Abstract: The national economy recovery after the founding of new China, and the emergence of cooperation as a novel business model facilitated the transfer of craftsmanship proprietary and raised the status of females in the handy craft industry to some extent. In 2001, the abolition of the regulation regime that featured "unified purchase and distribution" for gold promoted the liberation of female aesthetic and led to the emergence of excellent "female designers". Meanwhile, jewelry design, which focuses on aesthetics, innovation and experiment, has become a new force to demonstrate its vitality in the academic field. The evolution of the forms jewelry design takes and the expression of female self-consciousness in contemporary jewelry art are reflective of the progress made on Chinese feminist art.The author analyzed the Chinese contemporary jewelry genre of post 1949, focusing on how it reflects progresses of feminism and how to enhance women's right of speech and cultural superiority in the history of design. Based on the two time periods from 1949 to 2001 and after 2001, the author conducted an analysis about feminism, females and design, using the research method of the history of female design from three different perspectives, including female and technology, female and consumption, female and aesthetics.