterling-silver-deserves-the-adornment-of-precious-gemstones</link>
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           Why Sterling Silver Deserves Precious Gemstones
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           I
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           At Boho Silver, we do have a preference for silver. Gold is beautiful - and we will offer some designs in gold if there is demand - but there are many reasons to favour silver.
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           Silver rings with diamonds and faceted precious gemstones
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           In the world of jewellery design, the choice of metal can greatly influence the aesthetic and emotional impact of a piece. While gold has long been the standard bearer for precious gemstones, sterling silver is increasingly becoming a favoured alternative for setting these jewels. At Boho Silver, we believe that sterling silver not only deserves but enhances the beauty of precious gemstones such as sapphires. Here’s why sterling silver is an exceptional choice for your most cherished pieces.
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           The Cool Elegance of Sterling Silver
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           Sterling silver, with its cool, lustrous finish, provides a versatile and sophisticated backdrop for precious gemstones. Unlike gold, which often imparts a warm, sometimes overpowering glow, silver complements the stormy, cool tones of gemstones like blue and green sapphires. This combination evokes the tranquil, mysterious beauty of the ocean and the sky, offering a refreshing and modern aesthetic that is both timeless and contemporary.
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           Highlighting Gemstone Brilliance
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           One of the unique selling points (USP) of using sterling silver for precious gemstones is its ability to highlight the stone’s natural brilliance. The reflective quality of silver enhances the luminosity and depth of sapphires, making their rich hues appear even more vibrant. This interplay of light and colour can often be lost in the warm tones of gold, which may overshadow the gemstone's inherent beauty.
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           Affordability and Accessibility
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           Sterling silver's affordability compared to gold makes it an attractive option for those seeking luxury without the hefty price tag. This accessibility allows for the creation of exquisite jewellery pieces that can be cherished without the financial strain often associated with gold. At Boho Silver, we are committed to offering high-quality, beautifully crafted jewellery that is accessible to a broader audience, ensuring that everyone can enjoy the allure of precious gemstones set in sterling silver. Once you add precious gemstones, it elevates the price of the design as it clearly costs much more for us to make, but £500 is certainly more affordable than £3K+
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           Durability and Versatility
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           While not as hard as 9ct gold, sterling silver is known for its durability, making it an excellent choice for everyday wear. Its strength ensures that the settings are secure, protecting precious gemstones from damage. Moreover, silver’s versatility means it can be fashioned into intricate designs that might be more challenging with gold. This flexibility allows Boho Silver to experiment with innovative and organic designs that capture the essence of nature and the sea.
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           A Contemporary Choice
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           For those seeking a contemporary twist on traditional gemstone jewellery, sterling silver offers a fresh and stylish alternative. It complements modern fashion trends and is versatile enough to be dressed up or down, making it suitable for any occasion. Whether paired with casual wear or an elegant evening outfit, silver and sapphire jewellery from Boho Silver adds a touch of sophistication and uniqueness.
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           White Gold V Silver Jewellery?
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            White gold is not, in fact, white. It's just less yellow. The white gold you see has rhodium plating apply to make it nice and white/silver looking. This will wear off on any point of wear, or if you are using certain hand sanitizer's or hospital hand washes. Therefore you might be disappointed to see your jewellery looking more yellow with time, and requiring regular returns to have the rhodium reapplied. Sterling silver will naturally tarnish, but is just surface oxidation that can easily be cleaned.
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           If we design a piece for you via wax carving, you can choose to have it cast in any metal your prefer - gold, silver, platinum, bronze...
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            Browse design examples
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           HERE
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      <pubDate>Sat, 20 Jul 2024 16:25:37 GMT</pubDate>
      <guid>https://www.bohosilver.co.uk/why-sterling-silver-deserves-the-adornment-of-precious-gemstones</guid>
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      <title>The Art of Handmade Jewellery</title>
      <link>https://www.bohosilver.co.uk/the-art-of-handmade-jewellery</link>
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         This is a subtitle for your new post
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           The Art of Handcrafted Jewellery: Ocean Treasures from Boho Silver
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           At Boho Silver, we believe in the power of handcrafted jewellery to tell stories and evoke emotions. Our ocean-inspired pieces are created with heart and soul, reflecting our love for the sea and our commitment to artisanal craftsmanship.
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            Each piece begins with a spark of inspiration from the ocean’s beauty. We organically design and crafts each item, ensuring that we capture the essence of the ocean, the tideline and the seascape..
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            We have recently started to include precious facets gemstones within our wax carved designs; main blue, green and Australian parti sapphires to capture sea’s mesmerizing colours, and echoes of the rock pools in the basalt rocks.
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           What makes our jewellery truly special is the personal touch we bring to every piece. As real people passionate about our craft, we pour our creativity and care into making jewellery that is not only beautiful but also meaningful. We want each piece to connect with you, to remind you of the ocean’s wonders and the strength within you.
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           Explore our collection and discover the magic of ocean-inspired jewellery. Each piece is a work of art, handcrafted with love and designed to make you feel connected to the sea and yourself.
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      <pubDate>Sat, 20 Jul 2024 16:03:35 GMT</pubDate>
      <guid>https://www.bohosilver.co.uk/the-art-of-handmade-jewellery</guid>
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      <title>Making Wax Jewellery</title>
      <link>https://www.bohosilver.co.uk/making-wax-jewellery</link>
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          Unlocking Creativity with Wax Carving: Crafting Sea-Inspired Jewellery 
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          Exploring the world of jewellery design often leads to the discovery of various techniques, each offering its unique advantage. One such method that we have recently discovered is wax carving. The technique is perfect for us as it really allows 'flow' and an organic feel that works so well for our sea-inspired pieces. As jewellery artists, it allows us to bring our inspirations to life with remarkable detail and fluidity.
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          Why Use Wax Carving?
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          Wax carving offers unparalleled flexibility in jewellery design, particularly when aiming to capture the organic shapes and fluid lines of sea motifs. Unlike metal, which can be rigid and challenging to manipulate into natural forms, wax is malleable and easy to shape. This characteristic makes it an ideal medium for replicating the soft curves of waves, the delicate structure of coral, or the intricate patterns of seashells.
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          How To Make Wax Jewellery?
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          The process begins with a block or sheet of wax, which is then carved into the desired shape. These are a variety of tools we can use to cut, scrape, and smooth the wax, allowing for precise control over the final design. This level of detail is essential when aiming to create pieces that echo the beauty and complexity of the ocean. It is a time consuming process, and very experimental, but it is also a very mindful.
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          Creating Sea-Inspired Jewellery
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          The goal with our latest collection is to harness the power of wax carving to craft sea-inspired jewelry that not only captures the essence of the ocean but also stands out with vibrant blue and green sapphires. These gemstones are chosen for their stunning hues, reminiscent of the sea’s depth and the sparkling surface of water under sunlight.
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          Integrating these gemstones into our wax-carved designs ensures that each piece is not only a work of art but also a celebration of nature’s beauty.
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      <pubDate>Sat, 20 Jul 2024 15:49:58 GMT</pubDate>
      <guid>https://www.bohosilver.co.uk/making-wax-jewellery</guid>
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      <title>Where To Find Sea Glass- SCOTLAND</title>
      <link>https://www.bohosilver.co.uk/where-to-find-sea-glass-scotland</link>
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         The Sea Glass Series:
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          Uncovering Hidden Gems- The Best Sea Glass Beaches in Scotland
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          If you scour the internet for Things to do in Scotland you’ll find a plethora of articles titled “Top 10 Places in Scotland” and “Best beaches to Visit in Scotland”; most of them identical itineraries for inland castles and white-sand beaches. This isn’t a bad thing, but if you are an avid beachcomber then these places (although beautiful) are typically not the best when it comes to interesting beach finds.
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           This is why we thought we’d step in and create a guide specifically made for the curious mermaids and flotsam scavengers. Below we’ve collated six areas in Scotland known to provide sea glass success, and they just so happen to be some of the most beautiful coastal areas to be found here. With over 6,100 miles of rugged coastline and rich maritime heritage, Scotland is a treasure trove for both local and visiting sea glass enthusiasts. 
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           Ready to start planning your next sea glass hunting trip? With so many tempting spots, you might struggle to choose where to start…
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           Edinburgh &amp;amp; East Lothian
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          Primarily renowned for its stunning architecture and historic attractions, Edinburgh’s status as a coastal city is often overlooked despite various beaches and harbours being located just miles from the city’s metropolitan heart. At the nearby shoreline you’ll find long stretches of sandy shore, pebbled inlets, smooth promenades, quaint fishing villages and, best of all, sea glass.
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          From Edinburgh’s seat at the Firth of the Forth, to East Lothian’s 40 miles of headlands, bays, and coastal islands, the area is rich in beachcombing options. With the moniker ‘Auld Reekie’ (Scots for ‘Old Smoky’), it’s perhaps no surprise that it used to be a site heavy with waterfront business and maritime traffic. The urban coastline featured many glass and pottery works, and even now there still stands two old brick pottery Kilns; possibly the best examples to be found in Scotland. Take a stroll along the shoreline, and you're almost guaranteed to come across beautifully weathered sea glass and pottery fragments, each with its own unique story. The best places for sea glass near Edinburgh are Portobello, South Queensferry, Prestonpans and Cramond, whose award-winning ice cream parlours and cafes will help fuel you on your way.  Dunbar, Coldingham bay, Longniddry and Gullane beach are the most promising spots in East Lothian. All provide stunning backdrops for a spot of beachcombing, and many have been awarded the prestigious Scotland’s Beach Award (as of June 2023) by the Environmental charity Keep Scotland Beautiful. 
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           Aberdeen 
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          The place where our sea glass addiction began. With rugged cliffs, sweeping sand dunes and golden beaches, it’s no surprise we could spend hours at a time exploring the Aberdeenshire coast. Situated in the northeast of Scotland, the relentless and storming waves of the North Sea polish glass and pottery to perfection and is the perfect backdrop to sea glass hunt or seal watch. From the city centre Aberdeen beach lined with seaside cafés, esplanade and arcades, to the quiet nature reserve of St Cyrus, there is a beach to suit everyone’s beachcombing preferences. We would recommend the above to beaches in addition to Cruden bay, St Combs, Stonehaven and Balmedie for the best sea glass finds.
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           Fife
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          A natural peninsula fringed by the Firth of Tay in the North, and Firth of the Forth in the South, Fife possesses many harbours and beaches. Those of the north are most well-known, with their golden sands, picturesque vistas and quaint fishing villages. However, when it comes to sea glass the industrial wharves of the south should not be overlooked! 
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          With a spectacular coastal path of 187km featuring 15 major award-winning beaches, if you have no specific beachcombing treasure in mind then the entire Fife shore is worth exploring. Alongside the sandy beaches, you’ll be able to enjoy estuaries, wildlife reserves and the Elie Chainwalk, Scotland’s coastal via ferrata.
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          On sections of path that traverse the East Neuk (“neuk” being the Scots word for “nook” or “corner”) you’ll find beaches particularly good for finding sea glass, and all vastly different from each other. One may have massive chunks of sea glass, another might have pottery, but all ensure a beachcombing experience with an incredible backdrop. Other good areas in Fife to look for sea glass include Burntisland, Pathhead sands and Aberdour.
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           Ayrshire
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          Located on the shores of the Firth of Clyde, treasures that wash up on the beaches of Ayrshire emerge from the deepest coastal waters in the British Isles. These beaches are best found by following the Ayrshire Coastal Path running from Glenapp in the South to Skelmorlie in the North. The route includes incredible vistas, diverse wildlife, and some of Western Scotland’s best sand dunes. 
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          Sea glass found in Ayrshire can primarily be traced to Irvine, who’s northern harbour was one of the most important ports in 16th century Scotland before being overtaken in the 19th century by those in Glasgow and Greenock. In addition to this commercial maritime history, glass manufacturing became a key industry of Northern Ayrshire from the 1920s after Portland Glass Co. was established there. On the beaches of Stevenston, Ballantrae and Girvan it is the remnants of this industry that will mostly be found, now transformed into colourful nuggets of sea glass.  
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          The Ayrshire coast is also home to some unusual and noteworthy geology. Rocks found there are some of the oldest in Scotland, and in addition to sea glass there are incredible finds such as gemstones (scenic and onyx agate) and fossils to be discovered on the beaches.
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           Moray
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          One of the ancient Pictish kingdoms, Moray was first known as moreb, meaning "low lying land near to the sea" in Celtic- Brittonic translation. An apt name considering its great plains of fertile soil and a coastline that follows the Moray Firth, Scotland’s largest firth. With dramatic cliffs, sandy beaches, pebbled bays and rare coastal plants it is a beautiful part of the world, complete with colourful coastal villages and historic harbours. 
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          Places known to have sea glass wash up include ancient fishing ports such as Nairn and Lossiemouth.  With a harbour flanked by two spectacular beaches, Lossiemouth in particular is worth visiting- even if it is just for the views! There is a reason it has earned a reputation as ‘Jewel of the Moray Firth’ and the ‘Riviera of the North’. The small village of Cummingston is also worth checking. Situated between the fishing villages of Burghead and Hopeman, its beach is not well known but is one of Moray’s best kept secrets. Popular with climbers it features a short stretch of sand surrounded by beautiful rock formations and caves, with nearby paths leading to Burghead and Hopeman beach respectively. 
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          In addition to sea glass, the Moray Firth is one of the most important places on the British coast for observing bottlenose dolphin, harbour porpoise and occasionally common dolphins or minke whale. The wildlife viewing area at Chanonry Point is particularly renowned for hosting some spectacular cetacean displays, and just so happens to also be fantastic for discovering sea glass. 
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          With such a diverse coastline, Scotland offers a plethora of enjoyable and interesting beachcombing opportunities. From the more urban shores of Portobello Beach to the remote beauty of Moray, each location presents an incredible blend of sea-swept shores and historical remnants. Whether you're a seasoned collector or just beginning your beachcombing journey, Scotland makes for an unforgettable sea glass hunting experience. Let us know of your Scottish beachcombing finds, and any other beaches we have missed, through our socials @bohosilver on Facebook or @bohosilverstudio on Instagram! 
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      <guid>https://www.bohosilver.co.uk/where-to-find-sea-glass-scotland</guid>
      <g-custom:tags type="string">beaches,scottish sea glass,beach,sea glass hunting,scottish beaches,scottish coast,beachcombing (New Tag),scotland</g-custom:tags>
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      <title>Unleash Your Inner Wild: How to Layer Boho Silver Jewellery</title>
      <link>https://www.bohosilver.co.uk/how-to-layer-boho-silver-jewellery</link>
      <description>Boho style is all about embracing your individuality and daring to be different. Layering jewellery allows you to mix and match pieces, creating a unique and eye-catching look that truly represents your wild side. By combining our sustainable, handmade, and artisan sea glass jewellery with recycled silver and ocean-inspired pieces, you can support empowered women and a sustainable brand while rocking a bohemian style.</description>
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         Unleash Your Inner Wild: How to Layer Boho Silver Jewellery
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          Are you ready to unleash your inner wild side?
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         Layer your boho silver jewellery for a truly eye-catching look. Mix and match sea glass and gemstone jewellery with your favourite simple silver pieces to create a look that reflects your bohemian side . Layering jewellery can be daunting, but it doesn't have to be. With a few simple tips, you can create stunning looks that will make a statement. Read on for our advice on how to layer boho silver jewellery for a look that's both fashionable and unique.
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           Why layering jewellery is perfect for boho style
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          Boho style is all about embracing your individuality and daring to be different. Layering jewellery allows you to mix and match pieces, creating a unique and eye-catching look that truly represents your wild side. By combining our sustainable, handmade, and artisan jewellery with recycled silver and ocean-inspired pieces, you can support empowered women and a sustainable brand while rocking a bohemian style. With layering, you can showcase your personal style and create a look that feels good for you. You can start your collection with one piece, and build on that as your finances allows - or ask friends and family to put their cash towards a jewellery piece you have your eye on for a Birthday or Christmas gift! 
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           Basic rules of layering jewellery
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          When it comes to layering jewellery, there are a few basic rules to keep in mind. First, start with a focal point - whether it's a statement necklace or a stack of bracelets, choose one piece to be the centerpiece. Next, mix metals and textures for added visual interest. Don't be afraid to incorporate different styles, such as heirloom jewellery or ocean-inspired pieces for a surf-style vibe. And finally, experiment with different lengths to create depth and dimension in your layered look. With these rules in mind, you'll be well on your way to achieving the perfect boho style.
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           Choose your jewellery wisely - the right pieces for layering
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          When it comes to layering jewellery, choosing the right pieces is key. Look for ocean-inspired jewellery to add a touch of boho charm to your layered look. Consider incorporating silver seashell pendants, pieces with sea-coloured gemstones,  and coral/seaweed inspired designs. These unique pieces will add an element of whimsy and wanderlust to your layered ensemble, perfect for unleashing your inner wild side. Remember, the right jewellery choices can truly elevate your boho style.
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           How to mix metals and textures
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          Mixing metals and/or textures is key to creating a visually interesting layered look. Don't be afraid to pair your silver jewellery with other metals like gold or rose gold for a cool mixed metal look. And when it comes to textures, try combining smooth and sleek pieces with more rustic or textured designs for added dimension. The key is to experiment and find combinations that speak to your unique style. Let your creativity run wild!
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           Where to start when layering jewellery
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          If you're new to layering jewellery, don't worry, we've got you covered! The best place to start is by choosing a focal point - whether it's a statement necklace, a stack of bracelets, or a unique ring, let that be the centerpiece of your layered look. From there, you can build and add complementary pieces to create a stunning boho style that reflects your individuality. So go ahead, dive in and let your creativity shine. Just start with one piece you love, and build the look from that.
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           Experiment with different lengths
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          Play around with different lengths when layering your boho silver jewellery. Try combining a shorter necklace with a longer pendant or adding charms or jangling bangles to your layered bracelet stack. Experimenting with different lengths adds depth and dimension to your overall look, creating a visually captivating boho style. Don't be afraid to mix and match lengths to find a combination that feels uniquely you. It doesn't need to look neat. In fact, keep everything quite different and interesting. Let your inner wild side shine through in your layered jewellery ensemble.
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           Adding statement pieces to your layers
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          Elevate your layered look by adding statement pieces that reflect your boho style. Think bold, eye-catching designs like long interesting earrings or a chunky statement necklace or ring. These will be your biggest investment as the designs are larger and take more time to create, but know that with a Boho Silver piece, you are the only person in the world wearing that special piece. That is very special. These statement pieces will add a touch of drama and personality to your layered ensemble, allowing you to truly express your inner wild side. So go ahead and make a statement with your jewellery layers. On the neck, decide whether you want your statement piece to sit high on the neck, be the central focus in the middle or hang lower on your chest. If you have larger boobs, we suggest you ensure the length of a larger statement necklace sits above your cleavage for best effect.
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           Check out some statement pieces here 
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           Layering bracelets and bangles
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          Elevate your wrist game with layered bracelets and bangles that showcase your boho style. Mix and match different textures, metals, and styles to create a unique and eye-catching look. From delicate chains to chunky cuffs, layering bracelets and bangles allows you to express your individuality and add a touch of wildness to your overall ensemble. Embrace the freedom and creativity of boho style with stacked wrist adornments.
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           Perfecting your layered necklace look
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          Create the perfect layered necklace look by mixing different lengths and styles. Play around with pendant necklaces, chokers, and longer chains to achieve a boho-inspired style that's uniquely you. Don't be afraid to experiment with different textures and metals for added visual interest. Remember, layering necklaces is all about expressing your inner wild side and creating a look that truly reflects your individuality. Let your necklace layers be the ultimate statement piece in your boho ensemble.
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           Why choose Boho Silver jewellery?
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          As a small handmade business, all our pieces are sustainable and unique. Choose ocean inspired, bohemian handmade jewellery that reflects your love of nature, the ocean, the elements and the wilder part of yourself. We have simple silver pieces, and bigger organic statement pieces that reflect all of these things. Wearing our statement jewellery means you are the only person in the world with that design. Like a serendipitous meeting, the piece you are drawn to is meant for you; you see something in it for YOU.
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            Take a look here and start your Boho Silver collection today.
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           As an aside, much of the cheaper 'boho' silver jewellery brands available online have been sourced from sweatshops in India and Thailand. Or are mass produced in factories. If it's real silver, "handmade" and is very cheap, I suggest you question who made it, in what conditions and if they were fairly paid. Silver is not cheap to buy, and making silver jewellery a skilled and time consuming process. Because of this handmade sterling silver jewellery should not be cheap. If it is, question why. We all have a responsibility to our fellow mankind and the planet.
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      <pubDate>Sat, 02 Sep 2023 10:43:44 GMT</pubDate>
      <guid>https://www.bohosilver.co.uk/how-to-layer-boho-silver-jewellery</guid>
      <g-custom:tags type="string">necklaces,sea glass,statement,boho silver,layering,ocean inspired</g-custom:tags>
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      <title>Where To Find Sea Glass- ENGLAND</title>
      <link>https://www.bohosilver.co.uk/where-to-find-sea-glass-england</link>
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         The Sea Glass Series:
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           Where to find Sea Glass Beaches in England
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          Sea glass, mermaid tears, beach treasure. 
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            Whatever you choose to call it, this smooth and frosted glass has a magical allure for beachcombers all around the world. England, with its picturesque coastline and rich maritime history, offers an abundance of beaches on which to find these wave-tumbled gems. If you are sea glass addicts like us, they are essential additions to your beach bucket list. 
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            Already packing your bags? We’ve put together a handy list of the best beachcombing spots in England to help plan that next sea glass expedition.
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            Durham
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           Featuring Seaham beach, Durham is the most famous place in the UK, if not the world, for sea glass. With cliffs pounded by the North Sea, the English East coast regularly gets incredible finds deposited on all its beaches. The best, however, can be found at the town of Seaham. 
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           Home to The Seaham Bottle Works from the 1850s to early 20th century, this harbour town had up to six glass houses, sometimes manufacturing for 24hrs a day, with the bottle works the largest factory of its kind in Britain! For years, broken or below grade glass was routinely discarded by these factories into the sea; from beverage bottles to one-of-a-kind perfume containers. 
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           This has resulted in Durham, and Seaham Hall beach particularly, being one of the richest sources of sea glass in Britain. Every day, the tumultuous waves toss a fresh array of coloured glass on the shore, and the beach becomes a treasure hunt for green, blue, white, and seafoam pieces as well as rarer reds, oranges, and UV glass. Seaham is particularly famous for multicoloured pieces, typically called ‘multis’.  
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           Whether you are a dedicated sea glass hunter sifting through the shingle, or someone who simply enjoys walking the shore, you are sure to find something interesting.  
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            Kent
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           Totalling almost 350-miles of chalky white cliffs, expansive beaches, secret inlets and bustling coastal towns, the pebbles and coarse sands found in Kent are perfect for tumbling glass into smooth nuggets. Known for its wild and rugged beauty, the ports and harbours of this Southeast English coastline have a long history of maritime traffic, and in the early 19th century was popular with smugglers.  With such a rich past of human seafaring activity, the vast beaches offer a treasure trove of sea glass waiting to be discovered, including cargo from over 2000 shipwrecks. The best known include the Isle of Sheppey and areas around Folkstone harbour, however small inlets hidden within the nooks and crannies of the cliffs are well worth exploring. 
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            Yorkshire
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           The powerful waves and currents of the Yorkshire coast are fantastic for dredging up long forgotten treasure from the ocean bed. Although better known for fossilised remains that can be found there, the sand and shingle boast an impressive array of sea glass; usually overlooked by any fossil hunters. The best places are Withernsea, Robin Hood’s bay, Cayton, Whitby and Runswick bay. Famous for its connection to Bram Stoker's Dracula, Whitby is particularly good due to the town's rich maritime history and offers the unique beachcombing opportunity to find the gemstone Whitby jet. The product of decomposition of wood from millions of years ago, jet is a mineraloid that has been used as a decorative gemstone for thousands of years. Whitby jet comes from wood that is the ancient ancestors of modern pine trees. It was buried in the presence of salt water and with pressure and heat became jet. Nearly 200 million years old, Whitby jet has a reputation as the finest in the world and is an exciting find for any avid beachcomber. 
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            Devon
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           Another beautiful Southern county, Devon is unique in that it features two unconnected coastlines. Straddling a peninsula, it looks across the Bristol Channel and Atlantic ocean in the north, and the English Channel in the south. They also couldn’t be more different! In the north you’ll find rugged cliffs, striking views, wild surf and large expanses of sand, but further south and along the ‘English Riviera’, the coastline is soft and winding, with beautiful estuaries, secluded coves and charming villages. Facing the Atlantic, the turbulent waves of the northern coast are more suited for tumbling glass smooth and is therefore the best coast for sea glass hunting. Best known beaches include Combesgate, Barricane, Ilfracombe however, sea glass has also been found at Bovisands and Teignmouth in the south.
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            Cornwall
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           With over 400 miles of coastline, and over 300 beaches, Cornwall’s shores are rich and varied. From large swathes of golden sand, rugged cliffs and sea stacks, to glistening inlets and picturesque coastal towns, it is renowned for some of the most beautiful beaches in Britain. Having seen centuries of maritime traffic, Cornwall’s numerous harbours are ideal for discovering sea glass, and the various peninsulas and jutting headlands fantastic for ensnaring waves filled with treasure. There are numerous beaches known for depositing beautifully weathered sea glass, but the best include Pentewan, Marazion, Portreath, St Ives harbour, Holywell bay, Towan, Maenporth, Perranporth and Sennen cove.
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           For sea glass hunting with a stunning view Cornwall is paradise! 
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           From the industrial remnants of Seaham to the sparkling coves of Cornwall, England offers an abundance of opportunities for sea glass hunting. Whether you're a seasoned collector or a curious beachcomber, these locations provide the perfect backdrop to embark on a sea glass expedition and discover some rare beach treasure. Let us know of your English beachcombing finds, and any other beaches we have missed through our socials @bohosilver on Facebook or @bohosilverstudio on Instagram! 
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             best beaches for sea glass england best beaches for sea glass devon best beaches for sea glass yorkshire best beaches for sea glass kent best beaches for sea glass dorset 
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              best beaches for sea glass cornwall best beaches for sea glass uk best beaches for sea glass britain best beaches for sea glass near london best beaches for sea glass near durham best beaches for sea glass near seaham sea glass hunting england sea glass trip england
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             where to find sea glass england where to find sea glass devon where to find sea glass yorkshire where to find sea glass kent where to find sea glass dorset where to find sea glass cornwall where to find sea glass uk
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             british sea glass
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            where to find sea glass uk where to find sea glass england english sea glass english beach glass best beaches for beach glass england english beachcombing 
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      <pubDate>Sun, 06 Aug 2023 13:03:28 GMT</pubDate>
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      <title>Sea Glass Crafting Projects</title>
      <link>https://www.bohosilver.co.uk/sea-glass-crafting-projects</link>
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         Sea Glass Crafting- 11 Projects to get you inspired
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         Sea glass is a beautiful and unique material that can be used in a variety of crafts. Whether you've been collecting sea glass for years or you're just starting out, there are plenty of creative and beautiful ways to use this material in your crafting. Below we've shared some of our favourite sea glass craft ideas- we hope they get you inspired!
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          1.	Sea Glass Suncatcher
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          Holding up a freshly discovered piece of sea glass and having it backlit by sunlight is one of the purest pleasures in sea glass hunting. Why not bring this feeling inside by using sea glass to create a suncatcher? Semi-translucent, sea glass is perfect for refracting positive energy and light around the house in a medley of beautiful rainbows and flecked light.
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          There’s no right way to make one either, so enjoy playing with materials that feel right to you. Some people hang the glass from driftwood or a large shell, others use old light fittings or embroidery hoops. We would suggest using microfilament or fishline to string the sea glass, but there is nothing stopping you from using things like ribbon, twine or fish netting. Simply drill the glass, string them on your chosen material and tie it to the decorative top. Hang it somewhere it is sure to be in sunlight and enjoy its rainbow hues.
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          2.	Sea Glass Mosaics
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          The best thing about making sea glass mosaics is that they can be used to decorate almost anything; picture frames, mirrors, coasters, bathroom counters, tabletops or stepping-stones. All you need is a surface (a white or mirrored background works best to show off the glass colours), appropriate adhesive for your specific project and a sealant. Simply arrange the sea glass in a pattern or design of your choice, attach it to the surface and seal the mosaic to protect it and make it shine.
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          3.	Sea Glass Candle Holder
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          One of the simpler projects, sea glass candles are a beautiful and easy way to add a touch of the beach to your home decor. Simply glue sea glass onto the outside of a glass candle holder and place a candle inside. When the candle is lit, the sea glass will glow and create a beautiful and peaceful ambiance.
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          Alternatively, use your sea glass to make a candle display. Fill a clear jar approximately a third full with sea glass (mixed or similar in hue- it’s your choice!), and nestle your candles on top. Quick and easy, the only thing you need to watch out for is glass cracking if the heat gets too strong or the flame too close.
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          4.	Sea Glass Terrariums
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          Combine the healing power of plants with the beauty of sea glass to create a unique and pretty terrarium display. If your plant requires drainage, sea glass can be used to add a quirky and colourful layer to the pot, and if you have an air plant it can simply be added along with sand and shells to make a terrarium ideal for a beach lover. Beautiful and low maintenance, it is the perfect addition to any home or office.
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          5.	Sea Glass Pictures
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          Embrace a multimedia approach and combine your sea glass with paint, pen and pencil to create beautiful pictures. Just glue pieces to card or canvas and see what they become with a little imagination. The different shapes sea glass is tumbled into is great for inspiration, and we have seen amazing art made in the likeness of flowers, birds, jellyfish, trees, drinks and figures by the addition of some simple lines. This can be a great and unique way to do handmade cards or tags, and when framed makes wonderful wall displays.
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          6.	Sea Glass Christmas Trees
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          This craft is a little more seasonal, but the result is beautiful! All you need is a Styrofoam cone, strong glue, sea glass and a starfish for the top. There are two ways to do it. The quicker and easier way is to glue the sea glass directly onto the cone until all the foam is covered. However, if you want (in our opinion at least) a more impressive tree we suggest doing the slightly harder layered technique. 
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          To do this, you need to insert the glass into the Styrofoam at an angle between 45-90 degrees deep enough that it holds there. Then remove the glass, put glue on the edge which goes into the foam, then place it back in position. Insert a toothpick underneath to hold it in place and support until the glue is fully dried. Repeat around the entire cone so that the sea glass sits like a layered skirt. This may mean having to leave and come back to the project, but a patient approach will create the best results. When fully dry, and all the glass stays securely, remove the supporting toothpicks. Finally, take one last toothpick and attach your starfish. Wait for it to dry then insert it into the top of the cone as your topper.
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          7.	Sea Glass and Resin
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          Pictures, coasters, ‘stained glass’ windows, mosaics, trinket trays; there are loads of options when it comes to combining sea glass and resin. Intrigued? You will need a mold, nitrile gloves, safety glasses, mixing cups, stir sticks and a form of clear cast epoxy resin. 
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          In your mold, place sea glass in the desired layout then pour over the resin (with some resin types you may need to level it, however others are self-levelling). Depending on your project, you may need to glue the sea glass down, or push them down through the curing process. Alternatively, you could just leave them as is. With resin crafts, there is always a risk of air bubbles. Lighters, a small butane torch, or a heat gun can help remove them before the project cures- just make sure to do this with extreme caution!  
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          Allow your epoxy resin art to cure for 24 to 48 hours (you will know when it is done when it forms a solid clear surface and is untacky to touch), and enjoy your resin craft!
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          8.	Sea Glass Bowl
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          Cover a small to medium sized bowl (large may not hold its shape) with three to four layers of clingfilm. Using glue, start at the bottom/rim and attach sea glass to make a smooth edge. Gradually work upwards and around until your reach the top. For this section try to pick pieces which are similar in depth so you have a flat base when it dries. Allow it to dry for longer than you’d think!- even up to a week if needed. When you are sure it is dry carefully remove the bowl. Sometimes the clingfilm remains attached so you may need to do some delicate removal or, if it is not very noticeable, just trim the excess clingfilm around the edge.  
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          This sea glass creation looks particularly magical when illuminated by battery operated candles, or filled with fairy lights.
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          9.	Display Board
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          Another simple project with impressive results is organising your sea glass and other beachcombing trinkets on a backboard to create a display. You can do shapes and spirals, ombre effect or even create a seascape by combining different shades and colours of glass, shells and driftwood- just make sure they are securely glued down before you hang it up!. Circles or shaped boards can also work well if you want to make it a little different.
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          Alternatively, buy a second-hand letterpress drawer and hang it on the wall. All the tiny compartments can be a great way to both store and display your sea glass collection. Simply fill it with your favourite and most unusual beach combing finds, then place it somewhere everyone can admire.
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          10.	Sea Glass Curtain
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          If you have patience and a lot of sea glass to spare, you could even try making a window or doorway curtain. After stringing up drilled sea glass, all you need is a rail or driftwood it can hang from. You could try doing each string a different colour, create an ombre effect, or just have it as a multicoloured. 
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          11.	Sea Glass Ornament 
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          Perfect for decorating or giving as small gifts, sea glass ornaments are a beautiful and quirky way to provide a sense of occasion. All you need to do is buy clear plastic or glass ornament jars, baubles or spheres and fill them with sea glass. If you want more of a beachscape, feel free to add sand, small shells and other beachcombing finds. Finish it off with some twine or ribbon and it’s ready to go.
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          This is just a small list of ideas, but we hope they’ve at least got your creative juices flowing! Remember, this is simply inspiration, so don’t be afraid to experiment and adjust to suit your own style and interests. 
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          Let us know how you get on, and tag us in your sea glass creations at @bohosilver on Facebook or @bohosilverstudio on Instagram!
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      <pubDate>Mon, 31 Jul 2023 17:02:15 GMT</pubDate>
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      <title>Jewellery Trends 2023 - 2024</title>
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         What Jewellery Trends Will We See for 2024?
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         What can we expect as we head towards the latter part of 20323, and launch into the unknown in 2024?
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          We have definitely noticed changes in how people are buying. While customers may be buying less overall, there is a shift to saving and buying that one piece of jewellery that captures the soul. Perhaps it's a reflection of austere times, or a more eco friendly approach, but there is a return to the philosophy of 'buy well, buy once'. Eschewing mass produced cheap trinkets, customers are looking to buy a piece of jewellery that speaks to them in some way, or makes them feel good about their purchase. Something with providence and longevity. This is good news, not just for us as a business, but for the planet.
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           Jewellery trends are heading towards handmade designs that are symbolic or have connection or meaning to the wearer. They often feature unique, one-of-a-kind pieces that reflect the wearer's individual style and personality. Jewellery trends also focus on sustainability and ethical practices. This is so that customers can wear their jewellery knowing that it was created with respect for the environment and with fair working conditions.
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            So, what are jewellery trends for 2023-2024 looking like? As well as unique statement pieces, expect minimalist designs that are wearable every day. Simple hoops and circles; small pendants that can be worn with most things. Bangles and rings that can be stacked. Colourful and bold designs are also popular, as well as precious stones and pearls being used as accents. Expect to see more sustainable materials used in jewellery designs. Overall, jewellery trends for 2023-2024 will include both statement pieces and pared down everyday designs.
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            There is also a strong move towards free-flowing, organic shapes. Raw gemstones and pearls are likewise making a comeback, as well as organic materials such as wood, stone, and shells. Sea glass is definitely in the mix. This is because of the appreciation of nature and the desire to own pieces that are a reflection of the natural world. People are drawn to the unique imperfections of natural materials and the way they blend together to create something beautiful and unique. The appreciation of nature and an increasing awareness of the environment has led to a desire for pieces that are more sustainable and eco-friendly. By using natural materials, it is possible to create designs that are unique yet still inharmony with the natural world. Additionally, the imperfections of natural materials add to the beauty and individuality of each piece.
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            Boho Silver creates with all of this in mind. Our pieces are crafted from recycled silver and ethically sourced materials, with love and respect for our planet. We believe in conscious consumption and sustainable fashion. Our mission is to bring people closer to nature and spread awareness about protecting the world and its oceans.
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            Does Boho Silver fit in with the latest trends? Well, we don't really follow trends, but we hope the right people will find that 'connection' with our work. Inspiration for our designs come from our wild Scottish seascape, the ocean and the elemental forces of nature. This intertwines with Celtic folklore and sea witch vibes. These influences play a major role in our creative process, resulting in designs inspired by Scotland's wild and beautiful natural environment. We strive to capture the beauty of Scotland's untamed ocean seascapes in our designs, and create pieces that evoke a deep connection with nature.
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            Customers feel a connection to our pieces in many ways. The designs speak to wild women, sea lovers and free-spirited adventurers. Our pieces are timeless, unique and designed to last, so that customers can continue to enjoy this connection to nature for years to come. We hope to inspire people to feel connected to nature, no matter where they are. In essence, we hope our designs offer a sense of connection to the sea, and a time when we were closer to nature. The unique and organic pieces evoke individuality, wildness and freedom through their unusual designs. 
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            Trends are trends, and they are interesting to see. They come, and they go. As creatives we are not influenced by trends, but instead encourage individuality and a sense of the ethereal. We want our customers to feel a connection to the elements and to feel inspired to explore and appreciate both themselves, and the beauty of the natural world. 
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             jewellery trends 2024
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             sustainable jewellery trends 2024
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             Christmas jewellery for her 2024
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      <pubDate>Tue, 18 Jul 2023 11:36:26 GMT</pubDate>
      <guid>https://www.bohosilver.co.uk/jewellery-trends-2023-2024</guid>
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      <title>The 1000 Mermaids Project</title>
      <link>https://www.bohosilver.co.uk/the-1000-mermaids-project</link>
      <description>As custodian of the sea, it is fitting that mermaid figures have been chosen by The 1000 Mermaids Artificial Reef Project to help create new artificial reefs on the Floridian coast. An EcoArt project in collaboration with Ocean Rescue Alliance, their goal is to create 1000 crafted sculptures that will help restore existing coral reefs and create new ones.</description>
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         The 1000 Mermaids Artificial Reef Project 
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          “We know only too well that what we are doing is nothing more than a drop in the ocean. But if the drop were not there, the ocean would be missing something.”
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          ― Mother Teresa
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          A symbol of connection between humans and sea, the mermaid guards the threshold into the deep and mysterious fathoms of the world’s oceans. Images and stories of her originate across the globe from Europe, Scandinavia, Africa, India and Polynesia; almost every culture has passed down stories of a half-aquatic peoples.  Long tendrils of seaweed hair and watery myth entangle and connect us all, from the scale-shedding maighdeann-mhara here in Scotland whose enchanting voice links her to the seductive singers of the Mediterranean, to the Hindu mermaid princess Suvannamaccha whose divine status unites her with Nyai Roro Kidul, a Queen and sea Goddess from Indonesia. 
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          Protector and custodian of the ocean, it is therefore fitting that her figure has been chosen by
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            The 1000 Mermaids Artificial Reef Project
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          to help create new artificial reefs on the Floridian coast. An EcoArt project in collaboration with
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            Ocean Rescue Alliance
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          , their goal is to create 1000 crafted sculptures that will help restore existing coral reefs and create new ones.
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          Coral reefs are essential marine ecosystems, often called the "rainforests of the sea" due to the diversity of life they can support. Around 25% of the ocean's fish dependent upon healthy reefs to use as shelter, find food, reproduce, and rear their young amongst the gnarled crannies. However, 75% of the world’s coral reefs are currently threatened, and by 2030 this will be 90%, with the greatest global threat being climate change. Increases to temperature and acidity work to break down coral’s structure, while changes in storm and current patterns cause destruction and act to divert food supplies and larvae. 
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          With their loss comes the breakdown of entire ecosystems and less protection for coastlines from storms and erosion.  Fighting against such drastic outcomes, marine conservation acts to try and mitigate the effects of climate change across the world. However, this reef project marks a new intersectional approach, combining art, science, and community to try and confront the climate crisis.
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          Made from sustainable concrete, each mermaid sculpture from The 1000 Mermaids Project promotes coral growth and is embedded with coral nurseries to help enhance marine habitats and expand fish biodiversity. In 2019 they installed their first 18 off the coast of Palm Beach County, and a year later observed algae, sponges, and various fish species growing and living on the sculptures. Cast from real people before being sculpted, the artificial reef figures are planned to expand all over the world starting in Florida waters, with current locations including Riviera and Hollywood Beach. It is hoped this project will bring awareness and support for the ocean and marine conservation, acting as an underwater eco-friendly destination for tourism &amp;amp; research. 
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          Recently they have introduced an ‘Adopt a Coral Option’ as they out-plant coral fragments onto the reef sites. Coral Fragmentation is an exciting scientific breakthrough that discovered “breaking” a piece of coral into tiny pieces enables them to regrow up to 50 times faster than naturally in the wild. This process takes place in laboratories with various permitting process in place, with marine biologists later able to out-plant these “super corals” to revitalise marine diversity. The project will even provide the GPS coordinates of your adopted corals so you can visit them and witness their growth and contributions to the eco-system!
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           Please share and spread the news to help encourage support for Marine conservation and increase awareness of other Earth saving projects such as this. 
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          Note:
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          If you would like to contribute to Marine Conservation, but would rather support local or Scottish and UK based projects we have listed some below.
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            Beachwatch
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          - Marine Conservation Society’s national beach cleaning and litter survey programme where people all around the UK can volunteer in their local area. Beachwatch 
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            Clyde Floating Reedbed Project
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          - this project will create a floating estuarine habitat in the Canting Basin adjacent to Glasgow Science Centre. Clyde Floating Reedbed Project - Scottish Marine Environmental Enhancement Fund 
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           Seawilding
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          based at Loch Craignish, Argyll, Seawilding is the UK’s first community-led native oyster and seagrass restoration project. You can get involved in several ways, and at various levels, including marine biology, coastal surveying, project management, fundraising, photography, film-making, and environmental sciences. Get Involved | Seawilding
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            Project Seagrass
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          – a charity devoted to the conservation of seagrass ecosystems through research, community and action. They wish to enable the recognition, recovery and resilience of seagrass, an ecosystem that provides biodiversity, sustainable livelihoods, and planetary life support. Project Seagrass | Advancing the conservation of seagrass through education, influence, research and action
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            C.O.A.S.T (Community Of Arran Seabed Trust)
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          – Their aim is to protect and restore local marine life, educate future generations on conservation, and to create sustainable livelihoods for those dependent on fishing and tourism around Arran. Home 
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            Restoration Forth
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          - a major marine restoration programme working with communities to restore seagrass habitats and native oyster populations in the Firth of Forth. By the end of 2023, the project will have restored at least 1 hectare of seagrass and 10,000 native oysters, in aditiion to supplying a community skills development programme. 
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            Whale and Dolphin Conservation
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          – the UK’s leading charity dedicated to the protection of whales and dolphins. They aspire to create a world where every whale and dolphin is safe and free by ending captivity, stopping whaling and ensuring the sea is safe and healthy. 
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            ‘Living Seas Project’ with the Scottish Wildlife Trust
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          - a project focussing on both marine planning and community engagement. They are engaged in a wide range of areas, from North Sea decommissioning, photo stories, creating a more sustainable aquaculture and restoring the coastlines. Living Seas | Scottish Wildlife Trust
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          References
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            Coral reef ecosystems | National Oceanic and Atmospheric Administration 
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          The 1000 Mermaids Artificial Reef Project 
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          Main image courtesy of 1000mermaids.com
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      <pubDate>Thu, 01 Jun 2023 15:01:16 GMT</pubDate>
      <guid>https://www.bohosilver.co.uk/the-1000-mermaids-project</guid>
      <g-custom:tags type="string">mermaids,conservation,1000 mermaids project,coral,marine</g-custom:tags>
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      <title>How to Drill Sea Glass; A Step-by-Step Guide</title>
      <link>https://www.bohosilver.co.uk/how-to-drill-sea-glass</link>
      <description>How to Drill Sea Glass; A Step-by-Step Guide</description>
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         A Step-by-Step Guide to Drilling Sea Glass
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         How to Drill Sea Glass: A Step-by-Step Guide
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          Let me guess- you love the beach, beachcombing is your favourite hobby, and you are a self-proclaimed sea glass addict. Yet now you’re left with tubs and jars filled to the brim with frosty glass, and a definite feeling that they could be used for ‘something’- but where to start?
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          We don’t blame you! Sea glass is a beautiful and unique material that can be used in a variety of crafts, from jewellery making to home decor. Usually however, this requires it to be drilled; something that can be a bit tricky, especially if you're new to the process. To help you out we've broken our method down into simple steps, so grab some sea glass pieces and start thinking about what you want to make!  
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           Step 1: Gather Your Materials
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          Before you start, let’s set up your drilling station! You're going to need a few things, including:
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          - Sea glass
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          - Diamond-tipped drill bits (make sure they're the right size for the thickness of sea glass and hole you wish to make)
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          - A drill
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          - A container of water such as Tupperware (to keep the sea glass and drill bit cool)
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          -  A towel or something soft to put the glass on after 
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          - plastic safety glasses
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          - a small piece of wood or similar to submerge in container
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           Step 2: Prepare Your Sea Glass
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          Before you start drilling, you'll need to prepare your sea glass. Make sure it's clean and free of any dirt or debris. You can soak it in warm, soapy water to help remove any stubborn grime.
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           Step 3: X Marks The Spot
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          Once your sea glass is clean and dry, you'll need to mark the spot where you want to drill. Use a permanent marker to make a small dot on the glass where you want to drill, as it can be hard to judge when it’s under the water. Don't go too close to the edges when picking your spot.
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           Step 4: Start Drilling
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          Now for the fun part- let’s get drilling. Fill your container with water and submerge your sea glass in the water. This will help keep the glass and drill bit cool and prevent them from overheating. (We suggest using a thin bit of wood underneath the glass to make sure the container doesn’t end up damaged by the drill). Wear safety glasses just in case! A piece of BluTac on the wood can give a bit of grip/stickiness when holding the glass in place with your fingers.
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          Start drilling slowly and steadily, at a slight angle, before straightening. Only a
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            part of the drill bit should be submerged in the water, and never any part of the drill
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          - remember you are connected to the electrical mains, so approach sensibly and cautiously where water is involved. NO PART OF THE DRILL near the water! Apply gentle pressure while attempting to keep the bore-hole straight as it goes through the glass, but don't try to push the drill bit further to speed the process or the glass will break. Keep the glass and drill bit submerged in the water at all times.
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           Step 5: Rinse and Dry
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          Once you've drilled your hole, rinse the sea glass with water to remove any debris. Dry it off with your soft cloth or towel.
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           Step 6: Sand the Edges
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          The edges of your sea glass may be sharp after drilling. Use a fine-grit sandpaper to smooth out the edges and make them safe to handle.
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          Top Tip: if you want the glass to have a sheen rather than remain frosty, dab a little bit of oil on it.  
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          Hopefully, this guide has made drilling sea glass seem less daunting- with the right tools and techniques, it's actually quite easy! Just remember to take your time, be patient, and keep the glass and drill bit submerged in water to prevent overheating. 
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          Have fun with your sea glass crafting! We would love to see what you end up creating, so feel free to send us pics of your projects or tag us on socials at @bohosilverstudio on Instagram or @bohosilv on Facebook. 
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          If you need some inspiration for sea glass crafting, we have another blog post that may help get your creative juices flowing here.
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          Copyright is the property of Scarlett McQuillan and @Boho Silver 
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          This blog may not be copied or reproduced without permission and credit given
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      <pubDate>Thu, 01 Jun 2023 12:18:07 GMT</pubDate>
      <guid>https://www.bohosilver.co.uk/how-to-drill-sea-glass</guid>
      <g-custom:tags type="string">crafts,sea glass,how to drill sea glass,drilling</g-custom:tags>
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    <item>
      <title>The Grey Dog of Meoble - Legends of Lochaber</title>
      <link>https://www.bohosilver.co.uk/the-grey-dog-of-meoble-legends-of-lochaber</link>
      <description />
      <content:encoded>&lt;h3&gt;&#xD;
  
         The Grey Dog of Meoble -
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           Legends of Lochaber
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         If you are brave, and the day is long. If you can walk away from the warm village light and are not scared of shadows that creep and grow amongst the heather of north-west Scotland; take yourself at dusk to the banks of the Meoble River. Follow its turns below the rocky gaze of
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          Meith Bheinn
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         . This ‘Rough Bounds’ wilderness is not so deserted as it might seem. 
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          Before the river’s water empties into Loch Morar, stones start to sprout from the earth. Take care. This is the tumbled remnants of the village of Meoble, its decaying crofts and overgrown graveyard do not take kindly to strangers. Watch where you put your feet, as some memories are best left undisturbed.
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          If your courage has still not failed you, walk a little further- not so far you cannot see the roofless crofts, but far enough you will have a head start if there is need to run. Now wait as the islands fade into darkness; ghosts are easier to see at night. Watch and listen.  A dark shadow may flicker across the stones, a small whine catch in the breeze- these rough bounds are not so deserted as they might seem. I suggest you wait cautiously and remember the story I am about to tell you. The story of
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           Cù Glas Mheobail,
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          the Grey Dog of Meoble. 
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          **************************************
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          Some centuries ago, when this glen and village was still inhabited, there was a highlander by the name of Dugald McDonald. Dugald was a young man known for his love of deerhounds, and owned a large pack with which he trekked across the heathland. However, his favourite was a young female and she in return was his most faithful companion. Raising her from a pup, the hound (said to be called ‘
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           Elasaid
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          ’ or Elizabeth in English) was of a size unheard of, with the most magnificent grey coat in all of Lochaber. A day soon came however, where Dugald and many other young men went to join the Peninsular wars, leaving behind their family, homes and, in Dugald’s case, his beloved grey dog. Several years past before he could return, but although he eagerly called amongst the crofts, no shaggy-coated hound ran to greet him. 
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          Seeing his despair the villagers told him how, distraught at being left behind,
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           Elasaid
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          would not tolerate the company of any other human but took herself away to the hills. Nothing more was seen or heard of her until a hunter, passing by the small, isolated lochan of
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           Tain Mhic Dhughaill
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          spotted movement on the island in its centre. Shaking loch-water from her coat was a gigantic deerhound, and running out of the undergrowth to meet her came four, young pups. Dugald was delighted at the news, but the villagers gave caution. Although once his most loyal companion, no human had been near
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           Elasaid
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          in years, and her litter of pups were completely wild; no human should go near them. Deaf in his joy, Dugald took no heed but immediately went to find
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           Elasaid’s
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          pack at the peaty banks of
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           Tain Mhic Dhughaill
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          . 
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          That he found them was certain, but no one could ever quite say what happened when he did. 
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          It was in answer to the young man’s screams that the villagers set out into the night, but it was in silence that they found Dugald’s torn and tattered body; no explanation ever able to leave his bloodied lips. As they buried him in the graveyard, the crofters spoke quietly of what befell Dugald. Some said
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           Elasaid
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          was so joyful to see her master that they wrestled and played, the pups mistaking it for an attack on their mother and killing Dugald. Others said
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           Elasaid
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          had been away hunting, and without her the feral pups set upon him. Whether either account is true can never be known, but
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           Elasaid
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          never left her master’s side again. Disconsolate by his death, she held a lonely and cold vigil over Dugald’s grave, occasionally rousing the villagers with mournful howls until her own death.
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          Time passed. The young highlander and his deerhound began to fade from memory. Until, that is, her terrible howling was heard once more in the glens of Lochaber.  This time it came from Rifern, the small crofting town on the opposite riverbank to the Meoble graveyard. It was here that one of Dugald’s brothers lived, and for him
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           Elasaid
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          returned. As he lay terminally ill in bed, her ghostly presence appeared by his side.  She sat in vigil for several minutes before giving a sorrowful cry, her grey body dissipating like mist. A few hours later the brother died. Ever since that first (re)appearance, whenever a member of the MacDonald’s of Morar clan is close to death, a spectral deerhound is seen; an omen of what is to come, and to protect their passage to the afterlife. 
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          In between her ominous vigils
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           Elasaid’s
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          spirit haunts the hills and glens near Loch Morar, often being seen at Arisaig and Mallaig, particularly the Rhu peninsula.  Many locals believe this roaming is to find the soul of her master, forever hoping they may finally be reunited. Others view it as penance for Dugald’s death at the mercy of her pack. However, none seek to find and comfort
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           Elasaid
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          in her restless loneliness. That she protects the MacDonald’s is certain, what she may do to any other stray traveller is not known; it was many years she spent alone on that island, and grief can do terrible things…
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           scottish ghosts
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           scottish ghost stories
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           scottish folklore
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           celtic folklore
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           fairy dog
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           arisaig folklore
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           mallaig folklore
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           lochaber legends
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           death folklore
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           highland folklore 
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           folklore of the scottish highlands
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           grey dog rum
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           scottish rum
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           Scottish myths and legends
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           lesser known Scottish folklore
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           celtic mythology
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           scottish mythology 
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           scottish legends
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           ghost stories
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           bloody Scotland
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           haunted Scotland
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           forgotten Scotland  
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          References
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          MacDonald, Donald Archie. “Migratory Legends of the Supernatural in Scotland: A General Survey.” Béaloideas 62/63 (1994): 29–78. https://doi.org/10.2307/20522441.
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          The Grey Dog of Meoble (tom-odgen-keenan.com)
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          The Grey Dog of Meoble | A Blast From The Past (mikedashhistory.com)
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&lt;/div&gt;</content:encoded>
      <pubDate>Wed, 31 May 2023 12:08:28 GMT</pubDate>
      <guid>https://www.bohosilver.co.uk/the-grey-dog-of-meoble-legends-of-lochaber</guid>
      <g-custom:tags type="string">Scottish,folklore,arisaig,meoble,mallaig,grey dog of meoble,lochaber</g-custom:tags>
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      <title>Mermaid's Gate</title>
      <link>https://www.bohosilver.co.uk/mermaidgate</link>
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      <content:encoded>&lt;h3&gt;&#xD;
  
         Lady McQuillan &amp;amp; Mermaid's Gate, Dunluce
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           Mermaid's Gate, Dunluce Castle, Ireland.
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         Ireland, 1500s. 
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           The Northern sky is darkening. The wild Atlantic gathering into peaked ridges and foamy explosions of spume. From its vantage on the sheer basalt cliffs, Dunluce Castle watches the storm front approach, settling deeper into its rocky foundations as the clouds crackle and smoulder with distant lightning. Amongst the thick stone bricks of the North Easterly tower, Maeve Roe McQuillan gives a shiver as rising from the cliffs below comes the black wind of the Sidhe, the keening wail of a banshee. Tonight someone will die. 
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           The only daughter of Lord McQuillan, she is the lady of the castle, this tower her lady’s bower; yet the young face is pale and drawn. Her choice to love the wrong man keeps her a prisoner, and until she marries her father’s kinsman, Rory Óg, she will be imprisoned here. Everyday her father visits her to ask if she has changed her mind, and everyday she gives him the same answer, “I’d prefer prison or death”, and turns back to her sewing. By the end of the second week, he’d finally recognised she was sewing a white dress, and made to return her the keys. “Your bridal gown?” He asked satisfied, but Maeve stared steadily at the wall and replied, “No, it is my shroud.” In a fury he threw a broom at her, “enjoy sweeping your own rooms then. If you do not wish to become a lady, you can make do without servants!” and left, slamming the door behind him. He had not visited since.
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           Remembering her bitter words on this stormy night, Maeve raises the gown from her lap. It is finally finished. Simply cut, white, it does look like a bridal gown, and yet.... She thinks of the banshee’s warning cry.  The dress before her that is white as a shroud, white as a corpse. She puts it on and stands in the centre of the chamber, a haunting and haunted figure, while outside the wind howls and rain begins to fall. With another huge blast of wind the oak door bursts open and the candles surrounding pale Maeve flicker, the fire flaring up the small chimney. In the doorway stands a dishevelled stranger; wind blown, dripping. Then they draw back their hood, and Maeve starts with a cry.
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           Reginald O’Cahan. Young, handsome, a clansman of the McQuillan’s bitterest rivals, and not a stranger, but a lover. The very one for whom Maeve had turned down Rory Óg. A prisoner until a few short months ago, Reginald’s days behind his enemy’s walls were spent plotting his escape, and yet, unwittingly falling in love with the maiden who furtively passed stolen kitchen leftovers through the bars without her father's knowledge. Love blossomed. The one person he could not have, nor she him. Now, after months apart he stands in the doorway to the tower as the storm rages around them, a powerful figure with smiling eyes. He holds up a large iron key and grins. 
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           “Seems your guards are less loyal when there is coin about.” 
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           Aye, it is a romance for the storybooks. A young couple so in love they would risk and leave everything. Hidden by the storm they flee deep below the castle, through the dark and winding passageways that lead to Dunluce’s best kept secret; the Mermaid’s Gate. A great cavern, wave-hewn from the dark rock, it has been used by smugglers and armies, kings and prisoners. Tonight it is Maeve and Reginald who struggle across the seaweed slick rocks, boarding the small row boat that is their passage to Portrush. Yet even in this sheltered inlet the water is swirling, the darkness beyond surging against the surrounding cliffs, and Maeve’s hands upon the stern grow white knuckled as Reginald wades them deeper into the seething water. The small boat is quickly caught and dragged out into the stormy night, the thin oars and Reginald’s straining arms powerless against the raging tide. 
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           Above, the castle’s inhabitants watch from high in the battlements, Lord McQuillan‘s face changing from anger, to fear to desperation as he recognises the glimpses of white amongst the storming waves. Maeve’s words sounding in his mind; my shroud, my shroud, as helplessly he watches the boat overturn, the futile attempts of the young couple to cling to one another amongst the black water, and then...nothing. 
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           The next morning, as dawn breaks wind-scoured and grey, searching castle soldiers find Reginald’s body washed upon the shore. However Maeve‘s body does not return from the sea. Her father pleads and weeps, but the Sea refuses to give back the body, her white dress the only shroud Maeve is destined to ever wear. 
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           Yet the sea could not hold her wild spirit, and it is said that a woman in white now haunts the tower in which Maeve was imprisoned, the ‘Dread tower’, sweeping the floor and weeping over her dead lover. Sometimes she is seen on the cliffs beside the castle at sunset. She is always gazing out to sea, bare feet grazing the slender sea-pinks as she searches for her lover’s soul and watches for western clouds carrying another storm to her beloved Dunluce.  
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           To that lone crumbling tower, Once a fair lady's bower, 
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           Comes in the midnight hour, That hapless spirit. 
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           Mourn for the Lady Maeve, Mourn for her wind and wave, 
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           Naught but a sea cold grave, Did she inherit.' 
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           Sir John Ross, 1836 
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            Why the ‘Mermaid’ cave?
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           Despite the widespread agreement that the large cavern below Dunluce is known as the Mermaid cave or gate, no one seems able to give a reason or origin for this name. Unsatisfied, I decided to do some digging and discovered from an old periodical that a mermaid was believed by locals to live in the cave. Every night she was said to frequent the waters surrounding Dunluce castle, and during the day could sometimes be seen lounging on the rocks, combing her long black hair. 
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           In the way of Folk-Lore, all the locals seemed to know someone, or know someone who knew someone else, who had seen the mermaid sitting on the rocks under the castle- sometimes for as long as three minutes! In Scotland certainly, sea caves on the north west coast where viewed to be inhabited by mermaids, so it seems likely the same belief was held about the one at Dunluce. Whether the mermaid is a guardian of the castle or merely a neighbour is unclear, but considering the sightings it is definitely worth keeping an eye out for glimpses of a scaly tail in the waters below if you visit...
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             Copyright of the above written story of Mermaid's Gate belongs to Scarlett McQuillan (Boho Silver). and all or part may not be reproduced without permission and attribution.
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           References:
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           Blind, Karl. "SCOTTISH, SHETLANDIC, AND GERMANIC WATER TALES." The Contemporary Review, 1866-1900 40, (09, 1881): 401.
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           https://emeraldisle.ie/the-haunting-of-dunluce
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           Dunluce Castle - History and Facts | History Hit
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             What is Mermaid's Gate?
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             Where is Mermaid's Gate?
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             Dunluce Castle and the white Lady
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             Is Dunluce Castle Haunted?
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             Mermaid stories 
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             Irish mermaids
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             Mermaid folkore
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      <pubDate>Fri, 20 Jan 2023 09:50:30 GMT</pubDate>
      <guid>https://www.bohosilver.co.uk/mermaidgate</guid>
      <g-custom:tags type="string">historic ireland,folklore,mermaid,castle,Dunluce,seacave,mermaidsgate,ireland,McQuillan</g-custom:tags>
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      <title>What Is Milk Sea Glass?</title>
      <link>https://www.bohosilver.co.uk/milk-glass</link>
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         What is milk sea glass?
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         What is milk glass sea glass? 
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          Is milk glass sea glass rare? 
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          What is jadeite?
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          Identified on any beach as pieces of opaque glass, often in whites, greens, blues and pinks, these unremarkable looking sea glass finds have quite a history, with milk glass originating in 16th century Venice. The Victorians embraced the white milk glass, as it proved to be an affordable alternative to porcelain. Much of their decorative tableware and vases were milk glass. Later, during The Great Depression companies that provided household goods such as flour, or petrol stations, often gave away milk glass teacups and glassware as freebies with purchases. Milk glass also often housed cosmetic creams such as traditional cold creams. 
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           According to Beachcombing Magazine;
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           ‘Milk glass, also known as opal glass, is made by adding tin, zinc oxide, fluorides, phosphates, arsenic, antimony, or calcium in the form of bone ash (which creates a translucent opaline glass). Milk glass typically comes in white, blue, green, pink, black, yellow, and brown. Some milk glass was made with manganese dioxide to keep it bright white, and this compound reacts to sunlight over time turning the milk glass a light lavender.’
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           Jadeite ( or Jadite, or Jade-ite)) is a green form of opaque glass that was made by adding green glass into the molten mix. It gave a pleasing jade colour that was marketed as ‘Skokie’ green. It was heatproof and stain resistant, so very practical, but the coloured tableware also looked good to display and were cheap to make. Again, jadeite homewares were often given away as freebies during the Depression or could be bought cheaply. Martha Stewart famously has a huge collection of Jadeite. 
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           Some of the older makes (pre 1943) contain uranium, and will glow in the dark with a UV light. In fact uranium was once a common colourant added to glass and ceramic glazes. Uranium glass was particularly popular in the early 20th century, when large quantities of uranium salts were being produced as byproducts of the radium extraction industry. Fear not, they emit a negligible amount of radiation and were perfectly safe to eat and drink from. After WWII, uranium became more regulated and glass manufacturers had to find an alternative way to achieve the colour.
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      <pubDate>Mon, 16 Jan 2023 15:37:25 GMT</pubDate>
      <author>183:786523167 (Elizabeth Mcquillan)</author>
      <guid>https://www.bohosilver.co.uk/milk-glass</guid>
      <g-custom:tags type="string">jadeite,seaglasshunting,seaglass,milkseaglass</g-custom:tags>
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      <title>Sea Glass Ashes Memorial Jewellery</title>
      <link>https://www.bohosilver.co.uk/memorial-jewellery</link>
      <description>Ashes captured within sea glass. Memorial jewellery that is unique and utilises hand collected sea glass from Scottish beaches.</description>
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         Sea Glass Ashes Jewellery
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         Meet Jim.
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           Jim lived a full life, and was a good dad. He has spent the past eleven years sitting in an urn in the corner of his daughter's bedroom, with only one small incident where a little bit of him got hoovered, to ease the monotony. His daughter contacted us as she loves our jewellery and wanted to incorporate her dad into something totally 'her' and very  different from the average 'memorial' jewellery out there. I explained that to try this was pretty much an experiment, and as long as she and Jim had a sense of humour and wouldn't be too upset if I ended up wearing his ashes in the process! She laughed and said her dad would find that hilarious. The whole thing was approached with an open mind and a hefty dose of respectful humour. I talked to Jim throughout the process, and I think he approved. Did I end up wearing Jim? Not exactly, but he is definitely a presence around the workbench, and I think I might have crunched on a small particulate of him. The remaining ashes will be released near Loch Lomond, where he never managed to visit.
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             Sea glass ashes jewellery is an entirely unique concept and process, and we are the only jewellery business to incorporate the ashes within the sea glass itself. We discovered the method and process ourselves through trial and error.
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           We like to call these pieces 'spirit' or 'soul' jewellery, as we believe we capture something of the individual within. We are all energy, everything in the Universe is energy, and we can change from one form of energy to another. We believe the energy of a person never dies. We make occasional pieces, and have sometimes experienced the perfume of the deceased person, or some other little 'sign' (we think) that the energy is there. Sadly, an experience like that, we cannot guarantee! However, if we do experience anything unusual while making, we tend to say - it may or may not have significance to you.
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           Is a Boho Silver ashes piece of jewellery for you?
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          If you already love our organic designs, and can approach the process with humour and an open mind, then perhaps. It's time consuming and not the cheapest, but it will be something very different. So do
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           get in touch
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          if your are feeling the feels for our work. But we really want the fit to be right, so it might be that one of the below options will work better for you.
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          There are plenty of memorial jewellery alternatives out there:
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            Resin is poured over the ashes/hair/sand/shells etc and sometimes this is set up as a wee scene. Coloured dyes and glitters are added and the resin poured into shaped moulds and pre made rings and necklaces. These most often have shapes to choose from (hearts, circles, teardrops etc). This is the most simple and affordable option, and should certainly cost less than any other option.
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            Ashes to diamonds. Carbon. Thats what ashes are, that's what diamonds are. With enough pressure it's said to be possible to make diamonds. Some say that this isn't entirely true, so do your homework. This will involve specific equipment, and being 'diamonds' I'd imagine more expensive.
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            Clear glass is either blown, or heated in a kiln, with the ashes incorporated, and coloured dyes and glitters added to give pretty colours and swirly patterns in the glass. These are usually available in a small selection of specific settings for you to choose from, often round, ovals, teardrops and hearts. Sometimes the business have silversmiths or goldsmiths that can make a bespoke setting for your own requirements.
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            The ashes are sandwiched between two layers of dichroic glass, and these are heated and fuse in the kiln with the ashes inside. Dichroic glass is a type of manufactured glass designed to change colours under different lighting conditions and viewing angles, and can have a metallic or glittery look, or just be a subtle rainbow of colour hues.
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           How is sea glass ashes/memorial jewellery different?
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          We incorporate the ashes INTO the sea glass, and are unaware of anyone else that does this.
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          We can use sea glass that is special to you.
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          Sea glass can have been tumbled by the sea for over one hundred years and has a story to tell. We use heat and our own process to add the ashes. We cannot predict the colour, or how the glass and cremate will react, so we trust to nature and the organic process to see what results. It is a time consuming process, and not all attempts are successful.  When the glass accepts the cremate, we will work with the resultant glass, and we design around that. We are inspired by nature and the sea, and follow the flow of the resultant glass. We think the energy of the person plays some part in forming the piece. 
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          Please note, we cannot guarantee the colour of the resultant sea glass. We do not know the provenance and molecular make up of the glass, and therefore how it will behave. 
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          We set the resultant sea glass with cremate uniquely, and each piece will vary. 
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          While we will discuss rough design ideas with you, for rings we do favour a wide band adjustable wrap ring that is strong and has some slight wiggle room on sizing through the years. Silver is quite a soft precious metal and a thin band will wear through in time, but if that is your preference we can do that. We use texture and innovative designs to create something unique and very different.
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           What we don't do?
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           We don't copy other jewellery designs. Your jewellery will be unique. 
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           Nor do we make similar pieces to the more widely available memorial jewellery with 
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          pre-fabricated setting styles as hearts, pears, teardrops etc. There are a multitude of businesses out there who can provide this service. 
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          We pride ourselves as artisan jewellers, and want your sea glass ashes jewellery to be just as free spirited &amp;amp; unique as your loved 
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          one. 
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           Who will a sea glass ashes ring suit?
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          We think, like all our jewellery pieces, the aesthetic and vibe is one of freedom and wildness. Be that for you or your loved one. Wild men &amp;amp; women, free spirits, poets, artists, nature lovers or anyone who has a fun and adventurous spirit. We think we might be a good match for you.  
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          This is an adjunct to our usual jewellery designs, and we take on these commissions on a case-by-case basis, as our approach is very holistic and organic. We don't work to strict timescales or rush these spirit pieces, and won't undertake a regimented design. We feel that is not in keeping with the energy of making these pieces. In truth, we believe our designs will appeal to very specific and eclectic group of people. 
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           Cost?
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          You are paying for hand fabricated jewellery, and a unique design that is heirloom art to hold your loved one's ashes. 
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          Handmade, bespoke and the ashes approached as a unique individual, with any remaining ashes liberated somewhere beautiful. Prices will vary, with entry level prices start at around £260 for a simple design, but can be anywhere in the  £260- £500+ range with more work and embellishments, or with the use of gold detailing. 
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          If you feel we are a match, we will be delighted to hear from you.
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          If you are interested in commissioning a piece, drop us an
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           email
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          , and we can discuss the 'feel' you want and send out a ring sizer if a ring is wanted. We will give you an estimate on when we can start, and an estimate of cost. There is a 20% non-refundable deposit on all commission work.
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          If you are from the USA or Canada, please check your own laws regarding sending cremate in the post, and if you will have any import duties to pay on jewellery. This is your own responsibility.
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          All the silver we use is sourced from a reputable UK supplier and is guaranteed planet-friendly recycled silver.
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          Our designs will be hallmarked by The Edinburgh Assay Office and have our own Sponsors Mark.
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           If you think we might be fit, our website page is
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            here
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           You can
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           Can you scatter the cremation ashes for me in Scotland?
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          We are happy to scatter any excess ashes from the jewellery design in our own beautiful local rural Scottish landscape free of charge.
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          If you have a specific request that you wish some (extra) ashes scattered in a specific place in Scotland, we can give an estimate of the cost to cover any travel, time and accommodation required. We will even travel to remote Scottish glens or seashores to do this for you. We are happy to capture the moment and the scenery on iPhone, and give you a grid reference so you can always find the exact spot in the future. It's not jewellery design, but we have helped out before.
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          We have customers from the USA &amp;amp; Canada with a strong Scottish heritage, and returning some ashes to the 'homeland' can be quite cathartic in the grieving process. Scattering a small amount of ashes in the Highlands of Scotland; Skye, Assynt, Lochaber, Glencoe, Caithness or beyond is possible. Please check what the laws are regarding postage of cremate within your own State or country..
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           Scattering cremation ashes in the Highlands of Scotland
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      <pubDate>Wed, 12 Oct 2022 14:39:56 GMT</pubDate>
      <author>183:786523167 (Elizabeth Mcquillan)</author>
      <guid>https://www.bohosilver.co.uk/memorial-jewellery</guid>
      <g-custom:tags type="string">keepsake,Scottish,memorial,ashes,ashes to glass,bereavement,jim</g-custom:tags>
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      <title>Care Of Sterling Silver</title>
      <link>https://www.bohosilver.co.uk/care-of-jewellery</link>
      <description>Preventing tarnish on sterling silver, keeping sterling silver clean and caring for sterling silver jewellery</description>
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         Care Of Jewellery: How, What and Why
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           Care of Boho Silver Jewellery: An Honest Appraisal
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          All silver will tarnish on exposure to air. By that, I mean it will lose its shine and begin to look a little grey and dull. This is a natural process known as oxidation, and how long that takes to happen depends to a great extent upon on the wearer, and the chemicals the jewellery is exposed to. For example, we have oil fired heating in the house, and jewellery left in the kitchen (where the stove lives) quickly tarnishes.
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          Much of the mass produced silver jewellery has been rhodium plated in order to give a whiter and brighter shine that will last for some time, but will eventually wear off. Our handmade jewellery does not use any plating, so expect tarnish.
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           Can I wear silver jewellery in a hot tub or jacuzzi?
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          While you can wear it, expect it to turn grey or black pretty fast, so we’d suggest not. The chemicals within the water will accelerate hugely the tarnishing process, and can often turn the piece black. Rings or jewellery with a closed-back setting should never be submerged (in any water) as the area behind the stone will tarnish and leave dark spots behind the stone or sea glass that cannot be remedied.
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           Can I wear silver jewellery in the swimming pool?
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          As per above, the chlorine within the pool water will impact your jewellery and accelerate tarnish. Again, don’t wear your closed-back settings!
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           Can I wear my silver jewellery to mud baths or natural springs while on holiday?
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          Only if you like your jewellery an intense shade of black. The sulphur in the mud baths/springs (smells like rotten eggs) is the same compound we use professionally to put a black patina on some pieces of silver.
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           I haven’t done anything I shouldn’t, so why has my silver jewellery gone dull, grey or black?
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          Sometimes this is down to the acidity of an individual’s skin. But everything from sweat, perfume, body lotion, sun screen, soaps and oils can accelerate tarnish. It’s not unknown for the dull greyness to be a build up of dead skin on pieces worn 24/7, so do check this. If it’s ‘never happened before’, consider what different products you might be using or if, most likely, your other silver jewellery is rhodium plated to avoid tarnish. This has nothing to do with the quality of the silver, or the craftsmanship of the maker. Note that some jewellery designs may purposely have a dark patina added to accentuate a design or texture.
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           Can I wear my jewellery 24/7?
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          We suggest common sense here. Technically, no jewellery piece is designed to be worn this way unless it’s a plain ring band or sleeper style earrings. Consider a delicate chain getting twisted and caught as you toss and turn at night, or the claw settings of your ring catching on bedding or nightwear. If the chain breaks, or you lose a stone, it’s not the makers fault!  Consider the ongoing wear and tear this causes over time, night after night - eventually this will likely cause a piece to be damaged or broken as it becomes weakened. Jewellery should be removed overnight, and closed-back setting on any piece removed before sweating heavily, showering, bathing or hand washing. This is because water and sweat can leach behind the stone or sea glass, accelerating tarnish. When this happens, dark spots appear behind the sea glass or stone, and this is impossible to rectify without starting from scratch.
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           How should I store silver jewellery?
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          The very best way is to store in a dry place and exclude air. We favour recycling tiny little bags or glassine bags, with a tarnish strip (you can easily buy these online) placed in the bag to keep the jewellery as tarnish free as possible.
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           Can silver jewellery break?
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          If you bend silver to reshape it, then yes the metal can become brittle and break. An adjustable ring is designed to be adjusted to size, then left there, not adjusted repeatedly. Most silver jewellery pieces will have solder joints, and if you try to bend or reshape, then these can fail. The solder joint is the ‘weak link’ in any design, so if you catch a ring for example, then it is the solder joint that will most likely ‘give’. This isn’t a design fault on most occasions, but rather due to jewellery getting caught, struck, dropped, mistreated or manually manipulated. It’s important to be honest with the maker, as when they examine the piece, they will likely know! Whether this can be easily repaired depends on where it’s located. If it’s close to a stone setting, it might be necessary send the piece to a specialist who can offer laser soldering to avoid damaging the sea glass or stones.
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           Will sea glass or gemstones crack or break?
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          With normal daily wear, that shouldn’t happen. The glass has, after all been tumbled against rocks in the sea for perhaps one hundred years. That said, if you don’t place your gemstones or sea glass pieces down carefully, and store them safely, and they hit or drop against granite worktops, stone, tiled surfaces etc, then naturally they can be cracked or broken.
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           Should I use silver dip to clean silver jewellery?
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          We recommend a simple silver polishing cloth for most pieces. Note that some designs have a dark patina added to accentuate a design or texture, and you will remove the patina with polishing clothes or dips. For plain silver pieces, or those with a patina, a soft toothbrush, warm water and washing up liquid can do a great job. Care should be taken around closed-back settings, and water or dips never used as it may get behind the setting causing dark marks. We don’t recommend silver dips as the chemicals are extremely toxic to the environment and can cause micro pitting of the silver, meaning it will tarnish faster in the longer term.
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          We want you to love and wear your silver jewellery, but please understand it is designed to be worn as adornment and to accentuate your inner goddess. However it is not designed for wear during a roller derby, into battle or when you feel like punching something in a fit of pique.
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          @copyright 2022 Boho Silver
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      <pubDate>Tue, 06 Sep 2022 09:18:53 GMT</pubDate>
      <author>183:786523167 (Elizabeth Mcquillan)</author>
      <guid>https://www.bohosilver.co.uk/care-of-jewellery</guid>
      <g-custom:tags type="string">cleaning,swimming,silver dip,jewellery help,jewellery care,dark mark,tarnish,boho silver,silver,silver cleaning,seaglassjewellery,Sea</g-custom:tags>
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      <title>Grace O'Malley: The Pirate Queen</title>
      <link>https://www.bohosilver.co.uk/the-pirate-queen</link>
      <description>The story of the real Irish pirate queen, Grace O'Malley, a mariner and leader who time and again proved herself in a male dominated world. She refused to take the knee to the English Queen Elizabeth I, and it was thought the monarch deeply respected her endeavours, seeing her as a strong woman like herself. Read the full story.</description>
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         Grace O'Malley- The Pirate Queen
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          Legendary for her bravery and exploits, Grace O’Malley was an Irish rebel who gained notoriety as the ‘Pirate Queen’ of Ireland at a time when both clans and seas were ruled by men.
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          Assembling an impressive empire through politics, piracy, seafaring and marriage, her Machiavellian and bloody tactics allowed her to successfully maintain the independence of her territories at a time when much of Ireland was subjected to English rule. Said to be as beautiful as she was formidable, she was known amongst her contemporaries as “the dark lady of Doona” and by her proper name
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           Gráinne ní Mháille.
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          The O’Malley Clan were shrewd seafarers who bartered and managed the seas surrounding County Mayo, West Ireland. Born there around 1530, Grace spent her childhood tracing the coast and sailing amongst the islands, particularly Clare Island. Her father was
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          (O’Malley), elected chieftain of the O’Malley Clan, and a man supportive of encouraging all his daughter’s skills rather than just those appropriate to a woman.
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          By the time she married her first husband, Donal O'Flaherty aged 16, Grace was an adept seafarer, well-educated, and an experienced trader. When Donal was murdered and his castle attacked due to it only being 'protected by a woman’, Grace finally had a chance to show her significant skill and maturity. Driving back the attacking Clan, her counteroffensive was so fierce she was compared to a hen protecting her brood, and the fortress obtained the name "Hen's Castle", as it is still called today. She returned home to the O’Malley stronghold and with her came Donal’s men; voluntarily sworn to allegiance. 
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          This battle was only the beginning of her success. From only one or two ships she eventually formed a fleet, obtained three strongholds, and amassed a large following of fighting men. Demonstrating prowess on land and sea, Grace’s maritime abilities upon the wild Atlantic Ocean gave her great prestige and ultimately solidified her role as chieftain, despite women not being allowed to be elected. Like everything else in her life Grace went by her own rules, and her matriarchy became accepted not only by her own followers, but neighbours; her influence and aptitude for battle and seafaring earning respect amongst her male contemporaries. Said in 1583 to be “by sea as well as by land more than master and mate” to Iron Richard, her husband of the time, it was her leadership, particularly leadership at sea, that sets Grace O’Malley apart from other documented female trailblazers in history.
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          Later in life Grace found herself fighting for freedom against dominating English magistrates, a rebellion that resulted in incarceration. Grace was near destitute by the time she was released,  but hearing of the imprisonment of multiple members of her family, including her own sons, Grace set sail for England to petition directly to the crown. The 1593 meeting with Queen Elizabeth I went surprisingly well, despite various rumours of Grace’s audacity, with nearly all requests being met under the condition Grace would no longer rebel against the crown. Some suggest this surprising result was due to the respect Elizabeth herself had for Grace. By refusing to take the knee, Grace implicated herself to be just as worthy of the title 'Queen' as Elizabeth, an outlook reciprocated by Elizabeth through acknowledgment of their equality as female leaders in an otherwise male-dominated world. 
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          Mystery surrounds the time and place of her death, although many believe it was 1603 (the same year as Elizabeth I) and that she returned to Clare Island. By this time Ireland had fallen into English hands, and the country entered the new century with a revised Anglo face; the Gaelic way of life was disregarded, and with it Grace. With her fiery and non-conformist attitude, Grace did not fit with the Christian and submissive ideals of womanhood.  Monks, and later male historians, either scoured her from history or disregarded her success. Yet the figure of Grace still endured to become a symbol of Ireland, a legacy maintained through the legends, folktales and songs of old Ireland. 
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          The O'Malley clan's motto, "Powerful by land and by sea" is an apt description of its formidable heiress, with the tempestuous sea queen an inspiration to all those who choose to live according to their own rules and not others.
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          1)	When she was a girl, she rescued a man from a shipwreck and he fell deeply in love with her. They were happily married for a time before a feud began between the O’Malley’s and the MacMahons. During a deer hunt the MacMahons carried out an ambush from which her husband died. Swearing vengeance, Grace used her galleys to strand them on Caher Island; killing many and capturing her husband’s murderer to later be hanged. Unsatisfied, she then sailed to Ballycroy to capture and take over the MacMahon’s family house ‘Doona Castle’. 
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          2)	Local legend states that when Grace was young, she wanted to accompany her father on a sailing expedition to Spain. After being told she couldn't go as her long hair would catch in the ship's ropes, she promptly cut it off and, unable to go back on his word, her father let her join. This act earned her the nickname
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          which means Bald Grace, and demonstrated the rebellious nature for which she would later become famous..
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          3)	Not long after her son Tiobóid Na Long (meaning Tiobóid of the ships) was born at sea, her ship was attacked. Full of fear her crew came to her for help, after which she donned a blanket and two shotguns to rally them together on the top deck. Cursing and dancing on the stern, Grace’s presence confused the attackers, enabling her to shoot their officers and capture the ship. 
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          4)	Grace’s talks with the Queen were surrounded by much speculation, but it is said that she was offered the present of a lap-dog, something that was high fashion amongst affluent court ladies. To this offer, Grace bodly replied;
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           “Heart- burn on the putach (fat animal). He suits an idler like you who has nothing better to do than to be petting a sciortán (tick) like that.”
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           “You are mistaken”
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          said the Queen,
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           “I am not an idler. Have I not a large kingdom to manage and govern.”
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           “Perhaps so,”
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          replied Grace,
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           “but there are many poor persons in West Mayo with only a small garden who have more to do than you have.”
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          The video below is the traditional folksong
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          a defiant rallying song for rebels, and one of the best known ballads to feature Grace O'Malley. 
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           https://www.rmg.co.uk/stories/topics/grace-o-malley-irish-female-pirate
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           KNOX, H. T. “Grace O’Malley.” Journal of the Galway Archaeological and Historical Society 4, no. 2 (1905): 65–72. http://www.jstor.org/stable/44973429.
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           Maguire, Conor. “Grace O’Malley: The Queen of the West.” Studies: An Irish Quarterly Review 32, no. 126 (1943): 225–30. http://www.jstor.org/stable/30100558.
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           Keaney, Marian. Review of Sailor Queen, by Anne Chambers. Books Ireland, no. 42 (1980): 77–77. https://doi.org/10.2307/20624771.
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           https://www.worldhistory.org/Grace_O%27Malley/
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            ﻿
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      <pubDate>Fri, 01 Jul 2022 14:23:25 GMT</pubDate>
      <guid>https://www.bohosilver.co.uk/the-pirate-queen</guid>
      <g-custom:tags type="string">grainne,pirate,female trailblazers,irish,celtic revival,historic women,irish pirate,irish women,Sea,historic ireland,gaelic,mhaol,pagan,celtic,wild women,grace,celtic myth,female pirate,irish history,o'malley,ireland</g-custom:tags>
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    <item>
      <title>Kelpie Folklore</title>
      <link>https://www.bohosilver.co.uk/kelpie-folklore</link>
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      <content:encoded>&lt;h3&gt;&#xD;
  
         The Scottish Kelpie- folklore and inspiration
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            What would the world be, once bereft
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            Of wet and of wildness? Let them be left,
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            O let them be left, wildness and wet;
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            Long live the weeds and the wilderness yet.
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          One of the more obscure fae, the water Kelpie of Scottish folklore tends to be forgotten beside the more renowned mermaid or sea monster. With its malicious nature and predilection for human flesh, the Kelpie holds little popularity with those who hear of it, the exception being parents who hold them in high regard for their ability to ensure children heed their warnings. In a country of wild places, deep bogs and raging rivers, through history the kelpie has undoubtedly saved many Scottish children from a watery grave by keeping them away from enticing water.
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          A shape-shifting spirit inhabiting rivers, streams, and later lochs in Scottish folklore, the Kelpie is a Celtic legend told in all areas of Scotland. As a water spirit it can take many forms, however its favourite guise is that of a beautiful horse, often ‘lost’, resting by a riverside. Sightings range from the horse being black, white or green as polished glass, but a common characteristic is the reversed hooves that differentiate it from being mortal. Any stranger unknowing of this, or any traveller too weary to notice the fae signs, will find themselves in dire peril if they attempt to mount the horse. Upon the slightest touch they will find themselves stuck, hand fused to the glossy coat as the horse plunges headlong into the deepest pool to drown and devour the victim. 
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          Other times the Kelpie may transform themselves into human figures, predominantly male, to either threaten, woo or beguile unsuspecting passers-by. In this form they may only divulge their true nature through the trailing stems of water weeds in their hair, and damp, cold skin even on the warmest of summer days. 
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          To survive an encounter with a kelpie you must capture its bridle or, if in human form, its necklace; the one weakness it possesses. Anyone who succeeds in doing so will then have command over it and other Kelpies of the same water source. It is rumoured that the MacGregor clan still have a kelpie’s bridle, passed down through the generations from an ancestor who took it from a
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           Kelpie near Loch Slochd. 
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          Although perhaps not the most romantic of folktales, the Kelpie possesses a nature and form that is more deeply bonded with ancient Scotland than perhaps any other mythic creature. Beautiful and deadly, rugged and wild, water soaked and windswept, the Kelpie’s temperamental character is exactly that of the Scottish landscape. 
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          For us the kelpie is a channel back to ancient living. To sheep-grazed crofts and blooming heather, to stone circles and Celtic mysticism. Our artistic rendering does not therefore ‘capture’ anything in silver, but is an ephemeral skin for an immortal being.
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          remain untamed. The dark patina of a sable coat, the silvery reflection of shifting water, the tangled coils of mane; all surrounding the shifting blue heart of a water spirit. 
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          Inversnaid
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          This darksome burn, horseback brown,
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          His rollrock highroad roaring down,
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          In coop and in comb the fleece of his foam
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          Flutes and low to the lake falls home.
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          A windpuff-bonnet of fáwn-fróth
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          Turns and twindles over the broth
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          Of a pool so pitchblack, féll-frówning,
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          It rounds and rounds Despair to drowning.
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          Degged with dew, dappled with dew
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          Are the groins of the braes that the brook treads through,
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          Wiry heathpacks, flitches of fern,
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          And the beadbonny ash that sits over the burn.
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          What would the world be, once bereft
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          O let them be left, wildness and wet;
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          Long live the weeds and the wilderness yet.
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          Featured art by Brian Froud &amp;amp; Alan Lee
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      <pubDate>Thu, 13 Jan 2022 17:28:25 GMT</pubDate>
      <guid>https://www.bohosilver.co.uk/kelpie-folklore</guid>
      <g-custom:tags type="string">Scottish,kelpie,folklore,celtic,mythology,scotland</g-custom:tags>
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      <title>Steps Towards Rewilding Yourself</title>
      <link>https://www.bohosilver.co.uk/steps-towards-rewilding-yourself</link>
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         How To Reclaim Your Wild:
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          New Year Guidance
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         Winter is a time of hibernation. A time of repose, regeneration and creativity. Surrounded by the cold darkness of winter, the warm hearth is a place for comfort and reflection, the snow and frost stripping us down so, like the trees, we can see the bare roots that continue to ground us. It is about delving deep, earthy reassurance, and seeing what continues to grow in adversity.
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           Unlike our fellow mammals, humans tend not to slow with the plants and river. Rather we seem to increase the strain on our already exhausted bodies and souls. As we emerge from the festive period, frayed and stressed, the last thing required is the intensity of major change or damning self-criticism. Not only do we not have the energy to sustain these changes, and thus inevitably fail, but our minds are not adequately grounded to make healthy choices towards change.
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           Undesirable aspects of self are an inescapable part of human life so the desire to change is natural; winter is a time of reflection after all. However, the success of these changes can be amplified by aligning and honouring the requirements demanded by our cyclical nature. Take gentle steps towards ‘becoming’- embody and attract the life and qualities you wish for. Let go of negative and damaging strategies that you have relied upon. Slowly spread your roots in the frozen earth, grounding yourself so that the changes you aspire towards are possible in the seasons of Spring and Summer. The times of transformation and abundance, the seasons of growth rather than decay. 
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           In the meantime, I invite you to rest in the darkness. Nothing can be forever spring; forever growing and blooming. Take it as the season for spiritual growth and bodily comfort, something necessary, like a seed needs the quiet black earth. 
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           Below I’ve put down some intentions that come from my own reflections, intentions I hope to cultivate in the following months. Feel free to read them for inspiration or to incorporate into your own. 
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           Embrace your body. Make use of it in all the ways you possibly can; dance, sing, walk, listen. With every flex and pulse appreciate what it allows you to experience. Do not hate it. 
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           Trust intuition. Take the time to know yourself better and learn what it is your body is telling you. Embrace guidance and signals, but do not depend on them.
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           Encourage happiness. Reflect on yourself and find out the things that make your heart glow, and your mouth hurt from smiling - make more time for them. 
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           Maintain your purpose. Ask what you want to bring to the world and live your life in agreement to this universal calling. Make decisions that align with it, both the major ones and the day-to-day; remember, significance is relative. 
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           Live your story. Be the main character and don’t let your personal narrative pass you by. This means embracing that you don’t always know where it’s going; expect a plot twist, but don’t live in fear of it. Question where your own story fits within wider cultural and world ones. Take active decisions on how you wish to interact with them- decisions have power. 
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           Honour your wild. Notice the sequences and seasons of the cosmos and know where your true North lies. Take the time to align body and soul with the cycles of the sun and stars, the seasons of the moon, the natural rhythm of the seasons. Grow in a rich and increasing spiral and reject the concept of linear progression.
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           We hope you have the happiest of New Years.
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           Scarlett x
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           Featured art by Jackie Morris
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           Writing copyright of Boho Silver. All rights reserved, no reproduction without permission. 
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      <pubDate>Tue, 04 Jan 2022 16:54:14 GMT</pubDate>
      <guid>https://www.bohosilver.co.uk/steps-towards-rewilding-yourself</guid>
      <g-custom:tags type="string">healing yourself,green magick,celtic witch,wildwoman,boho silver,coorie,yule,selfcare,mythology,scotland,new year resolutions,Scottish,wintering,celtic,rewilding,natural healing,winter solstice,boho silver seaglass</g-custom:tags>
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      <title>Arisaig Arrivals</title>
      <link>https://www.bohosilver.co.uk/arisaig-arrivals</link>
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         ARISAIG ARRIVALS-
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          the new collection
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           "She sells seashells on the seashore.
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           The shells she sells are sea-
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           shells, I’m sure.
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           For if she sells sea-shells on the sea-shore
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           Then I’m sure she sells seashore shells.”
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         This is your opportunity to reserve a piece from our incoming new Arisaig Collection. Using a variety of  hand collected seashells, the Arisaig Collection is organic and timeless. We think it will appeal to a broad age group who connect with the sea, Highlands and Islands. 
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          The collection features beautiful seashells washed up on the beaches local to Arisaig; Traigh, Camusdarach, as well as a few hidden gems. A stunning part of the Scottish Highlands - visit when you get the opportunity - the beaches are festooned with pale sand and pink shells. 
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          Our seashells are cast, using the ancient lost wax method, to give absolute perfect replicas of the shell, with no loss of detail or texture. Each silver shell is as the original when it was washed ashore. We have used the shells so often picked up and collected on beach trips; small mussel, limpet and clam shells. So simple, and yet so beautiful.  These are cast using recycled sterling silver, which is the same quality and material as Sterling Silver 925, but without the damage to the planet. 
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          The jewellery will feature the shells, as well as farmed baroque pearls and little silver pebbles. 
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          We think this collection may prove popular (well, we hope!), but what a fantastic gift for any thallasophile, beach comber, wild swimming addict and those who love their paddle boarding (SUP) and kayaking.
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          We have a bangle and earrings made right now, but are making more before sending for hallmarking. We hope to have the collection together and hallmarked by the end of March/early April.  
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          If you’d like to reserve an item so you are first in line - or request a specific shell as a bangle, necklace or earrings - please email us and we will reserve for you with a small deposit. 
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          We are very excited to be making this collection.
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          Sending love,
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          Elizabeth &amp;amp; Scarlett
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      <pubDate>Sat, 27 Feb 2021 18:21:58 GMT</pubDate>
      <guid>https://www.bohosilver.co.uk/arisaig-arrivals</guid>
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      <title>The Best Places To Find Sea Glass?</title>
      <link>https://www.bohosilver.co.uk/how-to-find-sea-glass</link>
      <description>As sea glass hunters, collectors and jewellery makers, we offer the top tips to find the best places to search, what you need to know and how to best plan and be prepared for a day of searching for Mermaid Tears, a special kind of beach treasure.</description>
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         Where &amp;amp; How To Find Sea Glass
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         Sea glass is created from fragments of discarded glass that are tumbled smooth by waves, sand and time. It comes in a wide range of beautiful colours, but differs in rarity due to reduced production or changes in fashion. A well worn piece will be smooth around the edges and feature a lovely frosty patina. If it is still sharp, it is good practise to throw these pieces back into the surf to mature for the next generation of sea glass seekers.
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          With stricter laws on littering and recycling sea glass is slowly becoming a rarer occurrence, making any pieces something special for future family who may not get the opportunity to have the sea glass hunting experience. 
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          We’ve come up with a few tips to help with your searches, which with patience and (an increasingly) trained eye should be successful. 
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          Sea glass is generally more abundant on pebble or stone based beaches, so if you are hunting along a sandy shoreline look for areas where larger debris or pebbles gather. A more active surf will tumble and produce better pieces than a calm inlet. Although, if the water is clear and calm enough, you could also wade out to search the shallows for sea glass depending on currents and Scottish weather. 
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          When wet, white or light-coloured glass tends to look translucent, so its important that if the background is also light (e.g. pale sand or shells) you keep a sharp lookout. 
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          Similarly, if the background is dark grey, black or wet stone, deep colours of green, brown, teal or blue can easily be missed. If in doubt hold up the piece to the sun to see whether light passes through, and if still unsure, wait for it to dry and look for the indicative salty patina. The deep blue and purples of mussel shells can also be very misleading when searching for those elusive cobalt’s. 
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          Although the thought of strolling along a pristine Highland beach picking up sea glass and watching the turquoise waves is idyllic, it is unfortunately not the place to find sea glass.
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          Although easy to forget thanks to its beauty, sea glass is ultimately a result of human littering. People AND water are the combination you need. For this reason, any area near cities, or industrial settlements are preferable as the water around them will have endured larger amounts of glass dumping throughout the years. The longer these industrial practices or towns have been situated, the higher the chance of finding more antique, high-quality pieces. Seaham, for this reason, has become the ‘sea glass mecca’ of the world with many wonderful colours and objects found as a result of the many glass factories historically being situated there. 
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          Low tide is the best time to go sea glass hunting, with the receding water allowing many sea glass treasures to be revealed. This can be easily checked online (just make sure to put the relevant area) or be indicated by the moon phase. (A full moon can create both the highest and lowest tides) 
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          Try and walk with the sun behind you so that a) you’re not blinded by that well known Scottish sun… b) the light will cause the sea glass to shine or sparkle, making it easier to find.  Preferably wear a cap or wide brimmed hat to shade your eyes, as sunglasses will distort or dull colours, making the sea glass harder to see. That being said, a good hood and (tightly secured) cap will also help you see amongst the driving wind, rain and sleet more likely to be experienced. If you need specs, throw vanity out of the window and wear them, as it helps tremendously.
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          To get a good haul, your search is going to take time. Allow yourself some hours to stroll and peruse the beach for sea glass. Make sure not to put pressure on yourself. Celebrate the views, and make sure to allow breaks for your neck, eyes and back; when done right, sea glass hunting can be very mindful. If this can only be achieved by planning ahead, do that. Whatever it takes to make it enjoyable. Talking of planning ahead, plenty of time on the beach means enduring the changeable Scottish weather so let’s talk...
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          Pack a car/rucksack/van full of it. Preferably trousers and jackets that are waterproof, but remember the coast has stronger winds so a windstopper fabric and gloves can be a good idea. 
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          Likewise shoes that are waterproof and have grippy soles will stop you sliding on wet rocks or seaweed.
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          Something to carry any sea glass found can be useful, preferably something which is reasonably cushioned as it is still able to chip or break. If not, pockets are fine. Just make sure they are deep, abundant, and be prepared to find random pieces when out and about elsewhere. Avoid plastic bags, and if you find any while hunting, please pick it up and put it in the recycling when you get home. 
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          Some if the best sea glass finds can be discovered after a storm. The tidal surges and bigger waves can churn up long buried treasures, so make sure to explore after storms for a better chance of finding unusual colours and interesting finds.
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      <pubDate>Sat, 16 Jan 2021 09:15:31 GMT</pubDate>
      <guid>https://www.bohosilver.co.uk/how-to-find-sea-glass</guid>
      <g-custom:tags type="string">mermaidtears,scottish sea glass,find,beach,seaglasshunting,scottishbeaches,seaglass,scottishhighlands,Sea,sandwoodbay,scotland,beachcombing (New Tag)</g-custom:tags>
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    <item>
      <title>Choosing Sea Glass Colour Jewellery According To Your Skin Tone</title>
      <link>https://www.bohosilver.co.uk/skin-tone-sea-glass</link>
      <description>Our skin tone can vary from cool to warm tones, and shades in between. here we talk about the different hues of skin, and consider choosing sea glass jewellery that is going to flatter your skin tone.</description>
      <content:encoded>&lt;h3&gt;&#xD;
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          Using your skin tone as a guide to choosing the perfect piece of jewellery
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          "Jewelry is like the perfect spice - it always complements what’s already there. "
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           - Diane Von Furstenberg
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           The right piece of jewellery can make you feel fabulous. It will flatter your skin, indulge your whims and sate your inner goddess. Each person will find their jewellery mojo in different metals, designs and colours. Simple &amp;amp; contemporary, or wild and organic, there is something for everyone. C
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            hoose pieces that act as an extension of your individual style; boosting confidence and expressing yourself through the ancient ritual of adornment.
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           The overall appearance and style can be greatly influenced by how it sits on, and against one’s skin. Think of it in terms of makeup or hair colour. What works for one doesn’t mean it will work for another, but by selecting the right colour of metal or sea glass or gemstone, it is possible to improve the radiance of the skin, and even make teeth appear whiter or accentuate eye colour. 
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           When attempting to decide upon the most flattering piece of jewellery, a useful and effective place to begin is by considering skin tone. Although not the ultimate adjudicator, skin tone is a key element to include alongside personal preference and style when hunting for that perfect piece of jewellery. 
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             Determining Skin Tone
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           Skin tone can be split into two main types, cool and warm, and is actually best determined by the colour of your veins. Neutral skin tones can be identified by veins that appear colourless or match the skin, and these individuals can wear pretty much any colour they like, and still look fab.
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            ‘Cool’ Skin Tone
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           Bluish or purplish veins indicate a cool skin tone, and those who have it can often notice pink or blue undertones when looking in the mirror: 
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           Skin colour: very fair, olive, tanned (can often burn in sun)
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           Hair Colour: natural ash or pale blonde blonde, cool browns &amp;amp; black
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           Eye Colour: most often blue, grey, green
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            ‘Warm’ Skin Tone
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           Greenish veins indicate a warm skin tone, and those who have it often notice yellow or apricot undertones when looking in the mirror. The warm category usually splits into two specific variations:
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           Paler Skin Tones
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           Skin Colour: very fair, fair
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           Hair Colour: light blonde, strawberry blonde, ginger, red or any shade 
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           Eye Colour: greatly varies but tends towards, hazel, amber &amp;amp; brown
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           Darker Skin Tones
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           Skin Colour: tan, Mediterranean, dark (tans easily in sun)
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           Hair Colour: caramel, brown/dark brown (with reddish hues), black
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           Eye Colour: most often brown, but can vary
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           Note: Skin tone is a different concept to skin colour. It is possible to have dark skin with a cool skin tone or fair skin with warm skin tone. 
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             Jewellery Choice
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           After establishing skin tone, you can begin to ascertain what colours of metals, gems, and in this case sea glass, are best suited to you. 
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            ‘Cool’ Skin Tone
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           Metal: silver, white gold, stainless steel, titanium and platinum 
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           Gemstones: Brightly coloured stones in red, shades of blue, purple, green and pink. These include pink diamonds, sapphires, amethyst, alexandrite, pearls, blue topaz, aquamarine, emerald and moonstone. Diamonds or white pearls can be particularly flattering.  
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           Sea Glass: Similar colours as above; cobalt blue, seafoam, amethyst purple, aqua, soft blue, red, turquoise blue, lavender, cornflower blue, pink and ice blue.
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            ‘Warm’ Skin Tone
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           Metal: gold, yellow gold, rose gold (avoid if type 1 warm tone as it will accentuate any pink undertones), copper and brass 
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           Gemstones: Earthy toned stones like orange, brown, green, peach, yellow and turquoise. These include yellow diamond, emerald, garnet, amber, ruby, prehnite, green opal, brown diamond, fire opal, orange sapphire, citrine, peridot, aquamarine, or turquoise. Coral or golden pearls also work well.
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           Sea Glass: Similar colours as above; yellow, orange, seafoam, turquoise blue, amber, jade green, golden amber, cornflower blue, peach and aqua. 
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           It is, however, important to remember that the most important aspect is how the jewellery makes you feel. If it holds sentimental value, is a colour of sea glass you absolutely love, or happens to be a spectacular piece of jewellery, don’t let skin tone affect your decision. The rules are not absolute, and it is far more important to step out wearing something that feels right for you than settling with uninspiring jewellery. 
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      <pubDate>Wed, 08 Jul 2020 13:53:17 GMT</pubDate>
      <guid>https://www.bohosilver.co.uk/skin-tone-sea-glass</guid>
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      <title>The Legend Of Mermaid Tears</title>
      <link>https://www.bohosilver.co.uk/the-legend-of-mermaid-tears</link>
      <description />
      <content:encoded>&lt;h3&gt;&#xD;
  
         The mythology behind sea glass.
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   UnhideWhenUsed="true" QFormat="true" Name="heading 4"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="9" SemiHidden="true"
   UnhideWhenUsed="true" QFormat="true" Name="heading 5"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="9" SemiHidden="true"
   UnhideWhenUsed="true" QFormat="true" Name="heading 6"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="9" SemiHidden="true"
   UnhideWhenUsed="true" QFormat="true" Name="heading 7"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="9" SemiHidden="true"
   UnhideWhenUsed="true" QFormat="true" Name="heading 8"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="9" SemiHidden="true"
   UnhideWhenUsed="true" QFormat="true" Name="heading 9"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="index 1"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="index 2"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="index 3"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="index 4"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="index 5"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="index 6"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="index 7"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="index 8"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="index 9"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="39" SemiHidden="true"
   UnhideWhenUsed="true" Name="toc 1"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="39" SemiHidden="true"
   UnhideWhenUsed="true" Name="toc 2"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="39" SemiHidden="true"
   UnhideWhenUsed="true" Name="toc 3"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="39" SemiHidden="true"
   UnhideWhenUsed="true" Name="toc 4"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="39" SemiHidden="true"
   UnhideWhenUsed="true" Name="toc 5"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="39" SemiHidden="true"
   UnhideWhenUsed="true" Name="toc 6"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="39" SemiHidden="true"
   UnhideWhenUsed="true" Name="toc 7"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="39" SemiHidden="true"
   UnhideWhenUsed="true" Name="toc 8"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="39" SemiHidden="true"
   UnhideWhenUsed="true" Name="toc 9"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="Normal Indent"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="footnote text"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="annotation text"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="header"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="footer"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="index heading"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="35" SemiHidden="true"
   UnhideWhenUsed="true" QFormat="true" Name="caption"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="table of figures"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="envelope address"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="envelope return"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="footnote reference"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="annotation reference"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="line number"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="page number"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="endnote reference"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="endnote text"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="table of authorities"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="macro"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="toa heading"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="List"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="List Bullet"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="List Number"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="List 2"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="List 3"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="List 4"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="List 5"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="List Bullet 2"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="List Bullet 3"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="List Bullet 4"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="List Bullet 5"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="List Number 2"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="List Number 3"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="List Number 4"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="List Number 5"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="10" QFormat="true" Name="Title"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="Closing"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="Signature"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="1" SemiHidden="true"
   UnhideWhenUsed="true" Name="Default Paragraph Font"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="Body Text"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="Body Text Indent"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="List Continue"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="List Continue 2"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="List Continue 3"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="List Continue 4"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="List Continue 5"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="Message Header"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="Salutation"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="Date"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="Body Text First Indent"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="Body Text First Indent 2"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="Note Heading"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="Body Text 2"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="Body Text 3"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="Body Text Indent 2"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="Body Text Indent 3"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="Block Text"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="Hyperlink"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="FollowedHyperlink"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="Document Map"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="Plain Text"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="E-mail Signature"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="HTML Top of Form"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="HTML Bottom of Form"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="Normal (Web)"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="HTML Acronym"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="HTML Address"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="HTML Cite"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="HTML Code"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="HTML Definition"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="HTML Keyboard"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="HTML Preformatted"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="HTML Sample"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="HTML Typewriter"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="HTML Variable"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="Normal Table"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="annotation subject"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="No List"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="Outline List 1"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="Outline List 2"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="Outline List 3"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="Table Simple 1"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="Table Simple 2"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="Table Simple 3"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="Table Classic 1"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="Table Classic 2"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="Table Classic 3"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="Table Classic 4"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="Table Colorful 1"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="Table Colorful 2"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="Table Colorful 3"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="Table Columns 1"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="Table Columns 2"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="Table Columns 3"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="Table Columns 4"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="Table Columns 5"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="Table Grid 1"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="Table Grid 2"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="Table Grid 3"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="Table Grid 4"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="Table Grid 5"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="Table Grid 6"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="Table Grid 7"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="Table Grid 8"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="Table List 1"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="Table List 2"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="Table List 3"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="Table List 4"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="Table List 5"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="Table List 6"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="Table List 7"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="Table List 8"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="Table 3D effects 1"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="Table 3D effects 2"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="Table 3D effects 3"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="Table Contemporary"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="Table Elegant"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="Table Professional"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="Table Subtle 1"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="Table Subtle 2"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="Table Web 1"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="Table Web 2"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="Table Web 3"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="Balloon Text"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="39" Name="Table Grid"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="Table Theme"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="60" Name="Light Shading"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="61" Name="Light List"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="62" Name="Light Grid"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="65" Name="Medium List 1"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="66" Name="Medium List 2"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="70" Name="Dark List"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="71" Name="Colorful Shading"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="72" Name="Colorful List"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="73" Name="Colorful Grid"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" SemiHidden="true" Name="Revision"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="34" QFormat="true"
   Name="List Paragraph"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="30" QFormat="true"
   Name="Intense Quote"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="19" QFormat="true"
   Name="Subtle Emphasis"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="21" QFormat="true"
   Name="Intense Emphasis"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="31" QFormat="true"
   Name="Subtle Reference"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="32" QFormat="true"
   Name="Intense Reference"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="37" SemiHidden="true"
   UnhideWhenUsed="true" Name="Bibliography"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="39" SemiHidden="true"
   UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="41" Name="Plain Table 1"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="42" Name="Plain Table 2"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="43" Name="Plain Table 3"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="44" Name="Plain Table 4"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="45" Name="Plain Table 5"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="40" Name="Grid Table Light"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="47" Name="Grid Table 2"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="48" Name="Grid Table 3"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="49" Name="Grid Table 4"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="46"
   Name="Grid Table 1 Light Accent 1"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="51"
   Name="Grid Table 6 Colorful Accent 1"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="52"
   Name="Grid Table 7 Colorful Accent 1"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="46"
   Name="Grid Table 1 Light Accent 2"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="51"
   Name="Grid Table 6 Colorful Accent 2"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="52"
   Name="Grid Table 7 Colorful Accent 2"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="46"
   Name="Grid Table 1 Light Accent 3"&gt;&lt;/w:LsdException&gt;
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  &lt;w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="51"
   Name="Grid Table 6 Colorful Accent 3"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="52"
   Name="Grid Table 7 Colorful Accent 3"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="46"
   Name="Grid Table 1 Light Accent 4"&gt;&lt;/w:LsdException&gt;
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  &lt;w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="51"
   Name="Grid Table 6 Colorful Accent 4"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="52"
   Name="Grid Table 7 Colorful Accent 4"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="46"
   Name="Grid Table 1 Light Accent 5"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="51"
   Name="Grid Table 6 Colorful Accent 5"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="52"
   Name="Grid Table 7 Colorful Accent 5"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="46"
   Name="Grid Table 1 Light Accent 6"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="51"
   Name="Grid Table 6 Colorful Accent 6"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="52"
   Name="Grid Table 7 Colorful Accent 6"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="46" Name="List Table 1 Light"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="47" Name="List Table 2"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="48" Name="List Table 3"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="49" Name="List Table 4"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="51" Name="List Table 6 Colorful"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="52" Name="List Table 7 Colorful"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="46"
   Name="List Table 1 Light Accent 1"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 1"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 1"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 1"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 1"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="51"
   Name="List Table 6 Colorful Accent 1"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="52"
   Name="List Table 7 Colorful Accent 1"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="46"
   Name="List Table 1 Light Accent 2"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 2"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 2"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 2"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 2"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="51"
   Name="List Table 6 Colorful Accent 2"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="52"
   Name="List Table 7 Colorful Accent 2"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="46"
   Name="List Table 1 Light Accent 3"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 3"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 3"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 3"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 3"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="51"
   Name="List Table 6 Colorful Accent 3"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="52"
   Name="List Table 7 Colorful Accent 3"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="46"
   Name="List Table 1 Light Accent 4"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 4"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 4"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 4"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 4"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="51"
   Name="List Table 6 Colorful Accent 4"&gt;&lt;/w:LsdException&gt;
  &lt;w:LsdException Locked="false" Priority="52"
   Name="List Table 7 Colorful Accent 4"&gt;&lt;/w:LsdException&gt;
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&lt;![endif]--&gt;    &lt;!--StartFragment--&gt;  &lt;/p&gt;&#xD;
  &lt;p&gt;&#xD;
    
          Long ago, when the world was still being discovered, and men
travelled the sea by ships with towering masts, and sailors docked in ports to
rest and share tales of their perilous voyages. Gnarled captains recounted tentacled
beasts rising from the ocean and viper-headed monsters snapping at sails; of
waves a hundred feet high, and beaches of black sand.  As the night grew darker, they talked of beautiful
creatures, half woman and half fish, whose pale hands held the fortune of all sailors
that dared cross their seas.
         &#xD;
  &lt;/p&gt;&#xD;
  &lt;p&gt;&#xD;
    &lt;i&gt;&#xD;
      
           Mermaids
          &#xD;
    &lt;/i&gt;&#xD;
    
          they were called. Women of the sea.
         &#xD;
  &lt;/p&gt;&#xD;
  &lt;p&gt;&#xD;
    
          So powerful were they, a single breath could quiet a storm,
a single fin bring forth a wave. Fate itself could be suspended by a mermaid’s kindness.
Yet even these wild spirits had rules to obey. Neptune, Lord of the Sea, helped
maintain the laws of nature, and as such forbade the maidens to use their
powers to change fate’s natural course.
         &#xD;
  &lt;/p&gt;&#xD;
  &lt;p&gt;&#xD;
    
          One starless night, as a schooner sailed towards Nootka
Island in the San Juan, a great black thunderous storm came rolling in.
Navigating by only brief flashes of lightning, the Captain desperately tried to
hold course as the ship careened towards the jagged rocks, ripped sails sagging
beneath the lashing rain. Unknown to him, a mermaid watched from the
surrounding waves. The ship was familiar to her, and often she had travelled alongside
it. In her ocean vigil, she had watched the Captain grow from a brave youth to an
experienced seaman, and had fallen deeply in love with him.
         &#xD;
  &lt;/p&gt;&#xD;
  &lt;p&gt;&#xD;
    
          As the ship rolled portside, her Captain lost his footing,
sliding across the rain-soaked deck towards the seething sea below. In her terror
the mermaid instantly calmed the sea, taming both wind and wave to save his life.
With the sea calmed, the Captain was hauled on board the ship, and the vessel
limped towards port. The mermaid, for changing fate and disobeying his wishes, was
banished to the darkest depths of the ocean by Neptune himself, and condemned to
live an eternity beneath the waves; never to see her human lover again.
         &#xD;
  &lt;/p&gt;&#xD;
  &lt;p&gt;&#xD;
    
          Since then she has wept in exile, tears that match her
rainbow tail washing upon the beaches in the form of glistening sea glass. For
those that find them they are a gift of love, and waves will forever carry them
ashore until she is allowed to return to the surface and be reunited with her
one love.
         &#xD;
  &lt;/p&gt;&#xD;
  &lt;p&gt;&#xD;
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  &lt;/p&gt;&#xD;
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  &lt;p&gt;&#xD;
    
          Featured art by Amanda Clark Artist 
         &#xD;
  &lt;/p&gt;&#xD;
  &lt;p&gt;&#xD;
    
          Writing copyright of Boho Silver. All rights reserved, no reproduction without permission. 
         &#xD;
  &lt;/p&gt;&#xD;
  &lt;p&gt;&#xD;
    &lt;br/&gt;&#xD;
  &lt;/p&gt;&#xD;
  &lt;br/&gt;&#xD;
  &lt;!--EndFragment--&gt;  &lt;p&gt;&#xD;
  &lt;/p&gt;&#xD;
&lt;/div&gt;</content:encoded>
      <pubDate>Fri, 03 Jul 2020 12:07:47 GMT</pubDate>
      <guid>https://www.bohosilver.co.uk/the-legend-of-mermaid-tears</guid>
      <g-custom:tags type="string">mermaid,mermaids,siren,seaglass,mermaidtears,sea,glass,mythology,oceanmythology,seaglassjewellery,beach</g-custom:tags>
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        <media:description>main image</media:description>
      </media:content>
    </item>
    <item>
      <title>Genuine v Fake Sea Glass</title>
      <link>https://www.bohosilver.co.uk/fake-sea-glass</link>
      <description>With growing public awareness of sea glass and sea glass jewellery, demand has grown. However, with that has come sellers hoping to make a pretty penny by creating 'sea glass' with smashed bottles and a rock tumbler. There is nothing wrong with tumbled glass, but for those looking to buy products made with  genuine sea glass it is an important difference. So how can you tell and what are some signs you can look for to avoid fake sea glass? Hopefully this blog can help.</description>
      <content:encoded>&lt;h3&gt;&#xD;
  
         Knowing when sea glass is fake
        &#xD;
&lt;/h3&gt;&#xD;
&lt;div&gt;&#xD;
  &lt;a&gt;&#xD;
    &lt;img src="https://cdn.website-editor.net/d674a7b6fba2435cb6f13c4ce16cc476/dms3rep/multi/beach-glass-666816_1920.jpg" alt="" title=""/&gt;&#xD;
  &lt;/a&gt;&#xD;
&lt;/div&gt;&#xD;
&lt;div data-rss-type="text"&gt;&#xD;
  &lt;p&gt;&#xD;
    
          When you make jewellery with sea glass, you get to know something about it. Mainly that every fragment is a different shape and size, and the glass is frosted with age, salt water and the tumbling action of the waves with the sand and gravel and rock. The nuggets are very rounded and tactile where there is more sand.  Sometimes they are smoothed triangles where they've been wedged between rocks, and the action of the ocean has formed a repetitive pattern of wear. Less aged sea glass will be angular, 'shard-like', with harder lines and won't have had time to get very frosted. While some people still collect this glass, it is not of a quality that we would use for making jewellery. 
         &#xD;
  &lt;/p&gt;&#xD;
  &lt;div&gt;&#xD;
    &lt;br/&gt;&#xD;
  &lt;/div&gt;&#xD;
  &lt;div&gt;&#xD;
    
          The colours most often found will vary geographically, but there are some colours more rare worldwide. This is covered in one of our other blog posts.
          &#xD;
    &lt;br/&gt;&#xD;
    &lt;br/&gt;&#xD;
    
          So here is the rub. Many individuals on Etsy and elsewhere online are selling ‘sea glass’ or ‘beach glass’ or ‘decorative sea glass’ that is basically pretty coloured glass bottles that have been smashed up and stuck in a rock tumbler. To be fair, with a nice Harris Gin bottle, you are going to get a gorgeous colour of tumbled glass. But this is fake TUMBLED glass, and not genuine sea glass.
          &#xD;
    &lt;br/&gt;&#xD;
    &lt;br/&gt;&#xD;
    
          If a supplier has an endless supply of the most vibrant and beautiful colours, and the glass has a very even and smooth surface, be cautious. If a jeweller offers sea glass jewellery with a large selection of identical matching sets (e.g earrings) in exactly the same shades or the option to buy many of the same item,  that are the same shape and exactly the same colour, again I advise caution.
          &#xD;
    &lt;br/&gt;&#xD;
    &lt;br/&gt;&#xD;
    
          Old sea glass is frosted and has little C shaped pits. It’s quite distinctive. There is a frosting and delicate texture to the surface. Tumbled glass will be smooth and more flawless.
          &#xD;
    &lt;br/&gt;&#xD;
    &lt;br/&gt;&#xD;
    
          There is nothing wrong with tumbled glass, but most people buying are looking for genuine sea glass that has a history, story and journey. if you are buying on the likes of Etsy, just be canny when there are unusually vibrant and delicious shades, with many available.
         &#xD;
  &lt;/div&gt;&#xD;
  &lt;div&gt;&#xD;
    &lt;br/&gt;&#xD;
  &lt;/div&gt;&#xD;
  &lt;div&gt;&#xD;
    
          We do, very occasionally,  take our genuine hand-collected Scottish sea glass and tumble it further. Why? Because it gives the sea glass a very different finish - it results in an almost luminescent ‘satin’ finish, and that can lend itself particularly well to some designs.  We also collect a lot of gorgeous sea glass that, by virtue of size or shape, can’t be used in our jewellery designs. Sometimes, by taking the fragments and tumbling them a little, we end up with a really pretty and useable piece. But, for nearly all our designs, the sea glass is as we found it on the beaches of Scotland.
         &#xD;
  &lt;/div&gt;&#xD;
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&lt;/div&gt;</content:encoded>
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      <pubDate>Thu, 12 Mar 2020 17:43:04 GMT</pubDate>
      <author>183:786523167 (Elizabeth Mcquillan)</author>
      <guid>https://www.bohosilver.co.uk/fake-sea-glass</guid>
      <g-custom:tags type="string">Sea,glass,seaglass,scotland,scottish,beaches,fake</g-custom:tags>
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      </media:content>
    </item>
    <item>
      <title>Know Your Sea Glass Colours</title>
      <link>https://www.bohosilver.co.uk/sea-glass-colours</link>
      <description />
      <content:encoded>&lt;div&gt;&#xD;
  &lt;a&gt;&#xD;
    &lt;img src="https://cdn.website-editor.net/d674a7b6fba2435cb6f13c4ce16cc476/dms3rep/multi/111A0BFA-79A9-403D-94C2-9E4E7BEC3772-5abf30e3.jpeg" alt="" title=""/&gt;&#xD;
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&lt;div data-rss-type="text"&gt;&#xD;
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  &lt;/p&gt;&#xD;
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    &lt;span&gt;&#xD;
      &lt;br/&gt;&#xD;
      
           Sea glass is an eco-friendly and sustainable alternative to mined precious gemstones.
          &#xD;
    &lt;/span&gt;&#xD;
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    &lt;br/&gt;&#xD;
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    &lt;span&gt;&#xD;
      
           Sea glass is Mother Earth’s way of recycling  our glass waste from years, and centuries,  gone by. Each nugget  of sea glass washed up on the shore has a unique history;  a journey through the ocean, tides and time. Perhaps  at one time an Art Deco perfume bottle , or a poison bottle from an 18th Century  apothecary, there is something very special about sea glass..
          &#xD;
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           Unwanted bottles, glass ornaments and tableware were historically dumped at sea.
          &#xD;
    &lt;/span&gt;&#xD;
  &lt;/p&gt;&#xD;
  &lt;p&gt;&#xD;
    &lt;span&gt;&#xD;
      
           The ocean waves, tides and salt water then work their magic on the glass until they finally deposit the glass as rounded pieces of frosted sea glass on the shore. C-shaped pitting, air bubbles within the glass, and the colour can be indicators of a very old piece. Known as 'Mermaid's Tears', you won't find them on every beach.
          &#xD;
    &lt;/span&gt;&#xD;
  &lt;/p&gt;&#xD;
  &lt;p&gt;&#xD;
    &lt;br/&gt;&#xD;
  &lt;/p&gt;&#xD;
  &lt;p&gt;&#xD;
    &lt;span&gt;&#xD;
      
           Since we no longer dump glass at sea, and the old glass manufacturing factories that dumped their unwanted coloured glass are gone, sea glass will become a rare find in future. A gemstone is valued on its rarity and beauty, and it seems logical that sea glass will become very sought after. Already people are cashing-in by producing and selling fake sea glass.
          &#xD;
    &lt;/span&gt;&#xD;
  &lt;/p&gt;&#xD;
  &lt;p&gt;&#xD;
    &lt;br/&gt;&#xD;
  &lt;/p&gt;&#xD;
  &lt;p&gt;&#xD;
    &lt;span&gt;&#xD;
      
           Genuine sea glass is very frosted and pitted (that's the salt), rounded, often triangular and bears no resemblance to the smooth and unfrosted fake sea glass . If someone is selling identical earrings with smooth 'sea glass' that are the same size, shape and colour, there is a good chance it's home-produced tumbled glass.
          &#xD;
    &lt;/span&gt;&#xD;
  &lt;/p&gt;&#xD;
  &lt;p&gt;&#xD;
    &lt;br/&gt;&#xD;
  &lt;/p&gt;&#xD;
  &lt;p&gt;&#xD;
    &lt;span&gt;&#xD;
      
           Across the world, the rarity of a particular sea glass colour will vary, but the UK most often delivers on white (from old pop or milk bottles), sea foam (from old seltzer bottles) or green (old beer and whisky bottles). More exotic colours can be hard to find in Scotland as they are usually from antique decorative tableware and perfume bottles.
          &#xD;
    &lt;/span&gt;&#xD;
  &lt;/p&gt;&#xD;
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    &lt;br/&gt;&#xD;
  &lt;/p&gt;&#xD;
  &lt;p&gt;&#xD;
    &lt;span&gt;&#xD;
      
           In order of the most rare sea glass finds;
          &#xD;
    &lt;/span&gt;&#xD;
  &lt;/p&gt;&#xD;
  &lt;p&gt;&#xD;
    &lt;span&gt;&#xD;
      
           orange
          &#xD;
    &lt;/span&gt;&#xD;
  &lt;/p&gt;&#xD;
  &lt;p&gt;&#xD;
    &lt;span&gt;&#xD;
      
           red
          &#xD;
    &lt;/span&gt;&#xD;
  &lt;/p&gt;&#xD;
  &lt;p&gt;&#xD;
    &lt;span&gt;&#xD;
      
           yellow
          &#xD;
    &lt;/span&gt;&#xD;
  &lt;/p&gt;&#xD;
  &lt;p&gt;&#xD;
    &lt;span&gt;&#xD;
      
           turquoise,
          &#xD;
    &lt;/span&gt;&#xD;
  &lt;/p&gt;&#xD;
  &lt;p&gt;&#xD;
    &lt;span&gt;&#xD;
      
           pink
          &#xD;
    &lt;/span&gt;&#xD;
  &lt;/p&gt;&#xD;
  &lt;p&gt;&#xD;
    &lt;span&gt;&#xD;
      
           black
          &#xD;
    &lt;/span&gt;&#xD;
  &lt;/p&gt;&#xD;
  &lt;p&gt;&#xD;
    &lt;span&gt;&#xD;
      
           teal,
          &#xD;
    &lt;/span&gt;&#xD;
  &lt;/p&gt;&#xD;
  &lt;p&gt;&#xD;
    &lt;span&gt;&#xD;
      
           grey,
          &#xD;
    &lt;/span&gt;&#xD;
  &lt;/p&gt;&#xD;
  &lt;p&gt;&#xD;
    &lt;span&gt;&#xD;
      
           UV lime
          &#xD;
    &lt;/span&gt;&#xD;
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           cornflower
          &#xD;
    &lt;/span&gt;&#xD;
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           amethyst
          &#xD;
    &lt;/span&gt;&#xD;
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           amber
          &#xD;
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           cobalt
          &#xD;
    &lt;/span&gt;&#xD;
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           olive green,
          &#xD;
    &lt;/span&gt;&#xD;
  &lt;/p&gt;&#xD;
  &lt;p&gt;&#xD;
    &lt;span&gt;&#xD;
      
           aqua blue
          &#xD;
    &lt;/span&gt;&#xD;
  &lt;/p&gt;&#xD;
  &lt;p&gt;&#xD;
    &lt;span&gt;&#xD;
      
           sea foam
          &#xD;
    &lt;/span&gt;&#xD;
  &lt;/p&gt;&#xD;
  &lt;p&gt;&#xD;
    &lt;span&gt;&#xD;
      
           emerald green
          &#xD;
    &lt;/span&gt;&#xD;
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  &lt;p&gt;&#xD;
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           brown
          &#xD;
    &lt;/span&gt;&#xD;
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           white.
          &#xD;
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    &lt;br/&gt;&#xD;
  &lt;/p&gt;&#xD;
  &lt;p&gt;&#xD;
    &lt;span&gt;&#xD;
      
           Finding a piece of teal sea glass is a 1:5000 find, so expect to pay more for hard to find colours.
          &#xD;
    &lt;/span&gt;&#xD;
  &lt;/p&gt;&#xD;
  &lt;p&gt;&#xD;
    &lt;br/&gt;&#xD;
  &lt;/p&gt;&#xD;
  &lt;p&gt;&#xD;
    &lt;span&gt;&#xD;
      
           All our sea glass jewellery is hand collected in Scotland by ourselves, and is genuine Scottish sea glass.
          &#xD;
    &lt;/span&gt;&#xD;
  &lt;/p&gt;&#xD;
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    &lt;br/&gt;&#xD;
  &lt;/p&gt;&#xD;
  &lt;p&gt;&#xD;
    &lt;span&gt;&#xD;
      
           In order to fulfil custom orders that require a particular sea glass colour we do offer hand collected sea glass from the Durham coastline as it is possible to find more exotic sea glass colours. This is due to the area having a glass factory located there from the early 1800’s until the Second World War.
          &#xD;
    &lt;/span&gt;&#xD;
  &lt;/p&gt;&#xD;
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    &lt;br/&gt;&#xD;
  &lt;/p&gt;&#xD;
  &lt;p&gt;&#xD;
    &lt;span&gt;&#xD;
      
           We will always state when a piece of jewellery features sea glass from an alternative location. Currently we do have a small stash of exotic hand collected and genuine Caribbean and Hawaiian sea glass also available for custom orders.
          &#xD;
    &lt;/span&gt;&#xD;
  &lt;/p&gt;&#xD;
  &lt;br/&gt;&#xD;
  &lt;p&gt;&#xD;
  &lt;/p&gt;&#xD;
&lt;/div&gt;</content:encoded>
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      <pubDate>Thu, 12 Mar 2020 17:18:18 GMT</pubDate>
      <guid>https://www.bohosilver.co.uk/sea-glass-colours</guid>
      <g-custom:tags type="string" />
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      <title>Van Trip To Ullapool, Gruinard &amp; Mellon Udrigle</title>
      <link>https://www.bohosilver.co.uk/north-west-beaches</link>
      <description>A van life moment. Come and explore the stunning beaches of north west Scotland with us as Boho Silver visit the deserted beaches and turquoise sea of Ullapool, Gruinard &amp; Mellon Udrigle.</description>
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          I have a small motorhome called Lil. She is covered with Moon Hares and bright flowers, and is my happy place. Nothing fancy, but a comfortable space and perfect for taking on adventures. Last week I headed to the north west of Scotland as, frankly, I love to be there. If you've never been, you should go. Deserted beaches with pale turquoise sea, against a rugged backdrop of rock. Problem is, the weather can be wet, and when it isn't raining the Scottish midge is likely to make your existence uncomfortable. If you can cope with unpredictable weather, and insect bites, then do visit.
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          I headed north to Ullapool in the first instance (4hr 45 minute drive in the moho). It was dull and raining, which was annoying given the rest of he UK basked in a heatwave. The highlands can be like that. The beach there is a mixture of deep shingle and large rounded rocks, and spotting any sea glass was hard at first. Once my eyes adjusted, it can be easier. There was a lot of green beer bottle glass, and a lot that wasn't well enough weathered by the sea. That said, I found probably four nice pieces that could potentially make the grade for a jewellery item, including a nice long piece of cobalt blue. Two pieces were immediately claimed on Facebook for commissions. That seems to be how the business is moving - I get so many custom orders as I find the sea glass, it's hard to put together a 'stock' for the website.
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          The next day was a drive around the cost to Gruinard Bay and surrounding little beach coves. The weather improved and it was a pleasant time spent beachcombing. No beach glass spotted, but lots of beautiful little shells that I reckon would be beautiful to cast in silver. That's a new process to try, but cost of equipment rules it out for a small business at the moment. I might be able to take a mould and make in silver metal clay.
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          The remainder of the weekend took me to the beaches around Melon Udrigle, near Laide, where I can't report any particular 'finds'. However, a beautiful place to just walk and be at one with nature.
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          I'll be up north again soon, with lots of beaches to explore and sea glass waiting to be discovered.
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      <pubDate>Sat, 31 Aug 2019 11:26:05 GMT</pubDate>
      <guid>https://www.bohosilver.co.uk/north-west-beaches</guid>
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      <title>How did we get here?</title>
      <link>https://www.bohosilver.co.uk/how-did-we-get-here</link>
      <description>Life can take us in unexpected directions.</description>
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            'Sometimes the bad things that happen in our lives put us directly on the path to the best things that will ever happen to us.’
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          In truth, we never know where life is going to take us. Life changed for us in 2016, when a mental health issue arrived in our lives unexpectedly and brought with it a tsunami of confusion, stress and hopelessness. It isolated us all as we learned how to navigate the storm.
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          I had just launched and was editing an online magazine, and was a freelance copywriter, while my lovely daughter was coping with the mounting stress and her drive to succeed in her final school exams. Everything crashed. Everything changed. The years since then have involved a total remodelling of our lives, and taking the baby steps needed to achieve personal recovery and happiness. It's been a very long haul, but things are beginning to look so much brighter.
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          This very difficult time resulted in my daughter (Scarlett) &amp;amp; myself spending a lot of time with one another, collecting sea glass together in calm moments; talking and just 'being' in nature. There is no better doctor in the world. Our stash of sea glass began to fill jars, containers and adorn every space in the house.
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          That's when I started to tinker. A course in silversmithing over twenty years ago, the purchase of a blowtorch and things began to evolve naturally. The sea glass and the silver just seemed such a beautiful match. Scarlett and I started to play and design and make, and every piece of jewellery we made proved a huge hit with family and friends. Then friends of friends. It was a real positive to come out of a negative. Ultimately in 2019 we started making our first sea glass jewellery pieces with the idea of making it a wee business enterprise. 
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          We have a way to go, and recovery is not linear, but it’s important to remember that the healing process cannot be hurried. Every positive step is progress, and every slip back a learning experience. We have good days, and some that remain challenging, but Boho Silver has provided a wonderfully positive focus and a creative expression that we will always be grateful for.
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          Sometimes life just throws us onto the right path.
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      <pubDate>Fri, 30 Aug 2019 16:19:52 GMT</pubDate>
      <guid>https://www.bohosilver.co.uk/how-did-we-get-here</guid>
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