SA Jewellery News (SAJN) • August 2025 by www.jewellerysa.co.za

AUGUST 2025

Celebrating 97 years in the industry

Can SA jewellery training be revived?

Industry welcomes return of JCSA roadshows

AI as ally, not artist

Countdown to Jewellex Africa 2025

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FROM THE JCSA OFFICE

Lorna Lloyd, CEO of the Jewellery Council of SA (JCSA), shares the latest developments from the council’s office

INDUSTRY INSIGHTS

• De Beers debuts Ombré jewellery and Origins traceability

• What Trump’s extended tariff deadline means for SA’s diamonds and gemstones

• London Museum to spotlight Marie Antoinette’s jewels

• PlatAfrica 2025 entries close with a strong response

CAN SA JEWELLERY TRAINING BE REVIVED?

Subject matter expert facilitator Faldilah Garret explains why urgent action is needed to revive skills development and secure the industry’s future

INDUSTRY WELCOMES RETURN OF JCSA ROADSHOWS

The JCSA successfully reintroduced its national roadshows in July, reaffirming its commitment to fostering engagement, transparency and collaboration

AI AS ALLY, NOT ARTIST

Artificial intelligence is no longer a futuristic buzzword: it is rapidly becoming woven into the very fabric of the jewellery industry

COUNTDOWN TO JEWELLEX AFRICA 2025

The industry’s premier event returns to an elegant new venue

COVER FEATURE

Inferno Gold has transitioned from a premier design house to a trusted name in refining

EMBRACING INNOVATION

Tools of the trade

ONE DESIGNER’S AFRICAN JEWELLERY JOURNEY

Rooted in the legacy of the Lemba people, Bernice Dickson is reclaiming African jewellery narratives with meaning and elegance

EDUCATIONAL INSERT

WHY YOUR BRAND STORY MATTERS

In a saturated market where consumers are spoilt for choice, technical excellence might not always be enough

BORN IN AFRICA

A comprehensive directory featuring information and contact details of all members of the Jewellery Manufacturing Association of SA 24. 26. 30. 29. 33. 40. 42. 20

Jewellery Council of SA update

Lorna Lloyd, CEO of the Jewellery Council of SA (JCSA), shares the latest developments from the council’s

office

It has been an exceptionally busy period for the Jewellery Council and we hope that the information and opportunities we share continue to support members across the industry.

Earlier this month, the JCSA held a key meeting with representatives from the Office of the Consul-General in New York, continuing the strong relationship we have developed over the years. The discussion focused on the growing uncertainty surrounding the tariffs currently being implemented by the US administration and the potentially severe implications for South African companies exporting to that country.

A critical concern raised was the impact on the African Growth and Opportunity Act (AGOA). The newly imposed tariffs effectively supersede AGOA provisions, thereby making the agreement null and void in practice, a development that could significantly affect preferential market access.

We gathered from various international negotiations that President Donald Trump was open to bilateral discussions and that any agreements reached were expected to provide mutual benefit. While SA has been invited to submit proposals, it is clear that the USA will seek reciprocal concessions as part of any negotiated outcome.

The council will continue to monitor developments closely and engage with relevant authorities to ensure that the interests of the South African jewellery and precious metals sector are well represented on the global stage.

Recently, the council hosted an important virtual meeting with the SA Revenue Service (SARS) to address the roll-out and impact of the domestic reverse charge (DRC) legislation on the jewellery and precious metals sector.

Key concerns raised by our members included:

• Automatic VAT audits that cause administrative burdens, audit delays and hold-ups in VAT refunds, significantly impacting cash flow.

• Inconsistent support and knowledge gaps among SARS representatives regarding DRC legislation, often requiring members to educate officials or refer them to relevant legislative resources.

SARS assured attendees that the frequency of automatic audits would decrease and confirmed that internal training initiatives are underway to address the earlier teething problems. They reiterated their commitment to smoother processing, moving forward.

To support our members, the council offers a dedicated service to assist those facing VAT refund challenges. If you are experiencing delays, please e-mail: lornal@jewellery.org.za with background details, including your VAT number and outstanding periods.

Additionally, SARS recommended that we raise certain systemic DRC-related concerns with National Treasury directly. The council has since submitted a formal proposal recommending specific amendments.

The council’s submission addresses an ongoing risk of fraud resulting from the current definition of “valuable metal”. Although the “holder” exclusion was

removed, the 1% gold content threshold still allows certain goods such as unprocessed gold-bearing materials, eg tailings and waste rock, to fall outside the DRC’s scope. This unintended loophole continues to facilitate fraud within the primary gold industry.

The original intent behind the 1% exclusion was to exempt products like gold-plated jewellery and calibration solutions, not raw gold-bearing materials. However, no distinction is currently made based on the nature of the goods.

Our recommendation to National Treasury is that it amend the definition of “valuable metal containing less than 1% of gold in gross weight” to specifically refer to “jewellery and other goods plated with gold, plating solutions and analytical calibration solutions containing less than 1% of gold in gross weight”. A full copy of this submission is available upon request at: lornal@jewellery.org.za.

In response to recent enquiries, the council has clarified the VAT treatment of Krugerrands. Gold Krugerrands are legal tender and when sold as such, may qualify for zero-rating under Section 11 of the VAT Act.

When purchasing Krugerrand-set jewellery (eg rings or brooches) from non-VAT-registered individuals (the public), the transaction is treated as a secondhand goods acquisition and standard VAT rules apply. If resold in substantially the same condition, vendors may claim notional input tax, provided all documentation is properly maintained.

Upon resale to the public, VAT is charged at 15% and the presence of the Krugerrand as part of the jewellery does not affect the standard VAT treatment.

Once removed from the setting, a Krugerrand becomes a gold coin. If sold as such, it qualifies for zero-rating under the VAT Act.

Importantly, the sales of Krugerrands to the trade (ie to a VAT vendor) as legal tender are excluded from the DRC regulations.

Following a strategic session earlier this year, the Executive Committee identified specific key strategies for 2025, one of which was the development and implementation of a comprehensive marketing strategy as a key priority. The strategy will focus on two distinct streams:

• Trade-focused strategy: To attract new members by highlighting the value of council membership and to reaffirm the benefits and services available to current members.

• Consumer-focused strategy: To promote the value of buying from JCSA-accredited jewellers and to support and showcase locally manufactured South African jewellery. This strategy is currently in development, with further updates to follow as the draft is reviewed and funding secured.

Get involved!

The strength of the JCSA lies in the active participation of its members. We encourage you to engage with our initiatives and take full advantage of the services available.

For further information on how to get involved or learn about our programmes, tel: (011) 484-5528, e-mail: admin@jewellery.org.za or visit our website: www.jewellery.org.za.

Together, we can strengthen and grow the South African jewellery industry.

“The strength of the Jewellery Council lies in the active participation of its members. We encourage you to engage with our initiatives and take full advantage of the services available.”

Editor: Adri Viviers Cell: 084-261-1805

E-mail: adriv@jewellery.org.za

Sales Representative and Administrative Manager: Thuli Majola Cell: 074-243-0703

E-mail: thulim@jewellery.org.za

SA Jewellery News is published by: Jewellery Council of South Africa

CEO: Lorna Lloyd Cell: 082-456-5558

E-mail: lornal@jewellery.org.za

Executive Assistant to CEO: Elsa da Silva Cell: 082-214-0028

E-mail: elsad@jewellery.org.za

The views expressed in this publication do not necessarily refl ect those of the owners, affi liated organisations, members, the publisher, or its agents. While every eff ort has been made to ensure the accuracy of the content, neither the owners, affi liated organisations, the editor, nor the publisher can be held responsible for any errors, omissions, or any consequences arising therefrom. The same applies to all advertising. © 2025. All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, without prior written permission from the publisher.

ON THE COVER

editor's note

As we pass the halfway mark of 2025, it is a fi tting moment to reflect on the journey of SAJN since its transition in-house under the management of the JCSA.

Over the past six months, the magazine has continued to evolve not only in format and focus, but in the way it connects with and represents the diverse voices of our industry. It has been incredibly encouraging to see how well it has been received. This support reinforces the need for an insightful platform that reflects both the challenges and achievements within the South African jewellery landscape.

Moving forward, our intention is to build on this foundation with purpose and care. We are committed to deepening the magazine’s value as a resource, one that informs, educates and creates space for meaningful conversation. Whether by unpacking policy developments, highlighting innovation in design and manufacturing, or exploring issues of compliance, ethics and training, SAJN will continue to engage with topics that matter to our industry.

Our editorial direction will increasingly focus on collaboration: working with experts and organisations to provide clarity on complex matters such as FIC compliance; partnering with voices in education and training to support sector development and identifying opportunities to amplify industry concerns within the wider media landscape, where they can influence policy and public understanding.

We believe that the magazine’s role goes beyond reporting: it should contribute to progress. By shining a light on key issues and providing a trusted space for engagement, we aim to support a more resilient, informed and future-facing industry.

If there are topics or trends you feel we should be exploring, please let me know. Your feedback is invaluable in helping us ensure that SAJN remains responsive and relevant to the industry it serves.

We are truly grateful for your continued support and hope you enjoy this issue. Happy reading!

Adri

Inferno Gold, formerly Piccolo Fine Designer Jewellery, has rebranded to include refi ning as part of its services to the industry. With years of expertise, the company now o ers ethical, sustainable and reliable refi ning solutions, aiming to support jewellers and businesses with toptier gold products. This transition is not just a business evolution, but also a rebrand that marks its commitment to excellence in both jewellery design and refi ning. For further information, contact Inferno Gold on tel: 083-396-6178 or visit: www.InfernoGold.co.za.

De Beers debuts Ombré jewellery and Origins traceability

The De Beers Group has unveiled two major new initiatives to drive consumer desire for natural diamonds and highlight their unique provenance.

At the 2025 JCK Las Vegas Show, the group launched its first category “beacon” in over a decade: Ombré Desert Diamonds, a jewellery concept inspired by desert landscapes where many natural diamonds are found. Featuring warm tones from white to amber, this initiative introduces a fresh, emotionally resonant retail proposition. As with past beacons like the eternity and three-stone rings, Ombré Desert Diamonds aims to ignite industrywide engagement, supported by

significant media investment and marketing collateral.

Alongside this, De Beers officially launched Origins, De Beers Group, a branded polished diamond offering first previewed in 2024. This programme empowers retailers to share the individual stories of natural diamonds sourced by De Beers, tracing their journey via the Tracr blockchain platform. Origins gives consumers access to provenance data, rarity scores and the social impact associated with each diamond, supported by digital story-telling tools.

During its JCK keynote, De Beers also shared updates across its Origins strategy. In exploration, it announced the completion of airborne geophysical surveys in Angola. In the midstream, it emphasised enhanced traceability with country-of-origin data

What Trump’s extended tariff deadline means for SA’s diamonds and gemstones

US President Donald Trump has delayed the deadline for introducing new tariffs from 9 July to 1 August, while signalling possible increases for at least 14 countries, including SA.

In a recent executive order, he described the threeweek extension as “necessary and appropriate” to allow further trade talks to continue. Meanwhile, letters have been sent to affected countries outlining potential tariff hikes should no agreement be reached. Trump also made it clear on his Truth Social platform that the 1 August deadline is firm and non-negotiable.

“As stated in the letters sent to various countries, tariffs will come into effect on 1 August 2025,” he wrote. “No further extensions will be granted and payments will be required from that date.” For SA, home to significant diamond operations like De Beers’ Venetia mine and Petra’s Cullinan and Finsch deposits, as well as its vital platinum exports, this

on Tracr and the US launch of DiamondProof. In the synthetic sector, it revealed the first technology diamonds produced at its Element Six Oregon Centre, part of a US$130 million investment in industrial diamond innovation, following the closure of its Lightbox jewellery business.

“One year into our Origins strategy, we’ve delivered on all targets set in 2024. These launches mark a new era of showcasing the beauty and impact of natural diamonds, from their provenance to the communities they support,” commented CEO Al Cook.

De Beers also reaffirmed its sustainability commitments, highlighting renewable energy progress through partnerships in Namibia and Botswana, and renewable project commissioning in South Africa to power its Venetia Mine by 2026.

could mean tariffs rising from the current 10% to 30% starting 1 August.

Thailand, a major player in the global gemstone market, is also facing a steep increase from 10% to 36%.

Although Trump’s public statements suggest a hard deadline, his track record includes postponing tariffs during negotiations, indicating that further delays could still happen.

The issue has also faced legal challenges in the USA. In May, the US Court of International Trade blocked most of the planned tariffs, only for that decision to be reversed shortly thereafter.

South African industry-watchers will be closely monitoring developments, given the potential impact on exports and market access in the crucial American market.

London museum to spotlight Marie Antoinette’s jewels

An exhibition dedicated to fashion, jewellery and trends that draw inspiration from Marie Antoinette will launch at London’s Victoria and Albert Museum in September.

Marie Antoinette Style, scheduled to open on 20 September, will be the first exhibition in the UK devoted to the French queen, the museum claimed. Among the 250 pieces it will showcase will be special items from the Palace of Versailles that have never been on display outside France. The exhibition will blend historical and contemporary fashion, while exploring Marie Antionette’s legacy and how she has remained a lasting source of inspiration.

Rare personal belongings at the show will include intricately adorned fragments of her court dress and jewels from her private collection. The jewellery offering comprises a brooch of double ribbons studded with diamonds, suspending a natural pearl, which soared past its US$2 million high estimate at Sotheby’s in 2018 to fetch $36 million. The exhibition will also incorporate the Sutherland necklace from the museum’s collection, which is thought to contain diamonds from the Boehmer and Bassenge diamond necklace. The original piece was the star of the diamond necklace affair of 1784-1785, in which it was stolen, dismantled and sold in London’s Bond Street. Additional items are painted portraits of the

monarch, one of her beaded pink slippers, a chair set and a crystal flask labelled “eau de cologne”.

“The most fashionable, scrutinised and controversial queen in history, Marie Antoinette’s name summons both visions of excess and objects and interiors of great beauty,” said exhibition curator Sarah Grant. The queen had “an enormous impact on European taste and fashion in her own time”, she added, and her “distinctive style” now has “universal appeal”.

“This exhibition explores that style and the figure at its centre, using a range of exquisite objects belonging to Marie Antoinette, alongside the most beautiful fine and decorative objects that her legacy has inspired,” said Grant.

The museum will present the show in chronological order, with the first section beginning in 1770 and ending in 1793 at the time of Marie Antoinette’s execution. The next segment will look at how Empress Eugénie revived the queen’s romanticised image in the 19th century, igniting a lasting style obsession, followed by an area that focused on the late 19th-century shift towards fantasy, where the queen’s image came to symbolise beauty, enchantment and decadence. Lastly, the exhibition will highlight her lasting impact on fashion and pop culture, offering fresh takes on her iconic style.

Marie Antoinette Style will run at the Victoria and Albert Museum in South Kensington, London, from 20 September 2025-22 March 2026. – Rapaport

PlatAfrica 2025 entries close with strong response

Entries for PlatAfrica 2025, SA’s leading platinum jewellery design competition, officially closed on 25 July. The competition received a significant number of submissions from jewellery designers, students, apprentices and professionals nationwide.

This year’s theme, “New Horizon”, called for innovative and creative interpretations in platinum jewellery design.

The winners will be announced at the awards ceremony scheduled for 24 October 2025.

Marie-Antoinette, 1775 by Jean-Baptiste André Gautier-Dagoty.

Source: Wikimedia Commons. Public domain.

Can SA jewellery training be revived?

South Africa’s jewellery training landscape has faced significant decline due to long, drawn-out and almost impossible criteria, heavy administrative processes, immense funding challenges and limited facilities all over the country, particularly in the Western Cape.

Subject matter expert facilitator Faldilah Garrett explains why urgent action is needed to revive skills development and secure the industry’s future

Jewellery-making has long been a proud craft in SA, deeply rooted in history and tradition. For decades, artisans have passed their skills down through workplace-based or structured learning in the form of apprenticeships, often in small, hands-on workshops where practical training in alloying, casting, stone-setting, polishing and benchwork was taught by experienced goldsmiths. These environments, though informal, were vital in developing the kind of highly skilled craftsmanship which has shaped SA’s jewellery identity.

The imperative to drive mineral beneficiation and concurrently

upskill the local jewellery industry has never been more critical to the South African economy. For a nation grappling with the stubborn challenges of high unemployment and a reliance on volatile commodity cycles, transforming its raw mineral wealth into highvalue finished products represents a powerful pathway to sustainable and inclusive growth.

“Beneficiation in this context is impossible without a deliberate and robust programme of upskilling the workforce,” says Faldilah Garrett. “The two elements are intrinsically linked, but in recent years the jewellery industry’s faced a significant decline in structured

training, leading to steep decline in growth in the sector. Although funding mechanisms such as the Mining Qualifications Authority [MQA] grants exist, many businesses, particularly small to mediumsized manufacturers, can’t access them due to the nature of their businesses and the strain on their already limited resources. This is predominantly through the onerous and often expensive administrative process of accessing funding and the negligible delay in ensuring that it’s distributed timeously. The industry’s investigated many possible solutions, including looking into transferring to vari -

ous other SETAs, such as MerSETA and CATHSSETA, with stark contrasts in how they engage with their stakeholders. There’s a marked difference in the growth of these industries associated with SETAs which are more actively engaged with their sectors,” says Garrett.

She adds that small companies which have the expertise and passion for training, are committed to it and have managed to access the funding system are in steep decline. Many have closed their doors due to the complexity involved in applying for and managing such funding. “This is predominantly due to the SETA’s lack of active involvement and ensuring open communication with the industry, with companies waiting endlessly to receive communication from it (according to reliable industry sources within the sector),” says Garrett. “As a result, opportunities to support young artisans and develop a pipeline of skilled professionals are being lost.”

Another major challenge relates to the high costs associated with jewellery manufacturing itself. Precious metals are expensive and, unlike other countries, South African jewellers do not have access to gold loans. “This means that they must rely on capitalintensive purchases to keep their workshops operational, further limiting their capacity to train or mentor newcomers. While institutions such as universities

of technology offer theoretical qualifications in jewellery design and manufacturing, industry stakeholders often report that graduates aren’t ‘bench-ready’. The gap between academic learning and real-world bench experience continues to widen,” explains Garrett.

The MQA offers a variety of programmes aimed at addressing this skills shortage. These include bursaries for students pursuing jewellery design and manufacturing, internship funding for graduates and grants for work experience placements. Despite

these funding mechanisms, uptake remains sporadic. Many in the industry are either uninterested in these opportunities or discouraged by the burdensome administrative requirements and lengthy delays. Without support from both the public and private sectors to bridge this knowledge gap, these resources remain underutilised.

Jewellery training facilities in SA are distributed unevenly across the country. Several industry training hubs exist, primarily located in Gauteng. The Central University of Technology in the Free State provides diamond and jewellery training and the Cape Peninsula University of Technology (CPUT) offers a diploma in Jewellery Design and Manufacture in Cape Town. The CPUT is one of the limited formal options available in the Western Cape. At present, there are no dedicated, MQA-accredited public training facilities in the region which specialise in vocational jewellery manufacturing and most companies do not participate in training due to excessive delays and communication challenges associated with the MQA process.

“This lack of accessible training has serious consequences,” stresses Garrett. “With few structured apprenticeships and fewer MQAregistered programmes, the number of qualified jewellers entering the market has declined. Skilled artisans are ageing and few

“In recent years, the jewellery industry has faced a significant decline in structured NQF-aligned training that offers real opportunities for students to articulate to other qualifications on the NQF, as well as international qualifications. One of the most pressing issues is a decrease in funding support, which has had a knock-on effect throughout the sector.”

younger professionals are entering the trade. Informal workshops can only do so much without support and many no longer have the capacity to train or pass on their skills. In places like Cape Town, aspiring jewellers are left with little choice but to pursue costly private short courses, which may lack national accreditation or long-term career pathways.”

The decline in training is widely felt across the industry. A growing sentiment is that apprenticeships for goldsmithing no longer exist in SA and that not enough younger people are entering that field. With fewer hands on the bench and graduates who need further upskilling before they are ready to join manufacturing teams, the industry faces a looming skills gap. At the same time, the consumer appetite for bespoke, locally made jewellery remains strong. Without the capacity to meet this demand, South African jewellery risks losing both its market and its legacy.

Despite these challenges, the future is not without hope. Some training projects serve as successful models for regional development. With support from institutions like the MQA and strategic partnerships with government and industry, similar initiatives could be launched in the Western Cape, as well as other parts of the country. Reviving a training facility in Cape Town and Durban could address the growing need for bench-ready jewellers in those regions, while creating jobs and preserving artisanal heritage.

“To make meaningful progress, collaboration is essential,” says Garrett. “Universities and private trainers need to work closely with manufacturers to ensure that training programmes are aligned with practical realities. At the same time, meaningful engagement between the MQA and industry organisations like the Jewellery Council of SA and the Jewellery Manufacturing Association of SA could streamline access and go a long way towards supporting uptake. Public-private partnerships could offer infrastructure support, as well as seed funding and mentorship that make training more sustainable.

“In the long term, a revival of structured apprenticeships, complemented by efficient MQA funding and tax incentives, could help replenish the pool of skilled artisans. Providing young people with clear, affordable pathways into the profession will not only safeguard the craft, but also empower the next generation to take South African jewellery into a new era.”

Training may have declined, but the desire to rebuild it remains strong. With the right investment, co-ordination and commitment, the South African jewellery industry can once again become a hub of excellence where heritage, innovation and skill come together at the jeweller’s bench.

About Faldilah Garrett

Garrett is a subject matter expert facilitator who specialises in the development of occupational programmes for the NQF. Her major client profiles include MQA, SASSETA, MIC SETA, MerSETA, CHIETA, FoodBev SETA, the National Reserve Bank and QCTO. She also has smaller jewellery industry clients such as Sivana Diamonds, Black Betty Jewellery and Free Range Jewellers.

Garrett started out as a qualified goldsmith who worked in the jewellery industry since 1996 and assisted in the development of most jewellery and some mining qualifications on the NQF since 2002. She serves as a co-opted member of the JMASA Exco in her capacity as a training specialist.

She has been involved in the training and development of some of the best-known jewellery skills development providers in the country, including Pneuma Jewellers and the College of Cape Town. She has been a trade test officer in both Cape Town and Johannesburg and still assists companies with interns, learnerships and work-integrated students in the system. Her work has helped numerous local jewellers (individual and companies) achieve national and international recognition in training excellence in the country, extending as far as Cartier-UAE and the USA.

Industry welcomes return of JCSA roadshows

The Jewellery Council of SA (JCSA) successfully reintroduced its national roadshows in July, reaffirming its commitment to fostering engagement, transparency and collaboration across the South African jewellery industry

Held in Durban (2 July), Cape Town (3 July) and Johannesburg (10 July), the 2025 JCSA regional roadshows were designed to inform, connect and inspire stakeholders from all facets of the trade.

The roadshows were characterised by a renewed spirit of inclusivity and momentum, offering industry participants valuable insights into the council’s strategic direction, regulatory updates, new initiatives and a platform for direct interaction with sponsors and representatives from key industry bodies.

“These roadshows are about revitalising the industry, not merely informing, but inspiring,” said Lorna Lloyd, CEO of the JCSA.

“They provide a space where important developments intersect with authentic networking opportunities.”

The format of each event allowed attendees to engage informally with sponsors and

council representatives from 4-6pm, followed by a formal programme which commenced at 6pm. These early sessions provided guests with a unique opportunity to raise questions, share experiences and connect with peers in a relaxed environment. Of particular significance was the participation of the Financial Intelligence Centre (FIC), whose representatives were present throughout each event, providing one-on-one consultations and addressing key compliance topics during the main proceedings.

The formal segment of the programme was opened by Johan Bezuidenhout, newly elected Chairperson of the JCSA and MD of Richline SA, who delivered a welcome address reflecting on the council’s vision for a stronger and more representative industry. This was followed by a comprehensive update from Lloyd and Vice-Chairperson Grant Crosse, who outlined several of the council’s strategic focus areas. These include the development of a targeted marketing strategy, improved engagement with members and partners, industry data collection, operational efficiencies and initiatives to support deregulation within the sector.

A notable announcement was the launch of the 2026 Membership Support Initiative, presented by Evelyn Grobler and made possible through sponsorship of Johann Claassens of Inferno Gold. Recognising the financial challenges that may prevent smaller or previously affiliated businesses from participating in the council’s programmes, this initiative provides a number of fully sponsored memberships for the 2026 calendar year. Claassens, a member of the council, credited the organisation for the support it offered his business during difficult times. Through this sponsorship,

he now aims to extend the same opportunity to others in the industry. Attendees at each roadshow were invited to learn more about the initiative and engage directly with Claassens, with applications open until 14 October 2025.

The FIC’s presentation was another focal point of the event. The centre addressed a number of critical compliance topics, including registration requirements under PCC 05D, record-keeping obligations for non-high-value goods transactions and clarity on customer identification and verification versus customer due diligence, based on transaction thresholds. Particular attention was given to the reporting of high-value transactions, with practical guidance offered in

managing cases involving purchases exceeding R100 000, whether made via cash or card. The centre also clarified expectations regarding screening against the targeted financial sanctions list and provided guidance in how to proceed when a customer is identified as a match. Industry participants expressed appreciation for the centre’s willingness to address these nuanced topics with clarity and openness.

Additional updates shared by the council included a strengthened working relationship with the SA Diamond and Precious Metals Regulator. Members have reported a generally improved experience with permit renewals and the number of issued permits is expected to increase from 800 in 2024 to 917 this year. Furthermore, the number of refining licences has risen to 300, although the council is working with the regulator to

verify the operational status of these licensees.

In relation to tax and customs, the council reported continued engagement with the SA Revenue Service (SARS) on matters such as VAT refunds to tourists and the implementation of the domestic reverse charge.

The council also highlighted progress in its communications and public engagement strategy with SAJN, which is now officially produced in-house by the JCSA.

The council extended its sincere appreciation to the 2025 roadshow sponsors, Cape Precious Metals, Metal Concentrators, Inferno Gold, BYL Diamonds, the Jewellery Hub, Moon Investments and Cape Tools & Jewellery Supplies for their support.

As the South African jewellery sector continues to navigate a rapidly changing landscape, the 2025 roadshows have provided a timely and necessary platform for knowledge-sharing, strategic alignment and renewed engagement. With the support of its members and partners, the JCSA remains steadfast in its mission to lead, support and advocate a sustainable industry.

“As the South African jewellery sector continues to navigate a rapidly changing landscape, the 2025 roadshows have provided a timely and necessary platform for knowledge-sharing, strategic alignment and renewed engagement.”

Insights and networking at JCSA Roadshows

The Jewellery Council of South Africa hosted its national roadshows in Durban, Cape Town and Johannesburg this July. These events brought together industry stakeholders to share insights, discuss regulatory updates and strengthen networks.

More than just information sessions, the roadshows offered a vibrant space for networking, collaboration and building connections across the jewellery community.

AI in design: Spark creativity, rather than creating it

Generative AI is fundamentally reshaping jewellery design. Tools like Midjourney, Firefly or industry-focused platforms such as jewellery start-up Blng can convert rough sketches, paintings or text prompts into photorealistic 3D renders within seconds. This enables designers to rapidly explore hundreds of variations, experimenting with shapes, metals, textures or gem arrangements, far quicker than traditional CAD cycles.

South Africa still lags globally in adoption, but early adopters are seeing the pay-off. One platform empowers creators across the Global South with intuitive, prompt-driven AI design tools. These systems enhance creativity, helping to unlock design ideas, moodboards or cultural patterns, while preserving artisanal integrity. The key is collaboration: AI acts as a co-creator, not as a replacement.

AI as ally, not artist

Artificial intelligence (AI) is no longer a futuristic buzzword: it is rapidly becoming woven into the very fabric of the jewellery industry. From ideation and prototyping to grading, e-commerce and even sustainability, AI is shifting the way South African jewellers design, produce and sell their creations

AI in manufacturing and quality control

AI is also revolutionising manufacturing, beginning in the workshop. Cutting-edge CAD software is integrating AI to detect design flaws, optimise structural integrity and simulate light performance before a single prototype is cast.

Beyond design files, AI is embedded in physical production too. Sarine Technologies uses machine-learning to assess diamond cut, colour and clarity at scale, supporting grading processes that deliver accuracy and consistency. As South African jewellers already partner with global diamond labs, adopting AI-

“AI offers new creative horizons and digital resilience, but human authenticity remains irreplaceable. No artificial device can replicate passion, narrative or craftsmanship – but it can amplify it.”

enhanced scanning and grading could increase efficiency and traceability.

AI-powered virtual try-ons and e-commerce

The shift towards e-commerce demands trust, especially for high-value, intimate purchases like jewellery. AI-powered virtual try-on technology bridges a critical gap. Customers can see how rings, bracelets or earrings look on their own hands or faces, using a webcam or smartphone, driven by advanced computer vision and rendering techniques.

The use of AR-driven try-ons has proven results, including a reduction in return rates by over 40%, greater customer confidence and a marked increase in engagement and purchase intentions. Even free tools (such as AI Ease) allow customers to upload selfies and visualise different jewellery styles. For South African jewellers with an online presence, or those targeting export markets, embedding virtual try-ons can differentiate service and reduce buyer hesitation.

Marketing and personalisation: AI at scale

In digital marketing, AI is the new powerhouse. Brands are using algorithms to generate compelling social captions, derive A/B optimised ads, auto-edit product photos and even script short promotional videos, all saving time and keeping brand tone consistent.

Customer data, purchase history, browsing patterns and wish lists can feed AI-driven recommendation

engines which suggest curated selections based on style or price preferences. Predictive analytics allow smarter festive season stocking by anticipating demographic trends and sales peaks, while chatbots or virtual assistants engage with customers around the clock.

Salesforce reports indicate that roughly 36% of retail staff already use or plan to adopt generative AI –and this could rise to 45% by 2025, with generative AI budgets doubling in many organisations. South African jewellers should be watching these shifts closely as “smart” marketing becomes table-stakes.

Ethical and copyright considerations

With opportunity come legal and ethical challenges. AI systems often train on vast datasets, which may include copyrighted designs, raising questions over ownership of AI-generated work. If an AI platform uses centuriesold indigenous patterns without attribution, who owns that intellectual property?

Further, there is concern about AI displacing traditional craftsmanship. However, most

jewellers report that AI enhances, rather than replaces, human skill, accelerating ideation, supporting prototyping and helping digital transformation, rather than erasing artisanal roles.

The real imperative is transparency. Brands should clearly acknowledge AI’s role, whether in design support, photo-editing or customer service. Small-print disclaimers, partner agreements and local legal consultation will be essential to navigate liability and copyright in SA.

Local innovation and leading global examples

While adoption in SA is still emerging, the groundwork is building:

• International luxury brands like Bvlgari and Pandora are already integrating virtual AR try-ons, setting a consumer expectation.

• Blng recently received an LVMH Innovation Award for converting sketches into photorealistic 3D models and imagery, reducing prototyping time from weeks to seconds.

• Sarine Technologies automates diamond grading and mapping, showcasing the power of AI in the value chain.

AI is not a threat, but an invitation. Tools which help designers visualise patterns and suppliers who grade diamonds with precision and platforms bring jewellery to clients anywhere in the world – and all of them have the potential to make the industry smarter, faster and more inclusive.

horizons and digital resilience, but human authenticity remains

For South African jewellers working across gemstones, gold, platinum or culturally inspired designs, AI off ers new creative horizons and digital resilience, but human authenticity remains irreplaceable. No artifi cial device can replicate passion, narrative or craftsmanship – but it can amplify it.

Who owns an AI-generated jewellery design?

As AI tools enter the jewellery design space, many South African jewellers are asking this crucial question. The short answer is that it depends. While copyright law is evolving worldwide, here is what jewellery professionals need to know right now:

Most countries do not grant copyright to AI In jurisdictions like the USA, the UK and SA, copyright typically only protects works created by a human author. This means that if a jewellery design is entirely generated by AI, without significant human input, it may not be copyrightable at all.

However, if you use AI as a tool (for example, by giving prompts, modifying the output and guiding the creative process), your resulting design is more likely to qualify for copyright protection under South African law, which requires a degree of “original skill and labour”.

Platform terms may aﬀ ect ownership

When using AI tools like Midjourney, Firefly or Blng, always read the fine print. Some platforms allow full commercial use of the images or designs you create; others retain some rights or impose restrictions.

For example:

• Midjourney: Commercial use is permitted on paid plans, but the company retains a licence to your output.

• Adobe Fireﬂ y: Offers content for commercial use with an enterprise-safe model, as it is trained on Adobe Stock and public domain content.

• Blng: Aimed at jewellery professionals and offers clearer licensing for commercial design work, but check each plan’s terms.

If you are collaborating with freelancers or agencies using these tools, contracts should clearly state who owns the final design.

Cultural content adds another layer AI tools sometimes incorporate design elements inspired by traditional or indigenous art. This raises ethical concerns about cultural appropriation. South African jewellers should be cautious when generating designs which resemble heritage patterns, especially if they are not from that cultural background.

Where possible, consider partnerships with local artisans or seek cultural guidance to ensure respectful use.

The bottom line: AI can be a powerful creative partner, but the legal and ethical frameworks are still evolving. If you are serious about protecting your designs, treat AI like any other supplier: use contracts, check usage rights and, when in doubt, consult an IP expert.

“AI can be a powerful creative partner, but the legal and ethical frameworks around it are still evolving. If you are serious about protecting your designs, treat AI like any other supplier: use contracts, check usage rights and, when in doubt, consult an IP expert.”

Jewellex Africa 2025 is set to take place at The Galleria in Kramerville, Sandton, an elegant and modern venue which perfectly refl ects the glamour and prestige of South Africa’s premier jewellery trade fair on Sunday, 28 September from 10am-5pm and Monday, 29 September from 9am3pm. A virtual tour of the new venue can be taken by visiting: www.thegalleria.co.za.

Proudly hosted by the Jewellery Council of SA for over fi ve decades, Jewellex Africa remains the flagship event for the South African jewellery industry. This annual trade fair offers the ultimate platform for launching new product ranges and securing orders ahead of the festive season. It also provides a rare opportunity for industry professionals to reconnect, network and build new partnerships in both professional and social environments.

Conﬁ rmed exhibitors

This year’s edition of Jewellex Africa will feature a strong line-up of exhibitors, including suppliers, manufacturers, service providers and logistics partners from across the industry. Confirmed participants are:

• BASS ANO GIOIELLI (PTY) LTD

• BRINKS SA (PTY) LTD

• CALDEAZ MANUFACTURING TECHNOLOGIES

• CAPE PRECIOUS METALS

• CAPE TOOLS

• CRAYVE PRESENTATIONS (PTY) LTD

• CRYSTAL FORUM

• DE-NIRO TRADING

• FERRARI LOGISTICS SOUTHERN AFRICA (PTY) LTD

• GEM DISTRIBUTORS

• GIFTPAK (PTY) LTD

• GROUP ONE SA (PTY) LTD

• HEAVENLY TRADING

• INNOV-X AFRICA

The industry’s premier event returns to an elegant new venue

• ISABELLA JEWELLERS & REFINERS

• ITALCHAIN (PTY) LTD

• JEWELLERS' NETWORK

• JEWELLERY AFRIKA

• JEWELLERY REPLACEMENT CONSULTANTS

• JOY COLLECTABLES

• JPPE MANUFACTURING JEWELLERS

• KGK DIAMONDS SA (PTY) LTD

• KIMBERLEY DIAMOND JEWELLERY INCUBATOR

• M&R AGENCIES

• METAL CONCENTRATORS SA (PTY) LTD

• NICK THE PEARLMAN

• NIVODA

• ORO AFRICA (PTY) LTD

• PRECIOUS METALS TSWANE

• PUNTO DIAMANTE (PTY) LTD

• RAND REFINERY LIMITED

• RMK SILVER

• ROMA GOLD

• SA JEWELLERY

• SA JEWELLERY NEWS

• SCIENTIFIC APPLICATIONS

• SETH JEWELLERY FINDINGS

• SIENCA CC

• SILVER & STEEL INCORPORATING HAMILTONS

• SM WATCH WHOLESALE (PTY) LTD

• SPECTROMETER TECHNOLOGIES

• SUNDELSON BROTHERS

• THE JEWELLERY COUNCIL OF SA

• TRUSTROOT (PTY) LTD

• UNITED SCIENTIFIC (PTY) LTD

• UNITY DISTRIBUTORS (PTY) LTD

• VEGA ZA (PTY) LTD

• VERSITRADE

* This list includes conﬁrmed exhibitors only. SMMEs participating on collaborative stands as well as DTIC-supported exhibitors are not included.

Gem & Jewel Insurance.

A cut above the rest

Approach risk with purpose.

The JCSA also extends its sincere appreciation to the sponsors of Jewellex Africa 2025 for their support:

Welcome breakfast – Rand Refinery

Lanyards – Brinks

Carrier bags – Metal Concentrators

Printed exhibitor board at entrance – Bryte SA

Branded water – Precious Metals Tswane

Registration area – Cape Precious Metals

Visitor badge sponsorship – Giftpak

Early online registration is strongly advised.

With an exciting line-up of exhibitors, a stunning new venue and countless opportunities to network, learn and do business, Jewellex Africa 2025 promises to be a highlight on the industry calendar. The countdown has offi cially begun!

The Gem & Jewel product provides a tailormade sustainable solution for jewellery related businesses that navigate the changing jewellery industry, market conditions and challenges exacerbated by crime and global economic inﬂuences.

The Jewellex Edition of SAJN is our most anticipated and widely circulated issue of the year. Timed to coincide with Jewellex Africa, this edition offers a prime opportunity to showcase your brand when the entire industry is actively seeking to connect and source. More importantly, every exhibitor and visitor will receive a copy in their official Jewellex carrier bag, guaranteeing that your advertisement lands directly in the hands of the people who matter most. For booking enquiries, contact Thuli Majola at: thulim@jewellery.org.za.

Working with the jewellery industry requires a detailed understanding of its unique requirements and with years of experience in developing niche insurance products, Bryte is one of South Africa’s leaders in providing cover for retail, wholesale and manufacturing jewellers, gem cutters and setters, watch importers, coin dealers, tender houses and dealers, goldsmiths, diamond and metal processors and reﬁners.

Just as we know that one size does not ﬁt all, we also appreciate that standard commercial cover is the wrong ﬁt for these customers.

In order to safeguard the integrity of this trade-only event, the following visitor registration procedures will apply:

• JCSA main members will be pre-registered as VIPs and will receive personalised electronic barcodes via e-mail. Staff members must complete online registration separately.

Bryte’s Jewellery and Precious Assets division is excited to oﬀer you our Gem & Jewel cover, which is endorsed by the Jewellery Council.

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

• Members of the Diamond Dealers Club of SA, the Diamond Council of SA and the Rough Diamond Dealers Association must register online, but are not required to upload supporting documents.

• Non-members must upload both company documentation (business card or letterhead) and a valid form of identification (ID, passport or driver’s licence). Gym or retail cards are not accepted.

• On-site registration is strongly discouraged. Visitors who have not registered in advance must bring the required documents to complete the process at the venue.

• Spouses or family members must be accompanied by the registered trade visitor and present their ID upon arrival. They will receive visitor stickers to be worn throughout the event.

• All visitors, regardless of registration status, must present valid identification at the entrance.

From design to refinement: the faces behind Inferno Gold

Meet the dedicated team behind Inferno Gold. From design roots to ethical recovery, their journey reflects a bold new chapter in responsible craftsmanship

Inferno Gold, formerly known as Piccolo Fine Designer Jewellery, has undergone a strategic rebrand to reflect its transformation from a bespoke jewellery house into a pioneering ethical gold refiner. This evolution marks a renewed commitment to responsible sourcing, sustainability, and precision refining.

Specialising in the recovery of gold from old jewellery, industrial

by-products and electronic waste, Inferno Gold plays an important role in supporting a circular economy. Through state-of-the-art refining processes and transparent client services, the company helps jewellery manufacturers, designers and businesses turn production waste into valuable, pure precious metals.

With an emphasis on accountability, integrity and innovation, Inferno Gold is leading the way towards a more sustainable future in the jewellery and refining industries.

Meet the team behind Inferno Gold

Behind Inferno Gold’s success is a passionate and highly skilled team. Each team member plays a vital role in ensuring the company delivers

on its promise of precision, transparency and sustainability in gold refining.

Johann Claassens – Owner & CEO

As the founder and driving force behind Inferno Gold, Claassens wears many hats. From overseeing operations and refining processes to managing client relationships and longterm strategy, Claassens is at the helm of it all. His journey began in jewellery design and manufacturing, where he spent over 13 years perfecting the art of craftsmanship. However, his curiosity about the full life-cycle of gold sparked a deeper interest in refining, and that is where the real transformation began.

“I wanted to understand gold beyond the design studio,” Claassens says. “Where it comes from, how it’s recovered and how we can do it better, cleaner, smarter and more sustainably.”

With no formal qualifications but an unmatched work ethic and drive, Claassens taught himself the ins and outs of precious metal refining. From setting up the refinery to ensuring full compliance and precision in every process, his leadership is both visionary and hands-on.

“What I love most is seeing the raw gold come in and leave as a pure, refined bar, knowing we did it with transparency and care,” he shares. “It’s about more than metal – it’s about trust.”

Suvette Claassens –

Head of Design and Operations

Creative, driven and quietly relentless, Suvette Claassens brings over 16 years of industry experience to her dual role at Inferno Gold. With a BTech in jewellery design and manufacturing from Tshwane University of Technology, her love for jewellery began in her teenage years. One Saturday, she tried her hand at making silver jewellery and never looked back.

“I was instantly hooked. The process of making something beautiful with your hands was addictive,” she recalls. “It felt natural to pursue it as a career.”

From humble beginnings selling handmade pieces at the Irene Market, she has grown into a seasoned industry professional who now plays a key role in both design and operational management at Inferno Gold. She thrives on working closely with clients and ensuring that the entire process, whether it is design, recovery or refining, flows smoothly and professionally.

“What makes me proud is where we started and where we are now. Watching this business grow into a fully operational refinery and being part of every step has been incredibly rewarding,” she says.

Christian Oldewage –

Director and Casting Co-ordinator

Oldewage is the perfect example of someone who found their passion through curiosity and carved out a dynamic career. His first steps into the industry came through a leading 3D wax printing company in Pretoria, where he was introduced to the world of 3D jewellery design. Fascinated by the process, Oldewage dove into learning more and quickly discovered that jewellery casting was where his heart truly lay.

“I’ve always been drawn to how things are made and casting is literally watching transformation happen right before your eyes,” he explains.

At Inferno Gold, Oldewage plays a crucial dual role: he oversees all casting operations and is also actively involved in the financial and operational management of the company. His days are a careful balance between precision casting and handling the complexities that come with running a multi-faceted refining and jewellery business.

“Each day is different and that’s what I love. Whether I’m casting a ring or working through budgets, there’s always something to solve, something to create,” he says with a smile. “It keeps you sharp.”

Oldewage is especially proud of his journey from technician to director, a path built on commitment, curiosity and continuous learning.

z als.co.za | orders@cpmct.co.za | whatsapp: 066 063 1518

GOLD AND SILVER: THE FOUNDATION OF A SECURE PORTFOLIO

In honour of Nelson Mandela Month, we celebrate the values of legacy, resilience, and pride

From Krugerrands to our African Collection medallions, each piece is locally manufactured and sold with proof of authenticity.

Our gold and silver offerings are more than just investments, they’re symbols of heritage that hold value across generations.

Tools of the trade

AAs the jewellery industry continues to evolve, staying ahead of the curve means embracing the latest tools, technologies and machinery which enhance both creativity and efficiency. This month, we are spotlighting argentium silver

rgentium silver continues to gain traction as a premium alternative to traditional sterling, although many in the industry remain unfamiliar with its unique advantages. Containing germanium, argentium offers enhanced tarnishresistance, superior brightness and increased strength. It is also highly resistant to firescale and is known for its hypo-allergenic properties.

Available in granule form for melting, flat plate for immediate use, wire, chain and findings, argentium is particularly valuable for jewellers without rolling mills or melting facilities. The pre-polished, perfectly flat plate is ideal for use in laser cutting machines, offering clean results with minimal finishing.

Jewellers also appreciate the alloy’s compatibility with fusion techniques such as granulation and its ease of care: cleaning requires minimal eff ort and tarnish is dramatically reduced under normal wear. With no need for pickling after soldering and a brighter, whiter appearance, argentium has become an increasingly attractive material for both fi ne and production jewellery.

Busch burs: German-engineered precision

Busch is a well-respected name in the world of burs and rotary tools, offering a wide range of shapes and profiles designed for efficient, accurate metalworking. The burs are made from high-grade, hardened steel or carbide, offering consistent performance and longer tool life. Many goldsmiths report increased productivity, thanks to newly designed shapes that can replace two older burs or steps in a process.

as platinum and titanium. These burs maintain

Jewellers should also consider tool care practices: rather than beeswax, modern bur lubricants are recommended to reduce friction, minimise heat buildup and prolong tool life. Proper storage and regular cleaning further enhance performance and reduce tool replacement costs.

High-performance carbide and hardened steel tools

For those working with high-strength alloys such as white gold, titanium and platinum, professionalgrade tools made from hot, isostatically pressed carbide off er excellent results. These instruments are engineered for strength, longevity and precision, making them ideal for shaping, drilling and cutting harder metals.

Equally important are hardened steel tools made from a single piece, known for optimal concentricity and precise cutting action. Their balanced design ensures efficient material removal and reduced wear, even in demanding production environments.

From the advanced tarnish-resistance of argentium silver to the lasting performance of Busch burs and high-tech tools, today’s jewellery professionals have access to materials and equipment that off er measurable benefi ts in quality, speed and effi ciency. As market demands evolve, so too must the tools of the trade.

The HD Hart and HighTech burs are particularly popular for their durability and cutting power, especially when working with hard metals such as platinum and titanium. These burs maintain sharpness over extended use and deliver superior concentricity for precise results.

Cape Tools & Jewellery Supplies is a local supplier of Busch burs and high-performance carbide and hardened steel tools. We thank them for their ongoing assistance with the Tools of the Trade column.

One designer’s African jewellery journey

Rooted in the legacy of the Lemba people, Bernice Dickson is reclaiming African jewellery narratives with meaning and elegance. Her mission is simple: create jewellery that tells a story – and build an industry that empowers

For Bernice Dickson, CEO of House of Lemba Designs, the path to the jewellery industry was written in her DNA long before she knew it. When her father asked what career she intended to pursue after matric, she confidently answered: “I’m going to work with diamonds and gold.” His laughter revealed a family secret: he had once been a diamond trader himself. Her birth name, Pearl, was no coincidence.

That formative conversation set Dickson on a remarkable journey. After completing her diploma in jewellery design

“Currently participating in the De Beers Group’s Enterprise Development Project for Diamond Beneficiators, Dickson is already working on collections which represent seven South African cultural traditions. Her long-term goal is to establish House of Lemba Designs in Dubai’s gold souks and other global special economic zones.”

and manufacturing in the early 2000s, she soon discovered that the industry was far from glamorous. “You think it’s all glory, that you’ll be making money in the next year because it’s diamonds and gold,” she reflects.

The challenges came fast and hard. Her first venture, Lemba Design Studios, failed due to limited market access and insufficient understanding of brand positioning. The industry’s lack of flexibility regarding family life presented another obstacle when she became a mother, leading her to diversify her skills beyond jewellery.

Undeterred, Dickson drew on her varied experiences to build a comprehensive, industry-savvy

skills set. She worked as a project manager in both the jewellery and broader manufacturing sectors, becoming a qualified trade tester and training moderator. These roles would prove pivotal, laying the groundwork for the next phase of her entrepreneurial journey and equipping her with the expertise to mentor others.

That foundation was reinforced by the community support that dated back to her father’s earlier business relationships. In 2015, she officially registered House of Lemba Designs and became an accredited training provider, setting up a workshop in Winterveld, Pretoria, a marginalised community where she grew up. Her father’s former clients and local business associates became early supporters of the venture, lending it both credibility and vital connections.

With funding secured from the National Skills Fund, Dickson was able to train 22 students to Level 4 in jewellery manufacturing. However, she soon realised that training alone was not enough. Instead of letting graduates drift without opportunities, she sought a sustainable model that would absorb them into the business for further development. Today, her company actively creates a pathway from training to employment, ensuring both social impact and commercial sustainability.

What truly distinguishes House of Lemba Designs is Dickson’s unwavering commitment to celebrating African heritage

through jewellery. The brand name itself holds profound cultural significance. After discovering her roots among the Lemba people, known as the “Black Jews of the Southern Hemisphere”, Dickson embraced this identity and made it the heart of her brand.

Her approach is disrupting the industry through authentic cultural story-telling. Moving beyond tokenistic references or clichéd images of “plastic beads”, she develops collections grounded in research and meaning. One striking example includes drawing from the Venda ngoma drum, reimagining its symbolism into high-end gold and diamond pieces.

Her creative strategy is clear: authentic story-telling paired with premium quality. “If you’re selling African-inspired work, then each of your pieces needs to tell a story,” she insists. Every design is culturally grounded and globally competitive, maintaining rigorous standards that position House of Lemba for international success.

Currently participating in the De Beers Group’s Enterprise Development Project for Diamond Beneficiators, Dickson is already working on collections that represent seven South African cultural traditions. Her long-term goal is to establish House of Lemba Designs in Dubai’s gold souks and other global special economic zones.

Her message to the industry is resolute: “We need to support South African goldsmiths and our own creatives. We can produce products that are world-ready.”

Did you know?

Sardonyx, the original ancient birthstone for August, is a variety of onyx that features alternating layers of sard (a reddish-brown chalcedony) and onyx (a white or black chalcedony). This creates distinctive parallel bands of reddish-brown and white.

Lady Diana Spencer chose her sapphire and diamond engagement ring from a Garrard catalogue.

Ann Porteus, CC BY 2.0.

Only four women have ever worn the Tiﬀ any yellow diamond – Mary Whitehouse, Audrey Hepburn, Lady Gaga and Beyoncé.

The Hope Diamond's deep blue colour is due to traces of boron within its crystal structure. However, it also brieﬂ y phosphoresces (glows) a strong red colour after being exposed to ultraviolet light, a rare and eerie phenomenon that adds to its mystique.

During World War II, the British Ministry of Defence needed robust, waterproof watches for military personnel. They approached Swiss manufacturers who could meet their strict speciﬁ cations for a "Watch. Wrist. Waterproof" (WWW). Twelve brands were accepted and collecting all 12 (the "Dirty Dozen") is a "Holy Grail" for watch enthusiasts.

The renowned watch brand Omega was not originally called that. It began as Louis Brandt, then Louis Brandt & Fils. The name "Omega" actually came from a revolutionary hightech movement the Brandt brothers developed in 1894, which signiﬁ cantly improved accuracy and reliability. It was so successful that the company renamed itself after the movement in 1903.

In many historical paintings, artists used painstaking techniques like "pointillé" (tiny dots of white or yellow paint) to mimic the glitter of gems and the shine of gold.

When portable spring-driven clocks ﬁrst appeared in the 15th and 16th centuries (the precursors to pocket watches), they often only had an hour hand. The minute hand was not widely introduced until the 17th century.

Aluminium was considered a precious metal until the late 1800s.

GEMS & GEMOLOGY GEMS & GEMOLOGY

Analytical techniques in gemology: A historical overview

James E. Shigley

Historical background

The use of scientific instruments for testing gems at GIA began a few years after its founding in 1931, as reported in early editions of this journal. Prior to that, there were few gem testing instruments designed specifically for jewelers. In the early 1900s, G.F. Herbert Smith at the British Museum in London championed the optical refractometer for gem testing (Herbert Smith, 1907). He and his contemporaries discussed additional practical tests such as dichroism, absorption spectra, density, and hardness. GIA founder Robert M. Shipley sought to expand the development of testing instruments tailored to meet the needs of jewelers and gemologists, while educating them on these tools (figure 2)

The cold slabs can be thought of as having a carbonated crust component and a hydrated/serpentinized mantle peridotite component that lies shielded beneath the crust, toward the interior of the slab. The deep release of carbonatitic melt and hydrous fl uid from each component, respectively, is shown in the two depth profiles in figure 3. The carbonated crust (mid-ocean ridge basalt, or MORB) of the slab surface will intersect a deep depression in its solidus, the curve describing the beginning of melting, meaning it exceeds the melting temperature. Beyond this point, carbonate melting (red arrows) is expected to occur within the top/crustal portion of the slab.

For hydrated/serpentinized mantle peridotite inside the slab, its stability also depends on temperature. If it remains cool, the serpentine can metamorphose into higher-pressure water-

(DHMS) rather than breaking down. DHMS phases are a good vehicle for transporting water, with some carrying as much as 10% or more water by weight. The geotherm for the interior of cold slabs remains in the DHMS stability fi eld far beyond a depth of 300 km (far right in figure 3). The slab in figure 3 is shown defl ecting as it reaches the top of the lower mantle (at 660 km), where there is a change in mantle density and deformability. As the slab stalls and warms up, DHMS phases break down to form minerals that carry much less water, thereby causing water release (blue arrows in figure 3). These are the mechanisms proposed to trigger not only deep-focus earthquakes but also

Figure 2. Standard testing equipment produced or distributed by GIA during the 1980s and 1990s.

Inclusions in the smaller, lower-quality varieties of sublithospheric diamonds often show evidence of growth from carbonatitic melts derived from slabs (Walter et al., 2008), but hydrous/aqueous fl uids have also been implicated for some samples (Wirth et al., 2007; Pearson et al., 2014; Palot et al., 2016). Serpentinite in subducting slabs can be relatively enriched in boron, meaning that the eventual breakdown of hydrous minerals from serpentinized peridotite can release boron-bearing hydrous fl uid, which has been linked with the formation of type IIb (boron-bearing) diamonds (Smith et al., 2018). Figure 4 shows a calcium silicate (breyite) inclusion with methane and hydrogen in a type IIb diamond. The original mineral inclusion may have been relatively hydrogen-rich

Diamond-bearing kimberlite eruption

In the late 1930s, GIA began evaluating and teaching the proper use of devices such as the loupe, microscope, hand spectroscope, refractometer, and dichroscope.

Continental lithosphere Deep-focus earthquake activity

These were produced by various manufacturers, including GIA. Some commercially available scientific instruments were useful for gem studies, but the special needs for holding, manipulating, and illuminating gems often required modifications (such as light source additions to the microscope). Some methods were adopted from the field of mineralogy. By the end of the decade, GIA was the exclusive U.S. distributor for several gemological instruments made abroad and had begun manufacturing its own specialized equipment, including a commercially available stereomicroscope fitted with darkfield illumination, introduced in 1938 (figure 3)

Oceaniclithosphere

With the establishment of the GIA Gem Trade Laboratory in New York in the fall of 1949, gem testing for trade clients and the use of gemological instruments became more routine at GIA. This use increased with the introduction of the first GIA diamond grading reports in 1955. GIA Gem Instruments was established in 1966 to develop new equipment and refine existing tools. The acquisition of more advanced scientific instrumentation accelerated following the creation of GIA’s research department in 1976. Investment in research staff and analytical instrumentation has continued to the present day, as evidenced by the articles in this special issue.

Scientific instruments for gem testing

Figure 3. Mantle cross section showing a relatively cool subducting slab, with an inset histogram of earthquake frequency (from figure 1). Profiles on the right show the slab surface and interior temperature during subduction. Where the slab surface temperature intersects the solidus of carbonated mid-ocean ridge basalt (MORB), partial melting may occur (red arrows). At the far right, a cold slab interior remains within the dense hydrous magnesium silicates (DHMS) stability field until the slab stalls and warms up, causing the breakdown of these hydrous phases and the release of hydrous fluid (blue arrows). Large white and smaller brown diamond symbols signify the growth of high-quality gem diamonds (CLIPPIR and type IIb) and low-quality, generally non-gem sublithospheric diamonds, respectively. Poorly understood mechanisms transport some diamonds upward where they can be swept up in kimberlite eruptions and mixed with common lithospheric diamonds (small black diamond symbols). Modified from Smith and Nestola (2021) with carbonated MORB solidus from Thomson et al. (2016b) and DHMS stability field from Harte (2010).

Instrument development for gem testing often resulted from the need to address new identification challenges in the marketplace when existing instruments and methods

Figure 1. Dr. Vince Manson using GIA’s first scanning electron microscope, acquired in 1976.

depression in its solidus, the curve describing the beginning of melting, meaning it exceeds the melting temperature. Beyond this point, carbonate melting (red arrows) is expected to occur within the top/crustal portion of the slab.

bearing minerals called dense hydrous magnesium silicates (DHMS) rather than breaking down. DHMS phases are a good vehicle for transporting water, with some carrying as much as 10% or more water by weight. The geotherm for the interior of cold slabs remains in the DHMS stability fi eld far beyond a depth of 300 km (far right in figure 3). The slab in figure 3 is shown defl ecting as it reaches the top of the lower mantle (at 660 km), where there is a change in mantle density and deformability. As the slab stalls and warms up, DHMS phases break down to form minerals that carry much less water, thereby causing water release (blue arrows in figure 3). These are the mechanisms proposed to trigger not only deep-focus earthquakes but also super-deep diamond growth (Shirey et al., 2021).

when they are collected on samples of known natural, synthetic, or treated origin. Many gems submitted to a laboratory for testing are of less certain origin, so the analytical data obtained from them can be problematic.

Microscopy and photomicrography

Although glass lenses have been employed for magnification for many centuries, the use of what today would be called a microscope began in the mid-1600s. Scientists at the time were able to study materials at magnifications of up to about 300×. Over the following centuries, their application became extensive in many scientific fields (Kile, 2003). Microscopes using polarized light specifically designed for petrographic studies in geology became available in the 1870s. According to Gunter (2004), over the past century these microscopes have “since contributed more to our knowledge of minerals and rocks than any other single instrument.”

were no longer sufficient. The introduction of a new piece of scientific equipment often inspired gem researchers to adapt it for their own needs. In recent decades, the increasing sophistication of gem synthesis and treatment techniques has accelerated the need for more advanced scientific instrumentation.

For hydrated/serpentinized mantle peridotite inside the slab, its stability also depends on temperature. If it remains cool, the serpentine can metamorphose into higher-pressure water-

Diamond-bearing kimberlite eruption

Continental lithosphere

Several aspects of advanced instrumentation are worth mentioning. The testing procedure for gems submitted by laboratory clients must not result in visible damage or destruction to the samples, because these samples tend to be rare and highly valued by their owners. For testing, they must fit into and be held within the sample compartment of the instrument. Modification of the sample compartment may therefore be necessary. When recording spectra or conducting a chemical analysis, the testing location on the gem sample must be positioned so that it is accessible. For example, it may be more effective to bring the light signal directly to the gem using some type of flexible optical cable to capture a visible spectrum. In a high-volume production environment, both the analysis time and the ease of positioning and removing gem samples from an instrument are important factors.

Deep-focus earthquake activity

High-quality CLIPPIR and type IIb diamonds

Low-quality, non-gem sublithospheric diamonds

Lithospheric diamonds

Oceaniclithosphere

One of the first to describe gemstone inclusions observed with a microscope was the naturalist Isaac Lea, who published sketches of some of these microfeatures (Lea, 1866, 1869, 1876, 1877). The geologist Henry Sorby pioneered the study of rocks and minerals using the microscope and also published works on mineral inclusions in gems (Sorby, 1869; Sorby and Butler, 1869). The diagnostic value of inclusions in gem identification was first elucidated in the 1940s by the legendary gemologist Edward J. Gübelin (1945a,b,c, 1948; see also Kane et al., 2005). These micro-features could provide information on a gem’s identity, quality grade, geologic and geographic origin, method of synthesis, and evidence of treatment. The three volume Photoatlas of Inclusions in Gemstones (Gübelin and Koivula, 1986, 2005, 2008) remains the most significant reference work on mineral and fluid inclusions encountered in the major commercial gemstones. The past several decades have witnessed the introduction of polarizing and color filters, various kinds of illumination (brightfield, darkfield, reflected, diffused, indirect, and fiber-focused), and more recently digital photography and computer processing techniques to enhance photographic images (Koivula, 2003; Renfro, 2015a,b) (figures 4 and 5)

Carbonated slab melting

Hydrous uid

Spectroscopy

The value of any data gathered from gems using scientific instruments becomes much more significant and useful when the results are stored in a searchable database and

Spectroscopy is the scientific study of how light interacts with materials (whether reflected, absorbed, or emitted). A spectrum is a graphical representation of that interaction as a function of light wavelength or frequency. The electromagnetic spectrum is the range of energy vibrations that correspond to wavelengths extending from many kilometers down to a fraction of the size of an atomic

Figure 3. Richard Liddicoat using a stereomicroscope (the GIA Diamondscope) with darkfield illumination. Introduced in 1938, it provided improved viewing of inclusions and clarity features in gemstones.

ridge basalt, or MORB) of the slab surface will intersect a deep depression in its solidus, the curve describing the beginning of melting, meaning it exceeds the melting temperature. Beyond this point, carbonate melting (red arrows) is expected to occur within the top/crustal portion of the slab.

nucleus (figure 6). This wide range of frequency is divided into separate regions of interest.

For hydrated/serpentinized mantle peridotite inside the slab, its stability also depends on temperature. If it remains cool, the serpentine can metamorphose into higher-pressure water-

Visible light is the limited portion of the electromagnetic spectrum that can be detected by the human eye. Each color of visible light corresponds to a particular range of wavelength and vibration frequency. When white light passes from the air into a triangular glass prism and then back into the air, the component colors propagate at different speeds. This causes the colored light rays to refract at different angles, dispersing into the familiar rainbow pattern.

Diamond-bearing kimberlite eruption

Continental lithosphere

Deep-focus earthquake activity

Among the earliest uses of the spectroscope were observations of the sun’s light emission spectrum and of the distinctive spectrum patterns produced when chemical elements were heated to incandescence by a flame. These breakthroughs demonstrated that

visible spectra could be used to analyze the chemical composition of either nearby objects or very distant celestial bodies. When matter is heated to incandescence at high temperatures, it can emit a nearly continuous light spectrum. As this emitted light passes through a lowertemperature material, a pattern of narrow absorption and transmission bands appears. This pattern is based on the object’s composition.

Oceaniclithosphere

A visible transmission/absorption spectrum of a gemstone, as seen using a spectroscope, reveals information on the causes of coloration. The hand spectroscope, championed by Anderson (1944a,b) and Crowningshield (1957; see also Moses et al., 2003), gives a visual representation of the wavelength regions of both selective light transmission and absorption by a gem. Each gem has its own characteristic pattern of narrow to wide, lighter to darker absorption bands, so viewing the spectrum pattern with a

some diamonds upward where they can be swept up in kimberlite eruptions and mixed with common lithospheric diamonds (small black diamond symbols). Modified from Smith and Nestola (2021) with carbonated MORB solidus from Thomson et al. (2016b) and DHMS stability field from Harte (2010).

Figure 4. Nathan Renfro using the Nikon photomicroscope for observation and photography of inclusions and other micro-features at magnifications up to 1000×.

Photo by Kevin Schumacher.

Figure 5. Photomicrography of inclusions: pyrochlore in a Cambodian sapphire (A), multiphase in a Colombian emerald (B), and sulfides in a Mozambique ruby (C). Photomicrographs by Nathan Renfro and Jonathan Muyal (C).

6. The electromagnetic spectrum encompasses the range of all possible frequencies of electromagnetic radiation. This form of energy travels through space in waves, which can be characterized by their wavelength and frequency. Note that as frequency increases (and wavelength decreases), energy also increases. Spectroscopic techniques are used to study gems in the ultraviolet, visible, and infrared regions of the spectrum.

spectroscope can provide a quick means of identification for the gemologist (figure 7)

For hydrated/serpentinized mantle peridotite inside the slab, its stability also depends on temperature. If it remains cool, the serpentine can metamorphose into higher-pressure water-

A spectrophotometer captures that same visible spectrum information but produces a graphical representation with wavelength values along the plot’s horizontal axis and the relative amount of light transmission or absorption along the vertical axis. The spectrophotometer offers several advantages over the spectroscope: a wider wavelength range of spectral features, the detection of very weak features not visible with the spectroscope, and the accurate wavelength locations of these features. Spectral features at wavelengths beyond the red end of the spectrum (the infrared) and those beyond the violet (the

Diamond-bearing kimberlite eruption

Continental lithosphere

Deep-focus earthquake activity

High-quality CLIPPIR and type IIb diamonds

Low-quality, non-gem sublithospheric diamonds

Lithospheric diamonds

ultraviolet) are also of importance for gem characterization, and these can be captured with similar types of equipment. Although first developed several decades earlier, visible light spectrophotometers began to appear in gem testing laboratories in the mid- to late 1980s. This was followed by infrared and then other spectroscopy techniques (Nassau, 1981; Lind and Schmetzer, 1983; McMillan 1985, 1989; Fritsch and Stockton, 1987; McMillan and Hofmeister, 1988).

Oceaniclithosphere

In addition to their diagnostic value, spectroscopic methods are also generally non-destructive (although some types of higher-energy ultraviolet illumination can affect a gem’s color or other features). However, these methods do present

slab melting Hydrous uid

3. Mantle cross section showing a relatively cool subducting slab, with an inset histogram of earthquake frequency (from figure 1). Profiles on the right show the slab surface and interior temperature during subduction. Where the slab surface temperature intersects the solidus of carbonated mid-ocean ridge basalt (MORB), partial melting may occur (red arrows). At the far right, a cold slab interior remains within the dense hydrous magnesium silicates (DHMS) stability field until the slab stalls and warms up, causing the breakdown of these hydrous phases and the release of hydrous fluid (blue arrows). Large white and smaller brown diamond symbols signify the growth of high-quality gem diamonds (CLIPPIR and type IIb) and low-quality, generally non-gem sublithospheric diamonds, respectively. Poorly understood mechanisms transport some diamonds upward where they can be swept up in kimberlite eruptions and mixed with common lithospheric diamonds (small black diamond symbols). Modified from Smith and Nestola (2021) with carbonated MORB solidus from Thomson et al. (2016b) and DHMS stability field from Harte (2010).

7. Left: Reproductions of Robert Crowningshield’s hand-drawn spectrum patterns for colored diamonds, first published in the fifth edition of Richard Liddicoat’s Handbook of Gem Identification in 1957. Right: Artistic color renderings of the spectra for emerald (top) and zircon (bottom) currently used in GIA educational material.

Figure

Carbonated

Figure

(figure 3).

some practical challenges. A gem’s facet arrangement and cutting style often affect the amount of light transmission. Faceted gems are optically designed so that incident light enters through the crown facets, is internally reflected by the pavilion facets, and ultimately exits upward back through the crown. To record a visible transmission/absorption spectrum, however, some light signal must pass from the light source through the gem to the instrument detector. Certain facet arrangements provide little if any light transmission. A longer light path within the stone results in stronger selective light absorption and therefore a more intense face-up color.

For hydrated/serpentinized mantle peridotite inside the slab, its stability also depends on temperature. If it remains cool, the serpentine can metamorphose into higher-pressure water-

Polished gems are not parallel-sided flat “windows” with a fixed and straight light path length that can be directly measured—they are multifaceted objects within which light is often internally reflected. As a result, the visible spectrum plot of most gemstones simply shows increasing absorption along the vertical axis. Individual girdle facets can sometimes be parallel to one another, providing a straight light path for spectra collection. The measured spectrum signal results from the combined effects of selective light absorption by optical defects along the light path. The signal is sampling along the light path but not the entire bulk volume of the gem, except when the stone is quite small. Spectroscopic analysis of gems can be quite rapid (requiring only a few seconds), but the methods are performed on one gem at a time. As a result, samples must be placed and removed from the instrument chamber by hand or by an automatic loader.

distinguishing natural and cultured pearls. Following the discovery of X-rays in 1895, experiments revealed they could penetrate solid material, and by the 1920s these energetic rays were being used for a variety of medical applications. Different materials vary in their relative transparency to X-rays, and this variation is captured as a light/dark pattern on a photographic image.

Diamond-bearing kimberlite eruption

Continental lithosphere

Deep-focus earthquake activity

High-quality CLIPPIR and type IIb diamonds

Low-quality, non-gem sublithospheric diamonds

Lithospheric diamonds

The spectroscopic techniques most widely used today in GIA laboratories are described in this special issue. For a review of the various forms of spectroscopy and their applications, see Agnello (2021).

Imaging

Several imaging techniques are used in gem testing, the most important of which is X-ray radiography for

Oceaniclithosphere

The introduction of Japanese cultured pearls into the European market by K. Mikimoto in the early 1920s posed a widespread challenge for jewelers, who could not distinguish them from rare natural pearls by simple visual means (Boutan, 1921; Lemaire, 1921; Eunson, 1955; Nagai, 2013). To address this challenge, the first gem testing laboratories were set up in London, Paris, and other locations during the 1920s. Testing was conducted on a larger scale (but only one sample at a time) by viewing a pearl’s internal structure using an endoscope or by viewing internal banding of the bead nucleus within the drill hole (Wright, 1923; Szilard, 1925a,b; Michel, 1926; Jardine, 1931; figure 8). This technique was followed in the late 1920s by X-ray radiography (Dubois, 1907; Anderson, 1932; Alexander, 1941a,b; Barnes, 1947a,b,c,d; Webster, 1957a,b; Ogden, 2012; Scarratt and Karampelas, 2020; Ericson, 2021).

Carbonated slab melting

Hydrous uid

Breakdown of hydrous phases

The X-ray method was of particular value because a radiograph image could be created for multiple pearls (loose or strung) at the same time. Responding to the jewelry industry’s needs, Dr. A.E. Alexander set up a pearl testing office in New York City, which he operated from 1940 until 1949, when it was turned over to GIA and became the GIA Gem Trade Laboratory (Alexander, 1940, 1941a,b; Benson, 1951) (figure 11). Evaluation of pearl radiographs remains the most important imaging technique at GIA.

...To be continued in SA Jewellery News September 2025 issue

Figure 8. Left: Richard Liddicoat using an endoscope to examine the internal structure of a pearl. Right: A 1979 photo of the same instrument.

Why your brand story matters

In an industry where sparkle is standard, your brand story is what makes you stand out. That is where brand story-telling comes in.

Your brand story is more than a blurb on your website or a caption on social media. It is the narrative which defines who you are, what you stand for and why you do what you do. It gives your jewellery meaning beyond the metal and stones. It is not just about where you started: it is also about your purpose, your people and your impact. Done well, it becomes your most powerful emotional marketing tool. In a business as deeply personal and symbolic as jewellery, a brand story is a tool that cannot be ignored.

Modern consumers are increasingly experiencedriven and value-conscious. They want to know the “why” behind what they are buying. Is it sustainable? Is it supporting local design? Is it handcrafted? Is it meaningful? Jewellery marks life’s big moments, such as engagements, births, milestones and losses. And people want to feel connected to the piece, as well as to the person who made it.

Telling your story well helps you build trust, justify your pricing, stand out from the competition and foster genuine loyalty. Customers who connect with your narrative do not just buy your jewellery – they buy into your brand.

The most compelling stories have three core qualities: they are authentic, clear and emotionally resonant.

Authenticity is key. Do not try to sound like someone else. The best stories are honest and grounded in truth. Whether you are a family-run studio in Limpopo, a Cape Town goldsmith blending African and European traditions or a Johannesburg-based designer inspired

South African jewellers are no strangers to beauty. Craftsmanship, heritage and creativity run deep. However, in a saturated market where consumers are spoilt for choice and attention spans are short, technical excellence might not always be enough. You need a brand identity that resonates, a voice that inspires loyalty and a story that people remember

by urban culture, own your identity. It is tempting to use vague marketing phrases such as “We’re passionate about jewellery” or “Our quality is unmatched”, but these tend to blur into the background. Instead, speak to your real journey. Why did you start? What drives you? What do you believe in?

Clarity matters just as much. Avoid industry jargon and overly complex language when speaking to customers. Your story should clearly express who you are, what you do and what sets you apart, without needing a translator. Whether you are speaking to a client, a journalist or a potential stockist, your message should be consistent and easy to grasp.

The third ingredient is emotion People do not remember facts –they remember how you made them feel. A story that taps into emotion creates connection and loyalty. Perhaps you started designing jewellery after losing a beloved family heirloom. Maybe your workshop creates jobs in an underserved community. Or perhaps your designs celebrate a culture or tradition close to your heart. These personal details, even when subtly shared, are powerful. They make your jewellery more than a product: they make it meaningful.

Once you have defined your story, it needs to live in everything you do. Your website is often your brand’s first impression, so make sure that your “About” page truly reflects who you are. Invest in strong photography and, if possible, include a short brand video. Social media is another valuable platform to bring your story to life. Share behind-the-scenes photos, showcase your process, talk about your inspiration and introduce your team. Let people into your world.

In-store, your team should be trained to speak your story. Whether it is on the shop floor, at a pop-up or at an event like Jewellex Africa, every customer interaction is a chance to build a connection. Your packaging, your tone of voice and even your product descriptions should reflect your brand story. Instead of “9ct yellow gold ring with a 0,25ct diamond”, describe how the design was inspired by African beadwork patterns or crafted using recycled gold. These touches turn a product into a conversation.

“In an era of fast fashion and mass production, story-telling brings back the human touch.“

Of course, not all story-telling is outwardfacing. Your story should guide internal decisions too, from the materials you choose to the partnerships you form. When you stay true to your narrative, it becomes a compass for consistent branding, marketing and growth.

There are, however, a few common pitfalls to avoid. One is making your story too founderfocused. While your personal journey matters, remember to bring the customer into the narrative too. They want to see themselves in the story. Another mistake is inconsistency, sounding one way online and completely different in person, or shifting your tone across platforms. Also, do not try to mimic international brands or luxury labels if that is not who you are. Local identity, cultural richness and honesty are far more powerful.

Importantly, allow your story to evolve. As your business grows, your team changes or your mission expands, update your narrative accordingly. A brand story is not static: it grows with you.

Across SA, many jewellers are already leading with their story. These brands do not just sell jewellery. They sell identity. They sell legacy. They sell a reason to believe.

In an era of fast fashion and mass production, story-telling brings back the human touch. It reminds your clients (and your industry peers) that your jewellery is made with purpose and passion.

Your jewellery already tells a story. Ensure that your brand does too.

BORN IN AFRICA

A comprehensive directory featuring information and contact details of refining members and members of the Jewellery Manufacturers' Association of South Africa –proudly showcasing manufacturers committed to crafting quality jewellery locally.

ADELE'S MANUFACTURING JEWELLERS

Tel no: 082 595 3868

E-mail: adele@amj.co.za

AFRICAN TRADE BEADS

JEWELLERY COLLECTION

Tel no: 011 726 7643

E-mail: tamiko@zazenconsulting.com

AFROGEM

Tel no: 076 726 8491

E-mail: k ylegilson@mweb.co.za; jess@afrogem.co.za; info@afrogem.co.za; accounts@jppe.co.za; leighann@afrogem.co.za

ALLOY JEWELLERY GALLERY (PTY) LTD

Tel no: 073 924 5254

E-mail: edna@alloygallery.co.za

ALTIN JUWELIERS BK

T/A ALTIN JEWELLERS

Tel no: 082 454 4430

E-mail: info@altin.co.za

AMBER & FORGE (PTY) LTD

T/A SCHERMANS

Tel no: 072 928 0385

E-mail: info@schermans.co.za

AMBIGO JEWELLERS

Tel no: 062 282 6924

E -mail: ntobekobasil@gmail.com

ANDREAS SALVER

MANUFACTURING JEWELLERS

Tel no: 011 706 6828

E-mail: andreas@andreassalver.com

ANKE LINDEN JEWELLERY (PTY) LTD

Tel no: 0 69 925 3699

E-mail: lindenjewellery@gmail.com

ANNA ROSHOLT JEWELLERY DESIGN

Tel no: 0 61 080 6481

E-mail: anna@annarosholt.com

ANNELLE MURRAY GOUDSMID

Tel no: 082 956 7747

E-mail: murrayannelle@gmail.com

ASHOK JEWELLERS DESIGNERS & MANUFACTURERS

Tel no: 031 566 5046

E-mail: info@ashokjewellers.co.za; 5665046@gmail.com

ATHENA A

Tel no: 072 272 3089

E-mail: info@brandathenaa.co.za; athena@athena-a-shoes-andaccessories.com

AUGENTA JEWELLERS

Tel no: 021 883 8288

E -mail: dylan@augenta.com

AURUM DESIGN

Tel no: 021 423 6590

E -mail: sebastian@aurumdesign.co.za; adela@aurumdesign.co.za; aveda@aurumdesign.co.za

AURUM MANUFACTURING (PTY) LTD

Tel no: 011 568 9967

E-mail: info@aurummanufacturing.co.za; oliver@aurummanufacturing.co.za; karina@aurummanufacturing.co.za

AUTHOR BY KATHLYN ALLAN

Tel no: 084 247 0358

E-mail: mail@worldofauthor.com

BEAUDELL DESIGNS (PTY) LTD

Tel no: 083 2 82 3566

E-mail: esther@beaudell.co.za

BEAUTIFUL SELECTION (PTY) LTD

Tel no: 072 658 0166

E-mail: chantelle@beautifulselection.co.za; chloelaing420@gmail.com

BRESCO DIAMONDS (PTY) LTD –MANUFACTURING

Tel no: 012 998 3150

E-mail: karl@brescodiamonds.co.za; info@brescodiamonds.co.za; veronica@brescodiamonds.co.za

BRETTLAND POULSEN DESIGNER GOLDSMITH

Tel no: 031 562 8009

E-mail: brett@brettlandpoulsen.co.za

BRONSKI JEWELLERS

Tel no: 021 852 7891

E -mail: info@bronskijewellers.co.za

BROWNS THE DIAMOND STORE –WORKSHOP

Tel no: 0860 276 967

E-mail: larry@brownsjewellers.com;

carel@brownsjewellers.com; info@brownsjewellers.com

BULLION STAR (PTY) LTD

Tel no: 011 202 5 021

E-mail: bullionstr@gmail.com

CADTOCRAFT (PTY) LTD

Tel no: 011 781 0 303

E-mail: johanwessels12@gmail.com

CAPE PENINSULA UNIVERSITY OF TECHNOLOGY

Tel no: 021 460 3632

E-mail: konstandakellisv@cput.ac.za; camerondowl@cput.ac.za; davidsre@cput.ac.za

CARESS JEWELLERS UITENHAGE CC

Tel no: 0 41 992 4421

E-mail: eben-caress@mweb.co.za

CHARLENE NEL T/A BELLA COSA

Tel no: 021 975 5097

E-mail: charlene@bellacosa.co.za

CHARLES NORMAN

DIAMONDS (PTY) LTD

Tel no: 083 557 3252

E-mail: rishan@charlesnormandiamonds. com; drrchetty@me.com

CLARITY DESIGNS (PTY) LTD

T/A JENNI GAULT INTERNATIONAL

JEWELLERY DESIGN

Tel no: 083 379 9797

E-mail: gault.jenni@gmail.com

CPM – CAPE TOWN

Tel no: 021 551 2066

E -mail: Sharon@cpmct.co.za; jolandie@cpmct.co.za

CPM – DURBAN

Tel no: 031 303 5402

E -mail: malcolm@cpmdbn.co.za

CPM – JOHANNESBURG

Tel no: 011 334 6 263

E-mail: shannon@cpmjhb.co.za; bianca@cpmjhb.co.za

CPM – PORT ELIZABETH

Tel no: 041 365 1890

E-mail: renee@cpmpe.co.za

FERRARI LOGISTICS SOUTHERN AFRICA (PTY)

Building 3, OR Tambo International Airport Special Economic Zone, Bonaero Drive, Bonaero Park, 1619

Tel: +27 87 654 2543 | Cell: +27 72 472 7170 / +27 66 488 2055

Email: info.za@ferrarigroup.net | Website: www.ferrarigroup.net

CREATIVE DESIGN

MANUFACTURERS (PTY) LTD

Tel no: 031 563 3987

E-mail: goldlink@iafrica.com; prakashsoni@iafrica.com

DABERON MANUFACTURING (PTY) LTD

Tel no: 011 334 8841

E-mail: daberon1@gmail.com; david@dulondon.com

DANIYAL GOLD JEWELLERS

Tel no: 073 797 4460

E-mail: daniyalgoldjewellers@gmail.com

DAVID BOLDING GOLDSMITH

Tel no: 083 2 55 3484

E-mail: david@dbgold.co.za

DC JEWELLERS

Tel no: 044 691 3692

E -mail: dcjewel@mweb.co.za; santie@dcjewellers.co.za

DEGLON JEWELLERY STUDIO

Tel no: 021 8 51 3182

E-mail: waynedeglon@gmail.com

DEON SMITH JEWELLERY

Tel no: 083 454 2161

E-mail: deonsmithjewellery@gmail.com; drdwsmith63@gmail.com; deon@deonsmithjewellery.com

DIDIDESIGN

Tel no: 011 784 0369

E-mail: didi@dididesign.co.za

DR ESME SPICER

Tel no: 073 239 9983

E -mail: esme.spicer@gmail.com

DURBAN UNIVERSITY OF TECHNOLOGY

Tel no: 031 373 6673/6

E-mail: queenethn@dut.ac.za; samanthav@dut.ac.za;

EBFORSON

Tel no: 082 453 5155

E-mail: a rt@ebforson.co.za

ECO CHIC JEWELS

Tel no: 083 987 2069

E -mail: esmarie.ecochic@gmail.com

EDEL DESIGNER JEWELLERY

Tel no: 072 6 36 0213

E-mail: edeldesignerjewellery@gmail.com

EKURHULENI JEWELLERY PROJECT

Tel no: 011 825 5822

E-mail: samuel@ejewellery.org.za; didi@ejewellery.org.za

ELEMENTAL STUDIO

Tel no: 084 507 7777

E -mail: lezamcleod@icloud.com

EMBER MANUFACTURING AND DESIGN (PTY) LTD

Tel no: 083 557 5190

E-mail: info@ember.co.za; stephloubser@gmail.com

EON HOON JEWELLERY DESIGN

Tel no: 0 83 578 7447

E-mail: eon@eonhoon.com

ERICA STRAUSS

DESIGNER JEWELLERY STUDIO

Tel no: 072 596 9014

E-mail: esdjewellery@gmail.com

ETERNITY ENTERPRISE

JEWELLERY (PTY) LTD

Tel no: 018 290 5722/3

E-mail: info@eternityenterprise.com; daleen@eternityenterprise.com

EVERTRADE 142 (PTY) LTD

T/A D'OURO JEWELLERS

Tel no: 011 615 3402

E-mail: a.veloso@dourojewellers.co.za; dourojewellersjhb@gmail.com

FACET JEWELLERY

Tel no: 073 397 8820

E -mail: catherine@facetjewellery.co.za

FARIED JEWELLERY

DESIGN STUDIO

Tel no: 021 671 5529

E-mail: insaaf.achmat@gmail.com; fachmat@gmail.com

FERROS JEWELLERS

Tel no: 041 363-1881

E -mail: alex@ferrosjewellers.com

FINEGOLD LABORATORY SERVICES CC

Tel no: 021 511 6237

E-mail: admin@fi negold.co.za; steven@fi negold.co.za

FREE RANGE JEWELS

Tel no: 021 418 3607 ( Retail)

E-mail: info@freerangejewels.co.za; studio@freerangejewels.co.za; shop@freerangejewels.co.za; marele@dbgold.co.za

GAUTA REFINERIES (PTY) LTD

Tel no: 082 4 57 6926

E-mail: rudi@gautarefi nery.com

GEM AFRIQUE

Tel no: 062 050 6479

E-mail: s oni2.goldsmith@gmail.com

GEMOLOGY AFRICA

Tel no: 044 534 8170

E -mail: gemologyafricasales@gmail.com; mandy@tenikwa.co.za

GERHARD MOOLMAN FINE JEWELLERY

Tel no: 021 914 0838

E-mail: gerhard@gmfi nejewellery.co.za

GOLD AND I (PTY) LTD

Tel no: 084 360 6762

E -mail: info@goldandi.co.za

HADLEY HOLDINGS (PTY) LTD

Tel no: 061 5 01 9592

E-mail: hadleyholdings@protonmail.com; contact@juliapharo.com

HARRY OPPENHEIMER DIAMOND

TRAINING SCHOOL

Tel no: 011 334 9003/8420

E-mail: neil@diamondtrainingschool.co.za; koos@diamondtrainingschool.co.za; info@diamondtrainingschool.co.za

HAVILAH GOLD CREATIONS

Tel no: 041 5 81 1942

E-mail: sheyna@havilah.co.za; carol@havilah.co.za; charlie@thejacksons.co.za

HELEN MICHALETOS

Tel no: 082 342 1577

E -mail: studio@helenmichaletos.com; studio@wildadornment.com

HESTI WADE T/A FETTER-AND-THREE

Tel no: 082 855 9088

E-mail: hesti@fetter-and-three.co.za

HUIZEN'S MANUFACTURING JEWELLERS

Tel no: 018 880 0455

E-mail: info@huizens.co.za

IDA ELSJE DESIGN

Tel no: 021 424 1101

E -mail: ida@idaelsje.com

ILITHA GREEN TECH

Tel no: 087 822 1824

E -mail: siya@alurite.co.za; jason@alurite.co.za

ILONKA JEWELLERS

Tel no: 072 778 1540

E -mail: info@ilonkajewellers.co.za

IMFUNDISO SKILLS DEVELOPMENT

Tel no: 012 734 0245

E-mail: imfundiso@mweb.co.za

IMPILO COLLECTION

Tel no: 010 021 0441

E -mail: ayeung@impilocollection.co.za

FERRARI LOGISTICS SOUTHERN AFRICA (PTY)

Building 3, OR Tambo International Airport Special Economic Zone, Bonaero Drive, Bonaero Park, 1619

Tel: +27 87 654 2543 | Cell: +27 72 472 7170 / +27 66 488 2055

Email: info.za@ferrarigroup.net | Website: www.ferrarigroup.net

INGE SCHOLTZ JEWELLERY DESIGNER AND MANUFACTURER

Tel no: 073 271 3789

E-mail: admin@csvaluers.co.za

ISA B JEWELLERY DESIGNS

Tel no: 0 67 255 2494

E-mail: bothmaisabel09@gmail.com

ISABELLA JEWELLERS & REFINERS CC

Tel no: 011 524 6385

E-mail: meiki@isabella-refi ners.co.za; isabella@isabella-refi ners.co.za; info@isabella-refi ners.co.za

ISIMODENI JEWELLERY

Tel no: 083 757 9 505

E-mail: nomfundo@isimodeni.co.za

J HIND JEWELLERS

Tel no: 031 306-1330

E -mail: jhindr23@gmail.com

JAGGATH JEWELLERS

Tel no: 031 307 7790

E -mail: navinjagath372@gmail.com

JANINE BINNEMAN JEWELLERY DESIGN

Tel no: 021 715 6178

E-mail: janine@janinebinneman.com; info@janinebinneman.com; studio@janinebinneman.com; customerlove@janinebinneman.com

JOHANNA VAN ZYL

Tel no: 082 778 5846

E -mail: jo@johannavanzyl.co.za

JOHN 3 JEWELLERY

Tel no: 076 822 8783

E -mail: john3jewellery@gmail.com

JOHREN MANUFACTURING

T/A THE J EWELLERY SHOP

Tel no: 046 624 3748

E-mail: johren@telkomsa.net

JOY MASSYN JEWELLERY (PTY) LTD

Tel no: 012 662 2861

E-mail: joy@joymassyn.co.za

JYARAS JEWELLERS (PTY) LTD

Tel no: 067 3 97 6373

E-mail: admin@jyarasjewellers.co.za; sai@jyarasjewellers.co.za;

KATANNUTA CC

Tel no: 083 234 0247

E-mail: sparkle@katannutadiamonds.co.za; clare@katannutadiamonds.co.za

KAYRO JEWELLERS

Tel no: 041 585 4842

E -mail: slaide.kayro@mweb.co.za

KIM CLOETE JEWELLERY DESIGN

Tel no: 021 531 9082

E-mail: kim@kimcloetedesign.co.za

KIMBERLEY DIAMOND

JEWELLERY INCUBATOR

Tel no: 053 831 1570

E-mail: info@kdji.org; isaac@kdji.org

KIONI GOODS (PTY) LTD

Tel no: 083 375 7813

E-mail: accounts@kioni.co.za

KRISTEN MALAN CC

Tel no: 011 880 1866

E -mail: kristen@merindol.com; john@merindol.com

KUSASA REFINING (PTY) LTD

Tel no: 010 0 01 6284

E-mail: greg.magid@kusasarefi ning.co.za; info@kusasarefi ning.co.za

L'AUTRICHE FINE JEWELLERY

Tel no: 074 973 9308

E-mail: ernst@lebijoux.co.za

LETHALE CARAT (PTY) LTD

Tel no: 083 306 1333

E-mail: lethalecarat@gmail.com

LILJA HASTIE JEWELLERY (PTY) LTD

Tel no: 0 82 324 3312

E-mail: liljadesankahastie@gmail.com

LILLY FRIEDLAENDER CC

Tel no: 021 887 1655

E-mail: lilly.f@wol.co.za

LIMPOPO JEWELLERY BUSINESS INCUBATOR

Tel no: 015 293 0214

E-mail: tessa@ljbi.org.za; mabatho@ljbi.org.za; siphelele@ljbi.org.za; admin@ljbi.org.za; kgothatso@ljbi.org.za

LIPMAN & SON

Tel no: 021 424 3371

E -mail: ian@lipmanson.co.za

LORIEN MANUFACTURING JEWELLERS

Tel no: 011 967 1700

E-mail: heather@allanybrink.co.za

LOTTI JEWELLERY

Tel no: 079 386 1079

E -mail: info@lottijewellery.co.za

LYNDA MARION JEWELLERY

Tel no: 082 6 51 8145

E-mail: silver@lyndamarion.com

M2 JEWELLERS CC

Tel no: 012 460 6793

E -mail: maryna@m2jewellery.com

MADELINE'S TEMPTATIONS

Tel no: 083 3 05 2798

E-mail: info@madelinestemptations.co.za

MAGGIE AFRICA

Tel no: 072 882 2586

E -mail: maggieroodt@telkomsa.net

MAGMA METAL RECOVERIES

Tel no: 031 702 4422

E-mail: edwards@astronet.co.za; valuchem.investments@gmail.com

MAGNAVOLT TRADING 215 CC

T/A METAL IMAGE

Tel no: 021 447 6600

E-mail: mabu rchell@gmail.com; shameela@metalimage.co.za; info@metalimage.co.za

MARINE GOLD CC

Tel no: 021 424-0077

E -mail: stephen@marinegold.co.za

MARION'S JEWELLERY STUDIO

Tel no: 041 3 68 4582/3

E-mail: marionsstudio@mweb.co.za

MARK WHITEHORN GOLDSMITH

Tel no: 0 83 271 6065

E-mail: info@markwhitehorn.co.za; whitehorngoldsmith@gmail.com

MARTIN NAGEL

MANUFACTURING JEWELLERS

Tel no: 011 484 4978

E-mail: info@martinnagel.co.za; laura@martinnagel.co.za

MASELESELE JEWELLERS

Tel no: 012 734 0245

E-mail: imfundiso@mweb.co.za

MEDITERRANEAN JEWELLERS

Tel no: 0 82 689 0630

E-mail: panayiotis@mmjewellers.co.za

METAL CONCENTRATORS SA (PTY) LTD –

CPT

Tel no: 021 510-0770

E-mail: info@metcon.co.za; melynda@metcon.co.za

METAL CONCENTRATORS SA (PTY) LTD –

SEZ

Tel no: 012 000 4440

E-mail: charlotte.crosse@metcon.co.za; grant.crosse@metcon.co.za; Hendri.Keulder@metcon.co.za; Diane.Duncan@metcon.co.za; tania.pelser@metcon.co.za; michelle.boxall@metcon.co.za; Amelia.vdMerwe@metcon.co.za; Aasha.Sadanan@metcon.co.za

FERRARI LOGISTICS SOUTHERN AFRICA (PTY)

Building 3, OR Tambo International Airport Special Economic Zone, Bonaero Drive, Bonaero Park, 1619

Tel: +27 87 654 2543 | Cell: +27 72 472 7170 / +27 66 488 2055

Email: info.za@ferrarigroup.net | Website: www.ferrarigroup.net

METTLE JEWELLERY

Tel no: 073 292 8674

E -mail: marlie@mettlejewellery.com; marlievn@gmail.com

MICHAEL J SOLOMON

MANUFACTURING JEWELLERS

Tel no: 064 930 2270

E-mail: ms@absamail.co.za

MICHL JEWELLERY

Tel no: 083 601 8535

E -mail: michelleliaosa@gmail.com

MINITZA (PTY) LTD

Tel no: 082 772 9812

E -mail: info@minitza.co.za

MIRKO JEWELLERY

Tel no: 021 886 8296

E -mail: mirinda@mirkojewels.co.za

NATURAL PRECIOUS METALS (PTY) LTD

Tel no: 031 569-3010/1/2

E-mail: info@npmkzn.co.za; jonwhite@mweb.co.za; nikki@npmkzn.co.za

NEWMAN JEWELLERY DESIGN

Tel no: 012 329 9600

E-mail: nina@newmandesign.co.za; dave@newmandesign.co.za

NILU ENGRAVING & JEWELLERY (PTY) LTD

Tel no: 083 384 7792

E-mail: laser@nilu.co.za

NINA BOSCH PORCELAIN

Tel no: 079 891 7 240

E-mail: info@ninabosch.co.za

NV DESIGN COMPANY

T/A BY NANETTE

Tel no: 021 883 3856

E-mail: nanette@bynanette.com; studio@bynanette.com

OEL GRAHAM C C T/A CAPE DIAMONDS

Tel no: 021 421 5364

E-mail: joelgraham@capediamonds.co.za

ORO AFRICA (PTY) LTD

Tel no: 021 480 9 860

E-mail: gnathan@oroafrica.com; mlesueur@oroafrica.com; marketing@oroafrica.com; fi nance@oroafrica.com

PAUL GALLIAS

Tel no: 073 194 2415

E-mail: p gallias@hotmail.com

PEARL AND DIAMOND STUDIO

Tel no: 011 678 0595/6

E-mail: pearldiamond@mweb.co.za

PHILIP ZETLER JEWELLERS

Tel no: 021 423 2771

E-mail: pzetler@mweb.co.za

PICCOLO FINE DESIGNER JEWELLERY

T/A INFERNO GOLD

Tel no: 083 396 6178

E-mail: info@piccolo-jewellery.co.za; suvette@piccolo-jewellery.co.za

PIYUVE JEWELERS CC

Tel no: 031 301 3963

E -mail: aroon@piyuvejewelers.co.za; shashi@piyuvejewelers.co.za

PNEUMA JEWELLERS CC

Tel no: 011 702 1462; 011 702 1891

E-mail: admin@pneumajewellers.com; sales@pneumajewellers.com; mikep@pneumajewellers.co.za

POPULAR DIAMOND JEWELLERY

MANUFACTURERS 1986 CC

Tel no: 011 486 1602/3

E-mail: popd@mweb.co.za; popj@mweb.co.za; lynette@popularjewellers.co.za

PRECIOUS METALS TSWANE

Tel no: 012 0 35 0260

E-mail: info@preciousmetalstswane. co.za; iain@preciousmetalstswane.co.za; accounts@preciousmetalstswane.co.za; louise@preciousmetalstswane.co.za

PRECISION SETTERS

Tel no: 011 484 7804

E -mail: julian@precisionsetters.co.za

PREVIDA & CO

Tel no: 011 701 5074

E-mail: p revida@previdaandco.com

PRINS & PRINS DIAMONDS

Tel no: 021 422 1090

E-mail: petre@prinsandprins.com; riana@prinsandprins.com; consultants@prinsandprins.com; stefan@prinsandprins.com

RAIMONDO

Tel no: 073 906 9163

E-mail: h ello@raimondo.co.za

RAMSDEN DIAMONDS

Tel no: 011 404 5 010

E-mail: info@olympia-avenue.co.za; natasha@ramsdendiamonds.co.za

RAND REFINERY LIMITED

Tel no: 011 418 9 000

E-mail: nicolab@gold.co.za; PraveenB@gold.co.za; liezlek@gold.co.za amandah@gold.co.za; zahirm@gold.co.za;

RARE EARTH CREATIONS

Tel no: 011 326 1727

E-mail: noloyiso@rarearth.co.za; svetla@rarearth.co.za

RD DIAMONDS

Tel no: 084 234 4433

E -mail: rien@rddiamonds.co.za

REC SET AND ENGRAVE (PTY) LTD

Tel no: 011 326 1727

E-mail: neil@rarearth.co.za; info@rarearth.co.za

RICHLINE SA (PTY) LTD

Tel no: 011 418 1600

E-mail: johan.bezuidenhout@richline group.com; marco.decarvalho@richlinegroup.com

RITCO MANUFACTURING JEWELLERS

Tel no: 041 374 2101

E-mail: sales@ritco.co.za; info@ritco.co.za

RODNEY CHANDLER JEWELLERS (PTY) LTD

Tel no: 082 606 0493

E-mail: mcjewel@netactive.co.za

ROHAN CHERRY DESIGNS

Tel no: 0 82 974 4566

E-mail: info@rohancherry.com

ROK ORIGINALS

Tel no: 072 203 3288

E -mail: info@rokoriginals.com

RUTH PROWSE SCHOOL OF ART NPC

Tel no: 021 447 2492

E-mail: admin@ruthprowse.co.za; sbeukes@ruthprowse.co.za

SANDHAVON DIAMOND

CUTTING WORKS

Tel no: 083 233 0910

E-mail: kevin@lutrin.co.za; kelli@lutrin.co.za

SATHKAAR JEWELLERS C.C

Tel no: 031 3 06 4921

E-mail: admin@sathkaar.com

SAVAGE JEWELLERY (PTY) LTD

Tel no: 082 9 02 2302

E-mail: nicola@savagejewellery.com

SCARAB JEWELLERY STUDIO CC

Tel no: 021 683-4646

E-mail: janine@scarabjewellery.co.za; Tanya@scarabjewellery.co.za; christine@scarabjewellery.co.za

SEA & SHORE

Tel no: 072 390 6311

E-mail: s eashore.resin@gmail.com

FERRARI LOGISTICS SOUTHERN AFRICA (PTY)

Building 3, OR Tambo International Airport Special Economic Zone, Bonaero Drive, Bonaero Park, 1619

Tel: +27 87 654 2543 | Cell: +27 72 472 7170 / +27 66 488 2055

Email: info.za@ferrarigroup.net | Website: www.ferrarigroup.net

SERAGLIO JEWELLERS

Tel no: 011 783 8 301

E-mail: rolling.albert@yahoo.com

SHANI D JEWELLERY DESIGN (PTY) LTD

Tel no: 082 308 2111

E-mail: diamondshani@gmail.com

SILÉMAY JEWELLERS

Tel no: 083 389 6402

E -mail: sile_L@hotmail.com

SINCE NOW JEWELS

Tel no: 072 336 9518

E -mail: sincenowcz@gmail.com; nosh29@live.co.za

SIVANA AFRICA

Tel no: 011 025 2552

E -mail: info@sivanadiamonds.co.za; accounts@sivanaafrica.co.za

SL HERMAN

MANUFACTURING JEWELLERS

Tel no: 012 460-6771

E-mail: slhj@telkomsa.net

SOMESTUFF CC

T/A BEZALEL ATELIER

Tel no: 082 923 6546

E-mail: martie@bezalelatelier.com

STARBRIGHT JEWELLERY

Tel no: 0 83 775 9995

E-mail: megan@starbrightgirl.com

STUDIO 1980 (PTY) LTD

Tel no: 083 379 0171

E -mail: info@studio1980za.com

STUDIO 39 JEWELLERY DESIGN

Tel no: 031 764 3000

E-mail: kim@studio39.co.za

STUDIO C MANUFACTURING JEWELLERS

Tel no: 011 642 7826

E-mail: chris@studioc.co.za; peggy@studioc.co.za; janvanrens@icloud.com

STUDIO LOUBSER

Tel no: 011 782 4051

E -mail: liz@lizloubser.com; info@studioloubser.com

STUNNING SILVER (PTY) LTD

Tel no: 083 2 83 7476

E-mail: info@stunningsilver.co.za

SURITA DU TOIT

FINE JEWELLERY (PTY) LTD

Tel no: 0827797084

E-mail: info@suritadutoit.com

THATO RADEBE JEWELLERY (PTY) LTD

Tel no: 072 810 4958

E-mail: thato@thatoradebejewellery.co.za; morwa@thatoradebejewellery.co.za

THE JABULANI CHARITABLE TRUST

Tel no: 0 31 303 2396

E-mail: paula@jabulanijewellery.co.za; colleen@jabulanijewellery.co.za

THE JEWELLERY HUB

Tel no: 083 326 5746

E -mail: ian@thejhub.co.za

TIFFANY MARX-INSPIRED JEWELLERY

Tel no: 083 534 2462

E-mail: tiff anymarx@icloud.com

TINSEL CONTEMPORARY

JEWELLERY CC

Tel no: 082 342 3496

E-mail: geraldine@tinsel.co.za

TIP TOP JEWELLERS

Tel no: 044 873 3048

E -mail: tiptop@lantic.net; nelisbez@gmail.com

TRIMALCHIO

Tel no: 012 346 6874

E-mail: c asanra@mweb.co.za

TSHWANE UNIVERSITY OF TECHNOLOGY

Tel no: 012 382 6007

E-mail: newmand@tut.ac.za; NewmanN@tut.ac.za

UBUNTU AFRICAN SILVER

Tel no: 083 707 7 367

E-mail: henry13@rocketmail.com

UNCUT JEWELLERS

Tel no: 083 22 58221

E -mail: mark@uncutjewellers.co.za

UNIVERSITY OF JOHANNESBURG

Tel no: 011 559 1299

E-mail: fnazier@uj.ac.za; cels@uj.ac.za; ThatoR@uj.ac.za; hselolo@uj.ac.za; amaritz@uj.ac.za

UNIVERSITY OF STELLENBOSCH

Tel no: 0 21 808 3047

E-mail: ct@sun.ac.za; joani@sun.ac.za

VAN DEIJL MANUFACTURING JEWELLERS

Tel no: 021 914 2192

E-mail: info@vdmj.co.za

VAWDA GOLDGEM JEWELLERS

Tel no: 031 2 08 9142/3

E-mail: info@vawdagoldgem.co.za

VIJAY SHAH CONCEPTS

Tel no: 031 564 2 948

E-mail: info@vijayshahconcepts.com; nihal@vijayshahconcepts.com

VK JEWELLERY

Tel no: 082 789 4498

E-mail: v ivek@vkjewellery.co.za

WAINWRIGHT FINE JEWELLERS

Tel no: 0 74 369 4294

E-mail: info@wainwrightjewel.co.za; david@wainwrightjewel.co.za

WOOSH DESIGNS JEWELLERY STUDIO

Tel no: 011 318-1340

E-mail: wooshen@wooshjewellery.co.za

YOL NOMADIC JEWELLERY

Tel no: 0 74 136 3633

E-mail: yol_lu@yahoo.fr

ZULU MIEN

Tel no: 082 334 4426

E-mail: z ulumien@gmail.com

ZUREL BROTHERS SA (PTY) LTD

Tel no: 015 2 93 2306

E-mail: shikara@zurel.co.za

All JCSA member details were correct at time of going to press. While every eff ort has been made to ensure the accuracy of contents, the Jewellery Council of South Africa cannot be held responsible for any omissions or errors; or any misfortune, injury, consequences or damages which may arise therefrom.

(PTY) Building 3, OR Tambo International Airport Special Economic Zone, Bonaero Drive, Bonaero Park, 1619 Tel: +27 87 654 2543 | Cell: +27 72 472 7170 / +27 66 488 2055 Email: info.za@ferrarigroup.net | Website: www.ferrarigroup.net

August brand supporters

ANNA-B JEWELLERY www.annab.co.za orders@annab.co.za 071-843-2452

BYL DIAMONDS www.byldiamonds.com orders@byldiamonds.com (021) 419-2000

CAPE PRECIOUS METALS www.capepreciousmetals.co.za orders@cpmct.co.za (066) 063-1518 (WhatsApp)

CAPE TOOLS www.capetools.co.za sales@capewatch.co.za queries@capewatch.co.za (021) 424-8261 / 086-111-5137

GIA EDUCATION AND LABORATORY www.gia.edu (011) 334-2744

INFERNO GOLD www.infernogold.co.za info@infernogold.co.za 083-396-6178

087-654-2543

MOON INVESTMENTS www.mooninvest.co.za invest@mooninvest.co.za (076) 411-1502

PRECIOUS METALS TSWANE www.preciousmetalstswane.co.za info@preciousmetalstswane.co.za (012) 035-0260

invest@mooninvest.co.za | mooninvest.co.za | 076 411 1502

JEWELLEX AFRIKA www.jewellex.co.za jewellex@jewellery.org.za (011) 484-5528

RICHLINE SA www.richlinesa.co.za info@richlinesa.co.za (011) 418-1600

FERRARI LOGISTICS SOUTHERN AFRICA (PTY) www.ferrarigroup.net info.za@ferrarigroup.net

capepreciousmetals.co.za | orders@cpmct.co.za | whatsapp: 066 063 1518

THE JEWELLERY HUB samantha@thehub.co.za ian@thehub.co.za 073-052-7587 / 083-326-5746

I wish the government would do more to support ewellers and our industry ”

cating for

DID YOU KNOW that the Jewellery Council actively ngages with government on key industry issues, advocating for jewellers’ interests, influencing policy and ensuring your voice is heard on matters like egulations, permits and industry growth initiatives. The Jewellery Council of South Africa is a voluntary, non-profit company that represents the interests of Refiners, Jewellery Manufacturers, Retailers, Wholesalers and Importers, and Service Members

Rising Demand, Consistent Supply!

We’ve seen a noticeable increase in demand for certain diamonds, including fancy colours, specific fancy shapes, as well as commercial and oversize stones. This growing interest enables us to offer goods at highly competitive prices helping to keep the market active.

At BYL Diamonds, we stay closely aligned with current market trends and client requests to ensure we have exactly what our clients are looking for at all times. Whether you need commercial goods, rare fancy colours or large investment stones, we’re confident that we can supply the right stone at the right price.

Our extensive inventory is available across our key locations in Cape Town, Johannesburg and London, giving clients easy access to a wide range of top stones.

Head