SA Jewellery News (SAJN) • June 2021

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• Talking coloured gemstones with Kaylan Khourie • Is your jewellery brand really responsible?

• The allure of alexandrite • From pastime to profit

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DIGITAL MENTORSHIP

OPPORTUNITY Isikhova Media and its jewellery magazines’ UK-based media alliance partner, the CoNNect Agency, are thrilled to announce their digital mentorship opportunity for a South African jewellery designer.

The media house publishes SA Jewellery News on behalf of the Jewellery Council of South Africa, and JZA – Your Jewellery Magazine – South Africa’s fi rst and only dedicated jewellery consumer retail magazine.

“The mentorship is a result of an extremely close and highly successful triad collaboration our publications have enjoyed with CoNNect Agency since late 2020,” says Jason Aarons, Isikhova’s Media Publishing Director.

“The idea was presented to us by Nina Dzhokhadze, founder of CoNNect Agency, which works with emerging jewellery designers from all over the world and helps them develop brand awareness and growth. The aim is to give a South African jewellery designer the same opportunity and experience.

“We have adapted and created our own unique way to promote and digitally manage brands,” says Dzhokhadze. “Our mission is to help independent designers engage with their customers’ lives and to assist innovative and upcoming talented designers in raising their international profi le.”

CoNNect Agency’s focus and expertise lie in wholesale distribution, while its aim is to introduce brands to new markets, buyers and maximise their presence in a worldwide retail sector.

for a South African jewellery designer

The mentorship will run for three months from August to October 2021 and include: • Developing a digital brand strategy.

• Online marketing.

• Aspects to consider for growth.

• Showroom exposure to CoNNect Agency’s international buyer database.

• Digital experience/presence at Paris Fashion Week 27 September-5 October 2021. International press presence at the show is huge, as are social media tagging and posts. All have the potential to afford the candidate a major brand boost.

• Editorial coverage in SA Jewellery News and JZA magazines and via their social media platforms on Facebook and Instagram.

• Updates in Jewellery Biz News (JBN) – SA Jewellery News’ weekly newsletter.

• Mentions in Isikhova Media’s soon-to-launch monthly newsletter.

Candidate criteria: • All candidates must be South African jewellery designers.

• All candidates must have a website and Instagram account. Follower numbers for the latter are not a high priority.

• Designers must specialise in fine jewellery (gold – irrespective of carat used) and silver.

• A minimum of 10 pictures of pieces must be supplied in a low-res PDF or JPG format. The successful candidate will have to supply the same 10 pieces in high-resolution format.

Entry forms and collection visuals submission method are at www.isikhova.co.za/ MentorshipOpportunity/ R36,0

The closing date for candidates is 30 June 2021.

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The successful candidate will be contacted telephonically and also announced on social media – Facebook and Instagram.

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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

10. NEWS • Precious Metals lab to be run by all-female team • PlatAfrica 2021 open for metal applications • Russia and Australia account for more than half of all diamonds mined in 2020 globally

Creative Director: Joanne Brook

• Industry webinar focuses on challenges of origin in gemstone trade

E-mail: joanne@isikhova.co.za

• Swatch enters new territory

E-mail: jason@isikhova.co.za

Director Brand Strategy: Jenny Justus

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• Russia to up alexandrite production

Cell: 083-450-6052 E-mail: jenny@isikhova.co.za Operations and Admin: Thuli Majola Tel: +27 (0)11 883-4627 E-mail: thuli@isikhova.co.za Media Specialist: Lamees Mahomed Cell: 084-590-5123 E-mail: lamees@isikhova.co.za Media Specialist: Gail Keogh Cell: 082-929-4935 E-mail: gail@isikhova.co.za

15. TALKING COLOURED GEMSTONES WITH KAYLAN KHOURIE The use of coloured gemstones in jewellery has been trending for several years now and shows no sign of abating anytime soon. SAJN asked Kaylan Khourie from EGL South Africa’s Gemmology Department about it.

31. THE ALLURE OF ALEXANDRITE “Emerald by day, ruby by night”, alexandrite is well known for displaying one of the most remarkable colour changes in the gem world – green in sunlight and red in incandescent light.

However, the modern June birthstone is so rare and expensive that few people have seen a natural alexandrite.

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

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18. FROM PASTIME TO PROFIT During last year’s lockdown, Nadine van den Berg started experimenting with jewellerymaking techniques and playing around with different designs. Thus her own line, Black Feather Jewellery, was born. She tells SAJN about her jewellery and offers advice to others who are hesitant to turn a hobby they love into a business.

32. IS YOUR JEWELLERY BRAND REALLY RESPONSIBLE? Fair Luxury is an independent collective of jewellery industry change-makers with a common vision of shared wealth, safe working conditions, respected human rights and conservation and restoration of the natural environment.

SA JEWELLERY NEWS - JUNE 2021

CONTENTS |

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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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39. ROLEX REVEALS ITS LATEST CREATIONS

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Rolex recently presented its latest creations brought to life by its unique watchmaking expertise. These timepieces take us from the deepest caves to the highest mountain peaks, from the outer reaches of the solar system to isolated polar regions, and from ultra-precise technology to exacting artisanal craftsmanship.

• Talking coloured gemstones with Kaylan Khourie • Is your jewellery brand really responsible?

• The allure of alexandrite • From pastime to profit

On the cover Pearl, alexandrite and moonstone are the three birthstones for June. In this issue, we learn more about the unique allure of alexandrite. The stone is green in sunlight and red in incandescent light – hence the saying “emerald by day, ruby by night”.

Its striking hues have bewitched jewellerylovers (or, rather, the few who can afford this extremely rare, and commensurately

43. LITTLE GEMS

34. BUILD ’EM BETTER! INSTORE magazine, a monthly publication aimed at jewellery retailers in the USA, shares steps on how to turn your raw recruit into a super-jewellery seller

SA JEWELLERY NEWS - JUNE 2021

expensive gem) the world over.

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 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© 2021. 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 NOTE |

Editor’s

note

I am very excited to share this issue with you. It is filled with thought-provoking and fascinating features that I am sure you will really enjoy.

Among other things, we share steps on how to turn your raw recruit into a super-jewellery seller and also have a look at Rolex’s latest creations, which are brought to life by the brand’s unique watchmaking expertise.

Over the past few years, there has been an explosion in the number of brands promoting themselves as ethical, responsible, equitable and sustainable. Maybe your brand is one of them. Perhaps you feel passionately about doing something positive in your shop or company. In these pages, we explore whether you are truly walking the talk.

We ask Kaylan Khourie from EGL SA’s Gemmology Department about the rise in popularity of coloured gemstones and, in the

same vein, we learn more about the unique allure of alexandrite.

The stone is green in sunlight and red in incandescent light – hence the saying “emerald by day, ruby by night”. Its striking hues have bewitched jewellerylovers (or, rather, the few who can afford this extremely rare, and commensurately expensive, gem) the world over.

This issue also includes an inspiring story which I am particularly excited to share with you. It is an interview with Nadine van den Berg, a jewellery designer from my hometown, Louis Trichardt.

Her designs have been popping up on my Facebook homepage and after ordering one of her pieces as a gift for a friend’s for her birthday and seeing its great craftsmanship and quality, I knew I had to feature her in SAJN. However, it was not only her jewellery that enthralled me, but also the remarkable story of how she turned a pastime that she loved into

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a profitable business when her husband’s business was going through rough waters due to the COVID-19 lockdown.

On the subject of birthdays, my own is not far away. A friend asked whether I had a wish-list for a gift. I honestly do not. It feels almost wrong to have a wish-list in these times when I have so many blessings, compared with so many others.

I am profoundly grateful for the health of my family and myself, as well as for the amazing support system I have from them at home and from my colleagues at work. These are gifts enough. The past turbulent year has taught me that the biggest and most precious treasures are actually the ones we – too often – assume are “little”.

Enjoy this issue!

Adri Viviers

Navigating the new normal in style Style Rich

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sajn | NEWS PLATAFRICA 2021 OPEN FOR METAL APPLICATIONS Jewellery designers, students and apprentices are encouraged to apply for metal to participate in this year’s PlatAfrica jewellery design and manufacturing competition.

Celebrating its 22nd year, the theme for this year’s competition is “Metamorphosis”.

Entrants will have to design and manufacture a single piece of jewellery that is appropriate for all occasions. Platinum must be core to the design, while other materials may also be used.

“Over the years, PlatAfrica has established

itself as a highlight on the South African jewellery industry’s calendar, giving designers the opportunity to work with this rare and precious metal. We believe this year’s theme will inspire high-quality, one-of-a-kind pieces that will position platinum as the jewellery metal of choice for a broader customer base,” says Pallavi Sharma, convenor of the judging panel and Head of Strategic Design and Development at Platinum Guild International (PGI).

Metal applications must be received on

or before 1 June 2021. The closing date for submissions is 16 July 2021, with adjudication set to take place in August.

Prizes include R35 000 for the winner in the individual professional category, R20 000 for the student/apprentice winner and R15 000 for the People’s Choice Award. Winners may also be considered for participation in PGI India’s design sourcing process in 2022.

PlatAfrica is hosted annually by Anglo American Platinum, PGI and Metal Concentrators.

RUSSIA TO UP ALEXANDRITE PRODUCTION Often described by gem aficionados as “emerald by day, ruby by night” (see our Little Gems feature on p43), alexandrite is the very rare colour-change variety of the mineral chrysoberyl.

Originally discovered in Russia’s Ural Mountains in the 1830s, it is now found in Sri Lanka, East Africa and Brazil and is one of the most expensive gemstones in the world.

Russia ranks a distant second to Brazil in alexandrite production, but is looking to quadruple the output of this unique gem at its Mariinsky mine. The announcement was made by officials at the state-controlled corporation Rostec, which operates the country’s only emerald placer mine.

Emphasising that 2020 was a particularly

difficult year at the mine due to COVID-19-related issues, Rostec CEO Kirill Fedorov told the TASS news agency that his company mined just a single kilogram of alexandrite in 2020. That number should reach 4 kg in 2021 as production gears up to address a resurgence in demand.

Russia currently accounts for 4% of the world’s alexandrite production.

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Swatch has revealed its latest innovation: bioceramic. Two-thirds ceramic and one-third biosourced plastic, bioceramic is both resilient and resistant, with a silk-like touch.

Showcasing the brand’s newest material is its Big Bold watch. The 47 mm diameter case, deep and architecturally structured, provides plenty of room to appreciate the pure and refined bioceramic characteristics to the fullest. There are five colours to choose from: the classic design statements black and white, grey, optimistic sky blue and new power pink.

“Big Bold in bioceramic is a smooth, pure and substantial design piece, enhanced to the maximum to allow the new material to be fully enjoyed, thanks to the signature ‘seethrough’ Swatch attitude,” says the brand. The bracelet, glass and loops are made from biosourced plastic.

Swatch started a revolution in 1983 with the smart introduction of watches responsibly made out of only 51 components. Thirtyseven years later, the brand introduced biosourced plastic, which débuted on the Bioreloaded collection in September 2020.

Today, bioceramic comes as the new addition to Swatch Next, the latest release in a run of disruptive ideas.

“Swatch is always looking for ways to push the envelope when it comes to design, materials and technology,” remarks the brand. “Bioceramic marks yet another benchmark in the brand’s innovation journey. By the end of 2021, all key Swatch product lines will further explore the use of bioceramic.”

SA JEWELLERY NEWS - JUNE 2021

sajn | NEWS INDUSTRY WEBINAR EXPLORES CHALLENGES OF ORIGIN IN GEMSTONE TRADE For years, the origin of a gemstone (ie the geographic location at which it was extracted from the earth) has posed substantial scientific challenges to gemmologists, who are called on to make definitive judgements. This is especially so because, when the gems are cut and polished, they bear only a fleeting resemblance to the rough stones from which they were formed.

But whereas origin was once considered a relevant factor for only a handful of high-end coloured gemstones, such as Burmese rubies or Kashmir sapphires, where a favourable finding could add a premium to the asking price, the greater focus today on supply chain integrity and traceability means that it is more relevant than ever.

The stakes are also considerably higher.

Whereas a favourable origin finding would previously almost inevitably increase a stone’s marketability, today an unfavourable finding

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in terms of the location’s geopolitical status could have the opposite effect.

The challenges of gemstone origin (not only technologically and scientifically, but also in terms of marketing, sustainability and traceability) were the subject of the Jewellery Industry Voices webinar, titled “A Question of Origin”, which took place in May. The panellists were Dr Michael S Krzemnicki, Director of the Swiss Gemmological Institute SSEF in Switzerland, an organisation which has conducted extensive research on gemstone origin for many years; Monica Stephenson, founder of the jewellery blog idazzle.com and the responsible gemstone company ANZA Gems in the USA; Richa Goyal Sikri, a strategist, journalist and storyteller specialising in gems, diamonds and vintage and contemporary jewellery, who is based in Singapore; and Dr Assheton Steward Carter, CEO of TDI Sustainability, an advisory firm

to Fortune 100 companies and a specialist on sustainability, compliance, standards and mineral supply chains, who is based in the UK. The seminar was co-moderated by Edward Johnson and Steven Benson, while CIBJO President Gaetano Cavalieri welcomed participants.

The free webinar was sponsored by GemCloud Software, which is also the technology sponsor of Jewellery Industry Voices Season 2.

SA JEWELLERY NEWS - JUNE 2021

CAPE PRECIOUS METALS LAB TO BE RUN BY ALL-FEMALE TEAM Cape Precious Metals (CPM) has been so impressed by long-term staff member Bridgette Makatesi’s proficiency that the local refinery has decided to appoint only women to run its laboratory. Makatesi was the first female refiner at CPM to master all aspects of laboratory processes and was recently appointed as a lab team leader.

“A fast learner and extremely meticulous person, she expertly refines gold, silver, platinum and now palladium to its purest form,” says CPM founder and Managing Director Sharon Eades. “Her appointment to a lab team leader has worked out even better than we expected. Bridgette has successfully taught Zelpha and Agnes, her colleagues in our silver plant, her skills and developed a magical team. Over the 15 years of service she has dedicated to CPM, she has shown leadership qualities in her daily tasks and controlled all processes to ensure the precision of our end products.”

THE WORLD’S BIGGEST DIAMOND PRODUCERS IN 2020 Data analysed by Finbold indicates that only three countries produced 79,62% of all the estimated 54 million carats of natural diamond produced in 2020 globally. Russia leads the list, with a share of 35,18% or 19 million carats, followed by Australia with 22,22% or 12 million carats. Therefore, the two countries cumulatively accounted for more than half (57%) of the mined diamonds in 2020. The Democratic Republic of Congo also produced 12 million carats of diamond.

Botswana ranks fourth, with a share of 9,25% or five million carats.

South Africa produced three million carats, accounting for 5,55% of the global share of mined natural diamonds. Elsewhere, Zimbabwe mined two million carats or 3,7%, while other countries accounted for a share of 1,85%, or one million carats.

The report overviews the conditions of diamond-mining in 2020 and how the entire sector was affected. It states: “In general, global industrial diamond production faced various challenges as a result of the coronavirus pandemic. Leading mining companies were forced to suspend operations as governments imposed lockdowns aiming to contain the spread of the virus. Similarly, with mining being a non-essential operation, workers were sent home as a safety measure.”

Before the pandemic hit, the diamond sector looked forward to a bullish future, giving miners optimism to extract more of the precious stone. The report notes: “Overall, most miners began the year on a bright note, backed by improving customer sentiments across critical markets with soaring demand. However, the pandemic halted demand after miners cancelled and delayed sales. Furthermore, major diamond shows were scrapped due to health and travel restrictions as prices dropped.”

Russia also accounts for the highest share of natural diamond reserves globally, at an estimated 650 million carats. Botswana comes a distant second, with reserves of 310 million carats. Elsewhere, the Democratic Republic of Congo ranks third, with an estimated 150 million carats in reserves, while SA has 130 million carats in diamonds. Australia has an estimated reserve of 25 million carats, while other countries account for 120 million carats.

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COLOURED GEMSTONES |

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Talking coloured gemstones with Kaylan Khourie The use of coloured gemstones in jewellery has been trending for several years now and shows no sign of abating anytime soon. SAJN asked Kaylan Khourie from EGL South Africa’s Gemmology Department about it.

EGL SOUTH AFRICA HAS NOTICED AN increase in coloured gemstones being submitted for certification over the past two years. The Big Three (rubies, sapphires and emeralds), as well as tanzanites, have been the most frequently submitted, but there have been a range of other gemstones too. This indicates a rise in popularity of coloured gemstones and could bode well for the future.

Are there certain gem cut/ styles (such as elaborate concave cuts or designer “fantasy” cuts) which are more predominant in South Africa and, if so, what is the reason?

Yes, certain gem shapes and cutting styles are more suited to certain stones. The “emerald cut” was specifically designed for emeralds because it best holds their colour. It also protects them from being chipped easily because the corners have been polished off, leaving the stone less vulnerable to being knocked.

Generally, coloured stones are cut in a “mixed” way which uses the brilliant style on the top (crown) and step-cut style on the bottom (pavilion) to maximise both the colour and brilliance (the return of light and

SA JEWELLERY NEWS - JUNE 2021

therefore the “life”) of the gem.

Concave and fantasy-cut gems aren’t very common in South Africa. This is probably because they aren’t readily available and are therefore not well marketed.

The most predominant shapes/cuts used for coloured gemstones in SA are oval, pear (teardrop shape), cushion, princess (square with many angled facets on the pavilion), emerald (step-cut, cut-cornered rectangle), trilliant (rounded triangle), round, marquise (boat-shaped) and baguette (rectangle). The oval shape with a mixed cutting style is one of the most frequently encountered at the EGL SA laboratory.

What determines a gemstone’s colour? Would factors such as place of origin or climate be reasons?

Most gemstones are allochromatic, meaning that they rely on trace impurities in their crystal structure to affect the way they absorb light and therefore transmit a specific colour.

For example, corundum in its purest form is colourless, but when it contains chromium as a trace element, it creates a red colour and is therefore called ruby. However, when

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sajn | COLOURED GEMSTONES corundums contain traces of iron and titanium, they interact with each other and create a blue colour, so they’re called sapphires. (A corundum of any colour except red is called a sapphire, but each colour has its own cause). This isn’t to say that chromium is solely responsible for the red colour in all gems: in fact, it’s also responsible for the green colour in emeralds!

Place of origin can make a difference because of the different geologies in different parts of the world. Sticking with the corundum example, rubies from some areas are marblehosted (such as Myanmar, Vietnam and Eastern Tanzania) and have a low iron content.

Rubies from other areas (such as Thailand and Australia), are basalt-basted, have a high iron content and are generally darker than those with a lower one.

Climate shouldn’t influence a gemstone’s colour because it generally only affects the environment above ground, whereas gemstones are formed underground. However, gemstones can be affected by heat and pressure underground after they grow, which will affect their colour.

Another factor that can affect a gemstone’s colour is inclusions. For example, sunstone owes its colour and “schiller” to the reflection of an abundance of small, thin and platey inclusions – copper, goethite and/or hematite.

Garnets, rubies, sapphires, oynx, amethysts and green gemstones are among 2021’s biggest trends in men’s jewellery pieces.

Are there specific advantages to these?

Each gemstone has its own advantage.

My engagement ring has a natural green kornerupine which isn’t very hard (and therefore not very scratch-resistant), but hard enough to wear in a ring. I love it because it displays distinct pleochroism (ie it has a different colour, depending on which crystallographic orientation you look through).

There are many species of garnet, but they all often have rich, deep colours that can rival any other gemstone. The advantages of garnet are availability, colour and – specifically in demantoid garnets – dispersion. They also have a Mohs hardness level of 6,5-7,5, depending on the species.

Rubies and sapphires have a Mohs hardness of 9, making them the second-hardest natural gemstones after diamonds.

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smashed if hit on their cleavage plane (a plane of weakness in the crystal structure).

One of the toughest gemstones, however, is jade because it’s made up of strong interlocking fibres. It may only have a hardness of around 6,5-7, but it has a high resistance to fracturing.

We have the four C’s associated specifically with diamonds. Would you say they apply to all gemstones and/or what would other key assessment criteria be? Yes, the four Cs can also be applied to gemstones. However, some of the terminology employed is different – especially for colour: near-colourless diamonds are graded on the D-Z scale and fancy coloured diamonds are graded as a general combination between tone and saturation with their hue (ie fancy vivid greenish blue or fancy dark orange).

In gemstones, however, the Tone (how dark the colour is) and saturation (intensity of the colour) are always described separately (ie medium-light, vivid, greenish blue or dark, moderately strong, orange).

The clarity terminology is also different: diamonds use internally flawless, very very slightly included, very slightly included, slightly included and included as clarity grading ranges, but with gemstones we use eye clean, lightly included, moderately included and heavily included as clarity grading ranges.

Most gemstones are prized for their colour and size more than for their clarity and cut – this is not true with diamonds where all four of the Cs are equally important.

Other than diamonds, which gemstones have the greatest resistance to chipping or shattering?

Contrary to popular belief, diamonds don’t have a very good resistance to chipping and can actually be quite brittle. Diamond is the hardest naturally occurring material, which means it resists scratching very well. Only a diamond can scratch another diamond by using the slightly harder crystal face on the slightly softer one. Gemstones are crystalline and most gemstones can be chipped/

Are there any gemstones that should be avoided for use in jewellery?

I wouldn’t say that there are many gemstones that should be completely avoided in jewellery (besides some very rare gems that can be poisonous such as cinnabar – which contains a high amount of mercury – or radioactive, such as coffinite – which contains a high amount of uranium).

However, depending on their durability qualities (hardness, toughness, etc), certain gemstones should only be set in

Most gemstones are allochromatic, which means that they rely on trace impurities in their crystal structure to affect how the stone absorbs light and therefore transmits a specific colour.

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COLOURED GEMSTONES |

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certain ways (to protect the stone) and only worn in certain places (ie one should generally wear softer gems in necklaces and earrings instead of rings and bracelets because then they are less likely to be knocked during any physical movements/activity).

Also, gems such as kunzite should be kept out of strong light because it can cause their colour to fade. It’s always important to be aware of your gem’s durability qualities so that you can taken proper care of them.

Square vs circular shape – does one shape have an advantage over the other?

Yes, as with the cutting styles mentioned above: Square gems will hold the colour better, but round gems will generally have more brilliance.

Square gems also have exposed corners, which can be more vulnerable to damage. That’s why cushion-shaped gems are a good idea if you still want a square gem.

What is the rarest gemstone?

This topic is controversial because it depends on what characteristic you’re referring to. For example, tourmalines are very common, but those with an electric blue hue that are coloured by copper and manganese (called paraiba tourmaline) are rare. Alexandrite is commonly noted as one of the rarest gemstones, but that is only true when talking about fine-quality alexandrite. We’ve come across many alexandrites in our laboratory, but they’re mostly poor-quality.

There are many unusual gemstones that would fall into the category of rare, for example: painite, tugtupite, poudretteite, musgravite, afghanite, hackmanite and serendibite but there are many other unusual gems that are rarely found as gem-quality material. The rarest gem we’ve ever had submitted to our lab was a sogdianite.

What is the first thing a consumer should be aware of when buying a ring with a gemstone/s?

When a consumer is looking to buy a gemstone, they need to insist on a certificate from a reputable gemmological laboratory.

This is so that they can be confident of what they are buying. There are many unfortunate cases where clients have submitted stones for certification that they have purchased, particularly online, that turn out to be either a completely different gemstone, a laboratory-grown gemstone or one that’s been significantly treated, which affects its

SA JEWELLERY NEWS - JUNE 2021

durability and value (such as glass-filled ruby).

There’s nothing wrong with having laboratory-grown or treated gemstones (most rubies and sapphires are actually heat-treated routinely to improve their colour and this is an accepted practice, but still needs disclosure).

However, it’s very important that everything is fully disclosed and that a fair price is paid for the gemstone based on its identity, growth origin (laboratory-grown or natural) and treatments.

It’s also a good idea to confirm the results on a certificate with the laboratory to ensure that you aren’t being presented with a fraudulent certificate.

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sajn | JEWELLERY DESIGN

Tell us about yourself.

I was born in Roodepoort and was raised in Heidelberg. When I was seven, we moved to Standerton. Two years later, we moved to a small town called Louis Trichardt in Limpopo. I grew up in a home with a very creative mother, whom I love dearly. She was always busy with some or other craft in the house and I was very fortunate to be raised in an environment where I could always help and develop my own creative skills. I met my husband when I was 19 and we have three beautiful children aged 12, 10 and four. For most of my career, I did accounting and bookkeeping for a few companies and eventually started doing the bookkeeping for my husband’s business, but I always wanted to do my own thing and start my own venture. I learnt many business skills from my husband.

I was fascinated by a story I’d read about how silver is at its purest when you can see yourself in it as it melts.

From pastime to profit During last year’s lockdown, Nadine van den Berg started experimenting with jewellery-making techniques and playing around with different designs. Thus her own line, Black Feather Jewellery, was born. She tells SAJN about her jewellery and offers advice to others who are hesitant to turn a hobby they love into a business.

When did you start making jewellery?

During the lockdown last August. I was fascinated by a story I’d read about how silver is at its purest when you can see yourself in it as it melts. I started melting things in and around our house to see the reaction when they heated up. I then watched many YouTube videos explaining how to make moulds and began forming my own copper and pewter jewellery. I absolutely loved being able to do that. There’s a saying: “Life doesn’t have to be

18

SA JEWELLERY NEWS - JUNE 2021

JEWELLERY DESIGN |

perfect, but your jewellery can be.” It all made a lot of sense in a world that had turned upside down. I began experimenting more and more in making my own jewellery.

When did you realise you could turn this into a business?

Because of the lockdown, many shops were closed and some of my friends had birthdays coming up. I thought I’d give my presents a personal touch and make them. My friends loved them and asked me to make more items that they could gift to others. That was when I realised that this hobby could bring me some income during the pandemic.

Many people seem to struggle with translating a good idea into a business. How did you overcome that challenge?

I’m still new in this business, so the challenges are ongoing. I like to see what jewellery different people are wearing. That inspires me with ideas for items I can make.

Where does the name Black Feather come from?

A long time ago I thought of that name for a business I wanted to start, but it never materialised, so when I started making jewellery, I thought Black Feather would be perfect. It just needed the right time to become something special.

What are your favourite materials to use?

I started with recycled copper and different metals like aluminium and brass. Those are still my favourites and most of my jewellery is made of them because they’re unique, but more affordable.

What has been the single most important jewellery-making skill you’ve learnt?

Personalising the jewellery I make. I’ve learnt stamping skills and engraving, which really helped me get my business started, because people love jewellery items that are their very own.

What are you doing that’s different from what everyone else is doing?

I’m still very new in this industry and look up to many good jewellers out there, but I have a lot of ideas and try to make each item unique. I put a lot of thought into everything I make.

How do you market your jewellery?

I do a lot of my marketing on social media platforms like Facebook and I recently started marketing on Instagram.

SA JEWELLERY NEWS - JUNE 2021

sajn

As a mother of three working from home, how do you find time to make jewellery?

I try to do most of my orders in the morning, when the kids are at school. Then I’m a mom from 1pm until they go to bed and I finish what I started at night. Recently, I was still awake at 3am and a pregnant lady – who also couldn’t sleep and realised I was online – messaged me to place an order for some items. I guess anytime is a good time for jewellery!

Where would you like Black Feather Jewellery to be in one, five and 10 years?

A year from now, I’d like to have learnt many more skills, so that I can do everything myself.

My five-year plan is to have made enough jewellery to pay for a course to become a qualified goldsmith and jewellery designer. In 10 years’ time, I’d like to have several employees working for me, with my brand available in every possible outlet.

Tell us about your collaboration with the essential oil industry.

Most of my friends are essential oil-lovers and often gave them to me. I looked at some diffuser bracelets they had bought, and also saw some on social media, but they were boring and there was nothing special about them. I decided to make some of my own that were unique and more beautiful. I showed what I’d made to my friends, who loved them and bought them from me. I then contacted some of the big essential oil suppliers in South Africa and presented them with my bracelets. They also loved them. That was how my involvement with essential oil bracelets started.

What advice would you give someone who was hesitant about turning a hobby they loved into a living?

You can do anything you set your heart on. It isn’t always easy, but anything in life is possible if you believe in yourself. You can always find a million reasons not to, but it’s at precisely those moments that you should push yourself, against all the odds, and just do it.

It’s said that the quickest way of taking the fun out of something is by doing it for a living. How do you keep your jewellerymaking fresh and enjoyable?

The way to look at it is that you’ve created a job for yourself doing something you love and that makes you happy every day. I’m blessed to have found a job that makes me happy to go to work. As for inspiration, I look at people around me and their taste in jewellery. That motivates me.

19

sajn | DID YOU KNOW

Interesting facts 1

Image xourtesy Auckland Museum

The first man-made diamond was actually created nearly 70 years ago. General Electric funded the process and the resulting diamonds were generally smaller than 0,1ct and used in their unpolished form for industrial purposes.

4

By the beginning of World War I, two coin-like metal discs, each marked with their name, were given to soldiers deploying to fight in the trenches. They wore them into combat and if they were killed, one coin stayed on their remains and the other marked their coffin.

7

Diamonds in SA were first uncovered at the site of Kimberley’s Big Hole in 1871 and until the mine’s closure in 1914, up to 50 000 miners worked to excavate what has been claimed to be the deepest hole ever dug by hand.

20

2

Roman women were often given two engagement rings – an iron one to wear every day and a gold one to wear outside the home to impress people.

5

During ancient times, the Japanese believed that the tears of mythical creatures created pearls. These creatures included nymphs, mermaids and angels.

8

The most expensive Burmese ruby ever is the “Sunrise Ruby”, a 26ct stone which fetched $30 million at auction. Found in Myanmar, the stone was named after a poem of the same name by 13th-century poet Rumi.

3

The jewellery worn in medieval Europe reflected an intensely hierarchical and status-conscious society. Royalty and the nobility wore gold, silver and precious gems. Lower ranks of society wore base metals, such as copper or pewter.

6

Jewellery has to be at least 20-30 years old to be considered vintage. This could be anything made during the 1990s or earlier. Vintage encompasses a large collection of periods when jewellery was mass-produced.

9

Demantoid garnet is the most valuable garnet and has a green to emerald green colour. It can also have brown or yellowish tones. In 1853, children playing in Russia thought they had found pebbles which turned out to be demantoids.

SA JEWELLERY NEWS - JUNE 2021

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 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 19 19

ISSUE 19 IDENTIFICATION OF NATURAL AND SYNTHETIC GEMS AND THEIR IMITATIONS •

Synthetic gems: Production and early pioneers

•

Diamonds: Natural vs synthetic

•

Coloured gemstones: Natural vs synthetic

There are more synthetic gemstones in circulation today than there are natural, properly identified gems.

This may also have been the case since man first started to show an interest in gems. In his Natural History, the Roman philosopher Pliny wrote: “Truthfully, there is no fraud or deceit in the world which produces larger gain and profit than that of counterfeiting gems.”

1. SYNTHETIC GEMS As long as mankind is willing to pay large sums for gemstones, somewhere, someone will try to make a stone that looks like the natural one. When the first reconstructed rubies appeared in Geneva in 1885, they caused consternation and prompted scientists to develop tests that could identify man-made gems. Since then, many techniques have been developed to synthesise gemstones and as many methods for their identification have been developed.

fusion sapphire, ruby and spinel have been on the market since the 1890s. oxygen supply

aluminium oxide powder sieve

hydrogen supply

heat applied up to 2 200 oC

PRODUCTION METHODS

growing corundum boule

A synthetic gem has the same chemical composition, crystal structure, optical and physical properties as its natural counterpart. It is important to understand the methods in producing synthetic stones, as each one leaves signature inclusions in the stone.

“boules” of synthetic gems produced by a flame fusion technique.

1. Flame fusion

2. Pulling

In the oldest technique, developed by Auguste Verneuil, powdered chemicals are dropped onto a platform in a high-temperature flame. The platform is slowly lowered to a cooler level where crystallisation takes place. Flame

Developed in the early 1900s, whereby chemicals are melted in a crucible. A seed crystal is lowered into the melt and then slowly rotated and pulled out as the new crystal grows around the seed.

Sketch adapted from: JCK, Evelyn Tucker

IDENTIFICATION IDENTIFICATIONOF OFNATURAL NATURALAND ANDSYNTHETIC SYNTHETICGEMS GEMSAND ANDTHEIR THEIRIMITATIONS IMITATIONS

growing crystals rotated and slowly pulled from melt

This technique has been developed to produce gem-quality synthetic diamonds on a commercial basis. Under high pressure (65 Kbars) and high temperatures (up to 1800ºC), powdered carbon is dissolved in molten metal such as iron, nickel and cobalt.The carbon atoms move through the melt to the cooler part of the apparatus, where they crystallise as diamond on a tiny seed crystal of either natural or synthetic diamond.

melt

radio frequency tubes for heating vessel

3. Flux-grown This was developed before World War II. Chemicals are dissolved (rather than melted) in a heated solution and crystallisation occurs as the temperature of the crucible is lowered. applied heat crystals grow as temperature is lowered

dissolved chemicals in platinum crucible

insulation

4. Hydrothermal

applied pressure and temperature

Developed in the 1960s.

In this process, water and the required chemicals are placed in the bottom of a sealed tube. Under high pressure and temperature, these chemicals dissolve and rise to the top, where they crystallise on seed plates.

seed crystal growing crystals collapsible Pt vessel nutrient chemicals applied pressure and temperature

5. HP/HT (high pressure/high temperature) piston applying pressure

gasket assembly stable anvil heated core collapsible sample crucible

Piston applying pressure Diagrammatic sketch of a high-pressure, high-temperature (HP/HT) press in which synthetic diamonds, often in fancy colours, are grown.

6. CVD (chemical vapour deposition) In 2003, a process which did not require high pressures was developed whereby carat-sized gemquality diamonds can be produced. In this process, microwaves are used to dissociate gases such as hydrogen and methane into plasma. Carbon ions from this plasma then grow as a thin diamond film on diamond seed crystals.

methane and oxygen fed into system by gas injector counter electrode

plasma diamond thin film substrate substrate holder vacuum

Nearly all gems can be grown in the laboratory. Every few years, a new synthetic gem is developed and, soon thereafter, scientists know how to identify it.The ultimate synthetic stone is obviously a man-made diamond. These are on the market today and are readily identified by professional laboratories.

Synthetic gems are normally described using the name of the laboratory and/or the process that created them. For instance, Chatham synthetic emeralds, Biron flame-fusion emeralds, Ramaura or Kashan synthetic rubies or Apollo CVD synthetic diamonds.

SYNTHETIC DIAMONDS When, in the early 19th century, French scientist Lavoisier proved that diamond was nothing more than crystallised carbon, the race was on to produce diamonds in the laboratory. It was not until 1952 that a Swedish company, ASEA, succeeded in producing millimetre-sized synthetic diamonds.

Soon thereafter, the General Electric Company, as well as De Beers, started to produce large volumes of diamond grit for industrial use. In early 1971, Gems & Gemology reported that General Electric’s Research and Development Centre in New York had succeeded in producing colourless synthetic diamonds of gem quality. The high production cost of these man-made diamonds prohibited their commercial use. It took scientists another three decades to improve the original high-pressure/high-temperature (HP/HT) technique before they could produce gem-quality diamonds at a price that competes with that of natural diamonds.

ISSUE 19

HP/HT-produced synthetic diamonds - ranging from colourless to vivid fancy colours - appeared on the market in the early 21st century. De Beers was ready to “expose” these man-made gems. They had already developed instruments that could identify them and made available to the industry their patent-protected DiamondSureTM and DiamondViewTM instruments.The GIA Gem Laboratory also did sterling work in describing the gemmological properties of HP/HT diamonds and, today, very few of these synthetics escape detection.

A new cost-effective, low-pressure process called chemical vapour deposition (CVD) was recently developed to produce thin, wafer-like synthetic diamonds. Further development of this process will surely lead to the availability of larger gem-quality CVD diamonds. GIA and other gem laboratories are already establishing methods to detect this type of synthetic diamond.

Note: The availability of cheaper man-made diamonds should not perturb the modern-day jeweller. Man-made rubies and sapphires have been on the market for many decades, so why not man-made diamonds? As long as these synthetic stones can be identified, they will not affect the price of “the real thing”.

EARLY PIONEERS

Henri Moisson, French chemist, and a sketch of an electric-arc furnace in which he thought he produced the first synthetic diamond.

John Koivula, expert on gemstone inclusions.

Auguste Victor Louis Vernuil, synthetic gem pioneer.

Carrol Chatham, synthetic gem grower.

Richard T Liddicoat Jr, doyen of gem identification.

2. DIAMONDS

DIAGNOSTIC FEATURES OF DIAMONDS AND THEIR IMITATIONS Identifying a diamond has become quite easy with modern instruments such as the heat conductivity meter. Identification of synthetic diamonds is more difficult and mostly done by professional laboratories. There are, however, a few useful indicators which a jeweller can use to distinguish a natural diamond (using 10X magnification) from its many imitations, as well as its synthetic counterparts. These are:

TYPICAL FEATURES OF DIAMOND

TYPICAL FEATURES OF IMITATIONS (cubic zirconia, synthetic spinel, YAG, colourless zircon)

THE SEE-THROUGH EFFECT Tilting the stone away from the line of sight produces a very small “see-through” area. Put the stone face-down on a dark line. The line will not be visible through the diamond.

A much larger “see-through” area.

A curved line is seen through the pavilion.

Line visible through imitations, but not through diamond.

THE GIRDLE The girdle appears matt, waxy and could also be facetted. A bearded girdle is marked by hairline cracks that extend into the stone.

This is caused by rapid bruting.

Girdles are normally polished.

Bearding is not present.

Typical orange flash seen in cubic zirconia.

IDENTIFICATION OF NATURAL AND SYNTHETIC GEMS AND THEIR IMITATIONS

NATURALS The presence of naturals on or near the girdle. Naturals have a unique lustre, as they are parts of the original “skin” of the rough diamond. Growth markings on naturals are typical of a triangular, square or rectangular nature. Could also be a set of parallel grooves.

No naturals present.

A waxy girdle.

INCLUSIONS Typical inclusions such as another diamond, garnet or feather.

TYPICAL GIRDLE FEATURES OF NATURAL DIAMONDS

Normally flawless.

FACET JUNCTIONS The facets of a diamond will normally be sharp, precise and not abraded, because of its extreme hardness.

Imprecise facet joints and abraded edges.

A facetted girdle.

POLISHING MARKS If polishing marks are present, they will travel in different directions on adjoining facets, because each facet is polished in the dodecahedral direction.

Polish lines will normally be approximately parallel on adjoining facets.

A bearded girdle.

SPECIFIC GRAVITY MEASUREMENTS In methylene-iodide (SG = 3,32), a diamond sinks slowly.

Drops quickly to the bottom.

Typical trigons on a natural near the girdle.

IS IT A REAL DIAMOND ?

A question most jewellers are often required to answer. The diamond imitations that cause the most confusion are cubic zirconia (CZ), moissanite (M), gadolinium gallium garnet (GGG), yttrium aluminium garnet (YAG) and strontium titanate (ST). Herewith, their characteristic properties: RI

SG

see through inclusions

DIA

2,42

3.52

none, if well cut

typical of diamond

CZ

2,15

5.95

slight

negative crystals/ flux inclusions

MOI

2,64/9 (NB)

3.22

none

needles/negative crystals

GGG

1,97

7.05

moderate

gas bubbles, metal inclusions

YAG

1,833

4.55

strong

gas bubbles

ST

2,409

5.13

none, if well cut

gas bubbles

were formed during the impact of a meteorite. In the 1990s, a technique was developed whereby large crystals of moissanite could be grown in the laboratory. Once these were cut and polished, they were promoted as a “gift from the stars” that equal or better the sparkle of a diamond.

The visual characteristics of moissanite, ie its high dispersion and refractive index, give the stone more sparkle than most other gems. In fact, a well-cut moissanite will show more colour flashes than a diamond. Its hardness of 9,25 is slightly less than that of a diamond. It also has a cleavage, like diamond, and can break if ill-treated.The sellers of moissanite advertise their product not as a “simulated” diamond or diamond “substitute”, but as a true gem created by man.

However, any material that is cut and polished to look like a diamond is a diamond simulant and if it is purchased instead of a diamond, it could be regarded as a substitute.

IDENTIFICATION OF MOISSANITE

MOISSANITE - A GEM OR NOT?

Modern instruments measuring heat conductivity easily identify moissanite.

Natural moissanite was discovered by Nobel Prize winner, Henri Moisson more than 110 years ago, at “Meteor Crater” in Arizona. At this locality, minute crystals of moissanite (SiC)

Under magnification, it is also easy to identify. It is a hexagonal crystal and thus double refractive. Look through a few bezel facets and you will see two culets.

ISSUE 19

Negative crystals in moissanite will have a hexagonal outline and must not be confused with natural inclusions.

Groups of long, thin and sometimes wavy, needle-like inclusions occur in moissanite and not in diamond.The girdle of moissanite is often rounded.

Horizontal lines in moissanite girdle.

Rounded moissanite girdle.

Moissanite string-like inclusions (table view).

DIAGNOSTIC FEATURES OF NATURAL AND SYNTHETIC DIAMONDS Differentiation between natural and synthetic diamonds is best done by specialist laboratories using sophisticated instruments such as the DiamondSure®, DiamondView® and DiamondPlus®. There are, however, a few diagnostic features by which a jeweller can separate natural from synthetic diamonds, using a gemmological microscope.

TYPICAL IN NATURAL DIAMONDS

TYPICAL IN SYNTHETIC DIAMONDS

TYPICAL INCLUSIONS OF NATURAL DIAMOND

INCLUSIONS Transparent olivine, reddish garnet, greenish chrome diopside. Fractures and cleavages.

Metallic and shiny in reflected light, use fibre-optic source or opaque (black) inclusions of flux metal up to 1 mm size, often rounded or elongated. Generally free of fractures and cleavages.

Colourless and dark inclusions in natural diamond.

MAGNETISM Non-magnetic.

May be attracted by a strong magnet due to presence of metallic inclusions.

GRAINING Graining that follows the octahedral plane throughout the stone.

Presence of “hourglass” graining.

Typical fracture and colourless inclusions in natural diamond.

COLOUR ZONING Colour zones are planar or in a roiled effect. Also called colour graining.

Colour zones show patterns related to internal growth sectors.

Cloud-like inclusions in natural diamond.

SOME MICROSCOPIC FEATURES OF SYNTHETIC DIAMONDS

Metal platelets and a cubic growth pattern.

Cloud of pin-point inclusions.

Dendritic inclusions.

IDENTIFICATION OF NATURAL AND SYNTHETIC GEMS AND THEIR IMITATIONS

3. COLOURED GEMSTONES DIAGNOSTIC FEATURES OF NATURAL AND SYNTHETIC GEMSTONES Only those synthetic gems that normally cross a jeweller’s desk are described here.Those selected are ruby, sapphire, emerald, aquamarine, amethyst, spinel, alexandrite and opal. The identification features of their natural counterparts are also included to assist separating the man-made from the natural ones. Please note, these are not the only synthetic gemstones available.

NATURAL RUBY PHYSICAL PROPERTIES RI = 1,762 to 1,770 SG = 4,00

TYPICAL INCLUSIONS Flux-filled cavities that look like a network of lace.

Silk - is fine needle-like inclusions, often intersecting at 60° angles. Saturn-like inclusions - a core with fingerprints radiating from it. Visible twinning sharp, clear bands. Separations along growth planes.

Perfectly clean natural rubies are very scarce. If the gem appears clean, be careful.

FLUORESCENCE

OTHER INDICATORS

Moderate to strong red under long- as well as short-wave UV. Slightly weaker than in synthetics.

Course twinning lamellae in natural ruby.

“Healed” fracture in heated natural ruby. Not to be confused with fingerprint-like patterns of residual flux inclusions in flux-grown synthetic ruby.

Saturn-like inclusion in Thai ruby.

Three sets of rutile needles intersecting.

Rutile needles and “fingerprint” (healed) fracture in ruby.

Short rutile needles (silk) in natural ruby.

SYNTHETIC RUBY - Flux-grown synthetics PHYSICAL PROPERTIES Physical, chemical and optical properties the same as in natural gems.

TYPICAL INCLUSIONS

FLUORESCENCE

OTHER INDICATORS

FLUX-GROWN Flux-filled cavities – looks much like the lace network in natural gems, but the filling in the cavity is solid. Looks like sugar.

Dust or “rain” is the most typical inclusion in Kashans - looks like graining in a diamond. Platinum triangle/hexagonal crystals may be present.

Twinning is much less distinct than in a natural stone. When the angles meet, it looks blurred, like a mirage.

Stronger than in natural gems, may exhibit blue splotches. The strength of red fluorescence will be obvious when comparing it with the weaker fluorescence of natural rubies.

Orange and brown are present as strong secondary colours.

Under a dichroscope, one of the colours will be a translucent, plasticlike orange.

IDENTIFICATION OF NATURAL AND SYNTHETIC GEMS AND THEIR IMITATIONS

Dusk-like inclusions in flux-grown synthetic ruby.

White, wispy flux inclusions in synthetic ruby.

Drippy flux inclusion stringers in synthetic ruby.

FLAME FUSION A significant roiled growth zoning that looks like an angular spiky surface. Dense strings of gas bubbles.

HYDROTHERMAL SYNTHETIC RUBY Curved striae - look like grooves on an LP record. Gas bubbles. Kashan synthetics often have a dense concentration of parallel minute flux particles called “rain” (use fibre-optic illumination to see this).

Angular spiky surfaces due to roiled growth.

NATURAL SAPPHIRE PHYSICAL PROPERTIES RI = 1,762 to 1,770 SG = 3,99

TYPICAL INCLUSIONS The same type of inclusions as in natural ruby.

Natural sapphires normally do not show drippylooking fingerprints as they are usually not heated to the same high temperature as ruby.

Growth banding in straight lines intersecting at 120o.

FLUORESCENCE

OTHER INDICATORS

Normally shows no fluorescence. May fluoresce weakly or moderately in orange or red. Some treated natural stones show blotchy green or blue fluorescence.

Natural sapphire shows a line at 4 500 AU under the spectroscope.

Sometimes a heattreated stone shows no line.

Healed angular fingerprint pattern due to excessive heat treatment.

“Healed” fracture in sapphire.

SYNTHETIC SAPPHIRE PHYSICAL PROPERTIES

TYPICAL INCLUSIONS

FLUORESCENCE

OTHER INDICATORS

FLAME FUSION TYPE Physical, optical and chemical properties the same as for natural sapphire.

Gas bubbles appear almost black. Curved coloured banding. Natural-looking fingerprints. Tiny white clusters of pin-points.

Often chalky white or bluish under shortwave UV.

Shows no line at 4 500 AU under spectroscope.

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Mizane Jewellery • Contact: Ken Brandt • 076 049 9457 / 011 485 3784 • www.mizanejewellery.co.za

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GEMSTONES |

sajn

“Emerald by day, ruby by night”, alexandrite is well known for displaying one of the most remarkable colour changes in the gem world – green in sunlight and red in incandescent light. However, the modern June birthstone is so rare and expensive that few people have seen a natural alexandrite.

The allure of alexandrite IF YOU WERE BORN IN JUNE, YOU HAVE NOT one, but two birthstones to choose from: the classic pearl and the extraordinary gemstone alexandrite, which is also the anniversary stone for the 55th year of marriage.

Alexandrite is a truly extraordinary gemstone that appears green or red, depending on the light under which it is observed. This colour change is sometimes referred to as the “alexandrite effect”. The rarity and chameleonlike qualities of alexandrite make it one of the world’s most desirable – and costliest – gemstones. In fact, it would be difficult to find in your everyday jewellery store.

It is classed as a “new” gemstone because – unlike diamonds, sapphires, emeralds and rubies – it has been around for less than 200 years, which is a very brief period in gemmological history. Abundant alexandrite deposits were first discovered in 1830 in Russia’s Ural Mountains and were initially misidentified as emeralds. The gem was named in honour of the tsarevitch Alexander Nicolaevich, who was still only 16, but would later be crowned Tsar Alexander II. Those first alexandrites were of very fine quality and displayed vivid hues and dramatic colour changes. The stones caught the country’s attention because their red and green shades mirrored the national military colours of imperial Russia.

However, the spectacular Ural Mountain deposits were not inexhaustible and today most alexandrite comes from Sri Lanka, East Africa and Brazil. The newer deposits contain some fine-quality stones, but many display less

SA JEWELLERY NEWS - JUNE 2021

precise colour changes and muddier hues than the 19th-century Russian ones.

Alexandrite is a variety of the mineral chrysoberyl. What distinguishes it from other varieties of the mineral, such as cat’s eye, is the presence of not only iron and titanium, but also chromium as a major impurity. This combination of elements results in the green hue of the gemstone. Alexandrite can be almost emerald-coloured, but is more often yellowishor brownish-green. The most prized shades of green in an alexandrite have been described as “emerald, grass, splendid or elegant” and the red shades have been described as “ruby, columbine, garnet, raspberry or fiery”.

Alexandrites have two primary value-drivers: the closer their colours are to pure green and red, and the more distinct the colour change, the more valuable they are. Alexandrites can exhibit everything from 100% to just 5% colour change. Thus, the most valuable gems would have a 100% colour shift from pure green to pure red. Blue-greens and purplish or brownish reds hold less value.

Unlike almost any other members of the gemstone family, alexandrite is typically untreated – which is why it is considered an exceptionally precious possession. Imitations do exist, but they are easily identified with the use of special tools and techniques that modern appraisers use in their work. Nevertheless, even synthetic alexandrites – whose price is significantly lower than their mined counterparts – are often unaffordable for the average consumer.

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sajn | ETHICAL PRACTICES AND SUSTAINABLE JEWELLERY ETHICAL JEWELLERY. FAIRTRADE PRODUCTS. Responsible brands. Sustainable business. It all sounds good, does it not? Over the past few years there has been an explosion in the number of brands promoting themselves as all of these things. Maybe your brand is one of them. Perhaps you feel passionately about doing something positive in your shop or company.

But are you truly creating a responsible business?

When thinking about impact or sustainability, most brands focus inwards – analysing the inner workings of their business model. “Where do my materials come from? How are my pieces manufactured? What’s my carbon footprint?”

These are great starting points (and ones we should all be tackling!), but they are just one piece of a much bigger puzzle.

Running a responsible business means going beyond our day-to-day activities. It requires us to think about our values, our business as a whole, our wider impact on the world and our sphere of influence.

A recent blog by sustainability consultancy V&V talks about the United Nations’ (UN’s) sustainable development goals and how they can help you build a more resilient business model.

While, at first glance, some of the goals seem pretty daunting, they all provide a starting point from which to explore innovative ways of working, empowering and giving.

Here are five of the goals brought to life with examples from brands already embracing them.

They aim to inspire you to develop a more outwardly focused strategy that will benefit your brand and the world around it. (Ideas for all 17 of the goals can be downloaded from the V&V website.)

Is your jewellery brand re

Goal 1: No poverty This goal asks us all to think about how we can reduce poverty. Brands like Yala Jewellery and SOKO Kenya have chosen to work directly with the people in their supply chains to empower them to

improve their livelihoods. According to Yala, one of the workshops it works with “enables its artisans to look after themselves and their families, as well as neighbours and friends who’re dependent on them. In total, their work has a positive impact on over 300 households in the area.”

If you are not able to work directly with producers, could you explore opportunities to work with NGOs that do? Both the Fairtrade certification scheme and the Fairmined standard for gold aim to uplift people from poverty.

Goal 5: Gender equality One way you can support gender equality is by committing to the UN Women’s empowerment principles. These are seven actions that advance and empower women in the workplace, marketplace and community.

Focusing on just one of the goals does not make a sustainable business. Thinking carefully about what you believe and where you can make the most positive impact will help you build a strategy that can lead to a truly sustainable way of working.

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ETHICAL PRACTICES AND SUSTAINABLE JEWELLERY |

Fair Luxury is an independent collective of jewellery industry change-makers with a common vision of shared wealth, safe working conditions, respected human rights and conservation and restoration of the natural environment.

d really responsible?

Jewellery brand Swarovski has brought them to life through its work with Business for Social Responsibility’s HERproject. For example, one project educated women in its supply chain on health issues and empowered them to share their knowledge with their peers.

You do not have to employ hundreds of people to put equality on your brand’s agenda.

Look at how Purpose Jewellery helps women who have escaped human trafficking to “find hope, dignity and freedom for the future”.

team have established a charitable partnership with Luminary Bakeries. Every piece of Little by Little jewellery sold provides a disadvantaged woman with a career-boosting day of training at the bakery to help build employment skills and experience.

Your brand’s support for the goals does not have to directly link to fashion and jewellery to be beneficial to all involved. Could your brand partner with other local businesses or groups to improve someone’s access to work?

Goal 8: Decent work and economic empowerment Jewellery brand Little by Little’s business model goes way beyond just making jewellery. The

Goal 12: Responsible consumption and production Choosing more sustainable materials, such as certified recycled or artisanal metals, is obvi-

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sajn

ously crucial for this goal. So is having a supplier code of conduct in place to ensure you are working with responsible manufacturers.

But what about the rest of your business? Why not conduct a waste audit to see what you are wasting and why? Then find ways of reducing, re-using and recycling.

Ellie Air Jewellery has found ways to produce better and consume less across its business: ensuring packaging is plastic-free and fully recyclable, minimising the use of hazardous chemicals in its workshop, making the business paperless wherever possible and running its studio on renewable energy. What small changes could you make? Often, making changes like this can create efficiencies in the way you work, resulting in cost-savings.

Win-win!

Goal 14: Life below water This one sounds tricky, especially for a jewellery business. But if you are passionate about protecting our oceans, you can find a way to make a difference.

Look at how jewellery brand Alex Monroe supports goal 14 through its Ocean’s Collection in partnership with Friends of the Earth. This project raises money for a cause about which the brand is passionate and educates its customers on the issue of plastic waste in our oceans. It is also a great PR story for the brand.

Another win-win!

Focusing on just one of the goals does not make a sustainable business. Thinking carefully about what you believe and where you can make the most positive impact will help you build a strategy that can lead to a truly sustainable way of working. Your starting point might still be to look at where your materials come from or how your pieces are made, but perhaps through the choices you make you can also contribute to reducing gender inequality, empowering others to find decent work, or even saving our oceans.

– Published with permission from Fair Luxury (www.fairluxury.co.uk)

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sajn | TRAINING WHAT IS SO DIFFICULT ABOUT SELLING jewellery? “You could have all the product training in the world, but there’s still an art to getting the merchandise to move the last 46 cm across the counter,” says Steve Jaffe, store manager and diamond-buyer for the Bernie Robbins Jewellers flagship store in Somers Point, New Jersey. “The business grows based on new clients and how you cultivate them. It’s critical that you handle clients the right way and make them feel as if you have their best interests at heart.”

Clearly, something so important to your business cannot be left to chance. To succeed, you must teach professionalism, finesse and product knowledge at every turn. When your staff is more knowledgeable than your customers, they exude confidence and, in turn, customers have more confidence in your business.

If you do have an opening in sales, take time to both hire and train – but do not expect instant results. When we set out to write a story with the theme of turning a raw recruit into a sales superstar in six months, we learnt that six months is pushing it. Give it a year before you see results. Joel Hassler of Rasmussen Diamonds says the key to successful training and the reason it is a gradual process is that you should be “building a better relationshipbuilder, not a better salesperson”.

Jaffe says the first year in a new store is challenging even for experienced sales consultants, who are relegated to picking up new business as it walks in the door. “The best sales consultants are the best because they have, over time, established a clientele,” he says. “But after a year, they should be at the point where they are making their goal or approaching making it,” he says. “If not, then there’s a serious issue.”

Do not set the first-year goal too low, warns Shane Decker of Ex-Sell-Ence. “Usually, their first-year performance should be about onethird of your highest-volume salesperson. If you have someone writing R1 million a year, a first-year salesperson will usually sell about R330 000.”

Build ’em better!

Recognising the challenge of sales training Bernie Robbins Jewellers has recently contracted with the company Selling Fundamentals & Consulting to establish a formal and mandatory training programme for sales staff. It includes multiple in-store visits by a trainer, half-day training sessions off site and a daily online component.

The focus is on how best to take care of clients, to find out what their needs are and to ultimate-

34

INSTORE magazine, a monthly publication aimed at jewellery retailers in the USA, shares steps on how to turn your raw recruit into a super-jewellery seller ly close those sales. Beyond that, Bernie Robbins has instituted tracking to determine which and how many customers are making purchases and how many people return for a second or third visit before they do so. The goal of tracking is to figure out how successfully sales consultants are engaging with customers, says Jaffe.

This can be done using specialty software or the low-tech way, with paper and pen.

After working with each customer, ask each salesperson to fill out a form. Find out whether they closed the sale, if they attempted an addon, whether they presented a “wow!” item, whether they used team selling or whether they “walked” them. Use this information to identify areas in which to help your staff members improve, advises Decker. In many independent jewellery stores, all training falls to the owner or manager. But lean staffing does not mean it is a good idea to shirk responsibility.

Time-crunched retailers can devise creative methods of imparting their knowledge, including the following: • Invest your own time in your new employee, says Robert Scott of Robert’s Jewellers in Southold, New York. “I spend time before and after hours (paid) to bring a new hiree along in a shorter time. I cover policy, attitude, phone presence, simple daily tasks, repair take-in and product knowledge.”

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TRAINING |

• Jeremy Shea Leech’s training programme in Abilene, Texas, focuses on studying David Geller’s price book on selling repairs, Decker’s sales training DVDs and workbook, and Harry Friedman’s training materials. He also has newbies shadow him for the first two weeks.

• Michael Derby of D3 Diamonds & Fine Jewellery likes the secret shopping method: “I want to make sure they understand what it’s like to be a customer and receive both good and bad service, so I make them go out and shop other luxury brands and get a sense of what is and isn’t acceptable,” he says.

• “I cut out pictures of pieces from different magazines and then challenge my staff to find the closest piece from one of our vendors in less than 10 minutes,” says Elysia Demers of Barnhardt Jewellers in Spencer, North Carolina. “Then we see what possibilities there are to modify the look for different budgets. Ensuring that there are sometimes several options to meet the customer’s needs enhances our experience as salespeople in thinking outside the box.”

• Pretend it is a professional sport. “Videoand audio-tape their sales performance, then review the tapes in a peer review – just as they do in golf. Show and discuss what sticks, what misses and why,” says Andrea Riso of Talisman Collection in El Dorado Hills, California.

• Ray Lantz, store manager for Lantz Diamond Centre in Claremont, California, says he learnt from Hearts on Fire to ensure that every employee knows the basics about each new line and is prepared to launch into a short presentation on a moment’s notice.

“It should be a simple two-minute drill that everyone knows and can communicate quickly, so that it’s ‘in your back pocket’ when you need it,” he explains.

HIRING AND TRAINING TIPS Test their resiliency Salespeople need to be able to handle rejection – so when Rob Rawson hires salespeople for his remote staffing company, Staff.com, he starts by turning them down. After initial interviews, Rawson calls the candidates he wants to hire and tells them he does not think they have what it takes. About 75% of applicants accept the rejection outright or become overly defensive – and thereby fail the test. On the other hand, the 25% who fight to make their case tend to be golden, he told Inc.com.

Interview prospects on the sales floor When you conduct an interview, consider

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Research shows that the best salespeople are ego-resilient (ie, they can hear ‘no’ and bounce right back), driven, competitive (they want to close that deal) and empathetic (they listen well). doing it in a corner of the sales floor, rather than in a quiet office, advises Kate Peterson of Performance Concepts. Most retailers acknowledge that it is very important for a salesperson to focus on a customer while being aware of what is going on around them. Interviewing candidates on the sales floor lets you see how they react one on one amid distractions. It is a kind of clinical trial, rather than a laboratory experiment.

Arm your staff with technology Tablets can be more than a visual aid for Generation Y. They can give sales associates nearly infinite information about customers and products, easing the learning curve, according

to The Future of Shopping in the Harvard Business Review. Information on tablets can describe the way customers like to be treated, what they have bought in the past and what is on their wish-list. It can change pricing and promotions accurately and instantaneously. It can provide customised recommendations and connect them with friends who may offer their opinions. Hand-held technology can eliminate check-out lines, capture transaction receipts, file rebate claims and speed up returns.

Learn something yourself The next time you take on a new hiree, ask them to jot down every doubt they have about the way things are done at your shop during their first month. In most things, the newbie will come to understand why your shop does them in a certain way, says former Saks CEO Stephen Sadove. “But invariably, I find some really good ideas that make you ask: ‘Why are we doing it this way?’ I’ve seen little things, big things, waste in the system and a lot of duplication come out of it,” he told the New York Times.

Role-play for wardrobing Cut out advertisements from fashion magazines and role-play with your sales associates, suggests the American Gem Trade Association. Typically, these advertisements feature new or trend-driven designs, so the colours of the outfits should be representative of the clothing your clients will be wearing. Ask your associates to identify the jewellery in your

35

sajn | TRAINING store that best complements the outfit featured in the advertisement, then discuss why they would give that advice based on fashion trends, colour trends or personal style.

Never on a monday In Y-Size Your Business: How Gen Y Employees Can Save You Money and Grow Your Business (Wiley), Jason Ryan Dorsey cautions against starting a new hire on a Monday. It is better to ask them to come in at midday at midweek, so you will be less likely to be dealing with an early-morning crisis that needs to be resolved.

Make sure you hire a true salesperson Hire someone who has the correct wiring and appropriate traits to benefit from your sales training plan.

Peterson says finding people who are flexible and can see the bigger picture – ie, those who have “the right wiring” for your company culture – can be more important than having years of experience. “There’s no magic bullet,” she says. “This is really a matter of knowing what you’re looking for and identifying the skills that are most critical.”

Sherry Smith, business mentor for The Edge Retail Academy, says research shows that the best salespeople are ego-resilient (ie, they can hear “no” and bounce right back), driven, competitive (they want to close that deal) and empathetic (they listen well).

“If you don’t have those things to begin with, I don’t care what you do for training, you won’t turn them into top performers,” says Smith . “But if they’ve got the wiring, you can train them in product knowledge.”

Mary Jo Chanski of Hannoush Jewellers in Rutland, Vermont, says a salesperson must be or must learn to be a chameleon. “You need to focus on what customers are and aren’t saying.

I learnt my best sales skills from bartending.

You need to be able to change into whatever kind of person they feel comfortable with – within seconds. It’s hard. Not everyone has that super-power!”

36

Gary Youngberg of Ames Silversmithing in Ames, Iowa, says the top sellers in his shop simply have the gift of the gab – they know how to make conversation. “In our shop, it’s not about selling – it’s about telling a story, educating the customer and talking about Mrs Smith’s son’s soccer game. In that way, the sale will take care of itself,” he advises.

Daniel Pink, author of Drive: The Surprising Truth About What Motivates Us (Canongate) and To Sell is Human: The Surprising Truth About Persuading, Convincing and Influencing Others (Penguin Random House), writes that contrary to popular assumption, extroverts do not make the best salespeople. Instead, studies have shown that ambiverts, people who fall in the middle of the extrovert/introvert spectrum, are most effective at moving others because they have better listening skills.

Make sure, too, that the candidate has a deep interest in the product itself, or the potential to develop such an interest, stresses Pink.

“The idea that there are people who can simply sell anything – from computers to

Whether you make time for a formal sales meeting or not, it is crucial to provide ongoing product knowledge.

Winnebago mobile homes to diamond rings – is washing away,” he says. “There’s a lot to be said for conviction and expertise.”

But simply hoping that the perfect, most enthusiastic, most motivated conversationalist with a passionate fascination for diamonds will miraculously apply for your next opening may not be realistic.

The job of sales associate was identified by 41% of respondents to the INSTORE October 2015 Big Survey as the hardest staff position to fill with qualified people.

Jaffe says Bernie Robbins tries to hire people who have prior jewellery or luxury sales experience and are well-spoken.

Rita Wade of Wade Designs Jewellery in Rocky Mount, North Carolina, however, believes it is possible to find “great people everywhere you go”.

“I was in a delicatessen recently and I wasn’t really familiar with the menu,” says Wade. “The woman behind the counter began asking me what type of meats I liked and began the process of suggestive selling. I thought: ‘Wow, I’d hire this girl! She’d understand that sometimes when we walk into a shop, we know we need a gift. We just don’t always know exactly what it should be.’”

Appearance Yes, your sales staff’s appearance must align with your culture, but if everyone in your store is dressed very formally, it may be time to consider easing up.

“Your culture has to be evolving a little,” says Smith. “The world, as a whole, is more casual today. We do sell luxury goods, but we want our consumers to be able to relate to the sales staff.”

She says that while the traditional dress code in jewellery stores has been professional and upscale, it is acceptable – and even desirable – in most environments to encourage a little trendiness in order to put younger shoppers at ease. “Millennials are different,” says Smith.

“They have more tattoos and piercings.”

Decker believes it is important that dress codes meet customer expectations.

“In Florida, when people get off a cruise ship to buy jewellery, they don’t expect you to be wearing a suit,” he says. “But in New York or downtown Chicago, or if you have a shop in the luxury goods business, they don’t expect you to be selling in blue jeans either. In these cases, customers expect men to be wearing suits and ties and ladies to be wearing dresses.”

Even so, Decker sees the need for hiring a 20-something sales associate or two who dress more casually.

“A lot of young people don’t want to go into

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TRAINING |

high-end shops because they don’t want to put up with attitude,” he warns. “They’re also tired of being pre-judged if they have piercings and tattoos or wear different clothes from the rest of us. So what do you do? Hire a 27-year-old who dresses like them, who’s really smart and who’ll know more than anyone else in the shop knows within a year.”

At Bernie Robbins stores in New Jersey and Pennsylvania, the dress code still bans visible tattoos and “irregular piercings”, but the company is making the move away from formal business attire toward casual, stylish chic.

Style expert Michael O’Connor says that although consistency in dress may look polished, encouraging sales staff to display a variety of styles, rather than a uniform look, may appeal to a wider cross-section of clients. He suggests letting staff members play to their stylistic strengths so that each customer can seek out a sales professional dressed in the manner they find most approachable.

First, identify who you’re selling to. The average 27-year-old fiancé may gravitate towards a fa-

ther figure in a suit and tie, or he may be more comfortable chatting to a younger guy who dresses the way he does himself – say, in dark, fashionable jeans with a collared shirt.

Training should not cease after the first year After two years , Lee Michaels employees are expected to complete the Registered Jeweller programme. All employees attend weekly meetings and specialised training sessions. As staff members develop skills and demonstrate their strengths, they are routed in career development channels – either as sales professionals or as managers. Each career path includes additional, targeted training. The completion of courses is also a key part of the review process.

Bernie Robbins pays for its staff to take classes at the Gemological Institute of America and invites brand representatives in for training.

In INSTORE’s Big Survey, 14% of respondents said they never conducted sales meetings and another 23% said they never held such meetings less often than once a month.

Whether you make time for a

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formal sales meeting or not, it is crucial to provide ongoing product knowledge. Assign something new every week and ask staff to spend several hours during that week in the breakaway room or in an office studying the information.

Then follow up!

“There has to be engagement,” says Smith.

“Say: ‘Tell me what you’ve learnt and what stuck out to you.’” Keep a product binder for each line that you carry and invite brand representatives to be speakers during staff meetings too.

Eric Olsen of Chisholm’s Jewellery in Lander, Wyoming, reinforces product knowledge by encouraging hands-on experience with the jewellery. “Make sure salespeople are familiar with all of the jewellery by picking each piece up and either redisplaying it or cleaning it,” he advises. “Knowing where the merchandise is in the shop is the best place to start.”

If you have a new hiree who is proficient in sales in another area, it can still take as long as a year for them to become confident in product knowledge. To cultivate that knowledge and confidence, sign them up for a class, suggests Smith.

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Limited space available. To join this exciting venture, contact Sam Sabbagh Cell: 083 979 0515 Email: ssabbagh@mweb.co.za

WATCHES |

THE EXPLORER WAS BORN AT THE TOP OF the world and developed in collaboration with legendary mountaineers. The Himalayas were the setting for their real-life laboratory and, in particular, the highest peak, Mount Everest. Since then, the Explorer has constantly evolved to meet explorers’ needs, each time becoming more robust and easier to read. It has adapted to the most extreme environments, where time management is often key to survival. Watches in the Explorer range have mastered the extreme frontiers of exploration: from mountain tops to the depths of caves, in the biting cold of the Arctic or the searing heat of volcanoes. On all types of adventure, the Explorer II, thanks to its 24-hour display, became the watch of choice for polar explorers, speleologists and volcanologists.

The new-generation Explorer and Explorer II are emblematic of Rolex’s perpetual drive to improve. And, without ever sacrificing performance, the watches are also elegant. This year, the Oyster Perpetual Explorer is available in a yellow Rolesor version. Combining Oystersteel and 18ct gold, Rolesor is a signature Rolex style that flawlessly blends strength and elegance.

Oystersteel, a unique alloy with incomparable strength and clarity, remains a key element of the Explorer models’ case and bracelet.

Corrosion-resistant and designed for the most challenging conditions, it is part of what makes the Oyster Perpetual Explorer II an essential instrument for every explorer.

sajn

Rolex reveals its latest creations Rolex recently presented its latest creations brought to life by its unique watchmaking expertise. These timepieces take us from the deepest caves to the highest mountain peaks, from the outer reaches of the solar system to isolated polar regions, and from ultra-precise technology to exacting artisanal craftsmanship.

Exclusive dials with unique designs The dial is often known as the face of the watch. At Rolex, dials shine with spirit and vitality, springing to life as light falls across their surface. But it is not only light that brings out the character in the new dials; they are imbued with other sources of unique, ancient energy. One comes from materials created deep within the earth. The other has travelled

SA JEWELLERY NEWS - JUNE 2021

from the outer reaches of our solar system.

This energy gives soul and personality to Rolex dials, honed thanks to the experience and knowledge of the brand’s artisans. The new dials on the Oyster Perpetual Datejust 36 feature a palm motif, inspired by tropical forests, or a fluted motif that incorporates one of Rolex’s signature aesthetic styles. Olive green, silver or golden, they are made of age-

39

sajn | WATCHES old materials such as copper, zinc, nickel, chromium, titanium and silicone, combined with cutting-edge technology to create deep, vibrant metallic colours.

The new versions of the Oyster Perpetual Cosmograph Daytona are in 18ct yellow, white or Everose gold. Their meteorite dials bear witness to energy that has journeyed through time and space. This material displays patterns that were formed as the heart of an asteroid cooled slowly on its journey through the cosmos – a process that takes millions of years.

Rolex selects metallic meteorite according to very strict aesthetic criteria. Each fragment has a unique internal structure, making every Cosmograph Daytona with a meteorite dial truly one of a kind.

Revealing the radiance of diamonds Diamonds are forever and come to us from the distant past. Formed in the depths of the earth over more than a billion years, the diamond’s raw beauty is showcased through faceting, which brings out the graceful reflections in the stone. The gemmologist and gem-setter work in harmony to reveal the diamond’s radiance.

One selects the stones, the other sets them one by one into the dial, bezel, case or bracelet.

These incredibly precise motions, passed from one generation to the next, are perfected over the course of many years. They are repeated several hundred times when embellishing the new Day-Date 36 and Lady-Datejust.

The new versions of the Oyster Perpetual Day-Date 36 feature hour-markers and alligator leather straps in matching colours. They are coral-coloured on the 18ct yellow gold model, turquoise on the 18ct white gold version and burgundy on the watch in 18ct Everose gold.

With these watches, the prestigious and iconic Day-Date 36 is re-imagined in swathes of diamonds. The new Oyster Perpetual LadyDatejust, set with 1 089 diamonds on the middle case, bezel, dial and President bracelet, is an exceptional watch whose brilliance and sparkle are perfectly suited to a slender wrist.

Unrivalled quality and expertise Rolex is an integrated and independent Swiss watch manufacture. Headquartered in Geneva,

40

Rolex selects metallic meteorite according to very strict aesthetic criteria. Each fragment has a unique internal structure, making every Cosmograph Daytona with a meteorite dial truly one of a kind. the brand is recognised the world over for its expertise and the quality of its products – symbols of excellence, elegance and prestige.

The movements of its Oyster Perpetual and Cellini watches are certified by COSC, then tested in-house for their precision, performance and reliability.

The Superlative Chronometer certification, symbolised by the green seal, confirms that each watch has successfully undergone tests conducted by Rolex in its own laboratories according to its own criteria.

These are periodically validated by an independent external organisation. The word “Perpetual” is inscribed on every Rolex Oyster watch. More than just a word on a dial, it is a philosophy that embodies the company’s vision and values. Hans Wilsdorf, the founder of the company, instilled a notion

of perpetual excellence that would drive the company forward. This led Rolex to pioneer the development of the wristwatch and numerous major watchmaking innovations, such as the Oyster, the first waterproof wristwatch, launched in 1926 and the Perpetual rotor self-winding mechanism, invented in 1931.

In the course of its history, Rolex has registered over 500 patents. At its four sites in Switzerland, the brand designs, develops and produces the majority of its watch components, from the casting of the gold alloys to the machining, crafting, assembly and finishing of the movement, case, dial and bracelet. Furthermore, the brand is actively involved in supporting the arts and culture, sport and exploration, as well as those devising solutions to preserve the planet.

SA JEWELLERY NEWS - JUNE 2021

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Le musée Lalique (Wingen-sur-Moder, France) (48426335976)

LITTLE GEMS |

AN ARTISTIC MOVEMENT WHICH WAS popular between 1850 and the early 20th century was Art Nouveau (French for “New Art”), characterised by organic shapes. Stylish and decorative, it swept across Europe and North America.

Art Nouveau began in England as the antithesis of the former Edwardian style and a reaction to the sombre, conservative, hypersentimentality of the Victorian era and the industrialisation affecting design in the late 19th century, which included mass production in consumer goods. Contact with Asia (particularly China and Japan) was also a contributing factor, as was the rise of Impressionism in fine art, particularly the work of Paul Gauguin and Henri de Toulouse-Lautrec.

The movement was characterised by sinuous, curving lines in a naturalistic way and undulating asymmetry. The architecture of that period, in particular, reflects the synthesis between ornamentation and functional structure, with a combination of materials such as iron, glass, ceramic and bricks, which were deliberately opposed to traditional architectural values.

Art Nouveau reached its height at the end of World War I and the two decades of peace which followed. It is easily recognisable, with its focus on craftsmanship and refined techniques such as enamelling.

Prominent jewellers of that period included René Lalique (a collection of his can be seen in Lisbon’s Calouste Gulbenkian Museum), Louis Comfort Tiffany (whose characteristic style of lampshades is still relevant) and Peter Carl Fabergé. They incorporated materials such reflected in Art Nouveau, which exposed the as baroque pearls and their high-end jewels curves of the female body and depicted women depicted fantasy, myths (especially dragons) with long, flowing, wavy, sensuous hair. and themes from nature, enhanced by The movement generated decorative the organic curves of their designs. and graphic arts throughout Europe.

Insects, plants, flowers and In Germany and Austria, it was landscapes were sources of known as Jugendstil, in Italy inspiration and a variety of as Stile Liberty and in Spain as colours was used, especially Modernista, while in England, muted greens, browns, it was first developed as the yellows and blues.

“Glasgow Style”.

The gems used included Other well-known expolesser-known moonstones and nents of the Art Nouveau Co opals with ever-changing hues. style were Scottish architect d ia Kat z ime k i e n W , A dam Organic elements included amber, and designer Charles Rennie Mackintosh, pearl and iron. As the new movement flourwho specialised in predominantly geometric ished, women (and men) who had previously lines and influenced the Austrian Secessionsbeen unable to show bare skin (especially during stil, Belgian architects Henry van de Velde and the repressive Victorian years) felt less inhibited.

Victor Horta, Czechoslovakian graphic deWomen, encouraged by the suffragette movesigner-artist Alphonse Mucha and American ment, demanded more freedom and the right to architect Louis Henry Sullivan. Spanish archimake alternative choices. This new attitude was tect and sculptor Antoni Gaudi was regarded

sajn

A recognisable style 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.

mm

on

s

as the most original artist of the movement, transforming buildings into curving, brightly coloured, organic constructions.

After 1950 Art Nouveau appeared oldfashioned and limited, leading to its gradual decline. However, it was revived by the Museum of Modern Art in New York in 1959 and the Musée National d’Art Moderne in Paris the following year. A large-scale retrospective was held in London’s Victoria and Albert Museum in London, which rehabilitated the status of the movement. And in the late 1960s, when Pop Art offered a new, psychedelic style in typography and fabrics (typified by designers like Mary Quant), the movement’s flowery, organic lines again rose to the fore.

SA JEWELLERY NEWS - JUNE 2021

Forever and always, our “Li le Gem”

ALICE WEIL 14 March 1919 – 17 July 2020

43

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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

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

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

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