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JANUARY 2011 / VOL. 02 ISSUE 01





THE ART ISSUE Guest edited by award-winning jewellery designer Shaun Leane

From the heart. Designed for today’s woman who desires beautiful jewellery that reflects her own style. Created in sterling silver and 14ct gold, the collection is classic, yet fresh and versatile for personalising with combinations of hundreds of beads. With Chamilia, you are creating more than a sale, you are creating a customer for a lifetime. To learn more about our collection and our retailer programmes please contact Chamilia at or call 0844 811 21 42. You can also visit us at The Jewellery Show, 6-10 Feb 2011, NEC Birmingham.

MADE WITH SWAROVSKI® ELEMENTS SWAROVSKI® is a registered trademark. © Disney.

© Chamilia Europe Limited 2010. All rights reserved.

38 FRONT 3

News Review A round-up of this month’s jewellery industry news.


News in Quotes Who said what in the jewellery world this month.


Bench Fresh We take look at the work of Birmingham’s Heidi Hinder.

8 9



Voice of the Industry Wave’s Jo Henderson on the true value of jewellery. Speakers’ Corner Leading jewellers consider if gold prices have affected their designs.


Winter Blues Th ree Scottish retailers give us their tales of Christmas sales hampered by snow.


Jewellery as Art When does jewellery become art or art become jewellery? Immerse yourself in the debate.


Glorious Gallery We give gallery space to jewellery works from Shaun Leane, Sevan Bicacki, Damien Hirst and Zoe Arnold that cross the art-jewellery boundaries.


Boucheron Interview Shaun Leane puts on his editor’s hat to interview Boucheron president Jean-Christophe Bedos.


Girl Power The rise and rise of the self-purchasing woman.


Ask the Editor Guest editor Shaun Leane answers your questions on the industry, his work and the next big trend for jewellery.



26 21

34 34



Trends Strong, clean lines are essential for this minimal trend.

THIS MONTH’S COVER SHOOT The handmade wire corset gracing the cover of this month’s Professional Jeweller magazine was


Products Showcase An inspirational selection of brand new fi ne jewellery and fashion jewellery.

created by guest editor Shaun Leane for his friend and collaborator Alexander McQueen for the fashion designer’s AW99 show. / JANUARY 2011 / PROFESSIONAL JEWELLER




To me jewellery is art but on a different scale. That is why when I was approached by Professional Jeweller to be its first guest editor I knew exactly what I wanted the issue to reflect – jewellery as art. In 2010 the industry was focused on commercial designs, as it has been throughout the recession, but I am excited about the prospects for 2011 and so wanted the fi rst issue of the year to remind readers why they fi rst fell in love with jewellery. I’ve directed the content of the magazine to reflect this, fi lling the pages with artworks from within the world of jewellery, from international masters such as Boucheron to British jewellers including Zoe Arnold, who to me are artists fi rst and foremost. Art is always perceived as a static form but now we appreciate modern art in forms of sound, light and movement. When a piece of conceptual jewellery is worn and admired it provokes connections, thoughts and emotions, as it does with a piece of art. There will always be a demand for the mass market and designer brands, as well as couture and art jewellery, but we should remember that it should not be solely about the base value or true cost of jewellery but the value of the attachment of the person buying that piece of wearable art, that miniature sculpture. SHAUN LEANE GUEST EDITOR Professional Jeweller

COMMENT OF THE MONTH Linnie McLarty on 30 years of Getting Started “I participated in Getting Started at the Goldsmith’s Company and it was unbelievably helpful, and I can’t recommend it highly enough. The speakers from the industry were very generous with their knowledge & experience.”


As Comment of the Month Linnie McLarty has won a silver Full Cherry Blossom ring with amethyst and lilac enamel created by Shaun Leane worth £330. To be in with a chance of winning in February’s issue all you have to do is join the online community at and make your opinions known.


16A Baldwins Gardens, London, EC1N 7RJ, UK Tel: +44 (0) 20 31 764228 Fax: +44 (0) 20 31 764231 EDITORIAL GUEST EDITOR Shaun Leane EDITOR Rachael Taylor, STAFF REPORTER Liz Stokes CONTRIBUTORS Nancy Wong, Jo Henderson COMMERCIAL SALES MANAGER Terri Woodhams, STUDIO GROUP ART EDITOR Daniel Prescott, DESIGNER Lucy McMurray DIGITAL CHIEF TECHNOLOGY OFFICER Hitendra Molleti, HEAD OF ONLINE PROJECTS Nick Davis, ONLINE PRODUCTION Ernesto Ceralde, Rose Yorobe, Bryan Silva PRODUCTION & DISTRIBUTION GROUP PRODUCTION & DISTRIBUTION DIRECTOR Kyle Smith, DEPUTY PRODUCTION MANAGER Matthew Grant, DATABASE MANAGEMENT Manju Sajeesh, CIRCULATION CIRCULATION CUSTOMER SERVICE +971 4 286 8559 Web: Printed by: The MANSON Group Limited The publishers regret that they cannot accept liability for error or omissions in this publication, however caused. The opinions and views contained in this publication are not necessarily those of the publishers. Readers are advised to seek specialist advice before acting on information contained in this publication, which is provided for general use and may not be appropriate for the readers’ particular circumstances. The ownership of trademarks is acknowledged. No part of this publication or any part of the contents thereof may be reproduced, stored in a retrieval system or transmitted in any form without the permission of the publishers in writing. An exception is hereby granted for extracts used for the purpose of fair review.

Published by and copyright 2011 Promedia Ltd, incorporated and registered in the British Virgin Islands under company number 1559854.




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he media spent the latter part of 2010 fascinated with Julian Asange, founder of the whistleblowing website WikiLeaks. While Assange fought in the courts, his site churned out an unprecedented number of secret cables sent by the US government and the fall out was far and wide. As international figures such as Bank of England governor Mervyn King, Libyan leader Colonel Gaddafi and former prime minister Gordon Brown

were hit by scandals in the fallout, the jewellery industry was also got caught in the crossfi re. A series of cables sent in 2008 by US ambassador for Zimbabwe James McGee exposed some of the intricacies of the export of dirty diamonds from the country. The cables exposed the way in which diamonds are allegedly sourced and then exported through buyers, including European industry members, and then reintroduced into the main jewellery market by way of Dubai in shockingly deep detail.

It was suggested by the cable that a chief executive of a British mining company gave McGee insight into the industry. McGee wrote: “High-ranking Zimbabwean government officials and wellconnected elites are generating millions of dollars in personal income by hiring teams of diggers to hand-extract diamonds from the Chiadzwa mine in eastern Zimbabwe. They are selling the undocumented diamonds to a mix of foreign buyers including Belgians, Israelis, Lebanese, Russians and South Africans who

smuggle them out of the country for cutting and resale elsewhere. Despite efforts to control the diamond site with police, the prospect of accessible diamonds lying just beneath the soil’s surface has attracted a swarm of several thousand local and foreign diggers. The police response has been violent, with a handful of homicides reported each week, though that number could grow as diggers arm themselves and attract police and army deserters to their ranks.” story continues on page 7





Missoma made a return to the jewellery industry following a brief departure last year when founder Marisa Hordern took time out from the business for personal reasons. The jewellery brand has teamed up with IBB to create new collections that it will preview at Spring Fair in February before taking the collection to the international market at BaselWorld in March. Rox said it is expecting to end its 2011 financial year at £9.5m, up £2m on the previous year. The projected sales figures will end what the Scottish retailer described as “an exceptionally strong year”. During the period Rox reopened its Argyll Arcade shop after a £1m investment that quadrupled the size of the boutique.

Nomination dipped its proverbial

toe into the music business by selling copies of Italian pop sensation Paola & Chiara’s latest album in its stores. The album will be sold at select Nomination standalone stores worldwide. Phillip Stoner opened a new shop in Manchester’s luxury shopping development The Avenue. The retailer opened the doors of the shop before Christmas but is planning a more high-profile launch in January. Albemarle & Bond opened its 100th store in Hounslow, Greater London. To mark the occasion the high street pawnbroker enlisted an award-winning magician to entertain guests at the opening which was attended by the chain’s founder Phil Murphy.

An onyx and diamond Cartier panther bracelet owned by the Wallis Simpson , Duchess of Windsor, sold at Sotheby’s for £4.5m making it the most expensive Cartier item sold at auction. The jewellery sale made nearly £8m.

Angelina Jolie will co-design a range of statement jewellery with former Asprey chief executive and friend Robert Procop. Proceeds from the line, named The Protector, be donated to Jolie’s charity The Education Partnership for Children of Conflict which helps child victims of war and natural disaster. The collection will not be on general release but will only be available to Procop’s private clients.

Westwood Rocks opened its

fourth new store in 12 months on the High Street in Reigate, Surrey. The fashion jewellery retailer said the expansion programme it has rolled out in 2010 has helped the business to thrive in the tough economic climate.

“stellar sales” in a record-breaking week for the department store. Gift shoppers were out in force at stores around the country, resulting in the retailer’s most successful trading week with sales of £121m.

Kate Middleton chose to wear a pair of Links of London earrings for the official engagement photograph with Prince William. In the formal portrait, taken by legendary fashion photographer Mario Testino, the future wife of the heir to the throne showed how she may bridge the divide between the formality of the royal family and the ordinary people through her high street jewellery choice matched with her luxury Garrard engagement ring.

Laurence Graff, now proud owner of the world’s most expensive diamond sold at auction, bought two more diamonds, roughs recovered from the Letšeng mine in Lesotho, at a sealed-bid tender in Antwerp for £14.4m.

The Stoner Group continued its expansion with what it is describing as a state-of the-art premises in Harrogate, North Yorkshire. Former Goldsmiths designer Georgio Gerakio will join managing director Chris Stoner in providing design and consultation services to clients.


Out of Peru became the fi rst silver jewellery brand to be awarded the Ethical Award from The Ethical Company Organisation for its Peruvian designs.

Elodie relaunched its website to reflect its new brand image. The silver jewellery brand’s site was updated to make navigation easier and increase the speed of the site.

John Lewis said jewellery achieved

H Samuel opened its seventh

pop-up shop in Europe’s largest shopping mall Westfield London. The temporary store is the first in partnership with supplier Fossil and sells 24 specially selected Fossil watches.

A deal with a Japanese distributor could open up potentially lucrative international markets for jewellery business Preseli Bluestone International. The company, which makes jewellery from the same type of stone used to create Stonehenge, said that the deal could quadruple its turnover.


SDK Jewellers and Lois Jewellery were ranked in The Sunday

Times Virgin Fast Track 100 2010. The league table ranks Britain’s 100 fastest-growing private companies based on sales growth over three years.



“We’re trying not to be too aggressive with it.” Folli Follie UK brand manager PENNY GRIVEA explains the thinking behind slowing its UK store expansion from 10 shops in 2010 to four shops in 2011.

“Any man wanting to wow their lady this Christmas, this is a sure-fire way to do it.” Lime Blue founder GRANT MCINTYRE thinks he’s onto a winner with the 32ct diamond bra he created with lingerie brand Ultimo that is currently selling for a mere £800,000.

“Naturally, upon receiving these very disturbing allegations, I immediately contacted Mr Blom, and asked him to react. Mr Blom completely denied the accusations, saying it was ‘unsubstantiated hearsay’.” World Federation of Diamond Bourses president AVI PAZ reacts to allegations unearthed by WikiLeaks that the organisation’s vicepresident Ernest Blom was involved in dirty diamonds in Zimbabwe.

“It has been an immense pleasure to bring once again to sale these jewels worn by a woman who was a leader of fashion and the epitome of elegance and sophistication for her generation and beyond.” DAVID BENNETT, chairman of Sotheby’s jewellery in Europe and the Middle East, voices his admiration for Wallis Simpson, whose jewellery collection sold for £8 million at the auction house.

“It gives us a whole set of new opportunities, a whole chance to discover new aesthetics which are going to be part of the precious metal production over the next 10, 15, 100 years.” Central Saint Martins course director SIMON FRASER on working with palladium for a student jewellery design competition that the college is running.

>> Something to say? Email / JANUARY 2011 / PROFESSIONAL JEWELLER




Lime Blue founder Grant McIntyre

teamed up with lingerie brand Ultimo to create the UK’s most expensive bra. The £800,000 bra was adorned with 32 brilliant-cut white diamonds, each weighing 1ct, set in platinum.


CELEBRATING EMERGING TALENT HEIDI HINDER Birmingham City University After graduating in 2008 Heidi Hinder has returned to her old university as an artist in residence.

Ethical emerald miner Gemfields had its most lucrative auction, generating £12.4m in a single auction. The sale beat its previous single auction record of £4.85m and made more in one day that Gemfields did in the whole of its 2010 financial year. Tacori shoppers at New York department store Bloomingdales had the opportunity to virtually try on jewellery without removing it from its packaging by utilising Holition 3D technology. Daisy’s Chakra bracelets were seen on the arms of celebrities including Cheryl Cole, Katy Perry, Kanye West and Sienna Miller. The friendship-style bracelets each correspond to one of the seven Chakras, a Hindu concept relating to different kinds of energy.

Maria Francesca Pepe will give

visitors to Berlin Fashion Week this month a sneak preview of the concepts behind her new collection. Pepe will show conceptual pieces at ProjektGallerie that will give a flavour of what is to come at London Fashion Week next year. 6

Sima Vaziry’s work was chosen by

Bringing in conceptual elements

the British Museum to form part of its Afghanistan: Crossroads of the Ancient World exhibition in March. Nine pieces of jewellery from Vaziry’s Hidden Afghan Heart collection will be on display in the British Museum to support the exhibition which opens in London on March 3.

to her jewellery work, Hinder has taken inspiration for this necklace from the daguerreotype, the first publicly announced photography process. The necklace was commissioned by the Museum of the Jewellery Quarter in Birmingham for an exhibition. It uses fine silver, non-refl ective glass, patinated gilding metal, brass and a Victorian

Sales of a royal engagement looka-like ring have rocketed at department store Debenhams. The dress ring, which sells in stores for £6, has been a bestseller for two seasons but Debenhams said that sales have rocketed 312% since the engagement of Prince William and Kate Middleton.

Lumbers entertained 250 guests over three nights by transforming its store into a Michelin Star restaurant. The retailer’s most loyal customers enjoyed a Henriot champagne reception, four-course meal, a preview of the latest jewellery from brands such as Chopard and Bulgari and entertainment by The X Factor and Eurovision star Andy Abraham.

book cover for the reverse. Contact Heidi: 07866663630,, >> Are you a student or recent graduate and want to be featured in Bench Fresh? Email


ROX Argyll Arcade, Glasgow Rox has recently reopened its

where its diamond and bridal

Versace opened a jewellery bou-

Argyll Arcade shop after a £1 mil-

shoppers can relax with a glass

tique in Beijing following its success in the Chinese market with clothing and accessories. The new store is a collaborative venture between Versace and Vertime, a division of Timex Group, which produces and distributes Versace watches globally.

lion expansion and refurb. As part

of champagne, or it can use the

of the new extended store the

space for private customer events.

retailer has installed a Thrill Room.

The room has a projector that Rox

The room, located on the upper

uses to show classic films such as

floor, has a bar sponsored by Moet

Breakfast at Tiffanys.

>> Got a Store Envy suggestion? Email



story continued from page 3

McGee went on to explain how he understood diamonds are taken out of the country and introduced into the main jewellery trade. “Whether bought fi rst by regime members or not, eventually the diamonds are sold to a mix of Belgians, Israelis, Lebanese, Russians, and South Africans. Once sold to foreigners, the majority of the diamonds are smuggled to Dubai and sold at the Dubai Multi Commodities Centre Authority, a dedicated economic free-trade zone created in 2002 for the exchange of metals and commodities, most notably gold and diamonds. Although Zimbabwe is a participant in the Kimberley process, the diamonds from Chiadzwa are undocumented and therefore are not in compliance with Kimberley, which requires loose uncut diamonds to be certified.” Within the cables it states that African Consolodated Resources chief executive Andrew Cranswick named World Federation of Diamond Bourses (WFDB) vicepresident Blom as being involved in the trading of illicit Merange diamonds. Cranswick claimed that not only was Blom, who was then president of South Africa’s Diamond Merchants Association at the time, involved in the illegal trade, he actually boasted about it. Blom has denied the allega-

tions. In a letter written to WFDB president Avi Paz protesting his innocence he said: “I categorically deny any illegal trading or [that I] boasted about it as Cranswick allegedly said in the dispatch. I had never travelled to Harare before I went up there as part of the KP review mission in 2007. I have only ever met Cranswick twice in my life. The last time [was] more than a year ago when he tried to elicit my assistance to get his mine back, which I declined.” Summing up his report McGee stated: “In a country fi lled with corrupt schemes, the diamond business in Zimbabwe is one of the dirtiest. Mining in general remains the largest single source of foreign exchange, but the potential of Chiadzwa is being lost to Zimbabwean corruption. At present, police trying to bring order to Chiadzwa are benefiting Zimbabwean officials who see the diamond field as a new source of illegitimate income; the people of Zimbabwe are seeing little return. It is also clear that Cranswick is a businessman trying to fi nd any pressure point he can through which to leverage his own claim. At the same time, he sheds light on an industry that is enriching many of the same old corrupt Zimbabwean elite–and causing violence and deaths that so far have received little attention.”


Spring Fair International is planning to invest £1m in its 2011 show in February as it drives the home and gift trade exhibition in a more design-led direction. The show has drafted in interior designer Justin Southgate, who has worked on Grand Designs and the Ideal Home Show, to revamp certain areas of the show for 2011 and Professional Jeweller has learned that Southgate will be given free rein to overhaul the entire show in 2012.

Balfour Beatty has completed ground works on The Goldsmiths’ Centre. The building, which is due to open in early 2012, is currently under construction and The Goldsmiths’ Company said the site is progressing well. The Responsible Jewellery Council announced Raymond Bloch as the first diamond supplier to complete the council’s certification process. Over the next three years Lapponia will donate a percentage

of sales from its Pretty Earth necklace to Europa Nostra, the pan-European organisation that brings together Europe’s growing cultural heritage movement.

International Jewellery London

opened applications for its BJA Kickstart programme for the show in September 2011. The BJA Kickstart scheme is designed to help give designers yet to show at IJL independently the confidence to do so by allowing them to show their wares on a joint stand with lower costs. Rachel Galley created an exclusive jewellery collection for TV retailer The Jewellery Channel . The range of elegant beaded necklaces with sterling silver hearts and will sit under the channel’s Design brand. Trollbeads UK distributor Fable Trading has donated more than £70,000 to Cancer Research UK. The company raised the money with the support of Trollbeads in Denmark and Trollbeads retailers throughout the UK.

Damas International, the largest

gold jewellery retailer in the Middle East, reported a six-month profit, a major turnaround after a year of losses and controversy. Central Saint Martins is working with the Palladium Alliance to encourage up-and-coming designers to use the metal by running a student palladium jewellery design competition. The competition has attracted designers from a range of the school’s disciplines including jewellery, architecture and fashion. The competing MA students have already begun work on their designs, which will be judged by a panel of experts including fashion luminary Giles Deacon. / JANUARY 2011 / PROFESSIONAL JEWELLER




Measure jewellery by its design not its commodity value


Folli Follie will open two stan-

dalone stores and two concessions in the UK in 2011. The Greek fashion jewellery and watch brand is planning to slow down its store opening programme after opening 10 stores and concessions in the UK in the past 12 months. Whittaker’s Jewellers was crowned Best Jewellery and Accessories store in Leeds at the city’s Retail Therapy Awards. Azendi came a close second and was highly commended by shoppers in the northern city.

JO HENDERSON co-founder, Wave


Mawi teamed up with Mary Portas in her Living & Giving Shop to support Save the Children in an exclusive meet the designer shopping evening. The jewellery brand donated a large selection of its most treasured pieces to raise money for the life-saving HIV programmes run by the charity.

t is safe to say that within

significant other, with the most

the jewellery industry there

obvious of these being the

is a growing debate about

engagement or eternity ring.

Tiffany & Co reported that its

F Hinds opened applications for

where fine jewellery ends

However with the rise of the self-

jewellery sales increased by 14% year-on-year in Q3. The rise was attributed to strong sales of higher priced jeweller such as engagement rings and diamonds in the American and European markets. The continued growth has further strengthened the belief that luxury spending is returning to pre-recession standards.

its annual jewellery design competition that gives designers the chance to have their stock sold at its 110 stores. The competition has been split into two categories, student designer and current designer.

and fashion jewellery begins,

purchasing woman who knows

especially since the word fashion in a

what she likes and is not scared

jewellery context seems historically

to be different, and men wearing

to have similar connotations to the

and buying more jewellery for

description costume jewellery, i.e..

themselves, the statement cuff or

fake or cheap and cheerful.

must-have ring of the season should

However, with the advent of

become the norm in jewellery in

designers such as Theo Fennell,

the same vain as the statement

Stephen Webster and Shaun

bag or must-have coat. Jewellery

Leane, who are closer to their

should finally be able to transcend

contemporaries in the clothing

the notion that its value, or lack of,

industry, is it not more relevant to

is purely due to the sum of its parts

look at fashion in jewellery in the

and its weight or scrap worth.

same way we view luxury goods –

Let us also consider the world

good design, seasonal collections,

of fine art. Does anybody ask

new trends and lifestyle choices?

Sotheby’s how much paint and

With this in mind, should it matter

Following media speculation that 100 members of the public will win tickets to the wedding of Prince William and Kate Middleton, Ernest Jones offered to rent jewellery out the lucky few.

canvas Damien Hirst uses in his

what the piece of jewellery is made

paintings and question them if they

The Responsible Jewellery

from but rather that it is made with

are getting enough of it for their

Council issued a notice from the

the best materials to capture the

money? I hazard a guess they would

designer’s vision and give the wearer

be laughed out of the gallery if they

pleasure? The the value is created by

did, perhaps why on reflection Hirst

the skill and creativity of the jeweller

went on to create his platinum and

along with its desirability factor,

diamond skull to challenge the

which of course is what dictates

notion from the opposite angle,

consumer demand.

using £10 million of diamonds to

Kimberly Process regarding the recent developments around Marange diamonds. The RJC advised its members to be vigilant about trading diamonds that do not carry the full authority of the KP. The RJC pointed out that until consensus is reached trade in Marange diamonds can only take place in compliance with the KP’s Joint Work Plan.

We cannot ignore that a good percentage of fine jewellery will

create a piece valued at £50 million. Jewellery meets fashion meets

always be bought for a significant

fine art? No doubt the debate will

reason or occasion, often by a

and should continue.



Notorious rock starlet Courtney Love is being sued by Jacob & Co after failing to return several pieces of jewellery lent to her by the company. A lawsuit filed by the luxury jeweller accuses Love of keeping more than £72,000 worth of pieces included two gold and diamond necklaces, a mesh bracelet and a pair of white gold and diamond pavé earrings.

>> Got a story? Email info


ALEX MONROE jewellery designer



JESSICA POOLE jewellery designer

Professional Jeweller and WatchPro will welcome a new member to the team in January when Kathryn Bishop joins the editorial team to support editor Rachael Taylor. Bishop has worked in the jewellery industry for eight years for retailers such as EC One and has run a successful jewellery blog Like Gold Dust.

ROBERT TATEOSSIAN chief executive, Tateossian


“ Most of what we do is gold

“ The rising price of gold has

“ The increase in the price of gold

plated but it still has a huge

affected the way I design in that I

has affected the way we design

effect. We handmake everything

probably consider what I design a

our pieces. We have to be a lot

so if we have a customer who

bit more which is a good thing. It

more clever to design a piece of

wants a piece we factor in the

means I will sit down and do my

jewellery that has the volume,

manufacturing costs and then

designing and think this is a good

that has the size and that has the

put on our markup which is a

design, this is worth making in

weight. We have to be creative

percentage markup, so in a way

gold. So it has made my designing

about how we combine semi-

the increase in the price of gold

more considered, especially when

precious stones with it, or maybe

has increased our revenues. So

I’m making something that is not

combine it with a different metal

I’m happy with it, I don’t think it’s

for commission, that’s just to go

or maybe hollowing out some of

a great problem for us.”

into a shop or a gallery.”

the pieces.”

NEWS FLASH The jewellery of Duchess of Windsor WALLIS SIMPSON, the American divorcee who Edward the VIII abdicated his throne for, went on sale at Sotheby’s in London. The jewels broke the record for a single-owner auction after making £8 million. A bracelet at the sale also broke records For more becoming the galleries visit most expensive professional piece of Cartier to sell at auction at £4.5 million.

Matt Finnerty has joined Pandora to head up its watch division in the UK as watch brand manager. Finnerty previously worked at Birmingham-based Inter-City Group for five years where he was the key account manager for brands Police and Roamer.

Jewellery designer Farah Qureshi has joined StudioNorth in London’s Highbury and Islington. Her addition to the collective sees her join the likes of fellow jewellery makers Frances Wadsworth-Jones, Norma Gaytan and Kathryn Hinton.. International Jewellery London (IJL) has appointed Sarah Kitley as the show’s new marketing manager. Kitely has worked within marketing for Reed Exhibitions for four years. / JANUARY 2011 / PROFESSIONAL JEWELLER




1 2 3 4 5 6 7 8 9 10


Battered Bernie Ecclestone appears in Hublot ad



Missoma’s comeback collection

Q&A: Penny Grivea, Folli Follie

A look at the fresh collections from jewellery brand Missoma which is making a comeback after a break from the industry.

Professional Jeweller has a one to one with the Follie Follie UK brand manager 12 months into her role.

The best diamond I’ve seen in my life, says Graff



The jewels of Wallis Simpson – which sold for what

The unedited WikiLeaks diamond cable

Behind the scenes at Central Saint Martins

Professional Jeweller brings you the dubious world of Zimbabwean diamonds as seen through the eyes of a US ambassador.

Watch interviews with students and lecturers as the college prepares for its fi rst palladium jewellery design contest.

Kate Middleton wears Links for engagement photos Dannii dazzles in Annoushka jewellery

Bernie Ecclestone mugged for jewellery Ernest Jones plans to sparkle at the royal wedding Ernest Jones plans to sparkle at the royal wedding

Daisy racks up a celebrity following

Clogau Gold contacts palace after royal engagement



“Jewellery Party on Friday night in

earrings earrin ring g today as they seem to be very

Hereford in aid of St Michaels Hospice

popular!” popula

great success. Enjoyable and fun”

La re Hutchinson, Lau Lauren

Gillian Tinney,

@lollyhutchinson @lolly lly


“also enjoying en jewellery by @

“Martine Mccutcheon spotted in Mococo

katesje katesjewellery and @janegowans ...if only


i had money to spend!”


Holly Wilcox, @hollyjwilcox






eriously wintery weather swept the UK in the run up to Christmas with retailers losing an estimated £110 million a day. While the weather chaos was widespread, nowhere suffered more than Scotland. The snow was so heavy in December that drivers were left stranded overnight on the M8 between Glasgow and Edinburgh, causing Scottish transport minister Stewart Stevenson to resign, and it was clear just how serious the weather was becoming when major

grocers Sainsbury’s and Tesco halted deliveries to Scottish shoppers. The weather caused the closure of Scottish airports, a near breakdown in postal services and prompted officials to advise Scots against any travel that was not absolutely necessary. Scotland’s shoppers huddled indoors and it was a brave few who braced sub-zero temperatures and snow drifts to visit the high street. With much of the worst weather hitting in December, Scottish jewellery retailers were hit at the most crucial

KYRON KEOGH Managing Director, Rox

conditions in 2009.

“Glasgow was paralysed and all of our post stopped. A small number of orders were affected and we contacted the customers and made them aware of what was going on and they were all very kind, completely understood and really entered into the spirit. Footfall was definitely down for a couple of days but the online business did see quite a jump because people were stuck at home shopping. It wasn’t quite enough to equal out the difference between the reduced spending in store but we have six shops so to get that equalisation would have been a bit of a leap of faith to be fair. Because stock wasn’t going anywhere we had the stock on the shelves ready to fulfil the orders online, all we couldn’t do was send them out in the post. As soon as we knew there was a problem we sent out an email explaining the issues to our customers and we got a really positive response, everyone understood. It’s turned into the old blitz spirit. We’re all in the same boat and we just have to get on with it. This is a fact of life now, winter is always going to get more brutal. Thankfully we have a strong online business as well as strong stores so we can handle this. We didn’t close stores but the shops with longer opening hours did close earlier. With more bad weather looming we’ve seen more shoppers out now trying to make the most of being able to actually get out. We had contingency plans in place this year after the snow this time last year. Fundamentally our shops can operate on a skeleton staff but we had the chance to put staff up in hotels if we needed to.”



1 Rox boss Kyron Keogh had made preparations after bad weather


trading time of year, the last few weeks before Christmas. As Professional Jeweller went to press there was yet more snow forecast but the mood was that there was little retailers could do to prepare. Rox, which has shops in Edinburgh, Glasgow and Aberdeen, was badly affected by the wintery conditions, as were Pebbles’ stores in Bo’Ness and Edinburgh and retail jeweller Brazen in Glasgow was hit particularly hard. Beleaguered but not beaten, these three retailers share their tales.



JAMES SCOTT Sales Director, Brazen “It’s not been the most fantastic season so far. We had Ana De Costa and Sarah Ho of Sho Fine Jewellery coming up from London for a customer evening but their flights were cancelled and then the trains were cancelled. We had around 10cm of snow fall here and over Glasgow city centre so none of our invited guests could make it to the customer evening either. People either couldn’t travel because of the cancellations or had children who attend school and couldn’t get there because of the weather so they had to stay in with them. The original night was cancelled then we rescheduled but the same thing happened again. The pipes at the shop couldn’t handle the thawing water and flooded our back shop. Thankfully there was no damage at all though. Our footfall has dramatically reduced. To be honest it’s been terrible. We’ve not even had any online sales.

“We’ve always had an excellent performance, doing better each year, but to keep that up we’d need to do 17 transactions a day from now until Christmas.” I’ve been looking at comparisons from last year and day on day, week on week, month on month, and it doesn’t make for pleasant reading. There was snow last year but it wasn’t this bad and it wasn’t this early and now it’s coming again. The thing is there is nothing we can do to prepare for it even though we know it’s coming. We’re in the Merchant City area of Glasgow and we’re a destination store. People come to us because they know about us, they don’t often just drop in and it’s not the easiest place to get to when there’s snow. Stock deliveries have become the bane of my life. We can’t get bullion at

the moment. We’ve been waiting for 10 days for one bullion delivery. This is having a huge effect on bespoke products. We’re paying extra for couriers to try and speed the process up but it’s an uphill battle that doesn’t really have a good outcome. You literally have just got to deal with it. Because our sales are a considered purchase people aren’t going to suddenly panic buy once the snow is gone. We’ve always had an excellent previous performance, doing better every year, year on year, but in order to keep that up this year we need to do 16 or 17 transactions per day from now until Christmas Eve.” / JANUARY 2011 / PROFESSIONAL JEWELLER

2 Brazen’s store is located in The Merchant City in central Glasgow.



VAL TROTTER Owner, Pebbles “It’s just been dreadful. We have the two shops, one in Bo’Ness and one in Edinburgh and I think the one in Edinburgh has been hit the hardest. There have been days when we haven’t been able to open because we’ve not been able to get anyone there. People have not been able to get out and about and are just not shopping, which has obviously had a huge impact on footfall and takings. Deliveries also have been massively affected. We’re still waiting for stock in some cases. Still even now, nearly two weeks on we’re waiting for pieces that have been held up in depots, it’s getting quite ridiculous. Royal Mail is managing to get things through but some couriers have such a backlog that we’re just in a massive queue. We have managed to find a way round this by getting duplicate orders sent out by special delivery so we will have stock but it’s just another thing to stress about. We had a damaged roof at the beginning of December. The cast iron guttering on the flats above the shop in Bo’Ness fell to the ground and for safety reasons the police shut the road.


Because of that we had no passing traffic on a Saturday afternoon, the first Saturday in December no less. Bo’Ness is a small town and we try to run events in the town centre. The weekend that the guttering came down there were reindeer in the town centre. There were lots of people in the town but none of them could get into our shop. That was the most frustrating experience. It’s not been the busiest of years for anyone but the one time the town was busy we couldn’t trade, it was awful. There’s only one other shop and a cinema on our road in Bo’Ness and the other shop could be entered from the other side of the road, so it was just us who couldn’t open for business. We are getting back to normal now but there is more snow forecast.

3 Pebbles owners Kev and Val Trotter. 4 Scottish high streets were left in treacherous conditions by snow.




We can’t even put any measures in place to ensure the guttering doesn’t fall again. Because we rent our shops, it’s completely out of our hands. Equally, for any major repairs to take place scaffolding will need to go up which will block the window displays. We’ve been working with social media such as Twitter and Facebook to promote our website and we have been trying to push our customers there to try and counteract some lost sales. We’re keeping in touch with our customers as much as possible, including emailing our database with updates. The website is starting to pick up now but it is nowhere near the millions and billions of pounds that we see publicised that are supposedly spent online. The difference in our online sales have no way been enough to equalise what we’ve lost in footfall and store trade. It’s not an easy time. At the end of the day the weather is the one thing you can’t control and when it’s against you there’s not a lot you can do. We’ve had to cut right back on our staff and do most things ourselves. It feels as if it’s never ending.”





1 Customers of jeweller Zoe Arnold often commission frames to place her work inside.


usan Philipsz won art accolade The Turner Prize last month with an empty room illustrated only by a recording of her voice singing a 16th century Scottish lament. The choice of winner caused disbelief in some circles but perfectly illustrates the changing attitudes to what is considered art. If a piece of music can win The Turner Prize then why not jewellery? The intricacies involved and the attention to detail employed by those who consider themselves artist jewellers are worthy of being placed upon a plinth. Why should jewellery just be considered a fashion or commodity item, and not a work of art? The reason, of course, is scale. “If I made my pieces larger, in the same materials, they would be considered art,” says jewellery designer Alexandra Simpson. “I’ve got pieces that I cast in bronze and glass using the same techniques as sculptors. Where some people might model I carve by hand. The only difference is the scale.” Simpson’s work is heavily inspired by

Art Noveau and this is reflected in her more mainstream jewellery, but she has also just spent an entire year working on a single design that she describes as a sculpture in its own right. The design, called Sea Dragon, was extremely labour intensive. Simpson spent three full days a week over the course of an entire year creating her masterpiece. The result is a sculptural design cast in sterling silver that when photographed looks nothing like jewellery until it is placed next to something to give it some scale and then it becomes clear that it is a pair of earrings. Mini sculptures is a phrase that you hear a lot when talking to jewellers that consider themselves artists. They believe that if their work was magnified then it might well sit alongside mainstream sculptures in galleries, and in Simpson’s case, as she says, this is certainly true of Sea Dragon. Award-winning jewellery designer and Professional Jeweller guest editor Shaun Leane believes that it is this level of craftsmanship that makes a piece of


jewellery a work of art. “What makes jewellery a piece of art is its concept and the execution of the piece,” he says. “There are pieces of jewellery and stones that are crafted like miniature sculptures with the highest form of craftsmanship. With modern technology, pieces of jewellery can be created to push the boundaries of construction in ways that cannot apply to larger forms – this makes the art of jewellery unique.” As well as bringing sculptural jewellery forms to the mainstream market with his commercial collections, Leane has also worked on a number of pieces that he describes as object d’art. One such piece was the one-off Queen of the Night necklace he created in collaboration with Boucheron to mark the French jewellery house’s 150th anniversary. The delicate leaves and flowers that make up the neckpiece are carved in blackened gold. To add sparkle the leaves are paved with brown diamonds, the flowers are paved in sapphires on the exterior and in white diamonds on the interior, while their hearts are paved



with rubies. Hidden beneath the prickly thorns, lies a 15ct pear-shaped lilac sapphire that is detachable and can be worn separately as a pendant. Boucheron craftsmen spent 1,600 hours carefully constructing the piece, and the same amount of time was spent setting it with precious stones. The detachable section of the neckpiece suggests that it has been designed to be worn, but when it was first unveiled the piece was showcased like a work of art. It is this wearability aspect that defines art and jewellery, according to Leane. “The purpose of jewellery is to be worn but you can have a piece of jewellery which has a meaningful concept and emotional connection, created to be presented as a piece of objet d’art but with knowledgeable design that can also adorn the human form,” he says. “This is when art becomes jewellery.” While the blurring lines between the two industries are evident, art galleries tend to give less precedence to jewellery, often confining it to the gift shop. And even then the jewellery is not always representative of the artworks on display. One topical example is the jewellery that was on sale in the gift shop at The Glasgow Boys exhibition at the Royal Academy in London in Decemeber. The exhibition trotted out a number of gifts

that it felt had a connection to the works, but the only connection seemed to be the colourings from painting The Druids – Bringing in the Mistletoe by George Henry and Edward Hornel, which whilst a great work was completely unrepresentative of the colourings of the majority of the Glasgow Boys paintings. Representing the jewellery sector in this shop was a costume necklace in this orange and red palette. “There is always the most appalling jewellery that has nothing to with what’s on display,” says artist jeweller Zoe Arnold, who sells her jewellery in galleries. While Arnold’s jewellery is considered works of art and so sold in appropriate settings for that genre, she says that in the past she has turned art galleries away because she doesn’t want her designs to be misrepresented. “I have been approached by big galleries in the past and have refused as my work won’t be given the reverence it should be,” she says. While jewellery might not get as much kudos in the art world as some jewellers would like, it seems that artists in the purest sense appreciate the possibilities of the medium. While a piece of jewellery is yet to win a Turner prize, Turner prize-winning jewellers have turned their attentions to jewellery. One such artist is Anish Kapoor, who

won the Turner prize in 1991 for his sculpture. Not afraid to switch scales, Kapoor has created sought-after jewellery such as his limited-edition gold and enamel ring called Cobalt Water that Bonhams put an estimate value of £6,000 to £8,000 on. The ring was sold in December in a special auction of art jewels. Other work on sale included designs by 19th century jeweller Giacinto Melillo, who helped lead the revival of ancient techniques used in making gold jewellery, and several pieces of Victorian jewellery. While jewellery made by artists can sit alongside jewellery crafted by timeserved jewellers, scaling sculptures down into pieces of wearable art is not always the easiest of processes. The Louisa Guinness Gallery works with artists to help them translate their creativity into pieces of jewellery. It has worked with artists such as Damien Hirst, William Ehrlich, Michael CraigMartin and Ed Ruscha. Owner Louise Guinness explains that you can’t just scale down artworks and expect them to become pieces of jewellery, you have to adapt. Guinness works with artists to help them make the transition from art to jewellery. She will take the concepts created by the artist to a goldsmith who will / JANUARY 2011 / PROFESSIONAL JEWELLER

2 These Sea Dragon earrings by Alexandra Simpson took three days a week for a whole year to create.



“I try not to decide where to put a stone or to make a shape one way because it looks better – there is always a reason that it relates to ” realise the final piece before presenting it to the artists for final tweaks. Although these artists are not sitting at the bench, their entrance into the world of jewellery has worth to jewellers as well as the art-loving jewellery shopper. Contemporary jeweller Imogen Belfield takes inspiration from architecture and nature to create bold pieces that playfully experiment with a smorgasbord of precious and non-precious metals, but says that she is also inspired by the work of non-traditional jewellers. “Damien Hirst’s art has already had a huge impact on jewellery design with the influence of his gothic scull motifs,” muses Belfield. “I am also a big fan of Anish Kapoor and see a lot of jewel-like qualities in his work, such as Tall Tree and the Eye, Tail Pavilion and Cloud Gate,

which I think could lend themselves as beautiful pieces to adorn the body. In the same way that visionary giants such as Zaha Hadid and Frank Gehry translated their architectural style into jewellery, I think that artists can too.” The working process of the Louise Guinness Gallery highlights the importance of the concept, as mentioned by Leane. Most artists will devise a concept before creating an artwork, but a large number of jewellers are working in the same way. Maria Francesca Pepe describes herself as a conceptual designer. As well as creating edgy yet commercial pieces, such as her nut and bolt rings that sell on Asos, she also works with fashion designers such as Roksanda Ilincic on catwalk collaborations and in 2009 designed a



3 Jeweller Maria Francesca Pepe considers herself a conceptual artist. 4 Imogen Belfield’s jewellery blurs the lines between jewellery and art.



large golden structure for lingerie brand Victoria’s Secret that was worn on the runway as a piece of body sculpture. She believes that the link between art and jewellery is a strong concept. “Whether you are creating jewellery or selling jewellery in your shop what links the two is the concept,” she says. “If something is conceived in a logic that’s what makes an object timeless. I give a sense of meaning to each feature, something that you feel when you own something.” Pepe is so devoted to having a concept to each of her designs, which in the past have been dedicated to themes such as 16th century jewellery engravings and wolves, that she won’t choose where a stone goes based on how good it looks, but how well it fits in with the theme. “I try not to decide where to put a stone or to make a shape one way because it looks better,” she explains. “There is a reason, something that relates to a particular memory or aesthetic.” Zoe Arnold takes the concept approach even further in her jewellery work. Each piece the designer makes is a oneoff and to be able to continually come up w fresh deisgns, she uses poetry. The with d designer writes poetry that explores her o emotions and life and then turns the own i imagery into wearable jewellery. “I’ll write a group of poems based on w is on my mind at the time,” she what s says. “Then I’ll look at the imagery in the p poems and I’ll make jewellery inspired b that.” by Arnold often sells her poetry alongs her jewellery to help clients fully side u understand her vision and connect with t piece they have bought. Sometimes the s even presents the poem as a handshe p printed book. But Arnold’s jewellery really starts to b the line between jewellery and art blur i the way that is it displayed. In the past in s has presented a bee necklace on top she o a miniature map with a magnifying of g glass looming over it, and a series of pend dants attached to a bar of wood within a wooden frame with a background that i illustrates the emotions each represents. “Most people would look at me and c me a jeweller but I think of myself as call a artist,” she states. “A lot of my jewelan l can be displayed when it’s not on the lery




body. I have buyers who commission frames to display it on the wall and I spend as much time on the frames as I do making the parts and poems.” Arnold sells her work directly, through galleries and selling events such as The Goldsmith’s Fair, but Simpson believes that in the broader retail market there is a need to present jewellery as art in order to capture the imagination of shoppers and help them to see the value in jewellery rather than just viewing it as an accessory to fashion. When taking her jewellery to trade shows Simpson makes great efforts to dramatise its presentation and in the past has used props such as faux moss and piano keyboards. “If you put a piece of jewellery in context people will find their personal connection,” she advises. “When somebody is selling a piece of jewellery they are selling a story. Each of my pieces have a story. It’s like that in art. By putting jewellery in a stage it helps hook people in.” As well as exciting customers, Simpson says there is a very logical reason for creating exciting displays for jewellery – its size. “As jewellery is miniature art work people can walk past it without seeing it,” she says. But when exactly does a piece of jewellery become an artwork? Belfield thinks she has the answer. “A piece that makes a strong conceptual statement, or a testimony to global issues,” she debates. “It could also be a piece that carries a form in such a way that questions and challenges the wearability and function of jewellery. Perhaps a piece that bears similar qualities in scale and form to a sculpture by Naum Gabo or Barbara Hepworth. Similarly, Subodh Gupta or Eduardo Paolozzi are examples of artists who I think embody jewel-like qualities in their work and that could be extracted and translated into jewellery. Art jewellery could also refer to the techniques and craftsmanship involved in making a piece, whether its combining traditional artistic techniques, such as the way in which Faberge painted with enamels.” And so Belfield brings up the debate of materials. This angle of the jewellery-art debate was brought to a head in 2007 when Damien Hirst created For The Love of God, a human skull that he had cast in platinum and covered with more than 8,000 flawless diamonds. The piece set art and jewellery commentators debating as to whether the / JANUARY 2011 / PROFESSIONAL JEWELLER




5 Artist Anish Kapoor has turned his artistic talents to jewellery that has become highly sought after.


skull, which was named after a comment that Hirst’s mother had made – “For the love of god, what are you going to do next?” – should be considered jewellery. The only reason for this debate was its precious materials. Unwearable and too expensive at £50 million, or £10 million base value, to be anywhere but a secure location, the piece is not jewellery in the traditional sense, but suddenly when it brings diamonds and precious metals into play the lines once again blur. Gill Rogers has used this materials angle to her advantage. She is a jewellery designer but uses a very alternative material – glass. Her jewellery is either made solely from glass, such as her wedding rings which she says are incredibly strong, or can be strung on 925 silver that has been bound with nylon string. Roger’s choice of material led her to be selected by art fair Art London to be the only jeweller on display at its show last year. Rogers said the organisers said they had chosen her jewellery because “they viewed it as an art form”. The show was a huge success for Rogers, who sold her glass jewellery to a number of buyers including Emma Thompson. The art buyer is a potentially lucrative market for jewellers designing

mini sculptures; they understand challenging aesthetics, they have money to spend and they are always on the look out for something different that will outwardly express their personalities. The Louisa Guinness Galeery claims that 95 percent of its clients are art collectors and Arnold believes that there is a very special group of shoppers who collect art jewellery that she describes as “always really fascinating people that have huge houses full of curios”. Rosy Greenlees, executive director of Crafts Council says art jewellery, precious or otherwise, is a strong market. She says selling show Collect attracts a large number of buyers, including women from the US who have set up a club based on a love of purchasing art jewellery. While the art jewellery shopper might not be the average high street shopper, Belfield believes there will always be a place in the commercial market for art jewellery. She says: “Where the mass market may eventually become saturated with a heavily repeated design, with a widely accessible price tag, there will always be the aspirational art jewellery pieces that may be less attainable, but equally as desirable.” Jeweller Theo Fennell believes that the


jewellery industry’s obsession with the cost of materials, as well as its fascination with branding, has led to a decline in the appreciation of jewellery as an art form but he believes there is still a market for it. Fennell says: “I think the jewellery trade shot itself in the foot by becoming so brand conscious, on the one hand, and obsessed with stone sizes and worth, on the other, so that the real value of jewellery, its sentiment and originality, its design and craftsmanship, got lost. I really think that this has changed and that people are looking for something less shallow. It is the brands and beads that will fall away. The market is returning to the days where design and craftsmanship are at a premium where people are bored with paying an absurd price for something that they can buy in any airport in the world. People want to be part of what they wear and to feel some real thought and skill has been put into it and that not everyone is wearing one.” Art jewellery is only for the brave – brave shoppers and brave designers – but it is an essential part of jewellery’s history and a glorious component of its future. And as Maria Francesca Pepe says: “For those who are brave enough to break the rules they will be paid back in the end.”



ZOE ARNOLD Zoe Arnold considers herself an artist first and foremost, and a jeweller second. The fact that her artistic nature manifests itself in outstanding jewellery is almost happenstance. Arnold is fuelled by the concept not the craft in her jewellery making. Each piece she designs is a one-off and to help her find inspiration for so many pieces she bases her jewellery on poetry that she writes herself. She says her poetry is indicative of whatever emotions she is working through at that particular moment in time, therefore her jewellery has a very emotional connection. Not the generic sort conjured up by the standard hearts and gemstones but real and genuine feelings. Her almost art school approach to design is typical of the way an artist works; creating a concept first and building an artwork from that framework. But the result isn’t a painting or a dance or a full-sized sculpture, it is jewellery and therefore should she

be considered a jeweller? She says that many people do consider her a jeweller rather than an artist but she continues to disagree. The conceptual nature of Arnold’s work is not scrunched up and thrown in the bin or locked away in a private diary once she has found her inspiration, instead she most often sells her jewellery along with the poem that has inspired it. Sometimes she reproduces the poem in a hand-printed book. The way that Arnold presents her work sets the stage for her jewellery to be perceived as art. Some are showcased in frames, some set in contexts that help to place the piece of jewellery within the scene set by her poetry. Arnold’s jewellery looks equally as good mounted on a wall or displayed under a glass dome in a gallery as it does round the neck or on the finger of woman. Her approach is that of an artist but her output is that of a jeweller. / JANUARY 2011 / PROFESSIONAL JEWELLER



SHAUN LEANE Professional Jeweller guest editor Shaun Leane is up there with the best of the art jewellers. His love of mixing up the two spheres has led to the very creation of this special art jewellery issue of the magazine and despite running a successful commercial jewellery business he is constantly pushing boundaries in his collaborations and collections. Leane uses his work to question why jewellery shouldn’t be considered art, and also why jewellery presented as body adornment shouldn’t be considered sculpture. The Hatton Garden designer also uses his jewellery-based work to cross boundaries into fashion, another sphere that is undoubtedly blurring lines between functional adornment and art. Revelling in this triple juxtaposition, Leane worked closely with fashion designer Alexander McQueen on creations that 22

blew up the boundaries between jewellery, fashion and art. One such piece that the pair worked on together was this Coiled Corset created for McQueen’s AW99 show, as seen on the cover of this very special issue of Professional Jeweller. Leane describes this corset as his favourite piece he has made to date. The designer took more of an artist’s approach to the creation of the corset, investing hours casting a model’s body in concrete to create a mould before hand-forging coil by coil to shape the form of the corset. During McQueen’s tenure as chief designer at Givenchy the pair also worked on another silver Rose Corset in 2000. Leane’s metal corsets not only push the boundaries of jewellery design but also challenge traditional notions of what jewellery is and where it can be worn.



DAMIEN HIRST When Damien Hirst cast a human skull in platinum in 2007 and affixed to it 8,601 flawless diamonds crowned with a pearshaped pink diamond on the skull’s forehead, he brought the debate of the blurring lines between jewellery and art to the fore. In fact, no other work sums it up more succinctly. The infamous piece, named For the Love of God, is a perfect example of jewellery as art, or art as jewellery; the piece is considered a sculpture yet it is crafted with precious metals and precious stones that are intrinsically linked to the jewellery trade. All works by Hirst are valuable, but this is valuable in more ways than one. Not only is it a collectable piece of art by one of the most controversial artists of our time, it is also valuable in a simpler sense because rather than formaldehyde or medicine bottles, Hirst chose to work with platinum and diamonds.

Where there is no debate is the wearability aspect. While some pieces of art jewellery can be thought of as wearable mini sculptures, For the Love of God throws up no such ambiguities. Instead it falls into the collectors’ arena. If this is considered a piece of jewellery – or indeed even as a commodity – then it is a piece that will never give its owner portable pleasure. For the Love of God also raises the issue of just who buys art jewellery. Hirst has claimed that the skull was sold for its full asking price of £50 million to a mystery consortium that included himself, but there has been much doubt in the art world to the truth of that statement. Many have suggested that Hirst failed to sell the skull, which the London Diamond Bourse estimated at the time to have a true value of between £7 million and £10 million. / JANUARY 2011 / PROFESSIONAL JEWELLER



SEVAN BICAKCI Turkish jeweller Sevan Bicakci is an artist jeweller in the purest sense. Many jewellers talk of their work being like miniature sculptures but Bicakci’s work is like miniature architectural wonders from a lost world. And it is from a lost world that Bicakci hails, at least to Western eyes. Growing up in the awe-inspiring surrounds of Istanbul it is no wonder that his work is so influenced by the Byzantine and Ottoman architecture that defines the city. This piece was made by the jeweller to raise funds for the World Land Trust. Bicakci was one of eight jewellers to take part in the project who were given Gemfields ethical emeralds to use as the basis for their designs. While most of the other designers chose to use polished emeralds, Bicakci’s piece stood out in the group due as the only one to use a rough emerald. 24

Despite being a jeweller by trade Bicakci openly admits he cares nothing for the materials he uses. Single works by the jeweller can often be found to consist of a mish-mash of precious and non-precious metals, mixing 18ct gold, 24ct gold, gemstones, silver, diamonds and enamel all in one design. All that matters to Bicakci is the end result and that it should be entirely representative of the inspiration that helped him to form it. His disregard for the materials used to create his jewellery turns the Damien Hirst For the Love of God example on its head. While Hirst’s piece of art was considered a piece of jewellery purely because of the precious nature of the materials used, should Bicacki’s jewellery be considered art because he places aesthetics and concept above the precious or non-precious nature of his materials?






n 2008 I unveiled The Queen of the Night necklace, an exquisite collaboration between myself and the house of Boucheron. The one-off neckpiece was inspired by the fleeting flower of the same name whose buds only blossom at night and was created with secret buttons that allow the gold flowers to open and close. The Queen of the Night is one of my favourite pieces that I have created to date. It has an incredible story, is technically brilliant and it allowed me to meld my darkly romantic style with the heritage of Boucheron. I have long been an admirer of the work of Boucheron and worked with its president Jean-Christophe Bédos on our collaboration. To me, Boucheron is the vanguard of art jewellery which is why I was delighted when Jean-Christophe agreed to allow me to put some questions to him about his thoughts on jewellery as art and find out more about the past, present and future visions of this exceptional and inspiring jewellery house.

1 Boucheron president JeanChristophe Bédos.


Boucheron has works that span more than 150 years, which period do you feel was the most distinctive of Boucheron and how will you drive the brand forward? Boucheron is a typical brand of the late 19th century. Its sources of inspiration are to be found in symbolism, Orientalism and Art Nouveau. The body of work from Boucheron is a constantly evolving, growing and developing thing. I like to go through the archive and truly look at the pieces that are part of our brand heritage PROFESSIONAL JEWELLER / JANUARY 2011 /



all of which we are incredibly redibly proud of. For me this brand has an incredible past that created incrediblyy strong foundations. However it also very important for ure. Asking the us to challenge the future. rary designers, very best in contemporary jewellers and artists too collaborate with ron and celebrating us on pushing Boucheron n aesthetic. the original Boucheron I believe Boucheron’s on’s jewellery is wn right – what a work of art in its own his? Do you think are your views on this? there is a crossover as to when a ecomes art? piece of jewellery becomes Every piece created at Boucheron is a piece of craftmanship’s’s excellence, not h jewellery colleca piece of art. Our high h of knowledge with tions combine a depth the attention to detail and passion neede-off piece. Hence, ed to create such a one-off rly travel to Paris in our customers regularly order to preview our new high jewellery pieces as a lot of them are keen collectors. Yet, Boucheron’s jewellery is not exactly about art, it is about arts and crafts. Do you think the term jewellery is undergoing a transformation? Jewellery has meant different things to different cultures for centuries. It is not a static word but an evolving, constantly changing art form. I think there is and always has been a true connoisseur of jewellery who helps push us to redefine the art of body adornment further every day.


When iit comes to valuing a piece of jewelle jewellery, its worth is often judged by the sizes siz of stones. Do you feel a piece of jewellery can outsell its equal by its concept, craftsmanship and desig design alone, just like art? For me cre creative expression should be valued more mo highly than the weight of a stone. With W a piece of jewellery, it is slightly different as the stone is the heart of the piec piece, especially if we are talking about high jewellery. However there is a similarit similarity in jewellery. Like a piece of art, part oof the value is based on the rarity and cre creativity used in the piece. The brand style styl is its signature. The brand value is its style. This is what matters over decades and an centuries.

2 A necklace from Boucheron’s INSPIRA range created by Boucheron for Cirque de Soleil founder Guy

Do you have an archive of works that you w would never sell? If so, are there pla plans for a great exhibition? We have ssome very special pieces in our archives. W We are participating in some exhibitions throughout the year all over the world as it is important for us that our customer gets the chance to indulge into the past glories of the world of

Laliberte. 3 Rings depicting a lemur and an elephant from Boucheron’s famous animal collection.


You once sent staff at Boucheron on an art refresher course . Why did you feel that was necessary and did it benefit the creative output of the house? It is important for Boucheron to support our creative minds behind our new collections and my job is it to keep them engaged in their work and to keep up their passion. Art is a really important ingredient to our work, therefore it felt right to reconnect them with the origins of our work which of course benefited the company. I also like the challenge of them working in different media. We are about colour, artistic expression and creativity. What better way to appreciate this than through different art forms. / JANUARY 2011 / PROFESSIONAL JEWELLER




Boucheron and see how much we celebrate our heritage within our current collections. You studied in London but are based in Paris, how do you find the difference between the two cities in terms of jewellery offers and jewellery collectors? The appreciation of truly beautiful jewellery can take place in many different corners of the globe. For me London represents the best of the modern mixed with a true appreciation of the best of vintage jewellery. It also still has a vibrant jewellery trade with gem dealers from all over the world coming to London to trade stones. Paris is about premium craftsmanship celebrated at the heart of the city and for us it will always be special as we are the only jeweller still creating jewellery in Place Vendôme.

4 A necklace from Boucheron’s Ava Deco range named after Ava Gardener. 5 This elaborate ring is inspired by the winged horse Pegasus from Greek mythology.


Boucheron has been crafting won5 derful jewellery for more than 150 years – what is it about the brand that still captures the imagination of the jewellery shopper? I think when you walk into the world of Boucheron you walk into an environment that has been graced by kings, Maharajhas and movie stars, and as a customer of Boucheron we treat everyone with the same respect and appreciation. But at the end of the day this magic is only in our jewellery – as long as we create pieces that delight, enthral and captivate the hearts of our customers we are doing our job.

What effect do you feel the past years of recession is having on jewellery design today? It brings you total focus. You have to have a totally unique product, exquisitely executed and perfectly presented. If you are not operating at your very best at a difficult time then when the customer is looking for a moment of escape from the real world and wants to step into a world of magic, why would they come to you?

What do you feel is the mood of consumers in the luxury sector as we move into 2011? We believe 2011 will be a year of reinvesting, recreating and new adventures. Although we are not quite through our recession as yet, people are adventurous and willing to invest. At Boucheron we have some great new collections up our sleeves and we are looking for a positive and inspiring start to the New Year with our new high jewellery collection launching during the couture shows in Paris. Is Boucheron forging ahead with previously reported plans to open more stores around the globe? And if so, which markets are of interest to you and why? Boucheron is ready to expand and one of our biggest focuses will be in Asia. We are planning on opening new boutiques in China and Japan.



10 10

Boucheron has developed a 3D programme to allow shoppers to virtually try on jewels online and an iPhone application – are online and new technology becoming more important areas for the house? Augmented reality is a great tool to bring Boucheron jewellery into the homes of new and existing customers. We are also selling our jewellery online which was a very important step for our business. Boucheron continues to balance tradition with new technology and using augmented reality was a great tool to make that happen. Boucheron has always pushed the boundaries of technology. The house has always been known



for taking the raw materials of jewellery and turning them on their heads; making gold look like fabrics, making emeralds look like exquisite pieces of foliage, asking Marc Newson or the wonderful Shaun Leane to push the boundaries of our design. Technology is the new complement to the jewellery bench for us. We never forget the traditions but we can look at those traditions through new eyes. We seem to see many fashion houses moving into fine jewellery, from high end to commercial collections. Do you think this affects the heritage of the jewellery industry? There is room in this industry for everyone as long as the brands preserve their DNA – whether that is from fashion or a heritage in jewellery making. Boucheron is famous for creating some of the world’s most beautiful

and exquisite jewellery for the Maharajas, an iconic image. Do you feel such moments in history will ever be repeated in our industry today or in the future? The jewellery we created for the Maharajas were very beautiful, special pieces created with the best stones in the world. Although those are memories of the past, we recently created an entire collection in collaboration with Guy Laliberte, founder of the Cirque du Soleil. INSPIRIA is a singular collection of fine jewels for keen aesthetes around the world who respond to the magic that only extraordinary things can encapsulate – the same drive and passion as for the pieces created for the Maharajas. We admire and love to work with new patrons of art but one should remember that it takes up to 15 years to train a good artisan jeweller. This is not given to any newcomer in the industry.

The last time we met, I felt that we both shared a great passion for concepts and designs. How important do you feel is it that a piece of work has a story to tell? And do you think this is what makes a piece of jewellery a work of art? The story is everything. It is the magic that brings stones together in a poem. Whether it is art or not is up to you to decide but if you get lost in the magic of its beauty and it transforms or challenges your view point then yes, for me that is what art should be about. Excluding Boucheron, I would like to know which of our past masters you felt revolutionised our jewellery industry? For me Renee Lalique was a great master – he created something unique and beautiful and was a radical of his time. He literally put sculpture on the body. / JANUARY 2011 / PROFESSIONAL JEWELLER

6 The one-off Queen of the Night neckpiece designed by Shaun Leane to celebrate Boucheron’s 150th anniversary.





hen the Duchess of Windsor Wallis Simpson’s jewellery collection went under the gavel at Sotheby’s last month, we were given a glimpse into the life of one of the early selfpurchasing women. As the wife of the abdicated King Edward VIII, who chose his love for Simpson over the throne, it could be assumed that she was bestowed with numerous gifts and jewels, but it is said that Simpson was fiercely in control over her image and her jewellery box. Simpson coined many a phrase during her lifetime, including “you can never be too rich or too thin”, but one that sticks in the mind is her declaration that she would “rather shop than eat”. At her funeral in 1986 it was reported that many


of the f lowers sent as a mark of respect to the late Duchess were from famous fashion and jewellery houses that she had given her patronage to over the years. Simpson lived in an era when women received jewellery, they didn’t buy it. However, as the pay divide has narrowed and women’s place in society has become more prominent, the feminine trill from the tills has been transformed from “Darling, thank you it’s beautiful” to “I’ll take that one, wrap it up please”. Girl power exploded in the 1990s with the advent of the Spice Girls but wasn’t until the turn of the century that women really started buying jewellery for themselves, says Gail Goodrich who founded London jewellery boutique Argent London. Goodrich specifically set up her retail business to target female self-purchasing customers with an


affordable luxury offer, but she says that the business didn’t immediately take off in the way that she wanted it to. “When we set up the company 13 years ago girls were not buying for themselves,” she remembers. “Girls would go next door to Beatrice von Tresckow where they would sell coats for £600 and they’d happily buy that but then they’d come to us and fall in love with a £50 bracelet and say ‘Oh no I’ll have to wait for my husband’.” Then in 2000 Goodrich noticed a shift in the buying habits of her female clientele. “It was a good time, everyone had money in their pockets,” she explains. “There was more disposable income. Women had it all then and they were prepared to show it.” During the recession Goodrich felt another shift, although this time




not so favourable. “It died a bit when the recession hit, and girls were again becoming embarrassed to buy for themselves. I thought oh my god we’re going back to the bad old days but that’s come around again,” she says with a sigh of relief. Not waiting for a man to buy your jewellery is a sure-fire way of making sure you get what you want but it is also a declaration of power and independence. “I think women’s buying power has really increased as the income gap between men and women is closing,” says Folli Follie UK brand manager Penny Grivea. “By buying jewellery women are making a statement about their power.” Goodrich says that while the majority of purchases made by women in Argent London are for less than £500, she says women now assert their authority in life by splashing out on higher end pieces. “Now it’s a status thing,” she says. “We’ve had girls spend £10,000 on a diamond and tanzanite pendant for themselves and in the £200 to £500 range they don’t give it a second thought. It is proving something to the world – I can stand on my own two feet.” Jewellery designer Shaun Leane says that the majority of his female clients are buying jewellery for themselves. He believes that the increasing inf luence of fashion in the jewellery industry has prompted the change. “I think the attitude has changed in respect that women move fast with fashion and are more in touch with what they feel can accessorise their latest look hence the increase in self purchase jewellery,” he says. “Why wait around for a man to buy them a piece of jewellery? By the time he has made up his mind, she’s already onto another style.” Leane adds that his female clients who are buying for themselves are also willing to buy higher-priced pieces. He says: “Haute jewellery is growing in popularity. There are women who prefer to purchase


pieces that are more precious, timeless and individual to ref lect their persona and style.” The designer also feels that women are more comfortable buying jewellery now because it has become more accessible than in previous generations. “Nowadays it is not unusual to wear diamonds in the office,” he muses. “In the past, jewellery steered towards status or a symbol of success but modern day women are buying for many different reasons such as fashion, gifts, sentiment, status or just plain admiration for anything sparkly.” As well as becoming more comfortable with buying jewellery, veteran designer Theo Fennell believes that the shift has been prompted by women becoming more comfortable with themselves. He likens buying jewellery to dining; in years gone by a woman would not have dreamed of dining alone, but now it is acceptable to book a table for one. “They are no longer afraid to buy for themselves as it no longer carries the stigma of dining alone as it

were,” he says. “Women are earning their own money and so can make their own choices.” When it comes to engagement rings, possibly the biggest jewellery purchase a woman will ever make, this could be the one jewellery sector that won’t become dominated by self-purchasing women, no matter how independent or how confident they become. “I would think that women would like engagement rings bought for them and there are still those really sentimental bespoke pieces that I still love to design for people; those pieces that become truly theirs and bring real joy,” says Fennell. Leane says that while he has experienced a rise in the number of women buying their own engagement rings, he believes that romance should prevail. “I feel there are romantic pieces that women still prefer to be bought such as engagement rings, Valentine’s Day presents and anniversary gifts,” he says. “These are gestures of love, which we all need.” / JANUARY 2011 / PROFESSIONAL JEWELLER


2&3 Then and now: Wallis Simpson was a self-purchasing woman ahead of her time; Daphne Guinness is an avid collector of couture and jewellery and is a modern selfpurchasing woman.





What is your all-time favourite piece that you have designed and why? It would have to be the Coiled Corset I made for the Alexander McQueen AW1999 show. This piece is important to me as it challenged my interpretation of jewellery. It gave me the chance to create a piece of jewellery which became a form of body sculpture. It was also very 34

technically challenging. The piece took many months of work to build as I had to cast the model’s body in concrete first to create a mould and then use this to hand-shape and coil every wire to fit exactly around her body. I love this piece because when worn or static it raises the question, is it jewellery or sculpture? For my fine piece, I feel it would have to be


the collaboration with Boucheron. on an inspiring objet d’art for its 150th anniversary celebration. It was a one-off neckpiece inspired by the f leeting f lower Queen of the Night whose buds only blossom at night. The neckpiece has secret buttons that allow the gold f lowers to open and close. I love the piece for its story, its technical brilliance and


also it melds my dark romantic style with the heritage of Boucheron.

ent styles that all connect with our work as a jewellery brand.

You take a lot of inspiration from the Victorian era, what is it about this decade that inspires you? The Victorians were very innovative with the materials they used. I also like the fact that their jewellery carries sentiment such as lockets that seal a lock of your loved one’s hair. It is an ingenious way of personalising jewellery, which is something that I feel is very important.

Do you think there is a conflict of interest in being a supplier to retailers and having your own online sales? I see our website not just as an online boutique but as a tool to work alongside our stockists. Our site shows every facet of our work, such as collections, collaborations and bespoke services which enables our clients to understand the full extent of our house. There are clients who enjoy shopping online and there are those who like to purchase or see pieces through their local retailer.

You have collaborated with a number of high profile names – do you have any future collaborations in the pipeline? We have spent four years on a collaboration which will be unveiled soon. It is perhaps one of the most technically challenging and advanced pieces we’ve created so far and for me personally it takes jewellery to a different dimension. This is a piece that raises the question, is jewellery art? What is your favourite metal or material to work with and why? It is a diamond, because of its pure brilliance and history. It always amazes me to be wearing a stone that has been on earth for more than 900 million years. Charms have been a hot trend for a couple of years now, what do you think will be the next big thing in jewellery? Pieces that are bold, sculptural and minimal – clean and crisp lines. Stones that are nude or earthy shades, such as quartz. If you could dress one celebrity, who would it be and why? That’s a difficult question, as I don’t believe in product placement but I love it when women that I admire wear my jewellery because they adore it and it connects with their style. Daphne Guinness, Lily Cole and Dannii Minogue are great examples – three women with differ-

At Holts in Hatton Garden we are seeing a healthy growth in coloured precious stones. In particular, demand for the rare and unusual has never been higher. What does Shaun think of this trend and where does he think we’ll be this time next year? I feel that there is now a strong demand for individuality. Collectors want pieces of jewellery that are unique and rare and this idea is translated into stones of the piece too. As a trend this will only grow and make our industry even more vibrant and exciting. Shaun is a known champion for skills in Britain and often talks about the importance of being based in Hatton Garden. He has also been a valuable supporter of training including the Holts Academy of Jewellery, also in Hatton Garden. What skills areas does he think the UK is still weak in and where would he advise a training provider, like Holts Academy, focus its resources going forward so that we can put British design and craftsmanship back on the map? I feel there are not enough apprenticeships and attention given to the skills of stone setting. It is a craft in itself that takes many years to perfect and it can be as innovative and creative as any other area. What advice can you give to the large number of designer-makers

who are determined to break the “I’m doing everything barrier”, but as yet haven’t succeeded? Firstly I would say it is important to stay true to your vision. There was a point in my career when I felt exactly the same. I had the vision and passion but realised I could not move forward on my own so I began to recruit interns. This is when one became a team and my business could f lourish and break the barrier. I feel at this early stage in one’s jewellery career we are all perfectionists and feel it is hard to let go of any aspects of our business to someone else. My advice is to trust the team around you; this quality will allow you and your company to evolve to the next level. Your designs are highly sought after by the rich and famous. Would you ever consider using one of them as a brand ambassador? If I was to have a brand ambassador, it would have to be someone who already has an understanding and appreciation of our work. When you have built up a long-term relationship with a client, they have feeling for your aesthetic and style as you do with theirs. You form a special connection with this person that is ref lective of your brand and also their identity. It’s not just about the celebrity factor, it is about a uniting of the two personas. Your designs are like a work of art. Do you feel there is a fine line between jewellery and art? Or do you see your jewellery as art? To me jewellery is art but on a different scale. Jewellery can be mini sculptures. What blurs the line is that jewellery is worn and therefore considered as adornment instead of art. Art is always perceived as a static form but now we appreciate modern art in forms of sound, light and movement. When a piece of conceptual jewellery is worn and admired it provokes connections, thoughts and emotions, as it does with a piece of art. / JANUARY 2011 / PROFESSIONAL JEWELLER





trength is the key to this minimal jewellery trend. A crisp antidote to the chunky, over-bejewelled statement adornments that have dominated of late, this elegant trend calls for jewellery with clean, sculptural lines that pack a powerful punch. Let the form do the talking with Shaun Leane’s strong Signature Tusk earrings, Mawi’s structured knuckle duster for fashion designer David Koma or Dominic Jones’ powerful Zuul ring. For cuffs that would look as good on a plinth as the wrist, Ute Decker offers wrist sculpture Land’s End in recycled silver or go abstract with a gold-plated silver Visage cuff from Brighton designer Jeremy Hoye. To access this minimal trend it is important to keep it clean but if you want to introduce jewellery with stones then stick to gems with nude or earthy tones such as quartz.


PROFESSIONAL JEWELLER / JANUARY 2011 / www.profes ssion








Offer credit as a payment option at checkout Retail Finance for Ecommerce

Freephone: 0800 021 7150 or apply for a retailer account online at / JANUARY 2011 / PROFESSIONAL JEWELLER



PURE BY UTE DECKER Ethical jeweller Ute Decker has switched from her normal materials of choice, recycled silver and bio-resin, to gold with the introduction of the Fairtrade standard for gold. The designer has crafted a range called Pure using the first gold mined under the Fairtrade standards. The collection is available in either Fairtrade gold or Fairtrade Ecological gold, the latter being alluvial gold without any use of toxic chemicals such as cyanide. RRP: £2,440 Contact: Ute Decker, 020 7354 4237, DNATURE BY ALEXANDER DAVIS


Alexander Davis has created one of the

Spanish designer Vicente Gracia is one of the

most personalised necklaces that money

world’s foremost artist jewellers, creating

can buy. The designer has used his scien-

tiny sculptures that refl ect his passion for

tific background as a biochemist graduate

precious metals and stones. This passion

to create this platinum DNAture necklace

has been cultured by his upbringing in

that uses diamonds and sapphires to rep-

Valencia, a city with a rich silversmithing and

licate the owner’s unique DNA strand. To

goldsmithing heritage. His works of art have

determine what the strand should look like

been commissioned by the Spanish royal

a blood sample is taken from customers

family and he is stocked in the UK at London’s

and sent to a laboratory for analysis.

trendy retail jeweller Kabiri.

RRP: from £15,000

RRP: price on application

Contact: Alexander Davis, 0207 486 7788,

Contact: Vicente Gracia, +34 963 510 618,

AMAZONITE EARRINGS BY BOCHIC As seen on the lobes of Dannii Minogue during The X Factor last year, these 18ct gold earrings by US brand Bochic feature a tear


of amazonite enveloped by a delicate frame

This platinum and diamond pavé ring swirls around the finger to

of diamonds hanging from a white jade orb.

leave a trail of glittering fine diamond cut curb chain. Designer

The brand is new to the UK and is only avail-

Katie Rowland has taken inspiration from the Roman sea god

able so far at London jewellery boutique

Neptune for the design, replicating the swirling ocean with the


undulating chain tentacles that seductively drape and entwine

RRP: £25,500

around the fingers.

Contact: Bochic, +1 212632 1700,

RRP: £9,750

Contact: Katie Rowland, 07980615059,




6-10 February 2011, NEC Birmingham UK



JS ity C PJ o AD de :

PRODUCT CREDITS: Domino rings; Dower & Hall cuffs; Katie Rowland necklace

Designs to inspire and seduce

Book a stand by calling +44 (0)20 7728 4290 or email: Register for free by visiting

Quote priority code: JSPJAD


DECO BY MISSOMA Missoma is back in business through a partnership with IBB. The brand has designed a comeback collection of 18ct gold vermeil jewellery, precious some set with colourful semi-precious stones. This Deco cuff is one of the how new designs that will be on show d at Spring Fair and BaselWorld in early 2011. Also look out forr the brand’s first silver line. RRP: £750 Contact: Missoma, 020 7351 4282,

TODO JOIA FOR ORIT These black recycled rubber and gold geometric bracelets are part of a new collection created for Orit by designer Todo Joia for spring/summer 2011. Orit sells the collection through its own boutique but also has a wholesale division targeting higher-end fashion-led retailers. RRP: £120 Contact: Orit, 0207 727 8895,

PROMISE BY LAURA GRAVESTOCK K lecThe 18ct gold-plated silver Promise colleclery tion is a mix of delicate, feminine jewellery ed by balanced with bold, edgy styles. Inspired hese the fretwork of Moorish architecture, these stacking rings feature hexagonally cut stones ork and set within intricate geometric latticework rofile have been created with a court inner profile to ensure a comfortable fit. RRP: £135 to £295 each INCA BY DOMINIC WALMSLEY These drop earrings are from London jewellery


Contact: Laura Gravestock,



The Nugget Sunrise collection has

been inspired by summers spent in the

designer Dominic Walmsley’s Inca collection.

Aeolian islands and the volcanic stones

The golden silver gilt has been given a satin fin-

that can be found there. This long 18ct

ish that perfectly sets the stage for the amethyst

gold vermeil on sterling silver necklace

stones that form the centrepiece of the design.

is decorated with irregular-shaped

The designer has also created a matching Inca

faceted carnelian, green gold quartz and

amethyst pendant strung on a contrasting ster-

rose quartz stones. The collection also

ling silver chain.

includes rings, earrings and a cuff.

RRP: £89

RRP: £390

Contact: Dominic Walmsley, 020 7250 0125,

Contact: Monica Vinader,

01485 512 133,



Why visit the Antwerp Diamond Trade Fair


Find new sources and forge new contacts. Buyers will find that the goods on offer are unobtainable in the rest of the diamond world . While service, speed of shipping and delivery are world class. A huge selection of diamonds. The fair features a dazzling selection of diamonds. In addition, the scope and size of the fair enables buyers to view and compare diamonds in a relaxed setting.


A prestigious venue. The two elegant and spacious trading halls of the Antwerp Diamond Bourse and the Antwerp Diamond Club are a world away from the rush and impersonal feeling of big exhibitions.


A city trip in Antwerp. The rare chance to experience a pleasant break in Antwerp, possibly together with your partner, and discover city’s exciting cultural and architectural heritage.


info & registration via:

Sponsored and held under the auspices of the Antwerp World Diamond Centre.

Exclusive and “by-invitation only” event.

Exhibitors: 65 antwerp diamond companies.

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National Sales Manager: Kevan Jenkinson Mobile: 07795 615 108 Email: Head of International Sales: David Butler Mobile: +44(0)7595 733 379 Email:

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