SA Jewellery News (SAJN) • Holiday issue 2021/2022

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HOLIDAY ISSUE 2021/2022

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• 2021 highlights and hopes for next year • Indian jewellery’s modern transformation • SA Mint launches Big Five Series II • Fit for a queen

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SAJN | CONTENTS

contents Editor: Adri Viviers Tel: +27 (0)11 883-4627 Cell: 084-261-1805 E-mail: adri@isikhova.co.za Managing Director: Imraan Mahomed E-mail: imraanm@isikhova.co.za Publishing Director/Editor-in-Chief: Jason Aarons Cell: 074-400-6677 E-mail: jason@isikhova.co.za Director Brand Strategy: Jenny Justus Cell: 083-450-6052 E-mail: jenny@isikhova.co.za Creative Director: Joanne Brook E-mail: joanne@isikhova.co.za Operations Director: Thuli Majola Tel: +27 (0)11 883-4627 E-mail: thuli@isikhova.co.za Advertising sales: Tel: +27 (0)11 883-4627 Cell: 083-450-6052

10. NEWS • Anglo American appoints a South African CEO • Christie’s exceptional year for watches continues • The PlatAfrica Pop-Up • Marie Antoinette diamond jewels sell for millions at auction • De Beers launches new global marketing campaign

Copy Editor: Anne Phillips Distribution: Ruth Dlamini and Direct Marketing Solution

14. ALL SIGNS POINT TO A STRONG HOLIDAY SEASON

SA Jewellery News is published by: Isikhova Media (Pty) Ltd, Physical: 10th Floor, Metal Box, 25 Owl Street, Milpark, Johannesburg, South Africa.

Richard Steenkamp, Senior Sales Manager at De Beers SS South Africa, looks forward to a strong holiday season for the diamond market despite ongoing risks relating to the pandemic and political and economic headwinds in different parts of the world.

Website: www.isikhova.co.za

19. TURQUOISE: THE ORNAMENTAL BLUE STONE December has not one or two, but three birthstones. Turquoise is probably the most widely available of the three, while zircon and tanzanite are considered rarer and subsequently more expensive in comparison.

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14 16. 2021 HIGHLIGHTS AND HOPES FOR NEXT YEAR To bring the year to a close, SAJN asked people from our industry to share some of their highlights from this past 12 months with us and their hopes for 2022.

30. GETTING TO KNOW THIS YEAR’S PLATAFRICA WINNERS The winners of this year’s PlatAfrica Jewellery Design and Manufacturing Competition, SA’s premier platinum jewellery design and manufacturing competition, were announced on 29 October during a virtual showcase event.

SAJN caught up with the first, second and third prize-winners in the Professional and Apprentice categories to discuss their winning pieces.

SA JEWELLERY NEWS - DECEMBER 2021 / JANUARY 2022

CONTENTS | SAJN

Official Journal of the Jewellery Council of South Africa and the Diamond Dealers’ Club of South Africa. www.jewellery.org.za www.ddcsa.co.za

HOLIDAY ISSUE 2021/2022

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Engraving is a lovely way for jewellers to personalise their clients’ purchases this holiday season. What is more, these additions instantly make items unique and memorable.

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36. ADDING A PERSONAL TOUCH WITH ENGRAVING

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38. MESSAGE FROM THE CEO OF THE JEWELLERY COUNCIL OF SOUTH AFRICA Lorna Lloyd shares some of 2021’s successes, challenges and what is planned for the new year.

• 2021 highlights and hopes for next year

40. SA MINT LAUNCHES BIG FIVE SERIES II The South African Mint, a wholly-owned subsidiary of the SA Reserve Bank, has launched the long-awaited Big Five Series II coin collection, a sequel to the awardwinning first series which was introduced in 2019.

34. INDIAN JEWELLERY’S MODERN TRANSFORMATION The Indian tradition of ornate jewellery dates back thousands of years and remains an integral part of Indian lifestyle and culture. While 22ct gold jewellery dominated designs in the past, modern Indian women in SA are moving towards more contemporary items.

42. FIT FOR A QUEEN The queen’s personal jewels – according to a valuation some three years ago – include 98 brooches (an item which she is seldom ever seen without), 46 necklaces, 37 bracelets, 34 pairs of earrings, 15 rings, 14 watches and five pendants.

SA JEWELLERY NEWS - DECEMBER 2021 / JANUARY 2022

• Indian jewellery’s modern transformation • SA Mint launches Big Five Series II • Fit for a queen

On the cover December’s birthstone, turquoise, is an opaque, relatively soft gemstone, formed within weathered rock containing copper minerals. Its famous turquoise colour varies from intense sky blue to duck egg blue or greener shades. Turquoise contains tiny brown or black veins which are caused during formation by inclusions from nearby rock fragments. It is one of the oldest stones to be used in jewellery. In its natural form, turquoise is very rare and accounts for less than 3% of the turquoise available on the market.

However, stabilised turquoise is much more common. Typically, turquoise is judged on three basic quality factors – colour, texture and the presence or absence of matrix. The most prized turquoise colour is an even, intense, medium blue, sometimes referred to as robin’s egg blue or sky blue in the trade.

The views expressed in this publication are not necessarily those of the owners, the Jewellery Council of South Africa, the Diamond Dealers’ Club of South Africa, its members, the publisher or its agents. While every effort has been made to ensure the accuracy of its contents, neither the owners, the Jewellery Council of South Africa, the Diamond Dealers’ Club of South Africa, the editor nor the publisher can be held responsible for any omissions or errors; or for any misfortune, injury or damages which may arise therefrom. The same applies to all advertising. SA Jewellery News© 2022. All rights reserved. No part of this magazine may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or any information storage retrieval system, without prior written permission from the publishers. ISSN 1817-5333.

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WHILE SEARCHING FOR AN ARTICLE, I REREAD MY EDITOR’S NOTE FROM THE first issue of SAJN this year. It made me realise what a roller-coaster 12 months we have all had. COVID-19 did not magically disappear and we started January on level 3 lockdown, with stage 2 load-shedding. My son’s first day of Grade 1 was spent at home with me as his teacher, our dining room as his classroom and his younger sister and baby brother as his classmates. My daughter will start Grade 1 in the new year and I hope her first day will be a little more normal.

While some of us were fortunate not to lose a loved one to the virus in 2020, I believe that in 2021, very few have been as blessed. At SAJN we cried together often this year over the loss of a friend, a family member or a beloved industry colleague. Most of us also fought hard to recover from the virus or spent time isolating at some point during the year. Thinking about it now, on level 1 and approaching the holiday season, the memory of what so many of us endured seems surreal.

However, this year also had moments of extreme gratitude and joy. Many embarked on a new journey, celebrated a milestone or achieved something for which they had striven. At SAJN we enjoyed sharing news with you about out-of-the-box industry initiatives, progressive platforms which were launched to assist the trade and exciting programmes for emerging jewellers. We were amazed by the incredible talent of local designers which beautified our pages.

The interviews I did with those from our local trade made me realise once again that SA’s jewellery industry comprises resilient, forward-thinking, inspiring folk who are not afraid to work hard. Thank you all for sharing your ups, as well as your downs, with us during the year.

This year, as is again evident in this issue, we wanted to keep things local: a trade publication for the industry, by the industry. We wanted to involve you and guide you where we could through new developments, strategies and changing market conditions and trends. We hope that we have succeeded in doing so.

We have many exciting plans here at SAJN for the new year – special editions, new segments and great competitions – which we cannot wait to share with you.

May all of you find time for self-care and restoration this festive season. Take time to smell flowers, pet dogs or cats and laugh.

Be safe, stay healthy and celebrate the loved ones who have supported you throughout the year.

Wishing you all a prosperous, happy, healthy and successful 2022!

Adri Viviers SA JEWELLERY NEWS - DECEMBER 2021 / JANUARY 2022

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SAJN | NEWS

ANGLO AMERICAN APPOINTS SOUTH AFRICAN DUNCAN WANBLAD AS NEW CEO Anglo American has appointed Duncan Wanblad as its new CEO. The 54-year-old Wanblad is set to take over in April 2022, making him the first South African executive to lead the diversified global mining firm since Tony Trahar, who stepped down in 2007. Wanblad succeeds Mark Cutifani, who will step down from the board after nine years in the role.

“Duncan Wanblad is the standout and natural successor to Mark Cutifani, bringing his 30

years of international mining experience and deep understanding of Anglo American, its culture and its context. In both executive and non-executive roles spanning most of Anglo American’s businesses, Duncan has been integral to shaping the strong competitive position of the company today,” says Stuart Chambers, Chairperson of Anglo American. “Following a rigorous global process to identify Mark’s successor, including those on our internal suc-

cession plan, the board felt that Duncan was uniquely qualified to take Anglo American on the next phase of improvement and deliver what’s one of the industry’s leading growth stories. We congratulate him on his appointment as CEO.” “I’m honoured that the board’s given me the opportunity to lead this great company and our wonderful colleagues around the world,” says Wanblad.

MARIE ANTOINETTE DIAMOND JEWELS SELL FOR MILLIONS AT AUCTION Christie’s November Magnificent Jewels auction on 9 November achieved a total of CHF53 661 500 and saw global participation from 32 countries across four continents.

The auction was led by the historic diamonds owned by Marie Antoinette, the last queen of France, which passed through the family by descent for the next 250 years. The jewels, made by Boehmer in 1776, attracted bidding from the room and telephones and achieved CHF7 459 000, setting the second-highest

price for a jewel owned by the tragic queen and the highest price for a diamond jewel ever sold with the storied Marie Antoinette provenance.

“A very dynamic salesroom coupled with strong online and telephone bidding from around the world resulted in an extremely high sell-through rate of 93% by lot,” says Rahul Kadakia, International Head of Christie’s Jewellery. “Marie Antoinette’s diamonds captured the world’s attention and achieved a fitting result.”

Suppliers of moissanite calibrated stones and moissanite jewellery Competitive quality & competitive prices

Stones from $900 per carat

All larger stones certified and engraved with serial numbers Names and dates of personal information can be engraved on the girdle of the stone (on request) Product Number

Shape/Cut

Size in MM

Quantity

Price/Per Carat

Price per stone

1001

Round Faceted

0,80

1 carat (340 pieces)

R 1 100,00

R 3,24

1002

Round Faceted

0,90

1 carat (250 pieces)

R 1 100,00

R 4,40

1003

Round Faceted

1,00

1 carat (200 pieces)

R 1 100,00

R 5,50

1004

Round Faceted

1,10

1 carat (170 pieces)

R 1 100,00

R 6,47

1005

Round Faceted

1,20

1 carat (125 pieces)

R 1 100,00

R 8,80

1006

Round Faceted

1,30

1 carat (100 pieces)

R 1 100,00

R 11,00

1007

Round Faceted

1,40

1 carat (85 pieces)

R 1 100,00

R 15,94

1008

Round Faceted

1,50

1 carat (70 pieces)

R 1 100,00

R 15,71

1009

Round Faceted

1,60

1 carat (60 pieces)

R 1 100,00

R 18,33

1010

Round Faceted

1,70

1 carat (50 pieces)

R 1 100,00

R 22,00

1011

Round Faceted

1,80

1 carat (40 pieces)

R 1 100,00

R 27,50

1012

Round Faceted

1,90

1 carat (37 pieces)

R 1 100,00

R 29,73

1013

Round Faceted

2,00

1 carat (35 pieces)

R 1 100,00

R 31,43

1014

Round Faceted

2,10

1 carat (30 pieces)

R 1 100,00

R 36,66

1015

Round Faceted

2,20

1 carat (25 pieces)

R 1 100,00

R 44,00

1016

Round Faceted

2,30

1 carat (22 pieces)

R 1 100,00

R 50,00

1017

Round Faceted

2,40

1 carat (20 pieces)

R 1 100,00

R 55,00

1018

Round Faceted

2,50

1 carat (17 pieces)

R 1 100,00

R 64,71

1019

Round Faceted

2,60

1 carat (16 pieces)

R 1 100,00

R 68,75

1020

Round Faceted

2,70

1 carat (15 pieces)

R 1 100,00

R 73,33

1021

Round Faceted

2,80

1 carat (13 pieces)

R 1 100,00

R 84,62

1022

Round Faceted

2,90

1 carat (11 pieces)

R 1 100,00

R 100,00

Product Number

Shape/Cut

Size in MM

Price/Piece colourless

Price/Piece near colourless

Appr. CT weight

1023

Round Faceted

3,00

R 200,00

R 170,00

0,09

1024

Round Faceted

3,25

R 225,00

R 191,25

0,12

1025

Round Faceted

3,50

R 250,00

R 212,50

0,14

1026

Round Faceted

4,00

R 350,00

R 297,50

0,22

1027

Round Faceted

4,50

R 450,00

R 382,50

0,29

1028

Round Faceted

5,00

R 550,00

R 467,50

0,41

1029

Round Faceted

5,50

R 700,00

R 595,00

0,54

1030

Round Faceted

6,00

R 850,00

R 722,50

0,68

1031

Round Faceted

6,50

R 1 300,00

R 1 105,00

0,88

1032

Round Faceted

7,00

R 1 850,00

R 1 572,50

1,10

1033

Round Faceted

7,50

R 2 200,00

R 1 870,00

1,35

1034

Round Faceted

8,00

R 3 000,00

R 2 550,00

1,60

1035

Round Faceted

8,50

R 3 700,00

R 3 145,00

1,90

1036

Round Faceted

9,00

R 4 500,00

R 3 825,00

2,26

1037

Round Faceted

9,50

R 5 200,00

R 4 420,00

2,75

1038

Round Faceted

10,00

R 6 250,00

R 5 312,50

3,08

1039

Round Faceted

10,50

R 7 100,00

R 6 035,00

3,57

1040

Round Faceted

11,00

R 8 400,00

R 7 140,00

4,11

1041

Round Faceted

11,50

R 9 500,00

R 8 075,00

4,72

1042

Round Faceted

12,00

R 11 000,00

R 9 350,00

5,32

CONTACT US DIRECTLY FOR ANY INQUIRIES AND AVAILABILITY

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Mizane Jewellery • Ken (076 049 9457 / 011 485 3784) or Jarred (083 320 4832) • www.mizanejewellery.co.za

Introducing JewelStart

THE PLATAFRICA POP-UP Annually, Anglo American Platinum, Platinum Guild International India and Metal Concentrators host the PlatAfrica jewellery design and manufacture competition, which celebrates and supports the South African platinum industry by giving student, apprentice and professional jewellers the opportunity to work, experiment, innovate and develop their technical expertise with the metal. PlatAfrica highlights the strength and beauty of platinum, while revealing the glowing jeweller talent of the country.

Every year an original theme is chosen for the competition, producing one-of-a-kind, statement pieces of jewellery. Each year, many of those pieces are melted down in order to re-use the precious metal.

The PlatAfrica Pop-Up Store, which is exclusively online, gives the public an oppor-

Approach risk with purpose.

tunity to invest in platinum, as well in the South African jewellery industry. To view or shop pieces from the PlatAfrica 2021 Metamorphosis collection, visit: https://plat.africa/collection/all.

DE BEERS LAUNCHES NEW GLOBAL MARKETING CAMPAIGN De Beers is bringing back its classic “A Diamond is Forever” slogan for a new global advertising campaign. However, unlike past “Forever” campaigns, which promoted the entire industry, the new “I Do” ads will tout only De Beers and its brands.

“For more than a century, De Beers has played a central role in helping people express their enduring commitment to their partners,” says Bruce Cleaver, De Beers Group CEO. “Today we see a new generation of consumers wanting to communicate a wider commitment to their own personal development, to their friendships, to their families, to society and to the natural world.

C

M

The meaning of ‘I do’ has expanded and is more relevant than ever. Likewise, diamondsY have a broader spectrum of meaning thanCM ever. With our new ‘one De Beers’ vision,MY which encapsulates the essence of our CY brand’s purpose and enables consumers to CMY interact with it in new ways, we see an exciting opportunity to shape the future of di-K amonds. With all our marketing investment consolidated behind our iconic brand name, we’ll amplify the emotional meaning that diamonds from De Beers hold for consumers, highlighting the positive impact they have in the world and the exceptional beauty of those selected for our jewellery houses.”

CHRISTIE’S EXCEPTIONAL YEAR FOR WATCHES CONTINUES One hundred and twenty timepieces sold 100% by lot and 192% above low estimate in just three hours and 20 minutes during Christie’s Rare Watches live auction on 8 November. Over 700 participants from 26 countries showed a strong interest in the offering, with the auction totalling CHF22,8 million.

The top lot sold was the Patek Philippe Ref 2523, which achieved CHF2 670 000.

This extremely fine and highly important Patek Philippe is the first example of an 18ct gold two-crown world-time wristwatch with 24-hour indication and first-ever waved

guilloché gold centre.

The Rare Watches live auction was part of Christie’s Autumn 2021 Luxury sale week, which concluded on 16 November with the closure of its Watches Online: The Geneva Edition. In its live and online sales, the auction house offered 1 160 lots which sold for a combined sell-through rate of 93%. During the week, Christie’s welcomed a total of 1 900 registrants, 20% of which were new.

Fifteen lots sold for above CHF1 million and 65% for above their individual estimates.

Registrants came from 37 countries.

Dear Members We are pleased to share that Bryte’s Jewellery, Fine Art & Specie division has launched an exciting new insurance product which provides an alternative for businesses on a new trajectory. JewelStart, which is endorsed by the Jewellery Council of South Africa, offers entry-level, bespoke cover for entrepreneurs and small businesses.

“JewelStart aims to provide more tailored, sustainable solutions for jewellery businesses that are navigating changing market conditions and challenges that have been exacerbated by the pandemic. It is ideal for new entrants to the jewellery industry or businesses that have had to adapt their strategy to operate in less conventional ways. For example, those servicing customers from home and/or undertaking deliveries themselves or via courier services,” explained Natasha Maroun, Bryte’s National Head: Jewellery, Fine Art & Specie.

Bryte is excited to launch ‘Jewelstart’ cover, which is endorsed by the Jewellery Council, for the ‘work from home’ jeweller and or the new start-up jewellery business.

Contact natasha.maroun@brytesa.com or robyn.lambert@brytesa.com and learn how we can assist.

brytesa.com

Bryte Insurance Company Limited is a licensed insurer and an authorised FSP (17703)

SA JEWELLERY NEWS - DECEMBER 2021 / JANUARY 2022

Policy terms and conditions apply.

SAJN | DIAMONDS How is the diamond market currently doing?

The positive recovery in consumer demand for diamonds that started in the second half of 2020 has continued throughout 2021, particularly in the key market of the US with consumer demand exceeding what we were seeing pre-pandemic. In the first half of 2021, consumer demand for diamonds grew around 40% globally compared with the same period in 2020, and around 15-20% compared with the first half of 2019.

The outlook for the full year 2021 is positive, with expectations for a strong holiday season despite ongoing risks relating to the pandemic and political and economic headwinds in different parts of the world.

The positive trends with consumer demand have supported positive trends in wholesale polished diamond prices during the year as a whole, as well as robust demand for rough diamonds – which has also been a function of low levels of pipeline inventory (as inventories were worked down in 2020) and the reduced global production of rough diamonds (due in part to the closure of the Argyle mine in Australia).

Diamond demand bounced back stronger than expected post-crisis. To what do you attribute this recovery?

Diamonds have always been symbols of love, celebration and self-reward. As consumers have sought ways to express these emotions throughout the pandemic, diamonds have had a particularly relevant role to play in people’s lives and continue to offer a personal connection when we have been less able to connect with loved ones. At a time when people have been seeking meaningful gifts to show their friends and families what they mean to them; an ability to feel connected to the natural world; and a source of joy and happiness, diamonds provide all of these.

Diamonds have also benefited from reduced consumer spending in other key competitive luxury categories, such as luxury travel and entertainment. With household savings at alltime highs, supported by stimulus packages in the key US market, consumers are spending more on meaningful discretionary purchases and diamonds have been a beneficiary of this.

Moreover, diamonds often perform well after economic shocks as people seek items with

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All signs point to a strong holiday season SA JEWELLERY NEWS - DECEMBER 2021 / JANUARY 2022

DIAMONDS | SAJN

Richard Steenkamp, Senior Sales Manager at De Beers Sightholder Sales South Africa, looks forward to a strong holiday season for the diamond market despite ongoing risks relating to the pandemic and political and economic headwinds in different parts of the world.

enduring value – and we are seeing the same this time.

Savvy diamond jewellery retailers also ramped up their online offerings significantly throughout the pandemic, with this sales channel representing 40% of diamond jewellery sales in 2020.

What has been the diamond market’s biggest challenges this year?

While global market conditions have generally been strong throughout 2021, COVID-19 continues to present significant challenges right along the diamond pipeline. In the upstream, mines continue to focus on the challenge of operating safely and effectively with strict COVID-19 measures in place. In the midstream, the second wave of COVID-19 in India again led to the closure of a high proportion of the world’s cutting and polishing factories for a period in the second quarter. And in the downstream, COVID-19 continues to present significant uncertainty, particularly outside of the US market, with new waves of the virus and new restrictions underway in European countries.

A key challenge is ensuring that we are in a good position to deal with the ongoing uncertainty relating to the potential future impacts of the pandemic.

Are you anticipating a strong holiday season for the diamond industry?

Expectations are for a strong holiday season for diamond jewellery sales, driven by robust ongoing demand in the key US market and supported by pent-up demand for engagements and weddings.

What do you see as the main competitor to diamond jewellery this holiday season?

Luxury experiences such as travel and entertainment have historically been key competitors to diamond jewellery; however, even as restrictions on travel and experiences have eased in the second half of 2021, consumer demand

for diamonds has remained at historically high levels. In addition, the recovery in demand for jewellery has outstripped other luxury categories, so all signs point to a positive outlook for diamond jewellery sales this holiday season.

What is De Beers’ sales strategy for 2022?

In the second quarter of 2021, we introduced new Sightholder Supply Agreements which created three separate supply agreement types – manufacturers, dealers and retailers – with a focus on offering each of these types of customer a more tailored approach to supply that better matches their business needs. This more targeted approach to rough diamond supply will continue to be the focus of our rough diamond sales strategy in 2022.

Over and above this, we will continue to take a watchful approach to our rough diamond sales in light of the ongoing challenges presented by COVID-19 and will respond accordingly as we have done throughout the course of the pandemic.

Consumer demand for diamonds has remained at historically high levels. In addition, the recovery in demand for jewellery has outstripped other luxury categories, so all signs point to a positive outlook for diamond jewellery sales this holiday season.

SA JEWELLERY NEWS - DECEMBER 2021 / JANUARY 2022

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SAJN | INDUSTRY

2021

highlights and hopes for next year

To bring the year to a close, SAJN asked people from our industry to share highlights from this past 12 months with us and their hopes for 2022. Here are some of the responses we received.

JOHAN BEZUIDENHOUT FROM RICHLINE SA Highlight of 2021: Building and expanding our business locally and internationally. Another highlight was maintaining resolve in our industry in the face of adversity Wish for 2022: That God Almighty will grant us the wisdom to create more opportunities in our industry that will allow us to grow and prosper in the future.

DAVID BOLDING FROM DAVID BOLDING GOLDSMITHS Highlight of 2021: This past year, we were encouraged by the move instigated by my partner Marele to move our FreeRange product online – with remarkable success. This, of course, was balanced by the lack of business in our trade workshop due to the reduced (or non-existent) activity in the tourist trade experienced by our retail clients.

Wish for 2022: That we can continue the online business, as well as encouraging our clients to continue transacting online. I also hope for a substantial increase in tourism in our region (Western Cape). A negative is the cumbersome VAT reclaiming process, which discourages tourists from making purchases. My wish for the manufacturing sector is to form a professional body in order for us to manage the requirements of our industry autonomously.

16

SIBONGILE SHONGWE FROM THE PLATINUM INCUBATOR (TPI) Highlight of 2021: TPI has seen growth in platinum group metal (PGM) beneficiation and SMME uptake of working with platinum. Our SMMEs and we have experienced a balance in production of low-, medium- and high-end products with PGMs. The pandemic unfortunately imposed new business processes, but the economic downturn gave us an opportunity to extend our scope and support as an incubator. TPI finally started with the incubation of candidates that apply PGMs in industrial applications.

Wish for 2022: That we’ll improve our role in PGM beneficiation through partnerships that enhance effective collaborations in order to positively impact the South African economy.

SA JEWELLERY NEWS - DECEMBER 2021 / JANUARY 2022

BRENDA ROSENTHAL FROM EGL SA Highlight of 2021: Seeing how people truly supported and helped each other – not only in our industry, but everywhere. A personal highlight was having my eldest child finish matric.

Wish for 2022: That there’ll be recovery throughout all the various industry sectors. I also hope for a year filled with peace.

ISABELLA KOBELA FROM ISABELLA JEWELLERS & REFINERIES Highlight of 2021: Celebrating 10 years in the precious metals refinery industry and having our staff members and stakeholders walk the journey with us. It’s impacted the company’s sustainability and we wouldn’t be where we are today without them

CLAYTON RAY FROM CRAYVE PRESENTATIONS Highlight of 2021: 2020 certainly had other plans for all of us! This motivated us to take the leap and develop and introduce several new packaging collections to our offerings. We’ve put a lot of effort into stabilising our supplier relationships and have loved working with our resilient customers and some exciting new brands.

Wish for 2022: One lesson we’ve all taken learnt during the past 18 months is resilience. My hope is that the South African jewellery industry continues to recover and flourish. We’re excited about the opportunities that lie ahead and will continue supporting the industry with our service and product offerings.

SA JEWELLERY NEWS - DECEMBER 2021 / JANUARY 2022

Wishing you a blessed holiday season

Wish for 2022: We’re looking forward to collaborating with new stakeholders who’ll favourably impact the business through beneficiation opportunities.

We hope this will give all participants a chance to share their talent and creativity with the world and make their dreams come true through the process of manufacturing personalised jewellery pieces.

The SA Jewellery News and Isikhove Media offices will be closing 15 December 2021 and will reopen 10 January 2022

17

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THE DECEMBER BIRTHSTOBE: TURQUOISE | SAJN

Turquoise: the ornamental blue stone December has not one or two, but three birthstones.

Turquoise is probably the most widely available of the three, while zircon and tanzanite are considered rarer and subsequently more expensive in comparison.

TURQUOISE IS AN OPAQUE, RELATIVELY soft gemstone, formed within weathered rock containing copper minerals. Its famous turquoise colour varies from intense sky blue to duck egg blue or greener shades. Turquoise contains tiny brown or black veins which are caused during formation by inclusions from nearby rock fragments. It is one of the oldest stones to be used in jewellery. Although it is commonly associated with Native American culture, turquoise was imported to medieval Europe through Turkey and Turkish traders and was considered sacred by many ancient civilisations.

Although the gem itself is ancient, the name is relatively new: dating from 13th-century France, the word “turquoise” means “stone from Turkey”.

In its natural form, turquoise is very rare and accounts for less than 3% of the turquoise available on the market. However, stabilised turquoise is much more common. This is when the stone has been treated in some way to deal

with two main problems associated with a lot of turquoise: its softness (it has a Mohs hardness of 5-6) and porosity. The most common form of stabilisation is with a clear epoxy resin. The resin, under pressure, absorbs into the rock, which permanently hardens it, rendering it more suitable for use in jewellery.

Another form of turquoise on the market is the colour-enhanced, stabilised and reconstituted variety, which is becoming more common as good-quality turquoise rough material becomes harder to find.

It is safe to clean turquoise jewellery with warm, soapy water, but this December birthstone should never be cleaned with steam or ultrasonic cleaners. Heat or solvents can damage the treated surfaces on some turquoise.

The most common places known for good-quality turquoise are Iran, Egypt, northwest China, Mexico and the south-western parts of the USA. Although there are mines found in many states, Colorado, New Mexico, Arizona and Nevada are the most common ones for this stone.

Typically, turquoise is judged on three basic quality factors – colour, texture and the presence or absence of matrix. The most prized turquoise colour is an even, intense, medium

blue, sometimes referred to as robin’s egg blue or sky blue in the trade. The traditional source for this colour is the Nishapur district of Iran, which is why it is often described as “Persian blue”, even if it was not actually mined in that country. Turquoise is most often cut as a cabochon. The smoothly rounded dome shape sets off the stone’s colour, texture and any matrix beautifully.

Queen Victoria had a fondness for turquoise, which was a very popular gemstone in the 19th century. Her collection of jewellery set with this stone started when she was a young woman.

In time, her collection of turquoise jewellery increased significantly with the acquisition of 42 light blue stones from Russia.

This December birthstone adorned the funerary mask of King Tutenkhamen, who ruled Egypt more than 3 000 years ago. It also appears in jewellery belonging to more modern royalty: Wallace Simpson (1896-1986), the Duchess of Windsor (the woman for whom King Edward VIII gave up his throne), wore a famous amethyst and turquoise necklace made

by Cartier. Turquoise is also the gem of the 11th wedding anniversary.

Typically, turquoise is judged on three basic quality factors – colour, texture and the presence or absence of matrix. The most prized turquoise colour is an even, intense, medium blue, sometimes referred to as robin’s egg blue or sky blue in the trade.

SA JEWELLERY NEWS - DECEMBER 2021 / JANUARY 2022

19

SAJN | DID YOU KNOW?

Interesting facts 1

Sea salt is very corrosive to copper and it will cause the jewellery to collapse much faster than yellow gold, which has brass and silver in it.

4

Salvador Dali designed around 40 items of jewellery between 1941 and 1970.

He became associated with two fine art jewellers, Ertman and Alemany, and collaborated with them to produce a major collection of art jewels.

7

One of the most treasured jewels in Indian history, the Taj Mahal Emerald, is an exquisite hexagonal emerald intricately carved with stylised flowers that mirror the décor of the Taj Mahal.

20

2

One of the most renowned designers of Christmas tree pins was Stanley Hagler.

Hagler Christmas tree pins ranged from squat, triangular pins dripping with Murano glass beads to trees made of mother-of-pearl and red-glass flowers.

5

Suntan lotions wil not harm any metal, because there is nothing corrosive in those lotion. However, they will rot any sort of string or thread, so you should be very careful with strung jewellery.

8

Industrial-grade diamonds are believed to enhance the performance of highquality speakers, improving sound quality.

Diamonds are also used in record-player needles and DJ equipment.

3

In 1998, Tiffany & Co finally trademarked its colour and packaging. Three years later, the brand partnered with Pantone to solidify its hue, “1837 Blue”, commemorating its founding year.

6

Between 3900 and 2500 BC, copper’s value soared among the Egyptians. In fact, copper artisans were held in high regard and created crowns and headdresses for the wealthy.

9

In 1869 the term “Mother Lode” was coined to describe the gold reserves of five Californian counties: Mariposa, Tuolumne, Calaveras, Amador and El Dorado. However, more gold was subsequently sourced from Placer, Nevada, Sierra and Plumas counties.

SA JEWELLERY NEWS - DECEMBER 2021 / JANUARY 2022

Monthly educational insert An SA Jewellery News and Jewellery Council of South Africa initiative

Written by Dr Petré Prins, Gems and Jewellery: The South African Handbook is an introduction to gemstones, jewellery and store management.

The following is an extract from Gems and Jewellery: The South African Handbook

After two years' post-graduate research at Cambridge University, UK and 10 years as a senior lecturer in geochemistry and mineralogy at the University of Stellenbosch, South Africa, Dr Prins, in 1982, started Prins & Prins Diamonds, a leading supplier of diamonds, gemstones and fine jewellery in Cape Town.

ISSUE ISSUE 23 25

FANCY COLOURED DIAMONDS Diamonds that exhibit colours other than yellow or brown - and those yellow and brown stones with a colour more intense than Z - are called fancy coloured diamonds or “fancies”. They also come in other more unusual colours, such as red, green, purple and blue, etc. In natural diamonds the intensity of these unusual colours is normally quite weak. However, if these unusual colours are intense, they are normally indicative of a synthetic, man-made diamond or of a natural diamond whose colour has been enhanced in the laboratory

NATURAL FANCY COLOURED DIAMONDS Diamonds with a natural red, pink, blue or green colour are extremely rare and fetch astronomical prices. These colours are normally quite pale compared with the intense yellow some natural diamonds exhibit. In the ‘90s, an exceptional red diamond was sold for US$92 600/ct, while vivid fancy pinks from the Argyle mine in Australia are annually put on auction and bought by collectors at prices ranging from US$30 000-200 000/ct.

Small pale pinks and blues are readily available and have become a fashionable item in fine jewellery.

Natural fancy yellow diamonds are more readily available.

They exhibit a vast range of colours - from “canary” (pure yellow) to orangy-yellow, greenish-yellow to brownishyellow, which makes pricing them a specialist art. The pure yellow stones with no other colour modifiers are the most expensive. Half-caraters of such colour can be bought from US$2 000-5 000/ct.

Brown diamonds have been produced in large volumes at the Argyle mine in Australia.They come in colours described as “beer bottle”, “champagne” or “cognac”, which are quite affordable. Combined with white diamonds, they make beautiful jewellery, especially for men.

NOMENCLATURE FOR FANCY COLOURS Grading laboratories have developed their own individual system for describing and grading fancy coloured diamonds. This is confusing, because cer tificates from two laboratories may differ widely in their description of the same stone. Fancy coloured diamonds should not be valued on the description of one laboratory only, but rather on what the eye sees.

The following colour grading system for “fancies” is preferred.

Yellow and brown colours Yellow or brown coloured diamonds with a colour stronger than the Z master stone is described with a “fancy” prefix and with increase in colour as follows: “Fancy Light”, “Fancy”, “Fancy Intense”, “Fancy Dark”, “Fancy Deep”, “Fancy Vivid”.

For example : Fancy Light greenish-yellow natural diamond, or Fancy Intense orangy-brown synthetic diamond.

EGL South Africa describes brown diamonds as “Champagne” and indicates the intensity of colour on a scale ranging from C-1 (light) to C-7 (very dark).

All other colours Diamonds with a colour other than yellow or brown normally exhibit a colour of much less intensity. A diamond’s characteristic colour, ie, blue, pink, green, steel, purple, etc, is modified by the following terms:“Faint”,“Very Light” or “Light”.

A selection of natural fancy coloured diamonds (rough).

For example: Very Light green fancy coloured diamond, or Faint blue fancy coloured diamond.

AN INTRODUCTION DIAMOND GRADING TO GEMSTONES

BLACK DIAMONDS - fact or fantasy?

Experts have long believed that there are no true black diamonds and that they exist only in folklore and detective stories. There are, however, three kinds of diamonds that are often referred to as black.

One type is actually very dark brown or a gunmetal-coloured diamond with so many specks of dark mineral inclusions (believed to be graphite) that they appear black to the unaided eye.

The other type is a dark yellow or dark brown diamond that has been artificially irradiated to produce a dark greenish diamond that looks black.

The only true black diamond is one which does not transmit any light. Even the thinnest sliver (when held up to a very brightest source of light) will not transmit any light. Such diamonds, if untreated, are extremely rare.

Because black diamonds are extremely difficult to polish, they often show polishing drag lines and cracks across facets that are visible to the naked eye. Their girdles are normally chipped.

V. COLOUR AND CLARITY ENHANCED DIAMONDS COLOUR ENHANCEMENT Intense yellow, green, blue and even pink colours can be induced in a natural diamond by a combination of radiation, heat treatment and/or special surface coatings. Such stones cost a fraction of those with a comparable natural colour.

Also, the colour of a yellowish-brownish type IIb diamond can be removed by a high-pressure/high-temperature (HP/ HT) process, rendering a beautiful white stone.

For tunately, most gem laboratories can identify the ar tificial nature of a diamond’s colour.

Some grading reports will indicate NCNA, an acronym for Natural Colour Not Authenticated. This means that the laboratory has not established whether the colour is natural or not. It is therefore of prime importance to have coloured diamonds certified by a reputable laboratory before they are sold to the public.

Please note: •

•

Be careful with pale green or pale blue diamonds - it is difficult to distinguish a pale natural colour from a pale colour induced by man. Natural vivid greens and blues are extremely scarce and, if available, will most probably be the result of laboratory enhancement.

You should be aware that some fancy coloured diamonds which have been treated - especially the yellows, browns and blues - will change colour under a jeweller’s torch. A normal repair job like tipping claws could cause a blue stone to turn green, resulting in a very unhappy client.

CLUES FOR DETECTING TREATED DIAMONDS •

A medium to dark, vivid green, blue-green or blue body colour.

•

Darker green or brown naturals or surface spots.

•

Umbrella effect - a coloured pattern following facet junctions.

•

Disc-like inclusions.

•

Colour zoning in the culet.

Please note: Natural blue diamonds will conduct electricity. Treated blues do not.

CLARITY ENHANCEMENT There are techniques available to improve a diamond’s clarity, for instance:

• Laser drilling A laser beam is used to drill an extremely thin tube into a dark inclusion or a stained crack. A strong acid, which is forced down the tube, dissolves the inclusion or stain, rendering the imperfection less visible. The laser hole is often filled with a colourless resin. Grading laboratories will disclose whether a diamond has been laser drilled to improve its clarity. Laser drill holes are quite easy to detect under magnification.

ISSUE 25

Please note:

Laser drill hole into an acid wash inclusion.

Laser drill holes in a diamond.

• Fracture filling Modern techniques are available whereby a special glassy resin with a RI similar to that of a diamond and with a low melting point (similar to the material used to repair windscreens) is sucked under vacuum into cracks that reach the surface of a polished diamond. Under the microscope, it requires some expertise to identify small bubbles that may be trapped in the fill material. By using dark field illumination, a colourful feature – called the “flash effect” – can be seen which is indicative of a fracture-filled diamond. Such filling makes a crack less visible to the naked eye and may improve the clarity of a diamond by one or more grades.

Most gemmological laboratories will not grade fracturefilled stones, as the treatment is not permanent. A goldsmith’s flame may cause the fill material to melt and leak from the crack.

The diamond grading principles as described herein are guidelines only. They will assist the jeweller in assessing a grading report, as well as in the valuation of diamonds. The jeweller must realise that the grading report is worth only as much as the reputation of the organisation which issued it. Also, that the diamond itself is the only real thing of value.

Diamond grading is a specialised skill and much experience is needed before a true grade can be attached to a particular stone. In professional grading laboratories, more than one grader must independently arrive at the same grade before a report is issued.

The author assumes no responsibility if, by using the guidelines herein, losses are suffered in the valuation of diamonds and other precious gems.

Blue colour flash in a fracture-filled diamond.

Orange flash in a fracture-filled diamond.

THE PRECIOUS METALS 1. GOLD “Gold, the most excellent of nature’s products, is begotten of the sun, in as much as it has more resemblance to it than anything else – nor is any created thing more enduring than this gold.” – Leonardo da Vinci

HISTORY In many ways, gold is the ideal metal for jewellery. Its natural colour is appealing, it is sufficiently rare to be valuable and it does not tarnish or rust. Mankind has valued and used this metal since the dawn of civilisation. The most ancient documented evidence of gold mining is a papyrus map of Egyptian gold mines dating from the 14th century BC (displayed in the Museo Egizio in Turin). The earliest known gold ornaments date from the 6th millennium BC and were discovered in Mesopotamia and Egypt.

During the Dark Ages, most of the ancient mines were depleted and the supply of gold became limited.

The discovery of the “New World” by Portuguese explorers resulted in the establishment of gold mines in Mexico and South America. In 1848, gold discoveries were made in California and, in 1851, in Australia. These sources paled in comparison with the discoveries that were made

DIAMOND GRADING

in 1886, when rich deposits of gold were discovered in the rocks of the Witwatersrand in Transvaal. Until 2004 the South African gold mining industry was the number one producer in the world, accounting for approximately 33% of all the gold ever produced. In 2008, China and Australia produced more gold than South Africa. China is set to stay the largest producer for many more years. More recent discoveries were made in Canada and other parts of Africa. Mongolia also has vast resources, yet untapped.

THE VALUE OF GOLD The worth, or value, of gold has fluctuated over the centuries. At the time of Memes, the first pharaoh (3500 BC), gold was valued at 2,5 times that of silver. However, in early Sumerian, Egyptian and Hittite times (3000-1500 BC), gold was worth much less than iron. During the reign of Philip II of Macedon (359-336 BC), gold and silver were generally valued in the ratio 10:1. This ratio did not change much in the centuries that followed.

Gold vein in quartz.

In the England of 1464, the gold:silver ratio was 11:1, according to the recorded mint price of the time. In 1983, the gold:silver ratio was 46:1 and at the start of the 21st century, it stood at about 50:1.

In 1717, the mint price of gold was fixed at four pounds, four shillings and eleven-and-a-half pennies per troy ounce - and remained at this level until 1914.

ORIGIN OF GOLD

For a few decades thereafter, most of the western world accepted the gold standard, whereby the US government guaranteed a dollar price at which it would buy gold. Britain abandoned the gold standard in 1931 and the USA only in 1971. Today the world’s monetary systems are no longer tied to the value of gold. However, it remains a valuable metal with many high-tech uses and, above all, is still treasured by mankind as the ultimate metal for personal decoration and as a store of wealth, especially in troubled political times.

Gold occurs primarily as free gold in quartz veins associated with granite intrusions. Weathering of the gold-bearing rock releases gold flakes and grains which, because of their weight, settle in river beds where they are concentrated in “placer” deposits. These grains sometimes accumulate and are rolled into lumps called nuggets. The gold deposits of the Witwatersrand consist of reefs of a pebbly conglomerate (called banket) in which the gold grains are normally not visible to the naked eye. These reefs are considered by some to be ancient placer deposits. See sketch below.

Witwatersrand gold ore with visible pyrite.

Quartz veins with gold NORTH

SOUTH

River deltas

Old inland sea

Granite intrusions

Gold-bearing conglomerates

ISSUE 25

WHAT IS THE LONDON FIX GOLD PRICE?

CARAT VS KARAT

Every business day, five London gold dealers compile all the buy and sell orders they have received and match them up. They then agree upon a price at which they will trade gold and make it public.This is called The London Fix, which is set twice daily, at 10h30 and at 15h00 London time. It is a price for 2 000 ounces of ,995 gold, with no delivery required, and is used by most gold traders worldwide.

Confusion may exist between the word “karat” (K), a term indicating the proportion of gold content to that of alloying metals in a specific alloy, and “carat” (ct), which is a unit of weight for precious stones.

THE GOLDEN FLEECE According to an early Roman writer, Strabo, there lived a tribe in the Caucasus Mountains called the Liceeaters, who collected gold by placing sheepskins in gold-rich streams.The heavy gold particles sunk to the bottom and were trapped by the grease in the wool.

This could be the origin of the Greek legend of the Golden Fleece, a goatskin that “shone like a flame in his face”, which Jason won from the Colchians.

The term “carat” is derived from the name of the bean of the carob tree.The weight of carob beans is remarkably similar and has been used as a standard of weight for precious substances since antiquity.

Today, 1 carat = 200 mg.

GOLD UNIT WEIGHTS Fine (pure) gold 24K = ,9999 fineness.

Standard gold bar = Approximately 400 ounces or 12,5 kilograms with a minimum of ,995 fine gold.

Troy ounce = A unit of measure equivalent to 31,1034 grams of fine gold.

Tola = Traditional Indian unit of weight = 11,6638 grams of fine gold.

Jason bringing Pelias the Golden Fleece.

GOLD MINING The romantic vision of a miner panning for gold in a river bed is a true reflection of how gold was mined for many centuries.

When the gold occurs as minute specks in solid rock, its recovery becomes less romantic. In order to release the gold, the rock must be crushed to a fine powder. The powder is then treated with a solution of potassium cyanide, which dissolves the gold. This solution is then filtered off and treated so that gold precipitates from it. This precipitate is further refined into gold of near 100% purity, melted into ingots, alloyed and supplied to precious metal distributors.

WORKING OF GOLD Atomic number and chemical symbol: Au 79 Specific gravity = 19,32 Melting point (fine) = 1 063ºC Boiling point = 2 970ºC Casting temperature = 1 100-1 300ºC

Tael = Traditional Chinese unit of weight = 37,429 grams of ,990 fine gold.

Gold is an extremely easy metal to work. It can be beaten or rolled into a near-transparent sheet and one ounce of it can be drawn into a thin wire 50 miles long.

The earliest gold ornaments were made from gold sheet which were decorated in relief by hammer and punches or used as a thin film covering wooden objects. In the 3rd millennium BC, a soldering process - probably using natron or the burnt sediment of wine as flux - was discovered which allowed the production of more complex items.

The earliest goldsmiths also used methods such as wire drawing, granulation, amalgamation and even gilding to produce magnificent objects and jewellery.

The tools and techniques for working gold changed little over the centuries and modern goldsmiths are still using some of them. During the Industrial Revolution, new casting and alloying techniques were developed and the mass production of jewellery became possible.

Today, gold jewellery is made either by hand or massproduction techniques.

DIAMOND GRADING

WELCOME STRANGER: THE WORLD’S LARGEST GOLD NUGGET In 1869, John Deason and Richard Oates discovered a gold nugget measuring 61 x 31cm and weighing 2 316 troy ounces (72,04 kg) at Moliagul, Victoria, Australia. It was named Welcome Stranger and is still the largest gold nugget found on earth. For their find, they were paid an amount equivalent to about US$2,6 million today. Another large nugget, known as the Welcome Nugget, weighing 2 217 troy ounces, had been found a few years earlier in 1858 in Ballarat, Australia.

HAND-MADE ITEMS Most custom-made jewellery is normally made by hand in an 18k alloy or in platinum. Such pieces are labour-intensive, unique and more expensive than mass-produced items.

MASS-PRODUCED JEWELLERY Jewellery manufacturers employ a method called lost wax investment casting to reproduce items to great precision.

Most precious metal chains are produced by machines.

Hydraulic presses are used to stamp out jewellery or medallions from precious metal plate, while other types of jewellery are machined by a mechanically operated lathe system.

Electroforming processes, whereby jewellery is created by the electro-deposition of metal from a solution saturated with the precious metal onto a predetermined form (normally made from wax), is also used to create massivelooking, lightweight items.

ALLOYING OF GOLD Fine gold is too soft to be useable and is alloyed by the addition of various metals such as copper, silver, palladium, nickel and iron. The amount and the type of metal added will cause the gold alloy to vary in hardness and in colour.

For instance:

GOLD ALLOY COMPOSITIONS

(numbers indicate percentage of metal in alloy) 24K Yellow (fine gold) 22K Yellow Zn1.33

Au100

Au91,67/Ag5/Cu2/

18K Yellow Red

Au75/Ag12,5/Cu12,5 Au75/Cu25

18K Pink Green Purple

Au75/Ag5/Cu20 Au75/Ag15/Cu6/Cd4 Au80/Al20

White (handwork) White (casting) Blue white

Au75/Ag5/Pd20 Au75/Cu3,5/Ni15,5/Zn6 Au75/Fe25

14K Yellow

White (casting) 9K Yellow

White

Au58,33/Ag4 /Cu31,2/ Zn4,17 Au58,33/Cu22,1/ Zn8,77/Ni10,8 Au37,5/Cu46,58/ Ag12,42/Zn3,5 Au37.5 + various amounts of Ni, Ag and/or Zn.

Please note: There are many other gold alloy compositions that are produced for specific applications.

ISSUE 25

2. PLATINUM ORIGIN

Chemical symbol and atomic number: Pt78 Atomic weight: 195.09 Specific gravity: 21.45 Melting point: 1 769ºC Platinum is a rare and expensive metal with properties that make it especially suitable for jewellery. It is a highly malleable, silvery-white metal which is extremely resistant to oxidation and corrosion. More than half the world’s production of platinum is used to manufacture jewellery.

The rest is used in autocatalysts that control vehicle exhaust emissions, in computer and electrical components, fuel cells, medicine, and as a catalyst in many chemical processes.

HISTORY Ancient Egyptians and Pre-Columbian Indians valued platinum as an important element. Spanish conquerors in the 17th century discovered alluvial deposits of platinum while searching for gold in Columbia.

In the 18th century, European chemists were able to extract pure platinum from the ore and it was recognised as the seventh element of that time. The development of new processing techniques at the end of the 19th century made platinum more available and it became a sought-after jewellery and industrial metal.

During WWII, it was declared a strategic metal and could not be used in jewellery. The introduction of automobile emission standards in the late 20th century increased the demand and coupled with its popularity as jewellery, especially in Japan and China - the price of platinum reached unprecedented heights (US$2 300 per ounce in 2008). With the 2008 collapse of world economies, its price fell to below US$1000/oz.

In nature, platinum is normally found as part of the so-called platinum group metals (PGM) together with other metals such as gold, nickel and copper. The PGMs are platinum (Pt), palladium (Pd), rhodium (Rh), ruthenium (Ru), iridium (Ir) and osmium (Os) - of which the first two are the most important.

The Bushveld Igneous Complex in South Africa is the main producer area of platinum in the world.The other important source is from the Norilsk district in Russia. Lesser amounts are mined in the USA, Canada and Zimbabwe. In the Bushveld Complex, platinum minerals occur in thin layers (with the minerals chromite and olivine) in extremely large igneous intrusions which were formed 1 950 million years ago. The platinum deposits in Russia, Canada and Zimbabwe are similar in nature to those of the Bushveld Complex, while placer deposits are found elsewhere.

PLATINUM ALLOYS Platinum used in jewellery is normally alloyed with either 5% copper or palladium and carries the hallmark Pt950.

With increased consumer demand and the high price of platinum in the 21st century, new platinum alloys have become available. These alloys may contain as little as 58.5% platinum alloyed with copper and iridium. The hallmark of such lower karat items should clearly indicate its platinum content – for example: 585Plat.400Irid.

DIAGRAMMATIC SKETCH OF THE BUSHVELD IGNEOUS COMPLEX WEST Rustenburg Sedimentary rock

EAST Lydenburg

Platinum-rich layers Chrome-rich layers

Multiple igneous intrusions

N°113

N°113

ASIA PACIFIC EDITION

EXCITING DESIGNS AND TRENDS | NEW TECHNOLOGIES NAMES TO KNOW | VINTAGE REVIVAL

SAJN | JEWELLERY DESIGN

Getting to know this year’s PlatAfrica winners The winners of this year’s PlatAfrica Jewellery Design and Manufacturing Competition, SA’s premier platinum jewellery design and manufacturing competition, were announced on 29 October during a virtual showcase event. SAJN caught up with the first, second and third prize-winners in the Professional and Apprentice categories to discuss their winning pieces.

CELEBRATING ITS 22ND YEAR OF ENCOURAGING jewellers, students and apprentices in SA to design and manufacture statement jewellery pieces in platinum, this year’s PlatAfrica winning pieces were extraordinary and showcased the incredible talent of our local jewellers.

Chris and Jannie Janse van Rensburg from Studio C won first place in the professional category for their neckpiece titled “Imagine”.

Lené Swartz from David Bolding, with her ring titled “Inside Out”, took second place, while Johann Claassens from Piccolo Fine Designer Jewellery, with his neckpiece – also titled “Inside Out” – took third place. Fourth place was awarded to Christina Toros from Prins and Prins Diamonds for her neckpiece, “Oceanic Flourishment”.

Patricia Ntombizodwa Tshabalala from J Hind Jewellers won first place in the Student/ Apprentice category with her neckpiece “Blossoms”. Lebogang Ledwaba from the Limpopo Jewellery Business Incubator, with a neckpiece titled “World of Mask”, took second place, while Tokelo Mphomane from Pneuma Jewellers with his neckpiece “Enlightenment” took third place. Fourth place was awarded to

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Tor Kaplan from Stellenbosch University for his ring titled “Morphed Protractor”.

PlatAfrica is sponsored annually by Anglo American Platinum in partnership with Metal Concentrators and Platinum Guild International (PGI) India. This year’s theme – “Metamorphosis” – was developed in consultation with PGI India and was inspired by the transformation phases which a caterpillar undergoes to morph into a butterfly. SAJN spoke to the winners about their pieces, their experiences and what winning means to them.

PROFESSIONAL CATEGORY Chris and Jannie Janse van Rensburg First place “After this year’s theme was announced, I spoke to Jannie about an idea I had and we started working on the piece together,” says Chris van Rensburg, owner of Studio C Manufacturing Jewellers. Chris is both a craftsman and businessman and also currently serves as the

(Above and below): Chris and Jannie Janse van Rensburg, first place (Professional category)

Chairperson of the Jewellery Council of SA. He and his son Jannie have worked together since 2009, when Jannie joined Studio C. “Our inspiration for the neckpiece was John Lennon’s song, Imagine. We wanted our piece to reflect a vision for ‘metamorphosis’ in the world, where we come together in peace, respect and love to create true compassion for all.”

This was Chris’s ninth time entering PlatAfrica and the fifth time he has won this prestigious accolade. Jannie also entered PlatAfrica as an apprentice 10 years ago.

However, this was the first time that the fatherand-son duo created a piece for a competition together. “That made winning this year even

SA JEWELLERY NEWS - DECEMBER 2021 / JANUARY 2022

JEWELLERY DESIGN | SAJN more special, sharing the experience and moment with my son, who’s become my inspiration and driving force,” says Chris.

Jannie shares his father’s sentiments.

“I’m tremendously grateful for and treasure the time we spent together creating this piece,” he says.

Both men are well known in the industry for their exceptional craftsmanship and have a reputation for impeccable honesty and a solid work ethic.

What does coming first in this year’s PlatAfrica mean to them? “We have incredible respect and appreciation for our peers and winning PlatAfrica means that we still remain relevant, which is always good to know,” says Jannie.

Lené Swartz Second place “My metamorphosis wasn’t like the harmonious journey of a butterfly,” says Lené Swartz about her piece, “Nova”. “I didn’t painlessly sleep through the change. I set fire to everything I was to become a new, empowered version of myself.

Like a phoenix, I was reborn through fire and obtained new life by rising from the ashes.

“The centre spiral represents a radiance of

(Above): Lené Swartz, second place (Professional category)

energy which is the catalyst of the metamorphic journey. It sets fire to the flames of life, which are symbolic of the hardship I had to endure to become a better version of myself and represents true inspiration and change. The spinning phoenix represents my metamorphic journey, surrounded by a circle of gems that gradate from dark to light and symbolise a complete life-cycle. The circle also represents infinity and symbolises that life’s a never-ending

(Above): Johann Claassens, third place (Professional category)

SA JEWELLERY NEWS - DECEMBER 2021 / JANUARY 2022

journey of transition to a better self.”

Swartz’s entire design is centred around a hand-carved band which can be removed from the main ring. “The concave valleys are inspired by the highs and lows of the journey of transformation. While providing support and structure to the entire piece, the ring can also be worn on its own. This illustrates that your core beliefs in life define who you are – and you realise this through introspection when everything else is stripped away.”

Swartz knew she wanted to enter after this year’s theme was announced, as she had a very clear idea of a piece in mind. “The work we do as jewellers on a daily basis can often be repetitive, so I saw this as an opportunity to challenge myself.”

She had entered PlatAfrica before and was a top 10 finalist in the Student category while studying at Cape Peninsula University of Technology. She worked at David Bolding parttime while studying and joined the company officially two years ago. This was her first time entering in the Professional category. “Even though I really wanted to do well and have the judges recognise my story and craftsmanship, I never expected to come second. It was a very memorable moment for me,” she says.

Johann Claassens Third place Johann Claassens’ “Inside Out” is the metamorphosis of 187 sparkling diamonds into a simplistic closed pendant which symbolises the inspiration that comes from within. “When I created the piece, I thought of my mom, a 55-year-old single mother of three who – over

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SAJN | JEWELLERY DESIGN and above the challenges of single parenting – lost her job due to retrenchment seven years ago and started her own business from nothing in a predominantly male industry. During a difficult year with the COVID-19 pandemic, her inspiration, drive and passion made her business a success and to keep that success going, she needs to occasionally be quiet and calm within herself to regain her inspiration to keep her company shining,” says Claassens.

He, together with his wife Suvette, established Piccolo Fine Designer Jewellery in 2008, a business built on passion and dedication to creating the unforgettable. Claassens is Piccolo’s personal designer using modern computer-aided design programs. With a fine eye for detail and unique ideas, he does all Piccolo’s custom designs. “I love the idea of someone being surprised with an engagement ring, a wedding ring or a ‘just because you deserve it’ jewellery gift,” he says.

Although this was the first year he entered himself, in past years he has helped several entrants with the designs and creation of their pieces for PlatAfrica. He says he will definitely enter the competition again.

STUDENT/APPRENTICE CATEGORY Patricia Ntombizodwa Tshabalala First place From its colourless caterpillar to an exquisite winged platinum butterfly pendant, Tshabalala’s neckpiece, titled “Blossom”, is a symbol of rebirth, romance, inner beauty, hope, the triumph of the spirit and the attraction towards light, representing joy and bliss. By wearing the pendant, the wearer is miraculously graced with luck and inspired to be their best self.

“When I designed the piece, I had Tracy Reese, an American fashion designer specialising in women’s clothing, accessories and home fashion, in mind as the ideal client,” says Tshabalala. “Her brand, Hope for Flowers, is sustainable and is designed for women who’re inspired by beauty and a desire to use their power

(Above and left): Patricia Ntombizodwa Tshabalala, first place (Student category).

(Above and left): Lebogang Ledwaba, second place (Student category).

as consumers to be change agents for positive change in the world.”

Tshabalala has been part of the J Hind Jewellers team for 10 years now. This was her first time entering PlatAfrica. “I’ve never won anything in my life and certainly didn’t expect to win such a prestigious competition,” she says. “I entered because I was looking for a new challenge. Winning was a wonderful surprise.”

Lebogang Ledwaba Second place Ledwaba, who is currently an assistant trainer at the Limpopo Jewellery Business Incubator, decided to enter this year’s PlatAfrica and de-

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SA JEWELLERY NEWS - DECEMBER 2021 / JANUARY 2022

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sign a piece that would encourage people to wear their masks to help protect others, especially those who are more vulnerable. “The coronavirus has changed the world we knew previously into ‘The World of the Mask’, which is also the title of my piece. It’s a world which requires every country and anyone who lives in it to wear a mask,” he says. “Masks have become a common resource used to protect our loved ones and everyone with whom we share our lives.

“I manufactured this pendant inspired and motivated by Dr Glenda Gray, for what she does for our country. She’s currently the CEO at the SA Medical Research Council [SAMRC].

She risked her own life and gave up a great deal of her time to fight COVID-19, create strategies and put together teams to help stop the spread of the virus. Her goal is to save as many lives as possible, including mine. Dr Gray is also the first female President of the SAMRC. She’s 58 years old and was born in the gold mining town of Boksburg. She’s truly an inspiration to me.”

This was Ledwaba’s third time entering PlatAfrica and the first time he was placed

SA Jewellery News is the official journal of the diamond and jewellery industry in South Africa. Published monthly, this publication brings you scintillating news on current international and local affairs.

among the top three. “I hope my piece encourages everyone to wear their masks,” he says.

He has been at the Limpopo Jewellery Business Incubator for four years and wants to gain as much experience as possible in all fields of operating. His ultimate ambition is to establish his own jewellery company.

Tokelo Mphomane Third place Mphomane joined Pneuma Jewellers in 2018 after completing his studies at a college in the Free State. His piece, “Enlightenment”, was inspired by the lotus flower. “The lotus flower is highly regarded in many different cultures. Its characteristics are a perfect analogy for the human condition: even when its roots are in the dirtiest water, it still produces the most beautiful flowers,” he says.

“To me, the lotus flower symbolises enlightenment, rebirth, self-regeneration, prosperity and beauty.”

Mphomane’s design was influenced by a close friend who struggled with depression.

“She lives in a community where most people don’t understand much about mental illness,” he says. “I admire her courage.”

He entered PlatAfrica for the first time in 2019 and looks forward to the announcement of next year’s theme, as he plans to enter again.

This year’s theme – ‘Metamorphosis’ – was developed in consultation with PGI India and was inspired by the transformation phases which a caterpillar undergoes to morph into a butterfly.

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SAJN | INDIAN JEWELLERY

Indian jewellery’s modern transformation The Indian tradition of ornate jewellery dates back thousands of years and remains an integral part of Indian lifestyle and culture.

While 22ct gold jewellery dominated designs in the past, modern Indian women in SA are moving towards more contemporary items.

JEWELLERY HAS A DEEP-ROOTED SIGNIficance in Indian history, culture and religion, alluring people with its beauty and charm. Traditional Indian jewellery, typically made from 22ct gold, is more than an investment – it is a culturally significant item which has found a place in Indian hearts and homes alike.

In SA, traditional jewellery continues to play an important role among Indian women. However, there has been a significant shift in the type and style of Indian jewellery worn daily by women living in our country. Aroon Bhoora, a fourth-generation jeweller and owner of Piyuve Jewellers, has observed this change over the past decade.

Based in Durban, Piyuve Jewellers is one of the country’s leading manufacturers of traditional Indian bridal and general jewellery. “The demand and style of traditional Indian jewellery has changed considerably over the past decade,” says Bhoora. “One of the biggest changes I’ve found is that demand for 22ct gold jewellery has declined significantly among our clients. A number of factors have contributed to this, primarily the price of gold and the current economic climate. Even before COVID-19, not everyone had the means to afford such expensive jewellery items.”

He adds that in SA, younger Indian women do not want to wear such heavy jewellery on a daily basis. “The new generation of Indian men and women both work. It’s

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impractical for a woman to wear such heavy items while doing so. Dress codes also play a role, as many Indian women don’t wear traditional Indian clothing at work. The fact that many South African Indians come from homes with a multi-cultural upbringing plays a role too,” says Bhoora.

“However, the main reason Indian women don’t wear ornate jewellery in public is SA’s crime rate. I’d say that demand for traditional 22ct Indian jewellery has declined by as much as 50% due to fear of being mugged or hijacked. In a number of instances, crime syndicates specially targeted Indian women for their gold jewellery.

“We’ve therefore seen an increase in demand for 9ct gold jewellery instead,

with pieces containing less precious gemstones, such as diamonds and pieces that aren’t as ostentatious.”

Bhoora has also seen a rise in the demand for Indian jewellery made of white and rose gold, rather than traditional yellow gold.

“Although many Indian women still opt for yellow gold when it comes to traditional wedding jewellery, for daily wear and other occasions, simplistic jewellery in an alterna-

tive shade of gold or even an alternative metal have become customary,” he says.

Bavina Vassan, Administrative Assistant for the Jewellery Council of SA and a valuable member of the SAJN team, is a proudly Indian woman from whom we have learnt a lot about her culture, traditions and beliefs. She lives in Johannesburg with her husband and young daughter.

“I had a beautiful, traditional Indian wedding and was gifted with the mangalsutra by my husband as a token of our marriage. I also received other pieces of traditional Indian jewellery from my husband and his family as gifts. The mangalsutra plays an integral role during a Hindu wedding ceremony, as it signifies that the wearer is now a married woman,” says Vassan. “Although the jewellery I received on our wedding day is extremely special and of great value to me – and exceptionally beautiful – I only wear it at very special Indian celebrations. I just don’t feel safe wearing it in public and the items I wear on a daily basis are much simpler.

“While jewellery is an integral part of most Indian ceremonies, the type of jewellery and its significance and meaning differ according to cultures, beliefs and religions,” she adds. “Gold jewellery, specifically, however, remains most prevalent during wedding celebrations, as gold is considered the most precious of metals among Indians and during times of need, it can also be used as a secure currency.”

The Indian wedding season generally starts after Diwali is celebrated and ends in March/April. “Traditional bridal jewellery contributes to a bride’s entire look on her wedding day. It captures the essence of her culture,” says Bhoora.

Pre-COVID-19 statistics indicate that during a traditional Indian wedding, Indians globally spend at least 25% of their wedding budget on jewellery and gold.

An upper-middle-class Indian wedding can cost upwards of US$200 000 in the USA, creating a substantial price tag for the amount spent on jewellery. Locally, Indian jewellery manufacturers also see a substantial increase in sales

SA JEWELLERY NEWS - DECEMBER 2021 / JANUARY 2022

INDIAN JEWELLERY | SAJN

during the wedding season.

Other Indian festivals also see a rise in jewellery sales among local Indian jewellery manufacturers. “I’ve found an increase in sales just before or after Diwali in recent years,” says Bhoora. “During special days which aren’t part of Indian tradition, such as Mother’s Day, gifting jewellery has also become quite popular.”

“I’m also delighted that the Foschini Group is in the process of launching an Indian fine jewellery collection for which I’ll be the official supplier,” says Bhoora. The collection will be available exclusively from American Swiss and Sterns.

Traditional Indian jewellery pieces Despite the Western influence, Indian women still turn to traditional jewellery options when accessorising, especially for social occasions. Here are some of the more common types of traditional items and where they originated (the names of some of these items may vary): Mangalsutra The mangalsutra is a necklace made up of black and gold beads, usually accompanied by a pendant.

The reason it is among the most prominent of jewellery pieces for Indian women is because it is worn by married women as a sign of their marital status. There are many different variations of the mangalsutra chain. Depending on the region or cultural differences, mangalsutra chains can also be made with red, white or gold beads. Mangalsutra chains are tied around the neck of a bride by her groom.

Thali A thali is the South Indian equivalent to a wedding ring or mangalsutra worn by specifically the Tamil community. It can be worn on a yellow thread or gold thali chain.

Maangtika and jhoomar The maangtika is typically an Indian hair adornment, placed on the bride’s hairline with a drop pendant that gracefully sits on the centre of her forehead. The pendant, which may be of any shape, is adorned with precious or semi-precious stones.

Bajuband and vanki A bajuband is an armlet which is worn on the biceps and is a special piece of bridal jewellery. A more common design of a bajuband is in a rope shape that has beautiful motifs and designs decorated with stones and pearls or even in gold or diamonds.

A vanki is a little different due to its inverted V-shape that is usually made with hardened precious as well as artificial metals. Another special thing about a vanki is that the design seamlessly fits over the bicep without creating any pressure over the arm.

based on traditions followed in different parts of India.

Kamarbandh A kamarbandh (anglicised as “cummerband”) is a belly or waist chain which may be delicate and thin, or heavy and thick.

Belly chains are considered auspicious for women in Indian culture. Cummerbands originated in Persia (now Iran) as items for men, later evolving into formal attire worn with dress suits. They were also worn by soldiers in the British Indian army. They were gradually adopted by women as part of traditional Indian bridal attire.

Jhumkas and balis Traditional Indian earrings, intricately designed and decorated with stones and gems. Jhumkas consist of a small upper portion, connected to a bell-shaped structure below. Balis, on the other hand, are traditionally ring-shaped earrings, offering an authentic ethnic touch to traditional Indian outfits.

Black bead baby bracelets These Indian traditional bracelets are typically gold and include tiny black beads to ward off any evil spirits. Although the tradition originated in India, it is gaining popularity among South African Indian families and it is not uncommon to see babies with these gold and black bracelets.

Nath A nath is the traditional Indian nose ring, most commonly worn in the left nostril. Designs vary, (Above ): Aroon Bhoora.

(Right): Bavina Vassan on her wedding day.

Gold – whether it is jewellery, coins, ornaments, etc – is part of most Indian households and is considered a family heirloom which keeps their legacy alive. It is also common for mothers to pass on their bridal jewellery to their daughters, notwithstanding changes in design trends or value.

Gold gifts form an integral part of most Indian ceremonies and are not only a valuable economic resource, but are also considered to be a symbols of good fortune. In India, a gift of gold indicates the purity of the giver’s intent. Gifts of gold are also common on Indian birthdays and at childbirth celebrations, even in SA.

SA JEWELLERY NEWS - DECEMBER 2021 / JANUARY 2022

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SAJN | ENGRAVING

Engraving is a lovely way for jewellers to personalise their clients’ purchases this holiday season. What is more, these additions instantly make items unique and memorable.

WHETHER IT IS FOR CHRISTMAS, AN ENGAGEment, a birthday, an anniversary or simply a token of appreciation to someone at the end of the year, an engraved jewellery item is a perfect gift which gives a jeweller the upper hand over their competitors this holiday season.

Engraving was inspired by posy rings (also spelt “posie”, “poesy” or “posey”). These were antique gold rings with a short inscription on their inner or outer surfaces. The word is derived from the French word “poésie”, meaning “poetry”, due to the religious, romantic or sentimental words engraved. Posy rings were popular from the 15th-17th centuries in England and France. The quotations engraved were often also secret messages of passion, devotion and friendship. In those eras, religion was very much a part of everyday life, so it was common for Biblical texts and saintly figures to appear on the rings as well. In this way, posy rings functioned both as talismans and gifts of love, appreciation and duty.

Nowadays, engraving is a thoughtful way of turning jewellery into a sentimental piece. It features inscriptions of different kinds inside or outside the ring, locket, watch or brooch and personalises an idea.

The engraving process has become extremely advanced, enabling jewellers to execute even

Adding a personal touch with engraving the most complicated requests. The technique requires a great deal of skill, patience and specialised equipment.

These days, the process involves using one of three techniques: hand engraving, rotary machine engraving or laser engraving.

Hand engraving Hand engraving of jewellery is a very skilled technique used to carve precious metal, creating lettering or intricate designs of decorative jewellery art. A skilled hand engraver can do a variety of patterns and images on any surface of a piece of precious metal.

As the technique’s name makes clear, it is done entirely by hand, with no sophisticated technology required. When you start to make

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the first move, your hand engraving tool should be pushed down and forward using even pressure. The process is repeated until the required depth of each cut is reached and your work is done. Hand engraving is both a craft and an art form. It takes many years to master and – like watchmaking and any other old-fashioned trade – there is a real danger of losing this skill to history. Hopefully, the appreciation of this art will endure and give value to crafters who continue practising it.

Bear in mind that experience will help you achieve the engraving the way you want. Practise makes perfect. There are various tools available on the market for jewellery engraving by hand.

SA JEWELLERY NEWS - DECEMBER 2021 / JANUARY 2022

ENGRAVING | SAJN

The engraving process has become extremely advanced, enabling jewellers to execute even the most complicated requests.

The technique requires a great deal of skill, patience and specialised equipment.

Rotary machine engraving This engraving method uses a tool which is connected to a machine. The design is pre-programmed into a computer that controls the machine, making the engraving as precise as possible.

The biggest drawback of traditional engraving is that it cannot be used on certain materials, such as delicate items which are sensitive to heat or pressure. You will not be able to engrave any jewellery that is made with plastic or glass, because those materials can easily be damaged or broken in the process.

Typically, rotary machine engraving is not deep, but the letters or designs are more neat and uniform than hand engraving.

SA JEWELLERY NEWS - DECEMBER 2021 / JANUARY 2022

Laser engraving Laser engraving is the most modern and adaptable engraving method. It uses a high-powered laser beam to etch the surface of the material being engraved. Similar to a mechanical rotary engraving machine, the desired design is programmed into a computer, which then controls the implement being used to create the work.

However, you can be more precise with a laser engraver because the diameter of the laser can be as thin as required. In addition, the intensity of the laser can determine how deep the engraving will be.

Unlike traditional rotary engravers, you do not need to worry about the materials on which you are working. Laser engravers can be used for materials that are extremely sensitive, including those as thin and fragile as paper.

Also, unlike rotary engraving, there are fewer accessories, such as drill bits, that need to be replaced when they are worn out. This makes a laser engraver more economical to maintain.

Thanks to these modern advances in engraving tools and techniques, it is easy nowadays to give a customer an item that truly expresses their feelings – and that makes a gift a lifelong treasure for its recipient.

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SAJN | MESSAGE FROM THE CEO

by endorsed of cil Officially llery Coun ) the Jewe a (JCSA South Afric

WINTER

The past two years have been tough for us all, says Lorna Lloyd, CEO of the Jewellery Council of South Africa. We believe that jewellery businesses are looking ahead positively at their future prospects and opportunities to grow in the new environment.

2021

Reflections on a different year, and looking ahead

trend #jzaon

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Officially the Jewe endorsed llery Cou by South Africa ncil of (JCSA)

2021

manufacturing and retail sectors. Various workshops have been held and after an integrated feedback session with the executive committee, short-, medium- and long-term goals have been identified.

In addition, ArkKonsult will develop a Transformation Policy Proposal to the Department of Trade, Industry & Competition (DTIC), implement a CEO forum to meet every two months and create an export and Proudly SA branding programme.

SPRING

WITH THE CHRISTMAS SEASON LOOMING, WE have seen an increase in business activities and we are looking forward to an increase in sales.

The council and its staff continued to make themselves available to members over the past year.

As the Protection of Personal Information Act (POPI) came into being on 1 July 2021, we assisted members to complete compulsory registration forms and educated them with free POPI introductory webinars through an attorney’s firm.

The JZA consumer retail magazine, which was officially endorsed by the JCSA, published five editions in 2021, the strategy of which was to support the marketing of jewellery to the consumer. We believe that the publication not only brought jewellery retailers and their offerings directly to the consumer through online store traffic and foot traffic in stores, but also ensured that consumers were able to identify with the JCSA members’ code of conduct to buy jewellery with confidence.

In September, the council embarked on a project with ArkKonsult, which is providing its consulting services for one year with the aim of determining challenges in the jewellery industry in terms of importing, exporting,

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In order to determine the needs and wants of our members, we conducted a membership climate survey, the salient findings of which were as follows: • 68% strongly agree and 32% agree that it is important for a jewellery community to collaborate on industry issues.

• 26% are very satisfied and 50% satisfied with their membership of the JCSA. • 89% believe it is important for consumers to see the JCSA branding in stores.

• 52% would like to see the JCSA host trade exhibitions and 47% would like to see it host networking sessions.

• 69% would consider participating in an online jewellery platform.

The council will work through the suggestions submitted and determine which ones to implement as further membership benefits.

SA JEWELLERY NEWS - DECEMBER 2021 / JANUARY 2022

MESSAGE FROM THE CEO | SAJN Regrettably, the council was unable to embark on any projects between 2020 and 2021 due to the COVID-19 pandemic and its attendant lockdown restrictions, which left jewellers unable to do much business. However, as with any other business, the council needs to remain sustainable and going into the new year, we will embark on new projects to support our members.

We have big plans for 2022.

The board has approved four projects for the new year, the first of which is the Jewellery and Watch Fair, which is a retail exhibition at which retail jewellers, manufacturing retailers and art jewellers will have an opportunity to sell directly to the public. The exhibition will be hosted by the council at an upmarket venue to be announced soon. Visitors will be enticed with giveaways and prizes during the weekend.

The second project approved for 2022 is the introduction of an online platform that will give suppliers, manufacturers, wholesalers and importers an opportunity to sell their products only to the trade. Participants will pay a negligible fee to participate for a minimum period of four months, after which they will be able to terminate or renew their participation.

Another very exciting project which has been approved is the Jewellery Clearance pop-up exhibits that will be held at identified shopping centres, where jewellers will have an opportunity to sell their products to potential buyers for five days.

The council’s assistance to members in the coming year includes e-commerce websites, which have become very important business tools in recent times. Small jewellers will be able to have an online presence and sell jewellery online at a reasonable cost. A more elaborate designer

website will be offered to established jewellers.

According to international media, next year should see a reboot of trade fairs. Physical fairs are starting to re-emerge and it turns out that human beings much prefer the face-to-face connectivity which these events offer.

In view of the above, in January, the council will be in contact with members, to establish the feasibility of hosting a new concept of Jewellex Africa. This will take the form of Jewellex Roadshows in the three major centres of Johannesburg, Durban and Cape Town. The concept will be marketed as “Bringing Jewellex to You” and “Jewellex on the Move” and give suppliers, manufacturers and importers an opportunity to exhibit their wares to retailers in those regions.

Another project that commenced in November is one which has been sponsored by the DTIC to analyse challenges and opportunities faced by South African jewellery manufacturers.

Ernst & Young is the appointed service provider that will develop strategies to grow jewellery manufacturing in the country and increase local sales and exports. We are looking forward to engaging with members in this regard.

Lastly, and very importantly, we continue to face huge crime challenges in the jewellery industry. By working closer with private security, the SA Council of Shopping Centres, insurance companies, the National Prosecuting Authority and the SA Police Service – who have undertaken to give the jewellery sector priority – we will continue the fight to reduce crime.

Any association is only ever as strong as the total sum of its members and we therefore invite you to participate and make use of the opportunities offered by the Jewellery Council.

For more information on the council, its activities and how to become a part of a responsible jewellery community, visit our website at: www.jewellery.org.za, the JCSA’s closed Facebook for members (JCSA Members Group) or contact us on tel: (011) 484-5528 or e-mail: admin@jewellery.org.za.

Lorna Lloyd Chief Executive Officer: JCSA

SA JEWELLERY NEWS - DECEMBER 2021 / JANUARY 2022

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SAJN | COINS

SA Mint launches Big Five Series II The South African Mint, a wholly-owned subsidiary of the SA Reserve Bank, has launched the long-awaited Big Five Series II coin collection, a sequel to the award-winning first series which was introduced in 2019.

FOLLOWING THE ISSUING SEQUENCE OF THE first series, this latest collection will also follow a staggered-release approach that will see the elephant herald the introduction of the series, followed by the lion, rhino, leopard and buffalo, one every six months.

The second edition of the Big Five boasts a subtle revision of the obverse design, while the reverse design remains the same as that of the previous series, with the two halves of the animal’s face. The obverse of the first edition of the elephant coins depicted both the face and part of the majestic creature’s body, facing towards the left-hand side.

In the new series, the obverse of the coins is dominated by the face of the animal, without any depiction of the rest of its body. The long,

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downward-pointing tusks on the obverse in Series I have been replaced by shorter, upwardpointing tusks and the elephant facing the right-hand side.

The most exciting additions to the Big Five collection in Series ll are by far the introduction of new coin formats or sizes, something numismatists around the globe will surely celebrate. The coins are once again available in three metals: silver, gold and platinum.

The platinum coin offering remains a single 1 oz coin. The silver range is comprised of a 1 oz proof coin, a 1 oz Brilliant Uncirculated (BU) coin packaged in an attractive blister folder, unlike the traditional coin box, a Big Five/Krugerrand combination set and the everpopular two-coin double capsule proof set.

Additional silver sizes are being explored for a later release date.

In the gold range, where all the coins are proof grade, the standard 1 oz coin and Big Five/Krugerrand combination set are joined by a new single ¼ oz coin and a new two-coin double capsule ¼ oz set. Additional larger gold sizes are being explored for a later release date.

“We’re extremely proud of our latest collectable coin offering. The Big Five coins have entrenched themselves as a popular choice among collectors around the world since the first coin was introduced just twoand-a-half years ago,” says Honey Mamabolo, Managing Director of the SA Mint.

“We’re particularly proud to introduce this latest range and emerge with this success story following a tough economic period for the country – and, indeed, the whole world – due to the coronavirus pandemic. The Big

SA JEWELLERY NEWS - DECEMBER 2021 / JANUARY 2022

COINS | SAJN

SA Mint wins top awards at Coin Constellation Contest The SA Mint has walked away with secondand third-place awards in the Silver Coin of the Year and Best Circulation Coin categories respectively at the 2021 Coin Constellation contest in Russia.

The striking and distinctive design of the Big Five rhino coin earned the mint a respectable second-place award in the Silver Coin of the Year category. The reverse of this coin depicts two halves of the rhino’s face, detailing its eyes, ears and horn. This inventive design allows for a complete rhino’s face to be formed when two coins are placed next to each other and a herd of rhinos when multiple coins combine.

The obverse features a design of the African rhino, which fills up much of the surface area of the coin, the words “South Africa” and “Big 5 2020”, as well as SA’s national coat-of-arms.

The design on the sixth and final SA25 R2 circulation coin issued in 2020 received the mint’s other accolade: third prize in the Best Circulation Coin category. The R2 coin commemorates the “right to freedom and security of the person”, as enshrined in the country’s Bill of Rights, and depicts on its reverse a mother and daughter walking freely in nature. The daughter is

Five coins have changed the game for us and shifted our product portfolio to become our best-selling range, superseded only by the legendary Krugerrand.”

The SA Mint is the continent’s leading manufacturer of legal coin tender, as well as commemorative and rare collectable coins.

With over 100 years’ experience in supplying symbols of value to the African and global markets, we pride ourselves on delivering products that represent our commitment to

holding a sunflower, which is magical in its ability to move its head towards the sun, resonant with the resilience, optimism and hopefulness of the young.

This R2 coin is the result of a national competition held at the end of 2019 which called on all South Africans to submit designs for a new R2 coin featuring a right of their choice from the South African Bill of Rights that had not been featured on the earlier 2019 SA25 commemorative circulation coins.

The winning design was submitted by local graphic designer Esta Quirk.

Respected around the globe, the Coin Constellation contest is held by Russian publishing house Water Mark, publisher of the specialised magazine on coins and medals Gold Chervonets and organiser of international conference and exhibition COINS. In its 15 years of existence, Coin Constellation has become widely recognised in the industry by coin manufacturers and coin collectors alike. In 2021, the competition received entries from 22 countries. The winners of the contest are determined by a professional jury consisting of renowned museums, auction houses, numismatic societies, commercial banks and specialised publishing houses from across the world.

uniquely African design and supreme craftsmanship. We collaborate closely with our customers to develop distinct and durable monetary products that capture and preserve the heritage and pride of our nation.

The SA Mint is a wholly-owned subsidiary of the SA Reserve Bank, established in accordance with the SARB Act 90 of 1989, as amended.

The Big Five coins have entrenched themselves as a popular choice among collectors around the world since the first coin was introduced just two-and-a-half years ago.

SA JEWELLERY NEWS - DECEMBER 2021 / JANUARY 2022

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SAJN | LITTLE GEMS

Little Gems is one of SAJN’s favourite pages in the magazine. Penned by our beloved editorial doyenne, the late Alice Weil, it will still continue to weave its magic with flair and with the unyielding love Alice had for jewellery, gemstones and watches.

Victoria or items presented to Queen Mary (Queen Elizabeth’s grandmother) as a wedding present in 1893. A tiara made for Queen Mary, which can also be worn as a necklace, was given to Queen Elizabeth at her own wedding to Prince Philip on 1947. Another of her tiaras – one of the most recognisable items in her collection – was presented to Queen Mary as a gift from the “Girls of Great Britain and Ireland” and was then bequeathed to the present queen in 1953.

Tiaras are important royal jewellery items. One made for Queen Mary

by English jeweller Garard & Co in 1913 has 19 oriental pearls, each tied with a lover’s knot, and was worn by the late Princess Diana at her wedding to Prince Charles. After her tragic death, it was returned to the present queen and was later worn by Catherine, the present Duchess of Cambridge, at her marriage to Prince William.

Another tiara, produced by Cartier in 1936, was a present from the Duke of York (later King George VI) to his wife three weeks before their coronation. It has a rolling cascade of 16 scrolls which converge on two central scrolls topped by a diamond. The tiara features a total of 739 brilliants and 149 baton diamonds. The present queen received it as a gift on her 18th birthday and later lent it to her own daughter, Princess Anne. It was also worn at the present queen’s coronation by her sister, the late Princess Margaret.

A pair of earrings made for Queen Victoria in 1858 were a typical design of that era and each has a large diamond brilliant, as well as a smaller one in a large, pear-shaped drop.

The drops were originally part of the Koh-i-

Noor armlet, which had been made for Queen Victoria. She wore them with a matching necklace while sitting for a portrait by the then European court painter.

A 7,5 cm-long pair of chandelier earrings made by Cartier in 1929, purchased by Margaret Greville and named after her, were

Image courtesy Wikimedia Commons

ENGLAND’S CROWN JEWELS HAVE HISTORical importance which match their immense monetary value. Many have been bequeathed to Queen Elizabeth II by her relatives and she wears them on certain state occasions, such as the Opening of Parliament or coronations.

On other formal occasions, however, she wears her own jewels, which – according to a valuation some three years ago – include 98 brooches (an item which she is seldom ever seen without), 46 necklaces, 37 bracelets, 34 pairs of earrings, 15 rings, 14 watches and five pendants.

Some of these are heirlooms left by Queen

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Image courtesy Wikimedia Commons

Image courtesy Wikimedia Commons

Fit for a queen

(Right): Detail of Queen Victoria’s coronation portrait by George Hayter, 1838, showing the Black Prince’s Ruby on the crown.

SA JEWELLERY NEWS - DECEMBER 2021 / JANUARY 2022

Image courtesy Wikimedia Commons and www.defenceimagery.mod.uk

LITTLE GEMS | SAJN

Image courtesy Wikimedia Commons (photograph taken by Julian Calder)

(Left): Her Majesty Queen Elizabeth II, wearing: a diamond fern brooch given to her in 1953 by the women of Auckland, Queen Mary’s Fringe Tiara, the City of London Fringe Necklace, the insignia of the Sovereign of the Order of New Zealand, the badge of the Queen’s Service Order, and the sash and star of the New Zealand Order of Merit. One of Queen Mary’s Chain-Link Bracelets is on her right wrist.

Official portrait taken in 2011 and released on 7 February 2012 to mark the Queen’s Diamond Jubilee.

left to her great friend, the queen mother, in 1942. They were then presented to the present queen as a gift when she became engaged to Prince Philip. However, she was unable to wear them until she had her ears pierced – something which immediately caused a throng of British women to have their own ears pierced.

Greville also left the queen mother 60 other pieces of jewellery she had bought from Cartier, including pear-shaped 20ct drop diamond earrings. These were borrowed by Princess Diana for her first official visit to Australia in 1983 and worn at a state banquet, together

SA JEWELLERY NEWS - DECEMBER 2021 / JANUARY 2022

with a tiara from her own family’s collection.

The earrings were passed to the present queen after the death of the queen mother.

Centuries ago, Queen Anne – the last British monarch of the Stuart dynasty – did not have many jewels, other than a pearl necklace of gradated pearls with a pearl clasp which were said to have been presented to her by Prince George. Queen Charlotte, however, had a great collection of jewellery, including four pearl necklaces, all of which she wore for her coronation in 1727. Afterwards the

finest of these pearls were selected to make one large necklace. In 1947, King George VI gave Princess Elizabeth this item and another necklace as wedding gifts.

A necklace given to the present queen by King Khalid of Saudi Arabia contains both round and pearl-shaped diamonds. It was made by Harry Winston and was often borrowed by Princess Diana. The queen mother, for her part, often wore a necklace owned by Queen Victoria which contains at least large 45 diamond collets.

An item in the Crown Jewels used since 1901 by every consort, in conjunction with the coronation earrings, is the coronation necklace made for Queen Victoria in 1858. It is 38 cm long and consists of cushion-shaped diamonds and the 22ct Lahore diamond as a pendant.

A flower brooch particularly favoured by the present queen, in her personal collection, is one made by Cartier and containing pink diamonds – as well as 170 brilliant cut stones, 12 baguette-cut and 21 marquise diamonds – discovered by Canadian prospector John T Williamson in 1936 near Lake Victoria in Tanzania in a mine which he owned.

Another spectacular item is the sapphire brooch which Prince Albert presented to Queen Victoria the day before their wedding.

Two of several stones cut from the Cullinan Diamond, which the present queen refers to as “Granny’s chips”, were presented to King Edward VII by Queen Mary. She then had them made into a brooch, with the Cullinan II hanging from IV. The diamond had originally been cut

by Joseph Ascher. On a visit to the Netherlands, the present queen wore the brooch in public, delighting the Ascher family.

The queen’s personal jewels – according to a valuation some three years ago – include 98 brooches (an item which she is seldom ever seen without), 46 necklaces, 37 bracelets, 34 pairs of earrings, 15 rings, 14 watches and five pendants.

Forever and always, our “Little Gem” ALICE WEIL 14 March 1919 – 17 July 2020

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E-mail: aurum@worldonline.co.za; adela@aurumdesign.co.za Website: www.aurumdesign.co.za AUTHOR BY KATHLYN ALLAN Tel no: 084 247 0358 E-mail: mail@worldofauthor.com ADELE’S MANUFACTURING JEWELLERS Tel no: 082 595 3868/083 227 6550 E-mail: adele@amj.co.za ADJANI SCHOEMAN T/A ADJANI DESIGN STUDIO Tel no: 083 460 7334 E-mail: info@adjani.co.za Website: www.adjani.co.za AFRICAN ARGENTUM RESOURCES Tel no: 011 608 0427 E-mail: info@silverchem.co.za Website: https://www.africanargentum.co.za/ AFRICAN TRADE BEADS JEWELLERY COLLECTION Tel no: 082 905 1736 / 011 726 7643 E-mail: tamiko@zazenconsulting.com Website: https://www.atbjc.com/about-us/ AKAPO JEWELS Tel no: 011 038 3130 E-mail: wumba@akapo.co.za; labi@akapo.co.za Website: www.akapojewels.co.za ALBO VAN DYK MANUFACTURING Tel no: 044 873 0567 E-mail: albo@telkomsa.net Website: http://www.albovandyk.com/ ALL BLING CREATIONS (PTY) LTD Tel no: 079 744 0971 E-mail: allblingcreations00@gmail.com; mmeshi.nkadimeng@gmail.com ALTIN JEWELLERS Tel no: 012 998 0141 E-mail: info@altin.co.za Website: www.altin.co.za ANACZYNSKI JEWELLERY Tel no: 082 934 5682 E-mail: anaczynski@gmail.com Website: www.anaczynski.co.za ANASTASIA JEWELLERS Tel no: 031 507 5561 E-mail: bazil.heeralall@gmail.com Website: www.anastasiajewellers.co.za ANDREAS SALVER MANUFACTURING JEWELLERS Tel no: 011 706 6828 E-mail: andreas@andreassalver.com Website: www.andreassalver.com ANDRONIKIS MANUFACTURING JEWELLERS Tel no: 082 966 6647 E-mail: mstergiou1966@gmail.com ANNELLE MURRAY GOUDSMID Tel no: 082 956 7747 E-mail: annellemurray@exclusivemail.co.za ANTONICORNELLIS JEWELLERY ENTERPRISE Tel no: 074 758 1014 E-mail: antonicornellius.nhlapo@gmail.com ASHLEY HEATHER JEWELLERY Tel no: 082 563 5086 E-mail: info@ashleyheather.co.za Website: www.ashleyheather.co.za ASIMI JEWELS INTERNATIONAL Tel no: 011 453 4775 E-mail: ellassa@iafrica.com ASSIQUE MANUFACTURING JEWELLERS Tel no: 021 706 3629 E-mail: hashiem@telkomsa.net AU TRADERS AND REFINERS (PTY) LTD Tel no: 011 334 7607/8 E-mail: barend@autraders.co.za; jacqui@autraders.co.za Website: www.autraders.co.za AURUM DESIGN Tel no: 021 423 6590

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POPULAR DIAMOND JEWELLERY MANUFACTURING CC Tel no: 011 484 7044 E-mail: pop@tiscali.co.za

NILU ENGRAVING & JEWELLERY (PTY) LTD Tel no: 083 384 7792 E-mail: laser@nilu.co.za Website: www.nilu.co.za/ NOMAD JEWELLERY & ACCESSORIES Tel no: 082 770 9788 E-mail: idieh@mweb.co.za; info@nomadjewelleryandaccessories.com Website: https://nomadjewelleryandaccessories.com/ NOVUS DESIGN STUDIO Tel no: 012 332 5850 E-mail: info@novusdesign.co.za Website: http://www.novusdesign.co.za/ NQ JEWELLERY DESIGN SERVICES Tel no: 073 700 6225 E-mail: nq2jewel@gmail.com Website: www.nqjewellery.co.za NV DESIGN COMPANY T/A BY NANETTE Tel no: 021 883 3856 E-mail: nanette@bynanette.com Website: www.bynanette.com ORO AFRICA (PTY) LTD – CAPE TOWN Tel no: 021 480 9860 E-mail: sharin@oroafrica.com Website: www.oroafrica.com

PRECISION SETTERS Tel no: 011 484 7803/4 E-mail: julian@precisionsetters.co.za PRETTY FOUND THINGS Tel no: 083 651 9042 E-mail: prettyfoundthings@gmail.com Website: www.prettyfoundthings.co.za PRINS & PRINS DIAMONDS Tel no: 021 422 1090 E-mail: petre@prinsandprins.com; riana@prinsandprins.com Website: www.prinsandprins.com QUICKSET JEWELLERS Tel no: 031 468 9236 E-mail: qsjewel@telkomsa.net; osjewel@telkomsa.net Website: www.quicksetjewellers.co.za RALPH WALTON Tel no: 028 316 3851 E-mail: ralph@rwd.co.za Website: https://www.rwd.co.za/ RAND REFINERY LIMITED Tel no: 011 418 9000 E-mail: nicolab@gold.co.za Website: www.randrefinery.com RARE EARTH CREATIONS Tel no: 011 326 1727

JEWELLERY MANUFACTURERS' ASSOCIATION OF SOUTH AFRICA

E-mail: noloyiso@rarearth.co.za Website: https://www.rareearth.co.za/

SILVER MYST – JULIANA RED Tel no: 021 762 9794 E-mail: moyonela@gmail.com

TIP TOP JEWELLERS Tel no: 044 873 3048 E-mail: tiptop@lantic.net

SIMON EFUNE MANUFACTURING JEWELLERS Tel no: 011 334 4529 E-mail: simon.efune@mweb.co.za

TRIMALCHIO Tel no: 012 346 6874 E-mail: casanra@mweb.co.za

REC SET & ENGRAVE (PTY) LTD Tel no: 011 326 1727 E-mail: neil@rarearth.co.za; noloyiso@rarearth.co.za

SINCE NOW JEWELS Tel no: 072 336 9518 E-mail: sincenowcz@gmail.com

RICHLINE SA (PTY) LTD Tel no: 011 418 1600 E-mail: johan@richlinesa.co.za; marco@richlinesa.co.za Website: www.richlinegroup.co.za

SIRKEL JEWELLERY Tel no: 011 726 2365 E-mail: sirkeldesign@gmail.com Website: www.sirkeljewellery.co.za

TRISLO (PTY) LTD Tel no: 012 259 0100 E-mail: info@trislo.co.za Website: www.trislo.co.za

RITCO MANUFACTURING JEWELLERS Tel no: 041 374 2101 E-mail: sales@ritco.co.za Website: www.ritco.co.za

SL HERMAN MANUFACTURING JEWELLERS Tel no: 012 460 6771 E-mail: slhj@telkomsa.net Website: http://www.hermanmanufacturingjewellers.co.za/

ROHAN CHERRY DESIGNS Tel no: 082 974 4566 E-mail: info@rcdesigns.co.za Website: www.rcdesign.co.za

SMITH JEWELLERY Tel no: 071 313 8649 E-mail: info@smith-jewellery.com Website: www.smith-jewellery.com

ROK ORIGINALS Tel no: 072 203 3288 E-mail: info@rokoriginals.com Website: https://www.rokoriginals.com/

STARBRIGHT JEWELLERY Tel no: 083 775 9995 E-mail: megan@starbrightgirl.com Website: https://www.starbrightgirl.com/

ROMANELLI DESIGNS (PTY) LTD Tel no: 011 794 1666 E-mail: bling@romanellidesigns.co.za Website: https://romanellidesigns.co.za/

STUDIO 1980 (PTY) LTD Tel no: 083 379 0171 E-mail: info@studio1980za.com Website: https://studio1980za.com/

RONALD’S JEWELLERY DESIGN Tel no: 031 701 5154 E-mail: ronaldcbr262@gmail.com

STUDIO 39 JEWELLERY DESIGN Tel no: 031 764 3000 E-mail: studio39@telkomsa.net Website: www.studio39.co.za

RASIFIWA (PTY) LTD Tel no: 021 422 1350 E-mail: rssa@rasifiwa.com; jacqui@rasifiwa.com Website: www.rasifiwa.com

ROUX DU PREEZ DESIGNS Tel no: 084 207 3876 E-mail: sales@preezdesigns.co.za Website: www.preezdesigs.co.za RUTH PROWSE SCHOOL OF ART Tel no: 021 447 2492 E-mail: admin@ruthprowse.co.za Website: www.ruthprowse.co.za SATHKAAR JEWELLERS C.C Tel no: 031 306 4921 E-mail: sathkaar@gmail.com SCARAB JEWELLERY STUDIO CC Tel no: 021 683 4646 E-mail: janine@scarabjewellery.co.za; tanya@scarabjewellery.co.za Website: www.scarabjewellery.co.za SEDA LIMPOPO JEWELLERY INCUBATOR Tel no: 015 293 0214 E-mail: tessa@slji.org.za Website: www.slji.org.za SERAGLIO JEWELLERS Tel no: 011 783 8301 E-mail: rolling.albert@yahoo.com Website: www.seragliojewellers.com SHADOW JEWELLERS Tel no: 082 689 8297 E-mail: shadrackmogoane@yahoo.com

STUDIO C MANUFACTURING JEWELLERS Tel no: 011 642 7826 E-mail: chris@studioc.co.za; peggy@studioc.co.za Website: www.studioc.co.za STUDIO LOUBSER Tel no: 011 782 4051 E-mail: liz@lizloubser.com; info@studioloubser.com Website: www.studioloubser.com SUGARBUSH CREATIONS Tel no: 015 293 2358 E-mail: sugarbushcreations@gmail.com SUSAN ROOS JUWELE Tel no: 028 754 2949 E-mail: info@roosjuwele.co.za Website: www.roosjuwele.co.za TCHALIEU JEWELLERY Tel no: 011 453 0492 E-mail: siphokazi.tchalieu@gmail.com THATO RADEBE JEWELLERY E-mail: thato@thatoradebejewellery.co.za Website: https://thatoradebejewellery.co.za/ THE BERA DIAMOND ACADEMY Tel no: 011 854 4556 E-mail: mmbera@gmail.com; muhammad.bera@absa.co.za Website: http://www.benefittohumanity.com/

SHANI D JEWELLERY DESIGN (PTY) LTD Tel no: 082 308 2111 E-mail: diamondshani@gmail.com Website: http://www.shanidjewellery.co.za/

THE JEWELLERY HUB Tel no: 083 326 5746 E-mail: ian@worldofdiamonds.co.za; yolandi@worldofdiamonds.co.za Website: www.worldofdiamonds.co.za

SIBAHLE JEWELLERY (PTY) LTD Tel no: 011 049 3933 E-mail: nthabiseng@sibahlejewellery.co.za Website: www.sibahlejewellery.co.za

THE MAKERY Tel no: 082 600 7142 E-mail: info@themakerycollection.com Website: www.themakerycollection.com

SILK ROUTE GOLD (PTY) LTD Tel no: 011 450 3192 E-mail: info@silkroutegold.com Website: www.silkroutegold.com

THE PLATINUM INCUBATOR Tel no: 014 597 0736 E-mail: sibongile@tpi.org.za Website: www.tpi.org.za

SILPLAT (PTY) LTD Tel no: 021 461 5344 E-mail: info@silplat.co.za Website: www.silplat.co.za

TINSEL GALLERY Tel no: 011 782 4051 E-mail: geraldine@tinsel.co.za Website: https://tinselgallery.com/

TSHWANE UNIVERSITY OF TECHNOLOGY Tel no: 012 382 6007 E-mail: newmand@tut.ac.za Website: www.tut.ac.za TURNER MANUFACTURING JEWELLERS Tel no: 021 424 2528 E-mail: sam@turnerjewellers.com Website: http://www.turnerjewellers.com/ UNCUT JEWELLERS Tel no: 083 225 8221 E-mail: mark@uncutjewellers.co.za Website: www.uncutjewellers.co.za UNIVERSITY OF JOHANNESBURG Tel no: 011 559 1129/1125 E-mail: fnazier@uj.ac.za Website: www.uj.ac.za UNIVERSITY OF STELLENBOSCH Tel no: 021 808 3047 E-mail: ct@sun.ac.za; Joani@sun.ac.za Website: www.sun.ac.za/english/faculty/arts/visual-arts/ VALLABHJEE’S JEWELLERY SHOP Tel no: 032 944 1657 E-mail: hemval1@yahoo.co.uk VAWDA GOLD GEM JEWELLERS Tel no: 031 208 9142/3 E-mail: info@vawdagoldgem.co.za Website: www.vawdagoldgem.co.za VICTORIA ORPEN JEWELLERS Tel no: 011 615 4758 E-mail: victoriaorpensa@gmail.com; roxanne.campbell07@gmail.com VIJAY SHAH CONCEPTS Tel no: 031 564 2948 E-mail: vijayshah@telkomsa.net; nihalshah23@gmail.com Website: www.vijayshahjewellers.co.za VK JEWELLERY Tel no: 082 789 4498 E-mail: vivek@vkjewellery.co.za Website: www.vkjewellery.co.za VUKANI UBUNTU COMMUNITY DEVELOPMENT PROJECTS Tel no: 012 342 1385/8099 E-mail: demos@vukani.org; info@vukani.org Website: www.vukani.org WAINWRIGHT JEWELLERS Tel no: 021 554 1169 E-mail: info@wainwrightjewel.co.za Website: www.wainwrightjewel.co.za WHITE DIAMOND JEWELLERS Tel no: 035 789 5550 E-mail: whitediamondjewellers@telkomsa.net Website: www.telkomsa.net WOOSH DESIGNS JEWELLERY STUDIO Tel no: 011 318 1340 E-mail: wooshen@wooshjewellery.co.za Website: www.wooshjewellery.co.za YOL NOMADIC JEWELLERY Tel no: 074 136 3633 E-mail: yol_lu@yahoo.fr ZION PRECIOUS METALS (PTY) LTD Tel no: 010 001 9306 E-mail: compliance@zionpreciousmetals.com ZUREL BROTHERS SA (PTY) LTD Tel no: 015 293 2306/58 E-mail: zurelpolokwane@telkomsa.net; zurelqms@gmail.com Website: www.zurel.co.za

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