
Varnish
A transparent finishing layer available in gloss, satin, or matte effects. It enhances the printed surface and adds an extra layer of visual appeal and light protection.
A near-square rigid or paperboard box with a padded cushion inside it that the bracelet is clasped around, sized to the bracelet's inside length so it sits as a loop. Orders start from 100 units.
Two different things share this name. One is a pillow-shaped carton with curved ends, and that is a Pillow Boxes product. This page is the other one: an ordinary lidded box with a padded cushion inside it, and a bracelet fastened around the cushion.
A bracelet is a loop, and a loop with no wrist inside it is nothing in particular. Laid flat it falls into a line, and a chain bracelet in a line folds over itself and knots. Every problem a bracelet has in a box comes from that. The pillow is the answer because it is a stand-in for the wrist: the bracelet is closed round it, the clasp does the holding, and the piece sits as a loop, the way it sits when worn. Nothing pins it. The bracelet holds itself on.
Once a bracelet is a loop round a cushion, its length is no longer the box’s length. The footprint is the pillow’s, which is why a bracelet box with a pillow is nearly square, and a little deeper than a flat box, to take the cushion’s height with the bracelet round it. A bracelet box without a pillow is the opposite shape, long and narrow, because the bracelet lies open on a flat pad and the box has to be as long as the piece. If you have looked at stock boxes and wondered why one “bracelet box” is square and the next is long, that is the whole difference, and it is decided by one thing: is the bracelet shown closed, or open?
The pillow is sized from the bracelet’s inside length, not from its length laid out. As general practice, the cushion’s girth sits a little under the fastened bracelet’s inside measurement, so the clasp closes round it and the loop is held snug rather than loose. A pillow that is too fat will not let the clasp meet. One that is too thin lets the bracelet slide and turn. The measurement to give is the inside length with the clasp done up; a bracelet in the post does the same job. A range of bracelets with different lengths shares one pillow if they are close, and gets two pillow sizes in the same box if they are not. How close is close enough is settled from the shortest and the longest bracelet when you order.
A bangle does not open, so it cannot be clasped round anything. It sits over the pillow, held by the cushion filling it, and for a bangle the cushion is sized to the bangle’s inside diameter instead. That works, and it is a common way to box a bangle, but it is a different sizing brief and it is worth saying which you sell. The other case is a bracelet that should be seen open: a flat link piece, a bar bracelet, or one whose design reads along its length. That piece wants a long box and a flat pad, and Bracelet Boxes With Lids is that box.
The pillow is a padded insert, cut for the piece, with its covering and colour confirmed on the specification. The cushion is what the customer keeps looking at, so the box around it can be rigid board or folding paperboard without changing what the piece looks like in it. Which of the two suits a small piece, and how much heft it can carry before it reads as padding, is worked through at Luxury Jewellery Packaging Boxes. Print goes on the lid. If you want a mark inside, the flat border of the insert around the cushion takes it, and it stays in view with the lid off because the bracelet sits above it rather than on it. Pantone references and CMYK values can be used to manage colour consistency, subject to normal variation caused by the chosen board, ink, coating and production method.
Orders start from 100 units. Design support is free. A digital 3D mock-up is free. There are no setup fees. Standard production takes 6 to 8 business days after approval. UK delivery is free.
A necklace is the piece that gets put in a bracelet box by mistake. It has a pendant to centre and a chain to keep under tension, and a pillow does neither, so Necklace Gift Boxes is where that insert lives. For anything else, the Custom Jewellery Boxes category sorts the range by piece.
| Box Style | All Custom Packaging |
| Dimension | All Custom Sizes & Shapes |
| Quantities | 100-unit minimum order |
| Paper Stock | Kraft, corrugated, rigid board, cardstock |
| Printing | CMYK, Pantone, digital and offset |
| Finishing | Gloss, matte, spot UV, embossing, foiling |
| Shipping | Free delivery options |
Choose from premium coating, board, printing and finishing options for your insert boxes.

A transparent finishing layer available in gloss, satin, or matte effects. It enhances the printed surface and adds an extra layer of visual appeal and light protection.

A UV-cured coating applied to specific areas of the design to create gloss or matte contrast and draw attention to important details.

A smooth, velvety coating that creates a soft tactile feel and gives packaging a refined luxury look. It improves the unboxing experience and supports a high-end product presentation.

A soft, smooth lamination with a refined satin-like finish. It gives packaging a premium feel while keeping the surface elegant, subtle, and easy to handle.

A high-gloss UV coating applied only to selected design areas to create sharp contrast, highlight logos, and add a premium visual effect without coating the whole surface.

A clear, fast-drying water-based coating that adds a smooth protective layer while maintaining a clean and professional surface finish. It is a practical choice for everyday printed packaging.

A durable protective film that helps reduce visible scratches, scuffs, fingerprints, and daily handling marks. It keeps packaging looking clean, polished, and premium for longer.

A bleached kraft paperboard made from a mix of virgin and recycled pulp, offering a clean white surface for crisp and polished packaging designs.

A natural kraft paperboard without coating, made from virgin and recycled pulp. It provides a raw, organic appearance with sturdy packaging strength.

A premium bleached paperboard coated on both sides, designed for excellent print quality, die-cutting, and professional packaging results.

A high-quality bleached paperboard coated on one side. It provides a clean printable face with a premium packaging feel.

A smooth printable paper stock that supports high-resolution graphics, clean text, and rich color output for refined packaging presentation.

A natural kraft paperboard made from strong virgin and recycled pulp. It provides an organic, earthy look for sustainable and simple packaging.

A specialty paperboard with a laminated metallic surface available in gold, silver, and other premium finishes for luxury visual impact.

A specialty paperboard with a laminated holographic surface that creates a reflective, rainbow-like appearance for eye-catching product packaging.

A recycled duplex paperboard with a white printable surface. It is ideal for economical packaging that still requires clean graphics and brand presentation.

A kraft board with a smooth clay-coated white face for quality printing and a natural kraft reverse side for a strong, authentic appearance.

A kraft paperboard with a clay-coated printable top surface and a natural unbleached kraft back. It balances clean branding with a rustic natural look.

A duplex paperboard made with recycled pulp and a coated white printable surface. It delivers smooth print results for affordable carton packaging.

A black-dyed kraft board with a natural paper texture and excellent strength. It creates a bold, premium look for luxury and specialty packaging.

A packaging technique where a die-cut opening is covered with a transparent film, allowing the product inside to remain visible while staying protected.

An embossing technique where the raised design is precisely aligned with printed artwork to improve detail, texture, and overall presentation.

A finishing process in which heat and pressure transfer metallic foil to the surface, creating a premium, shiny, and luxurious effect.

A premium finishing method that combines embossing with foil stamping to create a raised design with metallic color and strong visual impact.

A decorative process that transfers foil onto selected areas of the surface using UV-curable adhesive, creating a bright metallic effect with sharp detail.

A technique that raises a design from the surface without ink or foil, giving packaging a clean, elegant, and textured appearance.

A finishing technique that presses a design into the material to create a recessed impression without using ink or foil. It adds subtle depth and a refined tactile effect.

A fast-curing printing process that uses ultraviolet light to dry ink instantly, delivering sharp detail, vibrant colors, and a premium finish.

A durable printing method that uses a mesh screen and stencil to apply ink to surfaces. It is ideal for bold colors and high-impact packaging designs.

A traditional high-quality printing process that transfers designs from plates to a rubber blanket before printing, making it ideal for large-volume production.

A modern printing method that does not require printing plates, making it cost-effective and efficient for short runs, sample production, and small-batch quantities.

Built with three corrugated layers between four linerboard sheets, providing heavy-duty strength for large or industrial packaging needs.

A standard corrugated structure with one fluted medium and two linerboards, providing dependable strength for everyday packaging.

A corrugated sheet with one flute layer between two liners, offering lightweight strength for protective packaging.

An ultra-thin flute grade designed for lightweight packaging, small retail boxes, and high-quality printed presentation.

A slim flute grade with a flatter surface, ideal for detailed printing, display packaging, and premium retail boxes.

Made with two layers of corrugated medium between linerboard sheets, offering added strength and durability for heavier products.

A versatile corrugated flute that offers balanced compression strength, cushioning, and printability for many packaging applications.

A thinner flute grade with a smooth surface, making it suitable for high-quality printing, precise die-cutting, and neat retail packaging.

A thick corrugated flute profile that provides excellent cushioning, compression strength, and stacking support for protective packaging.

A coated linerboard with an off-white surface, suitable for high-quality printing and a refined packaging appearance.

An unbleached kraft linerboard made from recycled paper pulp, offering a natural look with strong durability for eco-conscious packaging.

A coated semi-gloss linerboard with a smooth white surface, ideal for sharp printing, premium presentation, and retail-ready packaging.

A fully bleached corrugated board with a bright white surface, designed to produce clean, vibrant, and high-quality printed packaging.

A UV-cured ink that dries instantly under ultraviolet light and creates crisp, high-quality print results on a wide range of packaging materials.

A plant-based ink made with soybean oil, offering rich color output and a more sustainable printing option for carton packaging.

A standardized color-matching system used to achieve consistent, accurate brand colors across packaging, labels, and printed materials.

A full-color printing process using cyan, magenta, yellow, and black inks to create vibrant images, gradients, and detailed packaging artwork.
Real feedback from customers who trust us with their custom packaging.
Clear answers about ordering, artwork, production, materials and delivery.
Orders start from 100 units. Standard production takes 6 to 8 business days after approval.
Removable, unless the box is only ever a presentation box. A pillow that lifts out lets a customer keep the box as a jewellery box afterwards, and it lets a retailer use the same box for a piece that sits flat. A fixed pillow is neater on a counter and cannot go missing. Say which the box is for.
Usually not, and that is the point of the pillow: a chain clasped round a cushion is held open as a loop, so there is no slack to fold over and knot. The one addition worth considering is a shallow groove or a pair of small slits in the cushion for a very fine chain, so it cannot slip round the pillow in transit and bunch on one side. Say how fine the chain is and the cushion is cut with or without them.
A watch strap buckles round a pillow the way a bracelet clasps round one, so the construction is the same. The difference is the pillow's girth, which for a watch is set by the strap's buckled length rather than a bracelet's inside length, and a watch case is heavier than most bracelets, so the cushion is firmer. If you sell both, say so; the pillow is sized for whichever needs the closer fit.
An unlaminated paperboard construction may be easier to process through suitable paper-recycling streams than a heavily laminated alternative. The pillow is the part to lift out first: a foam cushion is a different material from the board around it, and a card-and-paper cushion is not. Final recyclability depends on the full material and finishing specification and the facilities available locally.