SA Jewellery News (SAJN) • February 2022 by Isikhova Media

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Get your copy of the latest Little Miss Silver catalogue inside

• The February birthstone: amethyst • Top miners release dates of 2022 rough sales • Jewellery and watch brands unite to drive sustainability best practices

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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: 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

10. NEWS • IIJS and VicenzaOro January shows postponed • CPM donates silver bar to help raise funds for Compass • CIBJO General Assembly in Vicenza, Italy, rescheduled to March • Israeli diamond industry shows impressive growth in 2021 • BlueRock Diamonds expects sharp rise in output and sales from Kareevlei mine • Cape Tools raising money and awareness for animals • PlatAfrica pop-up still open

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

18. KNOWLEDGE IS BEST SHARED

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

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

14. COUNTERACTING LOW EMPLOYEE MORALE Anna-Mart van Wyk, a neuro-behavioural life coach with 14 years’ training and coaching experience, is well acquainted with the South African jewellery trade. During Jewellex Africa 2019, she led a talk on the importance of training, particularly during tough times. In an exclusive interview, she discussed employee morale with SAJN, especially postpandemic, and how to restore the brilliance, light and fire of a team.

Mentorship looks different for every organisation, but one element that remains consistent is how valuable it is for a sector’s development. After almost four decades in the jewellery industry, Albert Maree, owner of Digital Wax, knows the value of sharing knowledge and experience, and devotes himself to doing so.

30. THE FEBRUARY BIRTHSTONE: AMETHYST Amethyst was as expensive as ruby and emerald until the 19th century, when Brazil’s large deposits were discovered. Today, as the most valued quartz variety, amethyst is in demand for designer pieces and mass-market jewellery alike, and its purple to pastel hues retain wide consumer appeal.

SA JEWELLERY NEWS - FEBRUARY 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

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32. DE BEERS NAMES NEW HEAD OF OPERATIONS IN SA, CANADA

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The De Beers Group has announced the appointment of Thembinkosi Moses Madondo as Managing Director of De Beers Group Managed Operations, following the announcement of Nompumelelo “Mpumi” Zikalala’s resignation to take up the position of CEO of Anglo American’s Kumba Iron Ore business.

Get your copy of the latest Little Miss Silver catalogue inside

• The February birthstone: amethyst

36. JEWELLERY AND WATCH BRANDS UNITE TO DRIVE SUSTAINABILITY BEST PRACTICES The Responsible Jewellery Council (RJC), the world’s leading standard-setting organisation for the global jewellery and watch industry, has announced its latest progress report to showcase and encourage sustainability action throughout the supply chain. Findings show the number of new and renewing certified members increased globally to over 1 500.

• Top miners release dates of 2022 rough sales • Jewellery and watch brands unite to drive sustainability best practices

On the cover Featured in this issue of SAJN is Something Special’s newly launched Little Miss Silver catalogue – an exclusive range of silver jewellery which was specially designed in smaller sizes and lengths. These classic pieces are sterling silver with cubic zirconias and include bracelets, chains, charms, cubic rings, earrings, pendants and religious jewellery. The Little Miss Silver collection includes silver jewellery display stands showcasing the items

40. TOP MINERS RELEASE DATES OF 2022 ROUGH SALES

31. SOMETHING SPECIAL CELEBRATES 40 YEARS 41 years ago, Mark Hammerschlag and his late wife Lynne moved from Zimbabwe to South Africa. The husband-and-wife pair established Something Special in Jewellery, a name chosen by Lynne, in 1982 to supply retailers with high-quality silver jewellery. Today, Something Special is one of the largest jewellery wholesalers in the country.

SA JEWELLERY NEWS - FEBRUARY 2022

De Beers, Alrosa and Rio Tinto have released their schedules for this year’s contract sales, at which the miners offer the majority of their rough supply.

in a variety of ways. The stands are designed so that they can be mixed and matched to create a unique display. “Pretty jewellery needs pretty packaging and the Little Miss Silver packaging adds that little extra,” says Mark Hammerschlag, owner and CEO of Something Special. The gift bags are available in two sizes. For more information, contact Something Special on tel: (011) 544-1500

42. LITTLE GEMS: A GEM OF A TOWN 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.

or visit: www.somethingspecial.co.za

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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Editor’s 2022 IS OFF TO A GOOD START: WE ARE still on lockdown level 1, with schools and businesses having opened as planned, loadshedding has not been implemented for some

locally and tasting at least one new Paul’s IceCream flavour a month. I also want to read more, plant roses and finish doing the family tree.” Director of Brand Strategy Jenny Justus:

time now (I’m almost afraid of stating it for fear of jinxing it!) and most people to whom I have spoken report that they had a good December selling period – apart from stock hiccups with delays from overseas. News from abroad also points to a surge in jewellery sales over December, with Richemont – the world’s second-largest luxury group – reporting an increase in sales by nearly one-third in the quarter to December due to the rising demand for its jewellery and watches in the Americas and Europe. Without being blind to the many difficulties that lie ahead and knowing that so many are still recovering from a tough 2020 and 2021, I enter this year with great hope. Winston Churchill described a pessimist as someone who finds the difficulty in every opportunity, while an optimist finds the opportunity in every difficulty. Ultimately, 2022 – as with many things in life – will come down to personal choice and conviction: seeing the difficulty in every opportunity or the opportunity in every difficulty. I start many new years with resolutions. Even if I do not write them down officially, there are always areas in my life that I want to improve and I believe I am not alone in this. While many have resolved not to make such resolutions, recent psychological research suggests that there are actually many good reasons for starting a new regime on the first

“I just want to live life to the fullest this year, spend more time outdoors and go somewhere I’ve never been before.” Creative Director Joanne Brook: “Turning off my computer over weekends, making more time for self-care and taking more photos with and of my family and friends (as well as actually printing some of them!).” Operations, Admin and Media Specialist Thuli Majola: “Making a dog a part of our family, learning a new skill and visiting my family in KwaZulu-Natal with my kids more often.” Media Specialist Bavina Vassan: “I want to work on building my confidence and seeing failure as an opportunity, rather than a setback. I also want to stop procrastinating and face my fears.” I will conclude with my own. I once again resolve to eating healthier, being more active and spending more quality time with my family and friends (without my cellphone) and getting more sleep by going to bed on time. Last year I found myself saying “yes” to many things for which I did not really have the time, so this year, I want to say “no” more often to things which are not priorities and use my time wisely. For me, resolutions at the start of each new year are really just about making positive changes in my life. May you, too, find ways to make changes, if necessary, to be healthier and happier this year. We look forward to embracing 2022 with you. We hope that our love for this industry shows on the pages of every issue.

day of a new year. I asked some of my colleagues at team SAJN who do follow that tradition to share their resolutions. Publishing Director Jason Aarons: “This year I’m putting the ‘Z’ back into ‘A’, travelling more

Adri Viviers SA JEWELLERY NEWS - FEBRUARY 2022

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CPM DONATES SILVER BAR TO HELP RAISE FUNDS FOR COMPASS Since 2017, local refinery Cape Precious Metals (CPM) has been a supporter of Compass, an organisation that provides shelter and services through its own registered social workers, as well as trained, qualified teachers and caregivers for the abused or abandoned babies and children in its care. In December, CPM donated a 100 g silver bar to Compass to raffle as part of its fund-

raising efforts. The bar was manufactured by CPM’s sister company, Moon Investments and went towards Compass’s recovery initiative, following the dire financial hardship that the COVID-19 lockdowns created. “We encourage people to follow the Compass Facebook page to stay informed of the work it’s doing and for updates on what provisions are needed currently,” the refinery said.

IIJS AND VICENZAORO JANUARY SHOWS POSTPONED IIJS and VicenzaOro have fallen victim to the ongoing pandemic as coronavirus infections increase. The Gem and Jewellery Export Promotion Council (GJEPC) postponed the India International Jewellery Show (IIJS) Signature edition, which was due to take place at the Jio World Convention Centre in Mumbai from 6-9 January, it said. The organisation has not released new dates yet. While the GJEPC had permission to hold the event in line with Covid-19 rules, it has “voluntarily taken the decision to organise the show later”, it said. The decision followed consultations with exhibitors, buyers, trade associations and members of the rele-

vant GJEPC committee. Meanwhile, the Italian Exhibition Group (IEG) has rescheduled VicenzaOro January – The Jewellery Boutique Show. It is now set for 17-21 March, as opposed to its previous timing of 21-26 January. “In view of current pandemic indicators, the trade associations concerned consider it impossible to attract significant attendance from both Italy and abroad, including Europe,” said the group. Global coronavirus cases have risen sharply in the past two months, with Italy seeing an especially significant jump. In India, the uptick in infections has taken place since late December. – Rapaport

PLATAFRICA POP-UP STILL OPEN Annually, Anglo American Platinum, Platinum Guild International (PGI) 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 SA. Every year an original theme is chosen for the competition, producing one-of-a-kind, statement pieces of jewellery. Many of these pieces are melted down in order to re-use the precious platinum. The PlatAfrica pop-up store, which is exclusively online, provides the public with an opportunity to invest in the precious resource of platinum and in the South African jewellery industry. To view or shop pieces from the PlatAfrica 2021 Metamorphosis collection, visit: https://plat.africa/collection/all.

SA JEWELLERY NEWS - FEBRUARY 2022

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SAJN | NEWS

CAPE TOOLS RAISING MONEY AND AWARENESS FOR ANIMALS Cape Tools & Jewellery Supplies, which stocks an extensive inventory of tools used in the production and upkeep of jewellery and watches, is donating all payments received for the engraving or manufacturing of custom pet tags for adopted animals to African Tails. “The organisation does amazing work and we’re always happy to be a part of helping animals in need,” say the Cape Tools team. Founded in Cape Town in 2006 in the streets

of Dunoon Township, African Tails strives to curb the over-population as well as the suffering and neglect of animals over the entire Western Cape through mass-sterilisation campaigns and by teaching young and old about the value of good animal husbandry. It also offers a second chance to desperately needy animals through rescue, rehabilitation and rehoming and strives not only to sterilise companion animals, but – where needed – to drastically improve their quality of life.

BLUEROCK DIAMONDS EXPECTS SHARP RISE IN OUTPUT AND SALES FROM KAREEVLEI MINE BlueRock Diamonds expects a sharp rise in rough output and sales from its Kareevlei mine

and increased availability of goods. Production soared 53% to 23 497 carats as the miner

near Kimberley in the Northern Cape this year as its new processing plant reaches capacity. “The new plant was fully operational in December and is running at close to design capacity,” explains BlueRock executive chairperson Mike Houston . “We’re encouraged by the much-improved performance of the new plant to date.” The miner plans to produce 40 000-43 000 carats in 2022 and forecasts that revenue will jump to US$16 million-US$17,2 million, it says. In 2021, sales of rough grew 124% year on year to US$10,8 million amid strong demand

recovered higher-grade ore. Sales volumes rose 41% to 22 980 carats for the year, while the average price jumped 59% to US$470 per carat. “While we faced many challenges during 2021, we’ve seen production levels and the grade increase significantly and, with that, an increase in our carats sold,” adds Houston. “The market’s remained buoyant throughout the year, with prices returning to levels above those of 2019.” During the year, BlueRock sold 13 diamonds weighing more than 4,8ct, including a 58,6ct stone that brought in US$585 000 and a 21,6ct

stone that went for US$268 000. Revenue in the fourth quarter climbed 68% to US$3 million, with sales volume up 3% to 6 980ct. The average price for the three months ending December 31 surged 64% to US$431 per carat. – Rapaport

ISRAELI DIAMOND INDUSTRY SHOWS IMPRESSIVE GROWTH IN 2021 The Israeli diamond industry showed an impressive recovery during 2021, even surpassing the figures for 2019, according to import and export data published by the Israel Diamond Con-

troller of the Ministry of Economy & Industry. During 2021, net polished diamond exports totalled US$3,65 billion (an increase of 54% compared with 2020) and 7,5% compared with 2019. Net polished diamond imports amounted to US$2,94 billion, an increase of 91% compared with 2020 and 21% compared with 2019. Net exports of rough diamonds stood at US$1,8 billion, an increase of 109% compared with 2020 and 25% compared with 2019. Net imports of rough diamonds to Israel totalled US$2,07 billion, an increase of 94% compared with 2020 and 17,5% compared with 2019. “I don’t think anyone, just a year ago, expected such a rapid recovery of the industry,” says Ophir Gur, Diamond Controller and Director of the Diamond, Gemstones and Jewellery Administration at the Ministry of Economy & Industry. “These impressive figures reflect the

worldwide growth trends in the diamond and jewellery industries, but there were also local reasons, first and foremost the direct trade with the UAE, which began at the end of 2020 and was a significant factor in 2021.” “We’re very gratified by the industry’s excellent performance during 2021 and we’re optimistic for 2022,” says Aviel Elia, Managing Director of the Israel Diamond Institute. “We believe that the first quarter will show strong demand for diamonds, as American and other diamond buyers replenish inventories that were vastly reduced during the 2021 holiday season.” Ministry of Economy & Industry sources say that in order to ensure continued growth of the diamond industry, the Israeli government is considering implementing a free trade zone for diamonds. In addition, they say that steps to strengthen trade with the UAE and the growing market in Qatar are being considered.

SA JEWELLERY NEWS - FEBRUARY 2022

COMING IN YOUR MARCH ISSUE OF SAJN! Look out for your autumn/winter 2022 edition of SAJN’s seasonal Connect directory! Your quick reference and smart “go-to” guide of the South African diamond and jewellery industry is updated and published seasonally to keep you connected with the sector. Whether you are searching for a retailer, wholesaler, manufacturer or designer, SAJN Connect is your first port of call. Secure your spring/summer 2022 edition booking by contacting Jenny Justus at tel: (011) 883-4627 or 083-450-6052, or email: jenny@isikhova.co.za.

CIBJO GENERAL ASSEMBLY IN VICENZA, ITALY, RESCHEDULED TO MARCH CIBJO, the World Jewellery Confederation, has announced that the gathering of its General Assembly, which was scheduled to take place in Vicenza, Italy, on 24-25 January, has been postponed to 17-18 March at the same venue. The announcement comes after the Italian Exhibition Group (IEG), which will be hosting the CIBJO event, said it was postponing its January VicenzaOro trade show to 17-21 March 2022, as a result of the global upsurge in COVID-19 infections that is currently underway. The meeting of the CIBJO General Assembly will take place in the Vicenza Exposition Centre concurrently with the trade show. The CIBJO General Assembly will be the closing session of the 2021 Virtual CIBJO Congress, which took place over eight days from 4-8 November and 15-18 November. It will be a hybrid session, with delegates meeting in person during the show in Vicenza, while the event is simultaneously streamed live to other participants around the world. “In the new circumstances, the IEG has generously offered to host a rescheduled CIBJO General Assembly session at its show in March, providing the same facilities that it would have done in January,” wrote CIBJO President Gaetano Cavalieri in a letter to the organisation’s board of directors. “Since we’re subject to the same uncertainty concerning travel and public safety, the most prudent decision is to take the IEG up on its offer.” As would have been the case at the show in January, CIBJO will present two seminars at the VicenzaOro show, dealing with responsible sourcing, social activism and sustainability in the jewellery industry. Those will now take place on 19 March 2022. They are part of an ongoing programme conducted by the IEG and CIBJO to promote such principles in the jewellery sector, which is endorsed by the UN Economic & Social Council, where CIBJO has special consultative status.

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SA JEWELLERY NEWS - FEBRUARY 2022

SAJN | BUSINESS MANAGEMENT

Counteracting low employee morale Anna-Mart van Wyk, a neuro-behavioural life coach with 14 years’ training and coaching experience, is well acquainted with the South African jewellery trade. During Jewellex Africa 2019, she led a talk on the importance of training, particularly during tough times. In an exclusive interview, she discussed employee morale with SAJN, especially post-pandemic, and how to restore the brilliance, light and fire of a team. IT HAS BEEN TWO YEARS THAT CHALlenged many industries globally, with the luxury goods and services industry being one of the categories most affected by the COVID-19 pandemic. I know we’re all tired of talking about this topic, but acknowledging what happened is the first step towards understanding what it did – good and bad – not only to our industry, but to our people and how we can recover and capitalise on that. The pandemic and its effects felt

similar to a cataclysmic event that struck overnight and erased life as we once knew it. Everything we felt sure of was suddenly ripped to shreds and replaced with uncertainty, fear, trepidation and a huge sense of loss. Coupled with this emotional avalanche was being catapulted into a world of chaos that just wasn’t prepared for what had hit it. One moment we were still engaging with clients in person and welcoming tourists to our destination store and the

next, the industry shut down and we were forced to work from home. Juggling screaming children, who we truly struggled to like after a week or so and online business meetings that suddenly started with the line: “Can you see me? Can you

SA JEWELLERY NEWS - FEBRUARY 2022

BUSINESS MANAGEMENT | SAJN hear me?” became the new norm. You know the rest. You were all there. In terms of our industry, it certainly did affect our bottom line, with sales plummeting by as much as four-fifths in some cases. Our standard operations had to evolve overnight to a modus operandi more abstract and less personal. Many organisations had to scale down and employees lost some beloved coworkers and experienced the cruel reality of hard-core business first-hand. Our industry, staff, customers and we ourselves have been through a lot. It changed us and it’s important to acknowledge that, because if we let it, change can mean growth. However, the disruptive effect of COVID-19 is not the full story. As we know, our industry is one filled with magic, so there were also some pleasant surprises during this time too. According to a study conducted by the supplier group the Plumb Club, 39% of consumers said they actually purchased more jewellery during the pandemic than before. Interestingly, the main reason cited for doing so was that they suddenly had to conduct many online meetings and wanted to accessorise with jewellery that was visible to the other participants. This makes sense. Think about it – when you’re in public wearing your mask, your nose doesn’t show and the shade of your lipstick isn’t visible either, but the jewellery you wear still tells your story in a powerful, unapologetic way. It says: “Here I am. This is me – bright and brilliant! Unafraid, boldly celebrating life.” Another change to the market was that a whopping 72% of the jewellery sales were online, which highlights the importance of an impactful online presence. However, 63% of these online shoppers said they still preferred shopping in person. This means that our usual focus on customer experience should remain a priority, as it still contributes greatly to consumer engagement and the pleasure of buying fine jewellery. In an industry where our product is so personal and where customers love to interact with it, it remains amazing that the pendulum could swing so quickly from experiential shopping to material buying when it was pushed in that direction. Consumers adapted their buying behaviour, just as we had to adapt our sales tactics and customer engagement strategies. We learnt a lot. As in many other spheres of

SA JEWELLERY NEWS - FEBRUARY 2022

life where we found new ways of doing things, we also found creative ways to improve our industry as a whole. As they say: “Necessity is the mother of invention.” Maybe you changed the way you do your online marketing or staff scheduling, or even which products you stock. Whatever the case, this type of challenging the status quo that was forced on us is invaluable in building stronger businesses. We also saw during this time how investing in educating the market has paid off. According to the Plumb Club study, when buying jewellery, 31% of consumers said they look for quality, 23% mentioned design and 17% mentioned uniqueness. Price came in fourth, at 16%. An important shift has been made to sustainably sourced products, with 72% of consumers saying they’d pay more for such a product. This is good news for our industry in the long haul, both in terms of elevating the average purchase price and encouraging ethical business practices. How is this related to COVID-19? Well, suddenly, we seem to have more substance as human beings, gravitating towards

what matters most – our relationships, fewer, more meaningful pieces and leaving a legacy for the next generation. So it wasn’t all bad and we gained invaluable insights as businessowners, jewellery-lovers and people. Having said that, in my sales consulting and coaching practice, I found that the past two years were long and took their toll on the human psyche and employee morale. I also found that simple skills training was no longer enough to help my clients regain their passion for what we do – advocating love, fostering connection and being beacons of hope to a world that desperately needs to feel that the tide has turned. I found that simple skills training was no longer enough to help my clients regain their passion for what we do – advocating love, fostering connection and being beacons of hope to a world that desperately needs to feel that the tide has turned and that the human spirit is more powerful than any virus.

SAJN | BUSINESS MANAGEMENT a complimentary gift, thereby spreading the joy and making your staff’s positive disposition a selling point.

I understood that if I could help my clients see, appreciate and ponder on what we gained and not only on what we had to adapt to, then I could help our organisations, our industry and our people thrive as never before with a renewed sense of purpose and gratitude that transcends hardships. After the past two years, we’re more resilient and adaptable, less fragile, happier, more successful and sustainable than ever before – not despite the pandemic, but because of it. The school of life teaches us what no simulation ever could – courage and personal power. I duly qualified as a neuro-behavioural life coach to help people think, feel and behave differently. If ever we should have hope, it’s now. Like gold, we’ve been put through the fire and found to be genuine. Here are some neuro-behavioural hacks to restore the brilliance, light and fire of your team: 1. An attitude of gratitude Start a gratitude journal as a team. Every morning, start your work day with the question: “What are you grateful for today?” Challenge each person to contribute something new every day and record their answers. By doing this, you start a culture of being thankful. To take this to the next level, add some team photos and have a monthly edition printed to share with your customers in store or as

2. Find creative ways to be kind Draw an employee’s name once a week and name them the King or Queen of Kindness for the week. It’s then their job to find one creative way of showing kindness to either a co-worker or a customer by going above and beyond the call of duty. An example would be arranging flowers in your store for a customer who’s celebrating their birthday. This is a powerful tool in shifting the focus from yourself to making someone else’s day. 3. Get in touch with your values Find out what’s really important to each of your staff members. What do they value? Some might value a sense of belonging and others might thrive more if they were able to take the lead in a certain area. Ensure that you connect what they value to the everyday tasks that need to be done. Sometimes we simply have to suck it up, but the stronger the connection between what you do and what you value, the easier it becomes to love what you do. 4. Know where you’re at and where you want to go Rate your current level of employee morale by getting staff input. Then take them on a journey with you to see what it would look like and feel like to work in a place where the morale is 10 out of 10. Finally, devise a strategy of how to improve it as a team.

6. Set goals Set communal goals that matter to your team and to your organisation. It’s essential to get staff input and buy-in in order to achieve these goals. 7. Motivation There are different forms of motivation. Some people are motivated by a sense of accomplishment or receiving more responsibility, whereas others are more motivated by material incentives. Find out what truly motivates your staff and incentivise the desired results of the goals. 8. Take action Ensure that you have a clear action plan which is workable. Break the actions into small, manageable chunks so that they don’t become overwhelming. 9. Visualise Constantly reinforce what the picture would look like if the goals were reached and ensure that the team can envisage that success with you. 10. Accountability Keep yourself and your team accountable for the action steps to be taken and celebrate your progress along the way. Here’s my final challenge to you: after holding thumbs for the past two years that we and all our loved ones would test negative whenever we had a COVID-19 test, when you’re put through the trials and tests of 2022 – test positive. Every time. The magic starts with hope, and we have plenty of hope, indeed.

5. Learn from the past and embrace the future Conduct an SF SWOT. What have you succeeded in before as a team and what have you failed at? Take the learning forward and see how you can capitalise on new opportunities and mitigate threats by using your strengths and minimising your weaknesses.

I’ve found that the past two years were long and took their toll on the human psyche and employee morale. I also found that simple skills training was no longer enough to help my clients regain their passion for what we do – advocating love, fostering connection and being beacons of hope to a world that desperately needs to feel that the tide has turned. 16

SA JEWELLERY NEWS - FEBRUARY 2022

SAJN | MENTORING

Knowledge is best shared Mentorship looks different for every organisation, but one element that remains consistent is how valuable it is for a sector’s development. After almost four decades in the jewellery industry, Albert Maree, owner of Digital Wax, knows the value of sharing knowledge and experience, and devotes himself to doing so.

What first drew you to the jewellery trade? My involvement in and passion for the jewellery industry began at a young age. Ever since I was a little boy, I’ve been interested in jewellery and at the age of 15, I started making jewellery as a hobby. I was also the first pupil at Eldoraigne High School to do jewellery design for my school art projects. After leaving school, I completed my formal apprenticeship with Erich Frey and became self-employed. I was involved in many aspects of the industry and gained my qualifications in various fields. In 1996, I did my formal trade tests in goldsmithing and setting. I was also the founder of Romancing the Stone, which I sold in 2000. In 2005, Eve Maree and I founded Digital Wax to promote digital design through Rhino and 3D printing in SA. At that point, it was new territory here. I received my formal training for Rhino in Barcelona, Spain and – together with my goldsmithing and setting qualifications – was able to train and help people specifically in Rhino. In the late 2000s, I was approached to serve as a technical consultant at the

SA JEWELLERY NEWS - FEBRUARY 2022

MENTORING | SAJN Platinum Incubator (formerly the SEDA Platinum Incubator). I was also one of the expert practitioners who helped put together the latest trade test for the Mining Qualifications Authority (MQA). In 2010, I qualified as an assessor and moderator at the MQA and was registered as such. In 2011 I was appointed to oversee the overall production and design for one of SA’s largest and most prominent jewellery retailers. I’ve also been a judge at PlatAfrica for the past three years. What has been the single most valuable jewellery-making skill you have acquired? Probably old-school setwork – even though it’s no longer applicable nowadays, as it’s been replaced by digital design setwork. I also derived a lot of value out of learning hand-engraving. What has been the most valuable business skill you have acquired? Recent years and experience have taught me to think analytically, so learning Excel Analytics has been very valuable. When did MetCon approach you to assist with its Masterclass course and what did your involvement entail? MetCon approached me in January 2020 to assist with the layout of its new factory and act as technical advisor on its Masterclass course, for which I helped compile and determine the guidelines and criteria. The purpose of the Masterclass course is to equip practising jewellers to be more exportequipped. With the course, we also aim to take a person out of their workplace environment, share knowledge with them and then send them back there to apply what they’ve learnt. When I entered the industry in my younger days, I often felt that people kept their cards close to their chest. That made me decide that I would always share my knowledge with others.

The purpose of the Masterclass course is to equip practising jewellers to be more export-equipped. With the course, we also aim to take a person out of their workplace environment, share knowledge with them and then send them back there to apply what they’ve learnt. collections to show uniformity. I also provided them with general business mentorship. Was there a specific aspect with which the six Fumana jewellers needed guidance? The biggest need, I found, was to instil confidence in them. They’d been battered through the years because of lack of money, exposure and success. I also found that they needed guidance in costing their pieces accurately. To my surprise, most of them undersold their products. I sought to make them aware of additional costings such as shipping, possible replacement costs, etc. What are the main challenges newcomers to the industry face today? Many new jewellers believe it’s impossible to create a brand, which I’ve found is because of their lack of meaningful exposure to the correct retail markets. Many have been offered the opportunity to showcase their pieces overseas in places such as Hong Kong – which is very good exposure. However, these trade shows primarily lead to wholesale orders, for which a newcomer to the industry is seldom equipped.

One of the good things that the COVID-19 pandemic caused was rapid growth of the online marketplace, which gives newcomers immediate exposure to an export market. How has the industry changed since you first started? The difference is immense. In my early days, pieces were made purely by hand. The addition of digital resources has led to jewellery being produced much more accurately today. Consumer expectations have also changed. When I flip through old magazines from years back, I see how crooked some of the pieces were. Today’s digital technology makes hand-finishes much more precise. What advice can you offer aspiring jewellers? To maintain a good balance between digital and manual skills and get the formula behind pricing analytically correct. There’s also great potential in the investment value of precious metals in jewellery. Due to the fact that online diamond sales have significantly cut diamond prices’ profit margins, value in design, craftsmanship and metal is now greater than ever. We’re going to have to sell intricate design.

Tell us about Fumana and your involvement in the project. Fumana congregates young brands on a digital platform to expose them to a national and international market. During the first phase of the project, six jewellers were carefully selected to have their designs showcased on the platform. The jewellers didn’t compete with each other, but worked together to achieve something impactful. I was part of the selection process of these jewellers and was involved in giving them guidance on costing, as well as how to put together

SA JEWELLERY NEWS - FEBRUARY 2022

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• Diamonds in demand among millennials, Gen Z • Challenges faced by the jewellery and insurance industries • From side-hustle to main hustle

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• What jewellers will be talking about this year

AA WATCH WHOLESALERS

• Diamond market set for full recovery by 2024 • De Beers announces 12 ambitious 2030 goals

• Hanli Smit on photographing jewellery

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HOW IT WORKS Select your cover choice by emailing sajewellerynews@isikhova.co.za with the letter featured above your selection. Remember to state ‘SAJN Cover of the Year’ in the subject line. WHAT THE ‘WIN’ IS! The cover advertiser receiving the most votes will win a free advertisement in SAJN!*

SA Jewellery News is thrilled to announce the launch of its annual ‘Cover of the Year’ competition. And there are TWO ‘wins’ too!

THERE’S ANOTHER WIN! All votes will go into a draw to stand a chance of winning an exciting prize! CLOSING DATE 30 APRIL 2022 *(T&Cs Apply)

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 26

A BRIEF HISTORY OF JEWELLERY FROM ANCIENT TO MODERN TIMES •

The meaning of jewellery

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The function of jewellery

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Types of jewellery

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Jewellery through the ages

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History of engagement and wedding rings

Gold rhino from the late Iron Age society of Mapungubwe.

1. THE MEANING OF JEWELLERY The Greek, Pinder, recorded: “Gold is the child of Zeus – neither moth nor rust devour it.” It is believed that mankind’s first “cultural or symbolic thought” developed when our ancestors first star ted to adorn their bodies with beads and pendants. Scientific analysis indicated that 160 000-year-old shells, discovered at archaeological sites at Pinnacle Point and Blombos near Mossel Bay, had been ar tificially pierced by a thin flint tool. They were probably strung on sinew or leather strips and worn as pendants or necklaces. They may have been burial goods, used to impress the opposite sex or to ward off evil spirits. Such personal adornments are generally considered to be evidence of the ability to think in abstract terms and the star t of modern human behaviour. Little has changed over 100 000 years - on most modern-day beaches, stalls selling shell-and-leather thongs can be found.

PERSONAL ADORNMENT

MEANS OF TRADE

In the earliest human cultures, magic played an important role and black magic was particularly feared. An amulet - a charm held by a string or chain and often worn against the skin - was worn to protect against sickness, natural disasters, evil spirits, marauding animals and enemies. It became an integral item in magic and later religious ceremonies.

One of the oldest pieces of jewellery in the British Museum is a necklace made from cowrie shells and stones, dating from around 5000 BC. The cowrie shell was a symbol of fertility and at times used as currency.

Ancient civilisations used gold as personal adornment and to decorate their temples and tombs 7 000 years ago. When archaeologist Heinrich Schliemann dug up the gold treasures of Troy and the solid gold death mask of Agamemnon at Mycenae, they were found to be as bright as ever. No wonder, then, that gold was - and still is - regarded as the ultimate metal to be used in the expression of man’s most precious thoughts and feelings.

AMULETS

Purported death mask of Agamemnon.

In medieval times, the value of important gems and jewellery was such that mogul rulers and emperors traded them for cities and armies.

USE AS SYMBOLS Thousands of rings, spanning man’s early existence from the Stone Age to the last century, are displayed in museums all over the world. Ashanti toe rings, archer’s thumb rings, signet rings and even mourning rings commemorating the dead signify the symbolism man has attached to items of personal adornment. Crowns are worn by royalty as a symbol of their status, while class rings indicate that the wearer belongs to a certain fraternity.

Antique Egyptian amulet (left) and modern amulet for protection against the “evil eye”.

MEANS OF COMMUNICATION Another early psychological need of man was to communicate with the conscious and the subconscious.

AN A BRIEF INTRODUCTION HISTORY OF TOJEWELLERY GEMSTONES

Hence the development of symbols that represent man’s inner desires. One of the most common of these is the desire for fertility, which is symbolised in many cultures by a sun figure (the sun being the source of energy) or a seed (symbol for the beginning of life). Man’s quest for wealth is symbolised by the use of real or simulated coins in many traditional ornaments. The flower and leaf are jewellery motifs that identify the wearer with life, nature and its creator. The zodiacal symbols communicate the influence of the sun, stars and planets on our daily lives and have been used in jewellery for many centuries. Jewellery has become one of mankind’s most important means to communicate on a conscious or subconscious level.

person’s social and cultural environment and his or her need to project a self-image.

MEANS OF SELF-EXPRESSION

In order to understand the role jewellery has played in ancient as well as modern societies, it is necessary to identify the various functions of jewellery and how satisfies the need to say “this is me”.

The desire to possess and use jewellery is governed by a range of motivations. These motivations are the result of a

2. THE FUNCTION OF JEWELLERY The importance of jewellery in satisfying basic human needs is seldom recognised. Often, it is regarded as something that only the rich can afford and it is not realised that, through the ages, the wearing of jewellery has been an essential part of man’s communication with his fellow man.

The following page gives a summary of the various functions of jewellery and how it satisfies the basic need of the human psyche for expressing itself. Realising this, the jeweller can understand why mankind - especially the fairer sex - enjoys wearing jewellery. This will help him sell his products with pride and confidence.

3. JEWELLERY THROUGH THE AGES This section provides a short summary of how jewellery styles have developed since the dawn of civilisation. It will not make you an expert on antique jewellery, but should be useful in identifying jewellery from a specific period and help you understand the influences that shaped the design trends of these periods. The following periods are described: Pre-history Ancient civilisations Greek, Roman and Byzantine periods Medieval period The Renaissance period The Georgian period The Victorian period

150 000 - 8000 BC 8000 - 400 BC 400 BC - 1000 AD 1000 - 1400 1400 - 1700 1714 - 1830 1830 - 1901

The Edwardian period The Art Nouveau period The Art Deco period The Retro period The Post Retro period The Eighties The Nineties The New Millennium

1880 - 1911 1895 - 1913 1918 - 1939 1945 - 1960 1960 - 1979

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TYPES OF JEWELLERY

THEIR USE AND SIGNIFICANCE FUNCTION OF JEWELLERY

TYPE OF JEWELLERY

Remembrance jewel (Its main function is rememberance)

Reward jewel Medallion or medal Souvenir jewel

Functional jewel (serves a useful purpose)

Dress clips, hair clips, watches

Contemporary jewel (serves the human need for self-expression)

Communication jewel Erotic image jewel Beauty image jewel Fashion/Style jewel Status symbol jewel Amusement jewel Rebel jewel Art or branded jewel

Traditional jewel (declares specific facts about the wearer that he or she wishes to make known)

Religious jewel Marriage jewel Ethnic jewel Sentimental jewel Archaeological jewel Historic reproduction

Official jewel (indicates belonging to a group or imparts privileges to a person)

Club, class jewel Positional jewel Regalia jewel Ceremonial jewel

Magic jewel (has magical or private significance)

Talisman jewel Fantasy jewel

Collector’s jewel (satisfies the need to own an item of rarity, antiquity, ethnicity or uniqueness)

Rare jewel Antique jewel Contemporary jewel Art jewel

Investor’s jewel (means of concentrating, hiding or transporting wealth)

High-value portable jewel Anti-inflation jewel Saleable jewel

Collector's jewel

Contemporary jewel

Functional jewel

Souvenir jewel from |tiger- hunting trip

Rebel jewel

Fashion jewel

Religious jewel

Ceremonial jewel

Class ring

Amusement jewel

Talisman jewel, St Christopher

Modern ethnic jewels

Marriage jewel

Investor's jewel

A BRIEF HISTORY OF JEWELLERY

1. PRE-HISTORY 150 000 - 8000 BC

the Persian king Darius, many new motifs (such as the gryphon) and techniques of stone and enamel inlays became available to Greek goldsmiths.

The earliest jewels were rudimentary and made from natural objects such as a perforated mollusc shell, beads of stone, animal bone and feathers and were found in Paleolithic caves and burial grounds. The magical properties of these objects were of prime importance, while some could have served a decorative purpose.

Early Roman law restricted the use of gold jewellery, and in the third century BC, women were not allowed to wear more than half an ounce of gold, while senators and knights were only allowed to wear gold rings. Through their conquests, the Romans came into contact with other cultures where the use of pearls and coloured gems was popular. Roman gold laws were relaxed, goldsmiths’ guilds were established and their production expor ted and traded to the fur thest corners of the empire.

2. ANCIENT CIVILISATIONS 8000 - 400 BC Between 3000 BC and the time of Alexander the Great in the 4th century BC, civilisations such as those of the Sumerians, Assyrians, Persians and Egyptians flourished in lands known today as Iraq, Iran and Egypt. Although very little jewellery of this period survived, original lists of temple treasuries and royal dowries describe vast amounts of jewellery and ornaments. The earliest items were simple amulets carved from stone in the form of birds and frogs that were worn on the body to protect the wearer or enhance his image. The statues of royalty and rulers of this early time show simple beads or bracelets and are devoid of elaborate jewellery. However, in the Royal Tombs of Ur in Sumer and in those of the Pharaohs in Egypt, exquisite collections of gold jewellery - in the form of crowns, neckpieces, pendants and bracelets - were discovered. In a time before coinage, these items demonstrated position, wealth and served as means of trade. Jewellery was also produced for the afterlife, hence being found in tombs.

Ancient Mesopotamian amulets carved from stone, about 3000 BC from a period before writing (left). Photo: Harry J Conolly. Jr Viking Press. Ancient Egyptian jewellery (right).

3. JEWELLERY OF THE GREEK, ROMAN AND BYZANTINE PERIODS 400 BC - 1000 AD After the Persian Wars, the Greek civilisation entered a prosperous period. Men spent their wealth on armour, horses and houses, while women adorned themselves with expensive clothing and gold jewellery. When Alexander the Great captured the treasure of

After Emperor Constantine moved the Roman capital to Constantinople in 330 AD, the Byzantines controlled most of Greece, Egypt and the Near East. Their artists and goldAncient Greek gold jewellery in the form of a Heracles knot smiths obtained access to set with garnets. 300 BC. immense wealth from the East and their designs were enriched by influences from as far as Africa and Asia. The art of cloisonné enamelling was developed and Byzantine jewellery became important symbols of state and religion. Battle victories and Biblical motifs became popular. Byzantine art and gold techniques were carried to western Europe by the crusaders and influenced trends in art and design long after the demise of the empire.

Roman necklace of gold mesh, emeralds and mother-of-pearl, from Pompeii, 1st century BC. Photo: Guido Gregorietti.

Byzantine jewels, gold necklace with golden coin of Domitian. Very few modern jewellers can make a chain by hand. 100 BC. Photo: Graham Hughes.

4. MEDIEVAL JEWELLERY 1000 - 1400 Jewellery from the 12-15th century was modest and mostly symbols of office. Every bishop received a ring and badges that indicated pilgrimages were popular. Religious jewellery, using exotic material such as coral, mother-of-pearl, ivory,

ISSUE 26

jet and wood, were produced for the pious. In contrast, precious stones were used for their amuletic value and were worn as protection against any perceivable danger - from injury, poison, sickness and fraud to the loss of affection - by those who could afford it. Magical words were engraved on rings and gemstones to protect the owner from evil spirits.

Flemish pendant (1420) silver, gilt and enamelled depicting the Virgin and Child. Photo: Harry J Conolly. Jr Viking Press.

Brooches in gold and silver, English, 13th century, engraved with magic words, set with turquoise and sapphire. Photo: Harry J Conolly. Jr Viking Press.

5. RENAISSANCE JEWELLERY 1400 - 1700 The invention of the printing press gave goldsmiths access to designs from master artists and when a new source of gold was discovered in the Americas, the scene was set for a new approach to jewellery. The art of the goldsmith reached new heights during the Renaissance as master artists were commissioned by royalty and rulers to stretch the limits of their skills and imagination. The result was new techniques in gold fabrication and the production of masterpieces - albeit small - that equalled those produced by their colleagues in the disciplines of painting, sculpture and architecture. Jewels were often exchanged during royal visits and artworks of the time give an accurate account of the opulence and extent of the jewellery worn by the royal families of Europe and the Far East. The development of science during this period resulted in improvements in cutting and polishing techniques of coloured gemstones, which ultimately led to the ability to facet and polish a diamond. The improved sparkle and brilliance of gemstones now gave them pride of place in gold jewellery, to such an extent that the design of jewellery became of lesser importance. New discoveries of diamonds and gems in India and Brazil allowed this trend to continue as monarchs and their wives exhibited their wealth and status by draping themselves with gemstones set in simple forms such as rings and necklaces, stars and rosettes. Gone were the exquisite and elaborate gold designs of the early Renaissance period and the role of the goldsmith became limited.

Towards the end of the 17th century, the middle classes started to show an interest in jewellery and many items were set with inexpensive paste, crystal and marcasite, often engraved and enamelled. The normal jeweller will probably never come into contact with Renaissance Jewellery worn by Renaissance jewellery, as so little was noblewomen, from a portrait by made or survived. However, Araldi. Photo: Guido Gregorietti. jewellery from the 18th century, especially from Europe, could cross his desk. A brief description of how to identify these items is given below.

6. THE GEORGIAN PERIOD 1714 - 1830 Georgian jewellery was normally made by hand and can be identified by its craftsmanship, styles and the gemstones used. Intricate engravings and fine wirework, mostly in 18ct gold, were popular and often set with diamonds that were fashioned with 24-56 facets. The designers drew their inspiration from nature and motifs such as flowers, leaves, birds and feathers were used. Often these items were fitted with loops so that they could dangle from a necklace or ribbon. Gems were often set in silver with a closed gold backing which did not allow light to pass through the stone. It did, however, allow the goldsmith to enhance the colour of a gem by putting coloured foil between the mount and the back of the stone. Coloured paste (glass) stones were commonly used as substitutes for rubies, emeralds, sapphires and pink topaz. The excavation of Pompei from 1706-1814 captured the public’s imagination and designs with mosaics from ancient temples and ram’s heads became popular. Jewellery from this period was often dismantled and the gems remounted in designs that were popular in later years. During the French Revolution, when opulence came into conflict with the new ideals of the masses, much early jewellery was destroyed and very few new items were made. The jewellery trade only started to recover when Napoleon came to power. Styles centred on laurel leaves, arches and eagles and a renewed interest in cameos and intaglios developed after his troops returned from Italy, from where they looted ancient Greek and Roman treasures. Classical cameos became sought-after and the forgery industry flourished as the “ageing” of contemporary cameos became a skill in itself.

A BRIEF HISTORY OF JEWELLERY

Cheap imitations of cameos were cast in glass and porcelain. These can be identified by the lack of tool marks and the presence of gas bubbles in the glass. Napoleon’s Egyptian campaign in 1798 inspired motifs such as sphinxes, pyramids and palm leaves used in jewellery of this period.

Georgian foil-backed gold topaz brooch.

In the early 19th century, cast iron jewellery became popular in Prussia, as women were encouraged to give their precious jewellery to the state, which needed money to rebel against the Napoleonic occupation. In Britain, steel jewellery became fashionable as a technique to cut such material had previously been developed on the island. Facetted marcasite (a form of iron pyrite which has a high lustre) was often used as a substitute for diamonds.

Brooches with designs of delicately woven objects such as weeping cushions or departing ships, made from the hair of a loved one or the curl of a deceased family member, were made in the 1840-50s. After the death of her husband, Queen Victoria only wore mourning jewellery. This sparked a fashion of jewellery in which a facetted or polished piece of jet, black enamel and often black paste (glass) was used. During the late Victorian period, the gold and diamond discoveries in South Africa had a marked influence on the styles of the day. Diamonds became more affordable and the star became the most popular motif. By the end of the 1880s, coloured stone jewellery was totally out of fashion. Jewellery designs became more delicate as stickpins, bar brooches, narrow bangles, open bangles and star-shaped settings for gems became the fashion item of the day for the middle classes.

7. THE VICTORIAN PERIOD 1830 -1901 This period is defined by Queen Victoria’s accession to the British throne and her death in 1901. She was a great lover and collector of jewellery and had a significant influence on the styles and fashions that became popular during the second half of the 19th century. The fall of Napoleon and the start of the Industrial Revolution changed the social scene forever. New wealth was acquired by the middle classes and the jewellery industry flourished. Natural themes became popular and pieces were designed as miniature bouquets of flowers, branches, leaves, bunches of grapes and clusters of berries, all set with diamonds and worn as brooches or hair ornaments. Seed pearl jewellery became popular and, apart from diamonds, the most popular gems were carbuncles (any red cabochon-cut gem) and turquoise. The use of snake and serpent motifs reached its peak in early Victorian times while dogs, horses, horseshoes and insects were popular themes. Most medium- to low-priced gold jewellery was made by machine and Birmingham became a major centre for the mass production not only of gold jewellery, but also of metal costume jewellery that was gilded by the newlydiscovered electroplating process. In 1854, the use of 9ct, 12ct and 15ct gold was made legal in Britain. This gave a further boost to the mass production of affordable gold jewellery.

Gold mourning brooch with the hair of a deceased one.

Princess Alberta de Bronglia wearing a blue silk gown with gold necklace and tasseled earrings. From a painting by Ingres.

Turquoise brooch.

8. JEWELS OF THE EDWARDIAN PERIOD 1880 - 1913 The Edwardian period is usually taken as starting from 1880, when the future King Edward VII and his wife Alexandra took over the social and ceremonial duties from the still-ruling Queen Victoria, who withdrew into deep mourning after the death of her husband. During this era, which ended dramatically with the onset of WW I, new designs and metals produced distinctive jewellery which the ruling classes wore to demonstrate their wealth and status. The almost exclusive use of platinum, the greater use of pearls and the abundance of diamonds from South Africa typify Edwardian jewellery.

ISSUE 26

The introduction of electric light into the homes of the wealthy caused their Victorian clothing, made of brocades and velvets in sombre hues of maroon, blue and brown, to appear dull and outdated. Flowing silks and satins in soft pastel colours of mauve, pink, sky blue and lavender became fashionable. New clothing fashions demanded new jewellery styles. Hence, the late Victorian, Art Nouveau and Garland styles evolved. Members of Edwardian society wore a mixture of Victorian and garland jewels. They generally disliked the Art Nouveau style with its sensuous curves and frequently bizarre motifs, which they regarded as vulgar and decadent. The Arts and Craft style - which also developed before WW I - was considered not of their rank. Prestigious jewellers of the time - such as Garrard’s, Henry Cartier, Tiffany’s, Marcus & Co in the USA and Fabergé in Russia - developed the Garland style, which is characterised by a lock that is light and lacy, yet imparts a sense of majesty with lavish use of diamonds and pearls. Typical motifs are scrolls, feathers, tassels, swags of Diamond bow brooch. foliage, garlands of flowers and ribbons tied in flowing knots. Platinum, a metal that allows the goldsmith to create in delicate detail, was used extensively. Pearls were relatively scarce Edwardian pearl and (until the culturing of round sapphire brooch. pearls was perfected in the 1920s) and commanded prices on a par with those of diamonds. Crescent and bow brooches, enamelled theme brooches and tiaras were typical of the period. The Great War (WW I) shattered the dreams of the Edwardians. Gone were the gala dinners and parties. The British government restricted the use of platinum and De Beers closed down production until diamond prices, which dropped by more than 20%, stabilised after the war.

9. THE ART NOUVEAU MOVEMENT 1895-1913 At the end of the century, a reaction against the volume of mechanically-made jewellery took place and the public started to reject the fashion of wearing multiple lockets and bracelets. The scene was set for a new trend in jewellery, which started around 1895. A return to artistic jewellery, where form and design were more important than the

intrinsic value of the material used, began in France. This soon became a jewellery and fashion trend embraced by the world - it was called Art Nouveau. Japanese art, characterised by a strict economy of asymmetrical, yet flowing lines, and the new interest in botany made significant contributions to the ideas of the Art Nouveau movement. Butterflies, dragonflies and spiders acquired a sensual quality, while sinuous snake motifs became symbols of life and sexuality. The most important innovation from artists of the period was the introduction of the female figure in jewellery. A woman’s profile and the naked, sensuous female body became the leitmotif of the movement. The finde-siècle woman now had a prominent place in society. She embraced her femininity and wore such jewels with confidence. Enamel was the preferred medium of Art Nouveau jewellers and the Frenchman, René Lalique (1860-1945), who combined his exceptional technical skills with a unique style, became master of this period. In Russia, Peter Carl Fabergé became jeweller to the crown. In Germany, the movement was known as Jügendstil and towards the end of WW I, German artists rebelled against the excesses and distortions of natural motifs. Their designs started to become more geometric and abstract - a forerunner of the Art Deco movement that followed. In Austria, a group of artists broke away from the Vienna Academy to start what is known as the Wiener Secession. Their designs were stripped of all excesses, with leaf and flower motifs used in geometric regularity. In England, the reaction against the stale traditions of the past, against mechanisation and the opulence of the Edwardians, resulted in the Ar ts and Crafts movement. Similar to the Ar t Nouveau jewellers, some British goldsmiths rejected the mass production methods and strived to design jewellery where the design and ar tistic value were more impor tant than the materials used. The sparkle of expensive facetted gems was rejected and silver became the preferred metal. Mother-of-pearl, turquoise, inexpensive cabochons and polished pebbles were used in abundance. Unfor tunately, goldsmiths of the time lacked proper training in the ar t of enamelling and stone-setting and many of the Ar ts and Crafts pieces show signs of an amateurish approach. The “ar ts and crafts” concept was also embraced by jewellers such as Tiffany & Co and Marcus & Co in the USA and many thousands of “ar t jewels” were produced for the American public.

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SAJN | THE FEBRUARY BIRTHSTONE: AMETHYST

The most popular purple gem Amethyst was as expensive as ruby and emerald until the 19th century, when Brazil’s large deposits were discovered. Today, as the most valued quartz variety, amethyst is in demand for designer pieces and mass-market jewellery alike, and its purple to pastel hues retain wide consumer appeal. THE NAME “AMETHYST” DERIVES FROM THE

shrouded in fascinating lore. It was discovered

Greek word “amethystos”, which means “a remedy against drunkenness” – a benefit long ascribed to the purple birthstone. Because of its wine-like colour, early Greek mythology associated the gem with Bacchus, the god of wine. Amethyst was also believed to keep the wearer clear-headed and quick-witted in battle and business affairs. Renaissance Europeans thought it calmed lovers overrun by passion. Amethyst is the gem traditionally given for the sixth wedding anniversary. Catherine the Great (Empress Catherine II of Russia, 17291796) had a penchant for the gem and decked herself in amethyst necklaces, earrings and other ornaments. Famous jewellery connoisseur Wallis, Duchess of Windsor (1896-1986), made a memorable statement when she wore a lavish Cartier-designed amethyst bib necklace to a gala in Versailles in 1953. Russia was the major source of amethyst

by a Spanish conquistador in the 1600s, given to him as a dowry when he married Anahí (a princess from the Ayoreo tribe), forgotten for three centuries and rediscovered in the 1960s. The Anahí mine is also famous in gem circles as the source of the unusual bi-coloured amethyst-citrine crystals called ametrine. In Africa, Zambia’s Kariba mine is one of the largest amethyst producers in the world. Amethyst mined there tends to be of superb quality with richly saturated colours.

until the 19th century, when large deposits were found in Brazil. Once as rare as ruby or emerald, amethyst was suddenly in abundance. Today, the most important sources of amethyst are in Africa and South America. Brazil is still a major supplier, especially its southernmost state, Rio Grande do Sul, though the rough amethyst mined there tends to have a lighter colour than amethyst found in other countries. Amethyst from Brazil sometimes forms in hollow, crystal-lined geodes so large that one can stand in them. The Anahí mine in Bolivia is another prominent source of amethyst. Hidden in the Pantanal wetlands, the mine is

Amethyst is also found in the USA, just 74 km from Phoenix, Arizona. The Four Peaks amethyst mine is located high in the most rugged part of the Mazatzal Mountains. A remote location, hot summer temperatures and a lack of water and power at the mine make for challenging conditions. Nevertheless, this jagged, arid, rattlesnake-infested terrain produces some very fine dark purple and purplish-red amethyst crystals. Amethyst ranks 7 on the Mohs scale of hardness. This means that it is appropriate for daily use in rings and other jewellery, but over time it may show wear and require repolishing.

Heat treatment is the most common technique for improving the colour and marketability of natural amethyst. Heat treatment cannot make pale amethyst darker, but it can lighten the colour of very dark amethyst and turn it yellow to citrine, making it more attractive. It can also remove unwanted brownish inclusions in some amethysts. Heat-treating, however, may render amethyst slightly more brittle than usual and care must be taken not to damage pointed faceted corners and sharp edges. Note, too, that excessive heat can remove the colour entirely and some amethyst fades with prolonged exposure to strong light. Though the colour is stable with normal use, this is not a birthstone to wear to the beach every day. Amethyst birthstone jewellery can be cleaned with an ultrasonic cleaner, but steamcleaning is not recommended. A soft brush with mild soap is the safest option. Having the same chemical and physical properties as its natural counterpart, synthetic amethyst has been known since the 1970s. In some cases, it is very difficult to distinguish natural from synthetic amethyst without access to advanced gemmological testing, but many in the jewellery industry do not request testing because of the cost and time required to determine the origin of what is a comparatively inexpensive gem.

Information courtesy of the Gemological Institute of America (GIA). Established in 1931, the GIA is an independent non-profit that protects the gem- and jewellery-buying public through research, education and laboratory services.

SA JEWELLERY NEWS - FEBRUARY 2022

SILVER JEWELLERY | SAJN MARK HAMMERSCHLAG, OWNER AND CEO of Something Special, recalls starting selling jewellery office-to-office and at flea markets during the first 10 years of the business. “We also operated the business from our home in Johannesburg in those days,” he says. “As the business grew, I started going overseas regularly, hand-picking and importing the jewellery pieces. At that stage, my first offices were in Yeoville, Johannesburg and I converted an old house into an office space. We moved a couple of times during the 40 years and have now been situated in Norwood for the past five years.” Something Special has always specialised in supplying a large range of high-quality sterling silver jewellery and chains to retailers and chain stores. They carry a vast selection of basic and fashion styles and in 2010 – after noticing there was no range dedicated to babies and teenagers, Little Miss Silver was introduced. A collection catering specifically for the young, as well as the young-at-heart. Subsequently, Little Miss Silver launched a range sized to suit babies. The range includes pendants, charms, earrings, bangles, bracelets and brooches in sterling silver and cubics. “Forty years later, I still genuinely enjoy what I do,” says Mark. “The past two years have been interesting, though. Getting stock has been a real challenge and not being able to travel. Attending fairs to see the latest trends is one of the things I enjoy most. Hopefully, I’ll be able to do that again soon.” Something Special is the only wholesaler with silver catalogues in the country and one of only a handful with a catalogue with silver jewellery specifically for children and babies. “Going forward, we want to continue offering our clients exceptional customer service and high-quality jewellery,” says Mark. Today the Something Special team consists of him and the six ladies who help him run the day-to-day operations of the business: Monica, Susan, Cornel, Priscilla, Vanita and Diana, as well as sales representatives Kerina and Wendy. ‘It’s a wonderful team to be a part of,’ says Manageress Monica Nasan, who has been at the company since 2005. “We’re all truly passionate about what we do and look out for each other. It feels like a family.” Featured in this issue of SAJN is Something Special’s newly launched Little Miss Silver catalogue.

SA JEWELLERY NEWS - FEBRUARY 2022

Something Special celebrates 40 years

Forty-one years ago, Mark Hammerschlag and his now late wife Lynne moved from Zimbabwe to SA. The couple established Something Special in Jewellery, a name chosen by Lynne, in 1982 to supply retailers with high-quality silver items. Today, Something Special is one of the largest jewellery wholesalers in the country. Little Miss Silver Jewellery latest Collection launched The Little Miss Silver Jewellery Collection showcases the exclusive range of silver jewellery which was specially designed in smaller sizes and lengths. These classic pieces are sterling silver with cubic zirconias and include bracelets, chains, charms, cubic rings, earrings, pendants and religious jewellery. The Little Miss Silver collection includes silver jewellery display stands, which will look good in a window or display cabinet, or on a counter, showcasing the items in a variety of ways. The stands are designed so that they can be mixed and matched to create a unique display. “Pretty jewellery needs pretty packaging and the Little Miss Silver packaging adds that little extra,” says Mark. The gift bags are available in two sizes.

SAJN | DIAMONDS

De Beers names new head of operations in SA, Canada 32

SA JEWELLERY NEWS - FEBRUARY 2022

DIAMONDS | SAJN MADONDO JOINS THE DE BEERS GROUP from AngloGold Ashanti, where he was Senior Vice-President: Innovation and Technology. A mechanical engineer by profession, he has 23 years of experience in the mining industry, having started at AngloGold in 1998, and has held various senior and executive roles during this time, spanning Engineering Manager, Process Manager, General Manager and Senior Vice-President. He has demonstrable leadership experience and a proven track record of delivery, particularly in leading underground mining operations and for achieving impressive safety performance across the operations within his portfolio. “Moses brings extensive knowledge of the mining sector, an innate understanding of strategy and innovation, and outstanding operational leadership,” says Bruce Cleaver, the De Beers Group CEO. “He’s the ideal candidate to lead our Managed Operations business as we continue the successful delivery of the US$2 billion Venetia Underground Project in SA and maintain strong operational performance at Gahcho Kué mine in Canada. His expertise will be essential as we continue to deliver the benefits of our FutureSmart Mining programme, while ensuring we remain steadfast in our ambitious Building Forever sustainability commitments.” Madondo recently served on the board of the Minerals Council SA and Rand Refinery Ltd. He holds a BSc in mechanical engineering from the University of Cape Town, an Executive

About the Venetia mine The Venetia mine opened in 1992 and contributes 40% of SA’s annual diamond production. It is located 32 km south of the Limpopo River in Limpopo province. Diamond-bearing gravels were discovered as early as 1903 close to the river, 35 km north-east of the present mine. The De Beers Group began a sampling programme in 1969 to locate the source of these alluvial diamonds. Viable kimberlite pipes were discovered in 1980. Work on the mine started in 1990 and full production was achieved in 1993. Open-pit mining at Venetia is likely to run until the start of 2023 and preparations are already well underway to convert to underground mining, which is expected to extend the life of the mine to 2046 and provide an estimated 94 million carats. Excavation work for the US$2 billion underground extension began in 2013,

SA JEWELLERY NEWS - FEBRUARY 2022

A mechanical engineer by profession, Madondo has 23 years of experience in the mining industry, having started at AngloGold in 1998, and has held various senior and executive roles during this time, spanning Engineering Manager, Process Manager, General Manager and Senior Vice-President.

MBA from the University of Cape Town and has completed an Advanced Management Programme through Harvard Business School. De Beers Group Managed Operations encompasses the De Beers Group’s mining operations in Canada and SA. The group has been operating in SA for over 131 years and its commitment is expressed through its R30 million investment in explora-

the year the De Beers Group celebrated its 125th anniversary. The new underground mine is the biggest single investment in SA’s diamond industry in decades. Around 4 365 people are employed at the Venetia mine, of whom 2 571 are contractors. “We’ve minimised the impact of our operations by adopting an environmental management programme,” says the mining company. “We’ve also worked hard to enhance the surrounding area – for example, by creating the Venetia Limpopo Nature Reserve. The mine is in a semi-arid region, so it keeps its water use to a minimum; one-third of the process water is recycled.” The De Beers Group is a member of the Anglo American plc Group. Established in 1888, it is the world’s leading diamond company with expertise in the exploration, mining and marketing of diamonds. Together with its joint venture partners, De Beers employs more than 20 000 people across the

tion and the development of the Venetia Underground Mine in Limpopo. Throughout its history, the diamond mining giant has been reviewing its business model to best leverage its industry leadership position and ensure that its mining assets are best able to contribute to socio-economic development in its host countries. To this effect, the group has consolidated its mining assets in SA and Canada into one business function called De Beers Group Managed Operations, which Madondo will lead. The restructuring was necessitated by its reduced mining footprint in this country and Canada due to the closures of Snap Lake and Voorspoed Mines, along with the imminent closure of Victor Mine during May 2019. By consolidating responsibility for mining and closure projects, the De Beers Group aims to accelerate the deployment of new technology and innovation.

diamond pipeline and is the world’s largest diamond producer by value, with mining operations in SA, Botswana, Canada and Namibia. As part of the company’s operating philosophy, the people of De Beers are committed to “Building Forever” by making a lasting contribution to the communities in which they live and work and transforming natural resources into shared national wealth.

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SAJN | RESPONSIBLE JEWELLERY

The Responsible Jewellery Council (RJC), the world’s leading standard-setting organisation for the global jewellery and watch industry, has announced its latest progress report to showcase and encourage sustainability action throughout the supply chain. Findings show the number of new and renewing certified members increased globally to over 1 500. CITING COLLECTIVE ACTION AS AN ACCELerant for change, a report was released last year accompanied by a joint video titled Create Beautiful featuring CEOs from some of the leading names in the jewellery and watch industry, as well as special-interest groups including Alrosa, Bvlgari, Cartier, De Beers, Diamonds Do Good, IWC, Jaeger-LeCoultre, The Plumb Club and the UN Global Compact. The report and video were announced at the Cannes Film Festival 2021 at “Ethical Gold”, an event hosted by the Better World Fund and supported by the UN Environment Programme planetGOLD. “Our latest progress report shows that the jewellery and watch industry shares an ambition to contribute to a better world,” says Iris van der Veken, Executive Director of the RJC. “The Sustainable Development Goals [SDGs] demand a collaborative approach from all parts

Jewellery and watch brands unite to drive sustainability best practices 36

SA JEWELLERY NEWS - FEBRUARY 2022

RESPONSIBLE JEWELLERY | SAJN of the jewellery and watch industry. The RJC is committed to working with its members, industry organisations like the World Diamond Council and CIBJO, civil society and government to energise action towards a more sustainable future for all. You can’t separate beauty and design from sustainability. And when you ask: ‘How is this made?’ and commit to creating beautiful things in a beautiful way, you make it possible to live in a better, fairer world – today and for future generations.” Today the RJC has over 1 500 member companies globally (1 420 at the date of the report) from mining to retail and, through its code of practices which is the industry standard, is an enabler for collective action by the jewellery and watch industry towards the 17 SDGs. “We were there more than 15 years ago when the industry came together to change the way it does business,” adds David Bouffard, Chairperson of the Responsible Jewellery Council. “By introducing a common set of industry-wide standards, we’ve collectively shifted sustainability from an afterthought to a fundamental business management practice. By transforming our supply chains to be socially and environmentally responsible, we’re

You can’t separate beauty and design from sustainability. And when you ask: ‘How is this made?’ and commit to creating beautiful things in a beautiful way, you make it possible to live in a better, fairer world – today and for future generations.

deepening consumer trust and safeguarding the future of our industry.” The RJC continues to engage closely with NGOs, government and industry, fostering the exchange of ideas and action on how to further operationalise human rights due diligence across the supply chain. The council built on its unique strategic partnership with the UN Global Compact to advance sustainability action, including joining SDG Ambition. The platform enables RJC members to showcase their progress towards the 17 SDGs through the implementation of the code of practices. After extensive multi-stakeholder consultation, the RJC launched Roadmap 2030 – an attainable pathway to help council members collectively achieve long-term impacts while contributing to the SDGs. The council established the SDG Taskforce, consisting of 26 member companies, to co-ordinate and benchmark progress by member companies and the industry in delivering the 17 SDGs, presented according to the five pillars of sustainable development – People, Planet, Prosperity, Peace and Partnerships.

SA JEWELLERY NEWS - FEBRUARY 2022

SAJN | RESPONSIBLE JEWELLERY To support its commitment to removing barriers to change and accelerating progress, the RJC released several translations of its core documents, including French, Italian, Spanish and German, and delivered an extensive calendar of roundtables, conferences and training to members and non-members, virtually and in person (where permitted). The council’s SDG Roadshow included understanding and implementing the SDGs and SDG Compass, with sessions dedicated to SDG 5: Gender Equality, SDG 8: Decent Work and Economic Growth, SDG 12: Responsible Production and Consumption, SDG 13; Climate Action and SDG 17: Partnership for the Goals. Training was provided to support members in the practical application of responsible management principles, including how to carry out human rights due diligence, how to implement the five-step OECD Due Diligence Guidance and how to develop and implement management systems and processes for responsible sourcing. The RJC released several toolkits, including one for due diligence in the diamond and coloured gemstone industry. Looking forward, the council will continue to prioritise education and knowledge-sharing as a key to embedding strong management systems, including the release of a corporate responsibility toolkit for small and mediumsized companies to support smaller and independent organisations as they start their sustainability journey. Featured in the Create Beautiful video were Sergey Ivanov, CEO of Alrosa, Jean-Christophe Babin, CEO of Bvlgari, Cyrille Vigneron, President and CEO of Cartier International, Bruce Cleaver, CEO of the De Beers Group, Benjamin F Chavis. Jr, co-founder of Diamonds Do Good, Christoph Grainger-Herr, CEO of IWC Schaffhausen, Catherine Rénier, CEO of Jaeger-LeCoultre, Michael Lerche, President of The Plumb Club, Sue Allchurch, Chief: Outreach and Engagement of the UN Global Compact, David Bouffard, Iris van der Veken and Daylia Brown, Membership Services Manager of the Responsible Jewellery Council.

The Sustainable Development Goals (SDGs) demand a collaborative approach from all parts of the jewellery and watch industry. The RJC is committed to working with its members, industry organisations like the World Diamond Council and CIBJO, civil society and government to energise action towards a more sustainable future for all. The RJC is the leading standards organisation of the global jewellery and watch industry. Its 1 500 member companies in 71 countries span the jewellery supply chain from mining to retail. RJC members commit to and are independently audited against the RJC code of practices – an international standard of responsible business practices for diamonds, coloured gemstones, silver, gold and platinum group metals. The code of practices addresses human rights, labour rights, environmental impact, mining practices, product disclosure and many other important topics in the jewellery supply chain. The RJC also works with multi-stakeholder initiatives on responsible sourcing and supply chain due diligence. The council’s Chain-of-Custody Certification (CoC) for precious metals supports these initiatives and can be used as a tool to deliver broader member and stakeholder benefit. The RJC is a full member of the ISEAL Alliance, the global association for sustainability standards. The council complies with the ISEAL Standard-Setting Code, which specifies general requirements for transparent and accountable preparation, adoption and revision of sustainability standards. For further information on RJC members, certification and standards visit: www.responsiblejewellery.com.

SA JEWELLERY NEWS - FEBRUARY 2022

DID YOU KNOW? | SAJN

Interesting facts 1

Talisman or amulet jewellery was collected throughout the lifetime of an ancient Egyptian and then buried with the deceased for protection in the underworld (Duat) and the afterlife.

Ian Rosenberg Jeweller, CC BY-SA 4.0 via Wikimedia Commons

In Latino culture, hoop earrings became a symbol of strength, identity and resistance to discrimination. For young Latino girls, it is common to receive a pair of small hoop earrings at a young age from their mothers or grandmothers.

The history of love knots in jewellery dates back centuries. The love-knot pattern usually has no discernible beginning or end to symbolise the constancy of the lovers’ bond.

SA JEWELLERY NEWS - FEBRUARY 2022

The story of the Cartier Love bracelet started in 1959. After a relationship came to an end, Aldo Cipullo came up with a design for a bracelet that symbolised the permanence of love. It was designed as jewel that could not simply be slipped off.

The first G-Shock of 1983 was conceived for construction workers. Short for “Gravitational Shock”, the G-Shock was conceived to meet the “triple-10 requirement”: water-resistant to 10 bars (or 100 m), have a 10-year battery life and survive a 10 m drop.

The “T” cross at the end of a fob chain prevented the watch from falling out of a waistcoat pocket and because watches were typically heavier in that era, the chain was kept relatively short to make it comfortable to wear.

Anne Boleyn (1507-1536) was portrayed wearing a choker necklace in paintings of that era. Her famous necklace was made up of a string of pearls and a letter “B” pendant which she wore around her neck.

Pear-cut diamonds are a hybrid of the oval and marquise cut, resembling a teardrop in shape.

Jadau is essentially a technique of jewellery-making wherein precious gemstones such as uncut diamonds, pearls, emeralds and rubies are embedded into gold. Gold is actually turned into a frame on which precious stones are studded without the use of any adhesive.

SAJN | DIAMONDS

De Beers, Alrosa and Rio Tinto have released their schedules for this year’s contract sales, at which the miners offer the majority of their rough supply.

Top miners release dates of 2022 rough sales DE BEERS WILL STICK WITH ITS FORMAT OF 10 sights per year, while the calendar that Alrosa published features 11 contract sales. Rio Tinto will have 10 regular contract sales, as well as several auctions and tenders. De Beers sight dates • Sight 1: January 17 to 21 • Sight 2: February 21 to 25 • Sight 3: March 28 to April 1 • Sight 4: May 3 to 6 • Sight 5: June 6 to 10 • Sight 6: July 11 to 15 • Sight 7: August 15 to 19 • Sight 8: September 19 to 23 • Sight 9: October 31 to November 4 • Sight 10: December 5 to 9 Alrosa Alliance contract sales • January 24 to 28 • February 21 to 25

• • • • • • • • •

March 21 to 25 April 26 to 29 June 2 to 8 July 11 to 15 August 15 to 19 September 19 to 23 October 17 to 21 November 14 to 18 December 12 to 16

Rio Tinto contract sales • January 27 to 31 • February 23 to 25 • March 29 to 31 • May 4 to 6 • June 13 to 15 • July 12 to 14 • August 29 to 31 • September 29 to October 3 • November 24 to 28 • December 19 to 21 Rio Tinto auction sales • January 3 to 17 Auction: January 18 • February 7 to 14 Auction: February 15

• March 10 to 18 Auction: March 21 • April 8 to 21 Auction: April 25 • May 17 to 25 Auction: May 27 • June 17 to 24 Auction: June 27 • August 5 to 18 Auction: August 19 • September 8 to 16 Auction: September 19 • October 31 to November 12 Auction: November 16 • November 30 to December 8 Auction: December 9 Rio Tinto tenders of special and coloured diamonds • March 21 to April 6 Bids close: April 7 • June 1 to 15 Bids close: June 21 • August 22 to September 5 Bids close: September 6 – Rapaport Group (diamonds.net)

SA JEWELLERY NEWS - FEBRUARY 2022

N°113

ASIA PACIFIC EDITION

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

SAJN | LITTLE GEMS

A gem of a town 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. THE TOWN OF IDAR-OBERSTEIN IN Germany’s Rhineland is known as the gem centre of Europe and has a 500-year history of working with gemstones. The discovery of precious stones provided the incentive to create an impressive gemproducing industry – gemstones have been worked in the area since the 16th century. The town indirectly experienced a renewed

boom with the discovery of agate deposits in Brazil by German immigrants The basis for the development of its manufacture at Idar-Oberstein lay in the resources of the concentrates and finds of agate, as well as good local sandstone for the cutting and polishing wheel, with major available water power from the Nahe River to work them. The first

recorded documents of these operations recovered are dated 1548. In the 17th and 18th centuries, some 30 workshops for cutting agate were established using the river for electricity. By the 19th century, this number had grown to 153 cutting shops. In more recent times, with the use of steam power and the advent of electrical energy,

SA JEWELLERY NEWS - FEBRUARY 2022

LITTLE GEMS | SAJN

Agate is historically one of the most common materials used in the art of hard stone carving. It was used extensively in ancient times, particularly in the Bronze Age and the Minoan culture.

manufacturers produced anything from goblets to beads and production has been somewhat decentralised to workshops around the district. Nevertheless, Idar-Oberstein has established its own gemstone industries, specialising almost exclusively in producing agate. By the early 20th century, the town had become a powerhouse in the field of chemistry and this knowledge was applied to the gem industry. It continued innovating and created superior technologies in the chemical process, which included a secret dyeing procedure. Agate was also used for cameos, its layers ideal for carving the images featured thereon. While Idar-Oberstein focused on producing objects, the art of cameo-caving moved to Torre del Greco in Italy, where it is centred today. Some years ago, en route to Capri, I watched the callused hands of the artisans reveal wondrous miniature works of art made possible by the different layers of colours which their carvings exposed. After World War II, Idar-Oberstein needed to find a new niche for itself. To do so, it built on its previous tradition. Gem traders moved away from agate and invested heavily in mines in Brazil and Africa which produced rough of many different types of gemstones. Idar-Oberstein became a trading centre of rough and cut stones. With the large supplies

SA JEWELLERY NEWS - FEBRUARY 2022

of agate and gemstone rough, artists were able to choose the perfect material for their designs. A new generation of them was born in the 20th century, including some of the best gem-cutters of the era, such as Bernd Munsteiner, known to aficionados as the “Picasso of gems”. He created fantasy gems from large stones using his keen instincts and the depth of the rough to unveil the best possible attributes of a given mineral through strategically placed facet shapes, a technique known as the “context cut”. He left a family legacy to be continued by his son, Tom. Agate is historically one of the most common materials used in the art of hard stone carving. It was used extensively in ancient times, particularly in the Bronze Age and the Minoan culture. It is a variety of silica, particularly chalcedony, a banded,

shell-like material of which quartz fibres are orientated vertically. Some agate is formed from silicrified fossil shells, specifically spiral freshwater gastropods which have elongated. Greek agate is the name given to white to tancoloured agate which has been found in Sicily dating back to 400BC. The Greeks used it for making jewellery and beads. The Sumerians and Egyptians utilised it for decoration and in religious ceremonies. The present-day Brazilian quality is interlaced with white and grey, which creates a startling specimen when cut opposite the successive bands, but is often dyed for ornamental purposes. Other forms include the Lake Superior variety, cornelian agate (which has a reddish hue), Botswana agate, blue lace agate and others. The material used to be recovered from large and heavy blocks split with hammer and chisel along fissures. Today, almost without exception, it is sawed with a diamond-studded circular saw, but some machines have been developed which cut flat stones automatically. The agate is shaped roughly on a wheel coated with water and the final shaping is done on a sandstone wheel. The stone is given its lustre in the final polishing, done slowly on a rotating cylinder of beechwood, which shows up the fine structural lines. Types of jewellery for which agate is used include pins and brooches. It is also used for making mortars and pestles due to its hardness and ability to resist acids. It is a unique industry created in and around Idar-Oberstein, with its highly favourable natural resources.

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

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JEWELLERY MANUFACTURERS' ASSOCIATION OF SOUTH AFRICA

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

AZTEC MANUFACTURING JEWELLERS Tel no: 013 757 0827 E-mail: ron@aztecjewellers.com; kyle@aztecjewellers.com Website: www.aztecjewellers.com BEADZ BY FLEX Tel no: 083 967 3264 E-mail: info@beadzbyflex.co.za Website: www.beadzbyflex.co.za BEAUDELL DESIGNS (PTY) LTD Tel no: 082 885 8303 E-mail: esther@beaudell.co.za Website: www.beaudell.co.za BEN & CO DESIGNS (PTY) LTD Tel no: 072 056 2156 E-mail: bheki@ben-codesigns.com; info@ben-codesigns.com Website: www.ben-codesigns.com BERNARD’S JEWELLERY DESIGN & MANUFACTURE Tel no: 032 586 0889 E-mail: bernard@bernardsjewellery.co.za Website: https://watchesforsale.co.za/ BIJOU EXQUISITE JEWELLERS Tel no: 041 450 4320 E-mail: marnic@bijoujewellery.international Website: https://www.bijoujewellery.international/ BRADLEY MANUFACTURING T/A VARGA MANUFACTURING Tel no: 011 327 7926 E-mail: bradjew@mweb.co.za BRETTLANDS FINE JEWELLERS Tel no: 031 562 8009 E-mail: bretland@iafrica.com Website: www.brettlands.co.za

E-mail: leatherw@mweb.co.za; charldebeer@hotmail.com CHARLENE NEL T/A BELLA COSA Tel no: 021 975 5097 E-mail: charlene@bellacosa.co.za CHATEAU D’OR CC Tel no: 011 728 3741/3723 E-mail: denlincoln@mweb.co.za Website: www.chateaudorjewellers.com COLLEGE OF CAPE TOWN Tel no: 021 464 3821 E-mail: calbrechts@cct.edu.za; eoosthuizen@cct.edu.za Website: http://www.cct.edu.za/ CORNERSTONE MANUFACTURING (PTY) LTD Tel no: 082 599 5919 E-mail: cornerstonelof@gmail.com CAPE PRECIOUS METALS – CAPE TOWN Tel no: 021 551 2066 E-mail: sharon@cpmct.co.za Website: www.capepreciousmetals.co.za CAPE PRECIOUS METALS – DURBAN Tel no: 031 303 5402 E-mail: malcolm@cpmdbn.co.za Website: www.capepreciousmetals.co.za CAPE PRECIOUS METALS – JOHANNESBURG Tel no: 011 334 6263 E-mail: tom@cpmjhb.co.za Website: www.capepreciousmetals.co.za CAPE PRECIOUS METALS – PORT ELIZABETH Tel no: 041 365 1890 E-mail: renee@capepreciousmetals.co.za Website: www.capepreciousmetals.co.za CREATIVE DESIGN MANUFACTURERS (PTY) LTD Tel no: 031 563 3987 E-mail: goldlink@iafrica.com DABERON MANUFACTURING (PTY) LTD Tel no: 011 334 8841 E-mail: daberon1@gmail.com

BRIAN BOSMAN GOLDSMITH STUDIO Tel no: 011 616 5328 E-mail: divagoldsmith@yahoo.com

DALEEN BRUWER JEWELLERY DESIGN & GOLDSMITH Tel no: 023 342 7808 E-mail: db@xsinet.co.za

BRONSKI JEWELLERS Tel no: 021 852 7891 E-mail: seanscrase@hotmail.com

DANIEL JACOBS JEWELLERY DESIGN CC Tel no: 021 880 1026 E-mail: djjd@mweb.co.za

BROWNS THE DIAMOND STORE – WORKSHOP Tel no: 011 438 7920 E-mail: albert@brownsjewellers.com Website: www.brownsjewellers.com

DAVID BOLDING GOLDSMITH Tel no: 021 418 1049/1612 E-mail: david@dbgold.co.za; marele@dbgold.co.za

CAPE DIAMONDS Tel no: 021 421 5364 E-mail: joelgraham@capediamonds.co.za Website: www.capediamonds.co.za CAPE PENINSULA UNIVERSITY OF TECHNOLOGY Tel no: 021 460 3632 E-mail: konstandakellisv@cput.ac.za; camerondowl@cput.ac.za Website: www.cput.ac.za CARESS JEWELLERS UITENHAGE CC Tel no: 041 992 4421 E-mail: eben-caress@mweb.co.za CAROMBA MANUFACTURING JEWELLERS Tel no: 036 631 4565 E-mail: frank@caromba.co.za Website: http://www.caromba.co.za CENTRAL UNIVERSITY OF TECHNOLOGY FREE STATE – WELKOM Tel no: 051 507 4044 E-mail: eholmes@cut.ac.za; nmphore@cut.ac.za Website: www.cut.ac.za CHANDLER’S MANUFACTURING JEWELLERS (PTY) LTD Tel no: 011 781 0303 E-mail: mcjewel@netactive.co.za CHARL DE BEER Tel no: 012 440 7693

DC JEWELLERS Tel no: 044 691 3692 E-mail: dcjewel@mweb.co.za DEGLON JEWELLERY STUDIO Tel no: 021 851 3182 E-mail: waynedeglon@telkomsa.net Website: www.waynedeglondesign.withtank.com DESIGN @ 50 Tel no: 010 442 9201 E-mail: edna@design50.co.za Website: http://www.gidz.co.za/projects/design50.html DESIGNER GOLD BUSINESS TRUST Tel no: 043 726 2291 E-mail: info@designergold.co.za Website: https://www.designergold-el.co.za/ DIA-KIM DIAMONDS T/A CHRISTOPHER REID Tel no: 021 418 4484 E-mail: nick@christopherreid.co.za Website: http://www.christopherreid.co.za/ DIAMONDS4EVER Tel no: 082 786 7677 E-mail: info@diamonds4ever.co.za Website: www.diamonds4ever.co.za DIDIDESIGN Tel no: 011 784 0369 E-mail: didi@dididesign.co.za Website: www.dididesign.co.za

JEWELLERY MANUFACTURERS' ASSOCIATION OF SOUTH AFRICA

DR ESME SPICER Tel no: 073 239 9983 E-mail: esme.spicer@gmail.com

GATTOO JEWELLERY DESIGN STUDIO Tel no: 011 852 2046 E-mail: gattoosdesign@gmail.com

DUDLEY’S JEWELLERS Tel no: 082 319 3226 E-mail: dudleysjewellers@gmail.com

GAUTA REFINERIES (PTY) LTD Tel no: 012 753 3304 E-mail: rudi@gautarefinery.com Website: https://www.gautarefinery.com/

DURBAN UNIVERSITY OF TECHNOLOGY Tel no: 031 373 6673/6 E-mail: chrisdb@dut.ac.za; samanthav@dut.ac.za Website: www.dut.ac.za

GC MANUFACTURING JEWELLERY Tel no: 011 326 7919 E-mail: admin@thediamondring.co.za

ECO CHIC JEWELLERY Tel no: 021 553 0332 E-mail: e.m.duplooy@gmail.com

GEM AFRIQUE Tel no: 062 050 6479 E-mail: soni2.goldsmith@gmail.com

EDEL DESIGNER JEWELLERY Tel no: 072 636 0213 E-mail: edeldesignerjewellery@gmail.com

GLOBAL JEWELLERY ACADEMY Tel no: 082 337 6428 E-mail: robertb@globaljewelleryacademy.co.za Website: www.globaljewelleryacademy.co.za

E-DESIGN Tel no: 082 445 8295 E-mail: cornenaude@e-design.co.za Website: www.e-design.co.za EKURHULENI JEWELLERY PROJECT Tel no: 011 825 5822 E-mail: colin@ejewellery.org.za Website: www.ejewellery.org.za ELEMENTAL STUDIO Tel no: 084 507 7777 E-mail: lezamcleod@icloud.com Website: www.elementalstudio.co.za EMBER MANUFACTURING & DESIGN (PTY) LTD Tel no: 083 557 5190 E-mail: info@ember.co.za Website: www.ember.co.za ENZA MANAGEMENT SERVICES Tel no: 031 824 9427 E-mail: khulile@imarajewellery.com EON HOON JEWELLERY DESIGN Tel no: 083 578 7447 E-mail: eon@eonhoon.com Website: www.eonhoon.com ERICA DU PLESSIS (ERICA STRAUSS) Tel no: 021 851 8120 E-mail: artwear@telkomsa.net ETERNITY ENTERPRISE JEWELLERS (PTY) LTD Tel no: 018 290 5722/3 E-mail: eternity@eternityenterprise.com Website: www.eternityenterprise.com EVERTRADE 142 (PTY) LTD T/A D’OURO JEWELLERS Tel no: 011 615 3402 E-mail: dourojhb@vodamail.co.za; a.veloso@dourojewellers.co.za Website: www.dourojewellers.co.za

GOLD AND I (PTY) LTD Tel no: 084 360 6762 E-mail: info@goldandi.co.za Website: www.goldandi.co.za GOLDFASHION JEWELLERS CC Tel no: 021 931 1319 E-mail: mhendricks@wsnet.co.za; goldfashion@telkomsa.net GOUDSMID TEHILA VAN ENGELENHOVEN Tel no: 082 674 4410 E-mail: tehila@absamail.co.za HARRIS JEWELLERS Tel no: 021 555 1437 E-mail: harrisjewellers@telkomsa.net Website: www.harrisjewellers.net HAVILAH GOLD CREATIONS Tel no: 041 581 1942 E-mail: design@havilah.co.za; carol@havilah.co.za Website: www.havilah.co.za HEATHER JANE SMITH CERAMICS & PORCELAIN Tel no: 064 915 4282 E-mail: ladyheatherette@gmail.com ICKINGER JEWELLERS Tel no: 015 307 4448 E-mail: jacques@ickinger.co.za Website: www.ickinger.co.za IMFUNDISO SKILLS DEVELOPMENT Tel no: 012 734 0245 E-mail: imfundiso@mweb.co.za Website: www.imfundiso.com IMPILO COLLECTION Tel no: 010 0210441 E-mail: ayeung@impilocollection.co.za Website: www.facebook.com/impilocollection

JANINE BINNEMAN JEWELLERY DESIGNS Tel no: 021 715 6178 E-mail: info@janinebinneman.com Website: https://janinebinneman.com/ JEWEL CRAFT – BRANDHOF Tel no: 051 444 3449 E-mail: rean.p@mweb.co.za Website: www.jewelcraft.co.za JEWELLERY CONNECTION Tel no: 011 728 6800 E-mail: vmagnes@netactive.co.za; info@thejeweller.co.za Website: www.thejeweller.co.za JEWELLERY CONSULTANCY Tel no: 083 581 1513 E-mail: md.jewelleryconsultancy@gmail.com Website: www.jewelleryconsultancy.co.za JEWELLERY DESIGN CONCEPTS Tel no: 083 709 7722 E-mail: sandm@polka.co.za JOHANNA VAN ZYL Tel no: 082 778 5846 E-mail: jo@johannavanzyl.co.za Website: www.johannavanzyl.co.za JOHN STEDMAN T/A ELEMENTAL DESIGN Tel no: 031 572 2902 E-mail: john@elementaldesign.co.za Website: www.elementaldesign.co.za JOHREN MANUFACTURING CC T/A THE JEWELLERY SHOP Tel no: 046 624 3748 E-mail: johren@telkomsa.net JOY MASSYN JEWELLERY MANUFACTURE & DESIGN Tel no: 012 662 2861 E-mail: joy@joymassyn.co.za Website: http://www.joymassyn.com/ JPPE LAPIDARY Tel no: 021 424 7764 E-mail: kylegilson@mweb.co.za JYARAS JEWELLERS (PTY) LTD Tel no: 067 397 6373 E-mail: admin@jyarasjewellers.co.za Website: https://jyarasjewellers.co.za/contact/ K2 DESIGN STUDIO Tel no: 031 940 1274 E-mail: khanyisile@k2designstudio.co.za Website: www.k2designstudio.co.za KARLIEN DESIGNS CC Tel no: 083 659 2607 E-mail: karlien@karliendesigns.co.za Website: www.karliendesigns.co.za KARLSEN JEWELLERY CO Tel no: 033 386 7872 E-mail: karlsen@jewelleryco.co.za

FACET JEWELLERY Tel no: 073 397 8820 E-mail: catherine@facetjewellery.co.za

INFACET Tel no: 082 878 4949 E-mail: bridgette@infacet.co.za Website: www.infacet.co.za

FEMKE KLEISEN DESIGNS (PTY) LTD Tel no: 083 787 6120 E-mail: femkekleisen@webafrica.org.za Website: www.femkekleisen.co.za

INGE SCHOLTZ JEWELLERY DESIGNER & MANUFACTURER Tel no: 073 271 3789 E-mail: admin@csvaluers.co.za

KIM CLOETE JEWELLERY DESIGN Tel no: 021 531 9082 E-mail: kim@kimcloetedesign.co.za Website: http://www.kimcloetedesign.co.za/

FERROS JEWELLERS Tel no: 041 363 1881 E-mail: alex@ferrosjewellers.com Website: www.ferrosjewellers.com

ISABELLA JEWELLERS & REFINERS CC Tel no: 011 334 5919 E-mail: isabella@isabella-refiners.co.za Website: www.isabella-refiners.co.za

KINKEL JEWELLERY Tel no: 021 786 1549 E-mail: info@kinkeljewellery.co.za Website: www.kinkeljewellery.co.za

FINEGOLD LABORATORY SERVICES Tel no: 021 511 6237 E-mail: admin@finegold.co.za Website: www.finegold.co.za

J HIND JEWELLERS Tel no: 031 306 1330 E-mail: jhindrajesh@gmail.com Website: https://www.jhindjewellers.co.za/

KRISTEN MALAN CC Tel no: 011 880 1866 E-mail: kristen@merindol.com; john@merindol.com

FOREVER JEWELLERY MANUFACTURERS Tel no: 031 564 9006 E-mail: fj@3i.co.za

JADE SOUTH AFRICA Tel no: 021 883 8974 E-mail: rhys@jade-sa.co.za Website: www.jade-sa.co.za

FRANKLI WILD Tel no: 011 483 2620 E-mail: kgf@frankliwild.com Website: www.frankliwild.com

JAGGATH JEWELLERS Tel no: 031 307 7790 E-mail: navinjagath372@gmail.com

KAYRO JEWELLERS Tel no: 041 585 4842 E-mail: slaide.kayro@mweb.co.za

LADY PECULIAR Tel no: 021 886 8868 E-mail: info@ladypeculiar.co.za Website: www.ladypeculiar.co.za LALI SILVER JEWELLERY Tel no: 011 646 8358 E-mail: jc_tilman@yahoo.com Website: www.lalisilver.co.za

JEWELLERY MANUFACTURERS' ASSOCIATION OF SOUTH AFRICA

LAMBO DIAMONDS Tel no: 081 743 9255 E-mail: christian@lambodiamonds.com Website: www.lambodiamonds.com

MERAKI JEWELLERY DESIGN Tel no: 082 574 6043 E-mail: megan@merakijewellerydesign.com Website: www.merakijewellerydesign.com

ORO AFRICA (PTY) LTD – JOHANNESBURG Tel no: 011 645 9260 E-mail: sharin@oroafrica.com Website: www.oroafrica.com

L’AUTRICHE FINE JEWELLERY Tel no: 011 883 4021 E-mail: ernst@lebijoux.co.za Website: www.lautrichefj.co.za

METAL CONCENTRATORS SA (PTY) LTD – CAPE TOWN Tel no: 021 510 0770 E-mail: cpt@metcon.co.za Website: www.metcon.co.za

OSMOND’S Tel no: 021 559 8277 E-mail: osmond@telkomsa.net

LEGA DORO CC Tel no: 011 450 3233 E-mail: legadoro@global.co.za; diamondafric@telkomsa.net Website: www.legadoro.co.za

METAL CONCENTRATORS SA (PTY) LTD – CENTURION Tel no: 012 000 4440 E-mail: info@metcon.co.za Website: www.metcon.co.za

LEOPOLDINE DESIGNS Tel no: 076 586 3820 E-mail: info@leopoldinedesigns.co.za

METAL CONCENTRATORS SA (PTY) LTD – DURBAN E-mail: info@metcon.co.za Website: www.metcon.co.za

LEUVEN METALS (PTY) LTD Tel no: 021 426 4140 E-mail: kvessen@oroafrica.com; andrev@oroafrica.com Website: www.leuvenmetals.co.za

METAL IMAGE Tel no: 021 447 6600 E-mail: mi_greg@iafrica.com; mi_accounts@iafrica.com Website: www.metalimage.co.za

LILLY FRIEDLAENDER CC Tel no: 021 887 1655 E-mail: lilly.f@wol.co.za

MG IVORY Tel no: 011 788 1018 E-mail: mgivory@netactive.co.za

LORIEN MANUFACTURING JEWELLERS Tel no: 011 967 1700 E-mail: heather@allanybrink.co.za

MICHAEL J SOLOMON MANUFACTURING JEWELLERS (MJS) Tel no: 011 792 5292 E-mail: ms@absamail.co.za

LOVI JEWELLERY DESIGN Tel no: 011 882 3272 E-mail: lovijewellery@gmail.com MADE OF METTLE Tel no: 079 386 1079 E-mail: tracey@madeofmettle.co.za Website: www.madeofmettle.co.za MADELIEF DESIGNER JEWELLERY Tel no: 083 453 7018 E-mail: madeliefjewellery@gmail.com MADELINE’S TEMPTATIONS Tel no: 083 305 2798 E-mail: info@madelinestemptations.co.za Website: https://www.madelinestemptations.co.za/ MAGMA METAL RECOVERIES Tel no: 031 702 4422 E-mail: edwards@astronet.co.za MAMBU DESIGN Tel no: 011 614 1879 E-mail: mambudesign@mweb.co.za; mambuorders@mweb.co.za MAPULA DESIGNER JEWELLER (PTY) LTD Tel no: 083 641 2724 E-mail: mapuladesigner@gmail.com Website: www.mapuladesignerjeweller.com MARINE GOLD CC Tel no: 021 424 0077 E-mail: stephen@marinegold.co.za MARION’S JEWELLERY STUDIO Tel no: 041 368 4582/3 E-mail: marionsstudio@mweb.co.za MARK WHITEHORN GOLDSMITH Tel no: 083 271 6065 E-mail: info@markwhitehorn.co.za Website: https://markwhitehorn.co.za/ MASELESELE JEWELLERS Tel no: 012 734 0245 E-mail: imfundiso@mweb.co.za; imfundisojewellers@mweb.co.za Website: www.imfundiso.com MD INDIVIDUALLY DESIGNED HANDCRAFTED JEWELLERY T/A MICHAEL’S DESIGNS Tel no: 011 465 6446 E-mail: michael@michaelsdesigns.co.za Website: www.michaeldesigns.co.za MEDITERRANEAN JEWELLERS Tel no: 082 689 0630 E-mail: panayiotis@mmjewellers.co.za Website: http://www.mmjewellers.co.za/

MICHL CONTEMPORARY FINE JEWELLERY Tel no: 021 913 3944 E-mail: michelleliaosa@gmail.com Website: www.michljewellery.com MIRKO JEWELLERY Tel no: 021 886 8296 E-mail: mirinda@mirkojewels.co.za Website: http://mirkojewels.co.za/

PAUL GALLIAS Tel no: 073 194 2415 E-mail: pgallias@hotmail.com PEARL AND DIAMONDS STUDIO Tel no: 011 678 0595/6 E-mail: pearldiamond@mweb.co.za Website: https://www.pearlanddiamond.co.za/ PHATSIMA JEWELLERY DESIGNS Tel no: 072 739 6800 E-mail: phatsimantando@gmail.com; orders@phatsimajd.com Website: www.phatsimajd.com PHILIP ZETLER JEWELLERS Tel no: 021 423 2771 E-mail: pzetler@mweb.co.za Website: www.philipzetlerjewellers.co.za PHOENIX MANUFACTURING JEWELLERS Tel no: 012 549 4966 E-mail: jack@phoenixjewellers.co.za Website: www.phoenixjewellers.co.za PICCOLO FINE DESIGNER JEWELLERY Tel no: 083 396 6178 E-mail: suvette@piccolo-jewellery.co.za Website: http://piccolo-jewellery.co.za/ PIERO G MANUFACTURING T/A PICO JEWELLERS Tel no: 011 483 3442 E-mail: pico1@global.co.za Website: www.picojewellery.com

MIZANE JEWELLERY Tel no: 011 485 3784 E-mail: mizane@ananzi.co.za Website: www.mizanejewellery.co.za

PIYUVE JEWELLERS CC Tel no: 031 301 3963 E-mail: aroon@piyuvejewelers.co.za; shashi@piyuvejewelers.co.za Website: www.piyuvejewelers.co.za

MUGA MUGA HANDMADES Tel no: 072 299 7148 E-mail: info@mugamuga.co.za Website: www.mugamuga.co.za

PNEUMA JEWELLERS CC Tel no: 011 702 1462 E-mail: admin@pneumajewellers.com Website: www.pneumajewellers.co.za

NEWMAN JEWELLERY DESIGN Tel no: 012 329 9600 E-mail: nina@newmandesign.co.za; dave@newmandesign.co.za

POLART JEWELLERY STUDIO Tel no: 021 422 3848 E-mail: info@polart.co.za; polart@telkomsa.net Website: http://www.polart.co.za/home.html

NIGHT SHINE CANDY Tel no: 082 455 8973 E-mail: aleks@nightshinecandy.com Website: www.nightshinecandy.com

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/

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

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

WHITE DIAMOND JEWELLERS Tel no: 035 789 5550 E-mail: whitediamondjewellers@telkomsa.net Website: www.telkomsa.net

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

WOOSH DESIGNS JEWELLERY STUDIO Tel no: 011 318 1340 E-mail: wooshen@wooshjewellery.co.za Website: www.wooshjewellery.co.za

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/

YOL NOMADIC JEWELLERY Tel no: 074 136 3633 E-mail: yol_lu@yahoo.fr ZUREL BROTHERS SA (PTY) LTD Tel no: 015 293 2306/58 E-mail: zurelpolokwane@telkomsa.net; zurelqms@gmail.com Website: www.zurel.co.za

SUMMER 2021

21 SUMMER 20

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