HELSINKI OSLO STOCKHOLM VILNIUSRIGACOPENHAGEN TALLINN HAMBURG ST. PETERSBURG GDANSKWARSAW MINSK KIEV KALININGRAD EXCLUSIVE MAGAZINE FOR THE JEWELLERY BUSINESS IN THE BALTIC SEA REGION FASTEST WAY TO THE BALTIC SEA REGION ! September 2022 (42)
GET TO KNOW YOUR JEWELLERY exhibitjewellery.comARTIST
I wish that I didn´t have to, but I cannot neglect the ongoing brutal war that is raging right around the corner from us. As a result, we who enjoy the privilege of peace are challenged with the turbulence the war has created on the markets. Phenomena like inflation, increased raw material and energy cost will hit us and we need to adjust.
www.balticjewellerynews.com 42–2022NEWSJEWELLERYBALTIC 1●
After a beautiful summer, at least in Finland, it is time to get back to business again. How, remains still to be seen, but I suppose that we after a long time of restrictions will be entering a new era of both opportunities and challenges.
These are new factors whose full impact is still waiting to be seen. Since we have conquered many big world changing obstacles during the past years, I am confident that we will also overcome these challenges, even if it will affect our businesses
Almost three years of Covid has taught us new ways of selling, marketing, and communicating, using all new available communication technology in innovative ways. Still, I detect a great hunger for physical meetings with colleagues and customers, and for that reason I sincerely hope that the international fair calendar for 2023 will be realized as planned and that societies will be able to stay open and deal with everyday life as normal as possible despite that new mutations of the virus most likely will occur during the fall and winter. I predict that this dammed up hunger for life will result in a positive and energetic market environment to be seen at fairs and other business events.
Henrik KIHLMAN
Dear readers,
UusikyläMatiasPhoto
Peacetemporarily.isthe most precious thing on earth! In peacetime we can build up welfare, take care of each other, the environment and create conditions for a good life for everybody. Unfortunately, we have now seen how fragile it can be and how the priorities of life can suddenly change overnight. We are lucky to still enjoy a life in peace with all its opportunities, let us cherish that. Our hearts go out to the people of Ukraine.
Baltic Jewellery News / September 2022 (42) Manufakturu st. 16-7, LT-11342, Vilnius, Lithuania; tel. +370 616 07 506; e-mail: magazine@balticjewellerynews.com Editor / Henrik Kihlman Designer / SAVITAI, Translators / VERTIMU GURU, CIRCULATION 2000 Distribution in the whole Baltic Sea Region. Copyright: Contents of “Baltic Jewellery News” are copyright. ISSN 2335-2132 Reproduction of material in part or in whole is not permitted in any form without the written authorization of the publisher. The editorial office is not responsible for the content of advertisements and for the accuracy of the facts presented by the authors. THE ROCK: THE BIGGEST WHITE DIAMOND AUCTIONED$21.9 MILLIONFOR HOW TO INVEST IN JEWELLERY –A COLLECTOR’S GUIDE TO INVESTMENT INTERNATIONAL JEWELLERY ART FAIR SIERAAD 2022 IN AMSTERDAM AMBER TRIP INTERNATIONAL JEWELLERY COMPETITION ABOUT OPPORTUNITIES 24 30 32 36 69 80 SALES OF JEWELLERY FOR MEN ARE DOUBLING September 2022 (42) RU RUNEBERG A SYMPHONY IN SILVER www.balticjewellerynews.com 42–2022NEWSJEWELLERYBALTIC 2●
1 Editors word BUSINESS INSIGHTS 6 Are prices of watches going down? 8 Modern methods of gemstone modification 12 Gold demand trends Q2 2022 15 Danish police use contraversial jewellery law 17 times in last six years 16 Amber road of Ukraine 18 New kind of silverfish trapped in sticky 20 Exhibition Amber Trip 22 Gdansk is the worlds capital of amber! 24 The Rock: the biggest white diamond auctioned for $21.9 million 26 Lulo Rose: 170 carat pink diamond set to smash records 28 Varmodo’s own goldsmith turns grandma’s ring into a new piece of jewellery 30 Sales of jewellery for men are doubling 32 How to invest in jewellery – a collector’s guide to investment 35 Production of watches and jewelry in France exceeds its pre-pandemic level ARTISTIC INSPIRATIONS 36 Ru Runeberg a symphony in silver 40 “Kruunu” a new museum has seen the daylight! 42 Report about jewellery market in Latvia - “Cumnetwork” and “Designers 5” 46 Last days of the Legnica jewellery festival Silver 48 A viking jewellery with mysterious background 50 To accept words in a pure heart 54 Top 9 jewellery trends in 2022 58 Our jewelry comes to Christiansfeld 59 No boredom, only inspiration – an interview with Jan Suchodolski 62 50 years of striped flint in jewellery 66 The materiál that I hold in my hands leads me 69 International jewellery art fair Sieraad 2022 in Amsterdam 72 Relational aesthetics in Lithuanian jewellery or what is absent in the art of Neringa Poškutė-Jukmienė 76 When the natural elements interwine with modernity: Artūras Davainis presents amber for a modern man 80 Amber Trip international jewellery competition About Opportunities 96 IX International Biennale of Vilnius Enamel Art 97 Annoucment of art jewellery competition “Choice” MARKET REVIEW 100 The Worldwide Gold Price 101 The Worldwide Silver Price 102 The Worldwide Price For Raw Amber 103 Amber From Ukraine Price CONTENT / www.balticjewellerynews.com 42–2022NEWSJEWELLERYBALTIC 3●
LOGISTICS PARTNER OF AMBER TRIP
By Andreea – Lucia Iavorenciuc Ironically, while watches do tell time, there’s nothing more timeless than a watch on your hand. The problem is that watches tend to be very expensive. In the past, you needed to pay a hefty price to afford something like a Rolex. However, in May this year, we saw a significant decrease in the value of a Rolex watch. Trade activity was reduced by 9.3%, and the overall value of a piece went down by an average of 20%. The theory is that the price growth over the past few years has become unsustainable.Butwillthis trend continue? Are the rumors true? Will you be able to buy a watch now, without having to spend a small fortune on it? Why exactly are the prices going down? We will find the answers to everything shortly.
ARE PRICES OF WATCHES GOING DOWN? www.balticjewellerynews.com 42–2022NEWSJEWELLERYBALTIC 6●
Causes of the Watch Market Crash Several things might cause the watch market to crash – and it doesn’t necessarily mean that the watches themselves are a problem. For starters, the stock market is the first thing that investors should be aware of. When you see portfolio value declining, it probably becomes clear to you whether you should buy that $15,000 watch or Inflationnot.also rears its head, as it does in most of our lives. As inflation is spiraling more and more out of control, our currencies are no longer worth as much. People aren’t choosing wants over their needs anymore –so, rather than buying a very expensive fancy watch, they go for something with a lower price tag. The demand decreases, causing the prices to go down. The government restrictions also caused the luxury watch market to thrive. For the most part, watch prices began increasing in 2020, along with the first lockdowns. People were no longer able to travel and go on fancy vacations, which means they had a lot of money sitting around in their accounts. Many individuals decided to use that extra cash on product purchases – specifically, on Now,watches.most travel restrictions are gone, and people are once more investing their money in their travels and social interactions. As a result, the demand for wristwatches has decreased, causing their prices to go down.
Unsustainable Growth Rolex as a brand produces around 800,000 new wristwatches every year –a number that was not enough to meet the current demand. This led to a fairly robust secondary market. With the pandemic frenzy, the luxury watch market reached an estimate of around $29 billion, causing many people out there to be very optimistic.Aspeople were buying more and more watches, sellers were listing numerous prices, increasing them week by week so that they could instill market confidence. That being said, the short-term increase resulting from the pandemic turned out to be unsustainable. This is why the wristwatch market is once more going back to the prepandemicIndeed,grounds.itisexpected that in the longterm, brands such as Rolex or Audemars Piguet will resume their previous trend and appreciate their value once the prices settle. The rate may be slower as compared to the past few years, but jewellers and watchmakers simply see it as “bringing it back down to earth”.
Last but not least, monetary relief was also one of the reasons why the watch market began to fluctuate. As the government provided funds to people who did not necessarily need them, that hole in the treasury added to the inflation. It also gave people the opportunity to buy more things that they required. Adding the demand with the average inflation – and culminating with the fact that the relief programs eventually stopped – people were no longer interested in buying overpriced watches.
People making jewellery investments might start wondering if now is the right time to sell a watch. The answer for that will only depend on your original purpose for buying the piece. Was it for something to enjoy, or was it an investment? If the watch was bought simply as an investment, then the trends show that the prices for hot luxury watches will only go down. Selling it right now may seem like a sound investment – and chances are that buyers will be lining up for the less expensive watch. However, if the watch was bought as something to enjoy, it is up to you to decide whether you still like it or not and whether you’re better off without it.
The Bottom Line Watch prices are going down right now, not because of the watches themselves –but because of the state of the economy. In a way, the pandemic bubble caused the watch prices to go higher – so now, things are returning to normal. Even as watch prices are decreasing, once everything stabilizes, luxury brands will begin to appreciate.
The problem is that for the inventory to be cleared, buyers must get the right incentive – which is usually a much lower price. This applies to the grey market as well at the moment, although this might change in the future through better inventories and honest pricing.
The market is unpredictable, and just like the 2020-2022 bubble happened, prices may increase once more. By hanging on to the watches you purchased in the past or during this current drop, you might end up with some pieces that will appreciate greatly in the future.
The watch bubble has begun to break as the average economy and demand are seeing a shift. This is why it is expected that wristwatch prices will continue to fall, as today’s economy cannot handle that demand. Jewellers and dealers are also putting too much pressure on themselves to get rid of the items that they have in the inventory, lest the drop will no longer support their first investment.
Should You Sell Your Watches?
Will Watch Prices Keep Falling?
■ BUSINESS INSIGHTS / WORLDWIDE JEWELLERY REPORT 42–2022NEWSJEWELLERYBALTIC 7● www.balticjewellerynews.com
MODERN METHODS OF GEMSTONE MODIFICATION Pyrite in Emerald 42–2022NEWSJEWELLERYBALTIC 8●
By Olga Demina gemstones expert at Lithuanian Assay Office
modifications are often applied to make it possible for raw material, that was originally not of gemquality, be transformed from waste and low-quality initial product which does not participate in the jewelry market of gem-quality raw materials, by adding transparency, improving color quality and enhancing durability characteristics. In other words, thanks to modification, it is possible to give low-grade raw materials all the characteristics of gemstones. According to the classification of English mineralogist J. F. G. Smith, precious materials are those that best meet the three main criteria: ‘beauty, durability, and rarity.’ Lately, there has been a tendency of increasing interest in natural stones. For example, the fashionable nowadays craze for microphotography offers scope for a new hobby related specifically to mineralogy and the world of gemstones. If some time ago we could admire only the external beauty of the stone and only a professional with an expensive lens could peek into the rich world of precious stones, today, with the reduction of the price of optical devices (at popular Internet sites you can buy a minimicroscope for your phone for just a few euros), we are also able to access this incredible world. And get great pictures of inclusions in minerals. That is why there are more and more suggestions that all stones of natural origin (which meet the criteria of beauty and durability) should be categorized as precious, since the limiting factors lead to the rarity of these materials and thus historically and culturally most consumers pay attention to the origin of the stone. This is an important selection criterion.
Synthetic stones and materials created in laboratories are one more segment of the jewelry market. It will also develop and grow but buyers of these segments are often different, with different motivations and criteria in their choice of jewelry. So why has the number of modified stones increased on the market most recently in particular?
Modifications (in the Russian language – beautification; in English, this term is called treatment – color and quality improvement) are special processing procedures, not including polishing, finishing and cleaning, that change the appearance of the stone, such as color, transparency, and optical effects (for example, creating a star effect in rubies). In addition, modifications are used to increase the wear resistance and durability of stones. Recently, they have also been used to simplify the process of extracting gemstones from rock, to make it easier and less expensive to enrich the rawGemstonematerial.
There is an opinion that this is the intention of the market to create a balance of supply and demand. It’s due to the recent excavation and depletion of easily accessible gem deposits. Either most of today’s large deposits are located distant from the market of demand – in this case, transportation costs are imposed, or excavation is already difficult: it is no longer an open pit excavation, and it is necessary to create mines. Also, excavation methods are influenced by the environmental factor, i.e. the negative impact of mining on nature and the environment. This also increases the cost of the final Thoughproduct.thedemand for precious stones experienced a decline in some regions due to the crisis, it still remains at a fairly high level. This is why modified natural stones are a good way out for the gemstone market. Both natural stones and stones created in laboratories are subject to modification but at the moment, they are the modified natural stones that are widely represented and occupy a visible segment of the jewelry market. Since the exhaustibility of natural resources is a limiting factor, there is a balance.‘cost-quality’
specimens,especiallyofCombinationtwofactors:rarehighpriceSTONESNATURALOFORIGINCombinationoftwofactors:lowquality,unappealingcolor Stones of good syntheticofCombinationsought-aftercharacteristicsqualityandcolorstwofactors:stonesandartificialmaterialsonOpportunitymodifiedof three factors:Combinationnaturalstonestobuythemassmarket,reasonableprices BUSINESS INSIGHTS / LITHUANIAN JEWELLERY REPORT www.balticjewellerynews.com 42–2022NEWSJEWELLERYBALTIC 9●
● Annealing is a type of heat treatment that involves heating to a certain temperature, exposing to that temperature for a certain amount of time, and then slowly cooling to indoor temperature. Annealing involves the processes of regeneration, recrystallization and homogenization, which reduce the stresses in the crystal lattice. This is necessary for a higher yield of stone suitable for processing.
Filled crack in Emerald Diamond with filled cracks Ruby
● Diffusion
● Dyeing and cracking followed by painting. It’s mostly applied to quartz. Very strongly cooled stones are placed in a very hot solution (liquid), due to cracks (a whole system of cracks is formed), the stone is colored and acquires a specific, initially targeted color.
Natural jewelry stones with good characteristics of transparency, flawlessness and desirable fashionable colors are quite expensive and often become luxury items when it comes to large jewelry inlays. As for small natural stones of mediocre quality, their attractive effect compete on the market with synthetic stones, which often cost less and look more attractive. But they are not shrouded in a halo of uniqueness and individuality and do not have inclusions that were formerly called no other way than defects which are today more often called peculiarities that confirm the natural origin of a stone. If previously the certificates of the world's laboratories were limited only to a scheme of inclusions-defects, now some gemological laboratories issue special photo albums with the inner world of natural stones, this world is often unique and interesting.
● Heating (high/low temperature) – today is considered a routine procedure to improve the transparency and color of gemstones. The techniques range from conventional or microwave heating up to the application of highly sophisticated processes using gas equipment and pressing machines.
● Filling cracks – with natural oils (considered an acceptable practice of soft upgrading), filling with various resins, polymers, wax, paraffin, etc.
www.balticjewellerynews.com 42–2022NEWSJEWELLERYBALTIC 10●
● Healing cracks in Sapphires and Rubies with flux agent. Flux is a natural or artificial substance that is used to lower the recrystallization temperature and consequently the cracks in the stone heal. Flux is most often a multicomponent mixture with the predominance of Borax (Sodium tetraborate decahydrate Na2B4O7·10H2O)
● Crack healing with glasses (for diamonds) and glasses with lead or cobalt impurities (for Rubies, Sapphires).
● Impregnation (stabilization) is application of colorless or colored waxes or similar materials, pouring polymers over the entire volume of the stone or on the surface layer of the stone.
Inclusions of different other minerals or inclusions of unusual shape only increase their value, making such stones a unique commodity and collector’s item.
Thanks to the development of science and technology, there are today quite a lot of methods for modifying jewelry raw materials. Often there are combinations of the following:
Lead glass-filled
In other words, as it is demonstrated in the scheme, modified gemstones (jewelry) are a combination of three desirable factors such as genuineness, rather good characteristics of transparency and durability of the stone, i.e. quality and popular attractive color, but also the cost of such stones remains affordable to the mass market.
The example of it is the effect of optical asterism in rubies and sapphires. A fabricated cabochon is coated with a titanium film, then heated, and the rutile phase crystallizes along its crystallographic faces and directions, resulting in an optical asterism effect. But the depth of diffusion is usually up to 0.5 mm.
● Metal-coated crystals – such method is used, for example, for Quartz whose surface is coated with metal to give it a shimmering metallic luster. Coatings often include Gold, Indium, Titanium, Niobium, and Copper.
Green-colored Quartz imitating Emerald
● Modification with X-ray and gamma-ray irradiation. It’s very often used for Topaz, Diamond, Citrine and Smoky Quartz.
■ Diffusion is a nonequilibrium process under which a substance moves from a region of high concentration to a region of low concentration, resulting in spontaneous equalization of concentration throughout the occupied volume.
● Laser drilling is drilling out channels and holes in a stone with a laser in order to remove inclusions from this stone.
● Reconstructed stones are artificial materials produced by melting, without subsequent crystallization or pressing of natural materials, into one integral whole.
● Gluing is joining of two or more parts into one integral whole with the help of glue or some other chemical substances (creating duplets, triplets).
● Bleaching is the changing or lightening of color through exposure to physical or chemical agents, or through the use of light.
BUSINESS INSIGHTS / LITHUANIAN JEWELLERY REPORT www.balticjewellerynews.com 42–2022NEWSJEWELLERYBALTIC 11●
Today, with the appearance of such a great number of imitations and modifications of gemstones, it is especially important to retain the trust of the buyer. Therefore, an obligatory condition for the sale of modified gemstones is the disclosure of complete and accurate information about the modification. This also complies with the rules established by CIBJO international organization (The World Jewellery Confederation). However, with one reservation: it is possible to omit information about the modification on the condition that this procedure is generally accepted. And today, more and more types of modifications are becoming routine procedures, such as heating for Sapphires or Tanzanites.
GOLD DEMAND TRENDS
Despite Q2 weakness, strong first quarter ETF inflows fuelled a notable H1 recovery.Golddemand (excluding OTC) was 8% lower y-o-y at 948t. Combined with Q1 this took H1 demand to 2,189t, up 12% y-o-y. The LBMA Gold price PM averaged US$1,871/oz in Q2, 3% above the Q2’21 average. However, this comparison conceals the 6% decline in the price during the most recent quarter, pressured by rising interest rates and the rocketing value of the US dollar. As the gold price fell in Q2, gold ETFs lost 39t, giving back some of the strong Q1 gains. Net H1 inflows totalled 234t compared with 127t of outflows in H1’21. Bar and coin investment (245t) was unchanged from Q2’21 as a sharp drop in China was offset by growth in India, the Middle East and Turkey. The H1 total saw a 12% y-o-y drop to 526t on compounded Chinese weakness.
Q2 jewellery consumer demand reached 453t, 4% higher y-o-y, although the comparison is with a fairly weak Q2’21. Total H1 jewellery demand of 928t was 2% below H1’21.
Gold jewellery demand up vs Q2 2021 but below typical pre-pandemic quarterly levels. Q2 jewellery consumption was 4% higher y-o-y at 453t as growth in India and the Middle East outweighed declines in China and Russia Demand remains anaemic on a longer-term basis, 10% below the five-year quarterly average of 505t H1 total demand (928t) was 2% down on H1’21, but 12% below 2019 pre-pandemic levels.
●
Central banks continued to buy gold. Global official gold reserves grew by 180t in Q2, taking H1 net purchases to 270t. Technology demand dipped in Q2, down 2% y-o-y to 78t on weaker demand for consumer electronics. H1 demand was fractionally lower as a result at 159t.
●
Tonnes Q2’21 Q2’22 Y-o-y change total 437.1 453.2 ↑ 4% India 94.3 140.3 ↑ 49% China, MainlandP.R.: 146.7 103.5 ↓ -29%
Source: Metals Focus, World Gold Council Gold jewellery demand in Q2 was slightly firmer than the second quarter of last year but remains soft compared with pre-pandemic norms. While global jewellery consumption has recovered from the worst of the COVID-induced weakness seen in 2020, it has yet to regain the typical quarterly averages –of around 550t – that characterised the few years preceding theSeveralpandemic.factors were at play in constraining demand in Q2, including China’s lockdowns and surging global inflation. But support came from healthy wedding and festival buying in India, and rising oil prices boosting sentiment in the Middle East. In a repeat of the first quarter, growth in fabrication volumes outstripped that of consumption. Consequently, jewellery inventories increased in Q2 – by 31t – as the supply
BUSINESS INSIGHTS / WORLD GOLD COUNCIL www.balticjewellerynews.com 42–2022NEWSJEWELLERYBALTIC 12● ETFs FUELLED A NOTABLE H1 RECOVERY* Tonnes -1,0002,0003,0003,5002,5001,5001,0005000-500 H1’13 H1’14 H1’15 H1’16 H1’17 H1’18 H1’19 H1’20 H1’21 H1’22 ■ Jewellery ■ ETFs and similar products ■ Technology ■ Central bank and other inst. ■ Total bar and coin demand *Data to 30 June 2022. Source: Metals Focus, Refinitiv GFMS, World Gold Council
●
Q2 2022 Report by World Gold Council Gold demand softened in Q2
World
China China’s gold jewellery demand fell by 29% to 103t in the second quarter. This brought the H1 total to 281t, 17% lower y-o-y and 19% below its 10-year average. Major city lockdowns hampered gold consumption in April and May, with millions subjected to controls to limit contagion. Consumers’ inability to spend, together with decelerating income growth – the 1.5% y-o-y growth in Q2 was the weakest on record excluding 2020 – were main contributors to the weakness in Q2 Chinese gold jewellery demand. Gold jewellery consumption during H1 may have also been dented by a 5% rise in the local gold price as the RMB weakened.
And we believe changing consumer behaviour also played a role. The challenging environment encouraged precautionary savings: according to the People’s Bank of China’s quarterly survey, the tendency of local households reached the highest level on record in Q2.1 The fact that the second quarter is a traditional off-season for gold jewellery consumption further exacerbated the weakness. Heritage gold jewellery continued to dominate in spite of the broader market weakness, although some market saturation caused momentum to slow. 24K pure hard gold lost more market share. The increasing demand for price transparency has weighed on this category, as jewellers continue to transition from “per-piece” to “per-gram” pricing. The COVID resurgence did not slow the stride of expansion by leading brands in 2022. Chow Tai Fook, for instance, increased the number of points of sale in mainland China from 5,646 at the end of 2021 to 5,931 by end-Q2’22, mainly in lower tier cities.2 Looking ahead, we expect continued weakness in H2 despite potential seasonal q-o-q rebounds. The zero-COVID policy, weak domestic demand and turmoil in the real estate
sector may continue to weigh on local economic growth and negatively impact gold jewellery demand. There may be some relief, however, from consumption stimulus measures, while pent-up wedding demand, and expanding product ranges of 24k Hard Gold and Heritage Gold jewellery might provide additional support should the measures to control the pandemic be successful. India Robust wedding and festival sales helped boost Q2 jewellery demand to 140t. The 49% y-o-y increase in Q2 demand was largely due to a very weak Q2’21; nevertheless, demand in the most recent quarter was healthy from a longerterm perspective – 6% above the five-year quarterly average of 132t. Demand in H1 reached 234t – 6% higher y-o-y – as the weak first quarter offset Q2 strength. Sales for Akshaya Tritiya in May, together with wedding purchases during the traditional Q2 wedding season generated the growth in demand. The timely correction in the gold price from the April high also contributed to the positive picture. But despite healthy Q2 demand, the macroeconomic backdrop of a weaker currency, rising inflation and higher interest rates posed headwinds. Urban Indians have been the main driver of demand growth as economic activity in these areas has largely normalised to pre-pandemic levels. In contrast, rural consumers have been heavily impacted by rising inflation and higher interest rates on agricultural loans, meaning demand from this quarter has yet to recover fully from the impact of COVID. 22k plain gold jewellery continued to dominate the landscape, although more affordable 18k and 14k jewellery gained market share, particularly among younger consumers.
The outlook for the rest of the year is mixed. While festival and wedding demand should be a positive factor in Q4, demand will face challenges from a depreciating rupee, higher inflation and the higher import duty on gold.
www.balticjewellerynews.com 42–2022NEWSJEWELLERYBALTIC 13● 6008007005004003002001000 Tonnes Q1’15 Q1’16 Q1’17 Q1’18 Q1’19 Q1’20 Q1’21 Q1’22 ■ Jewellery demand ■ Five-year quarterly average (2015-2019) *Data to 30 June 2022. Source: Metals Focus, Refinitiv GFMS, World Gold Council QUARTERLY JEWELLERY DEMAND REMAINS BELOW PRE-PANDEMIC LEVELS* COVID-RELATED UNCERTAINTIES AND DETERIORATING CONFIDENCE HAVE ENCOURAGED HOUSEHOLDS’ PRECAUTIONARY SAVING BEHAVIOUR Source: Metals Focus, Refinitiv GFMS, World Gold Council 607050403020 100110120130908070 % of survey respondents selecting “save more” Sep-02 Dec-05 Mar-09 Jun-12 Sep-15 Dec-18 Mar-22 ■ Jewellery demand ■ Five-year quarterly average (2015-2019) Index level
chain in some markets continued to rebuild stocks after the impact of the pandemic and as it responded to robust consumer demand.
After falling in the first quarter, Indonesian jewellery consumption rose in Q2 by 18% y-o-y to 5t. Demand benefited from economic recovery, improving consumer sentiment and rupiah depreciation (some bought gold due to concerns about a further and heavier drop in the currency).
Jewellery consumption in Thailand rose for the sixth consecutive quarter, increasing by 10% to 2t. While demand has shown consistent growth since the start of 2021, it remains well below pre-pandemic levels. Jewellery consumption has been supported by the economic recovery, emergence from COVID and a rebound in tourism. Concerns about inflation and the purchasing power of the baht have also driven interest in gold as a store of value. Jewellery fabrication outperformed consumption as gold shop owners started to re-stock in light of continued consumption growth.
Jewellery consumption in Vietnam rose for the second quarter by 28% y-o-y to 4t. Demand was supported by falling local gold prices, the economic recovery, and higher incomes, as many companies reversed temporary salary cuts.
ASEAN markets
The government’s US$15 billion (bn) stimulus package has boosted GDP growth and consumer sentiment. It should be noted that the second quarter is traditionally relatively slow for jewellery sales due to the impact of Vietnamese New Year, which falls in Q1. Jewellery demand in Singapore rose 43% y-o-y to 2t. The economic recovery and the lifting of most remaining COVID measures has supported demand. Jewellery consumption in Malaysia increased 35% y-o-y to 3t. With pandemic control measures entirely lifted and international travel resuming in April, as well as a lower base last year due to Malaysia’s Moving Control Orders, jewellery consumption saw a notable rebound. Festival buying also played a role in the second quarter. Rest of Asia Japanese gold jewellery consumption saw a second consecutive quarter of 5% y-o-y growth. Demand remains modest at 4t but in light of the rising local gold price the Q2 growth was noteworthy. Rising inflation is a potential headwind for the remainder of the year, however. South Korea saw an 8% y-o-y decline in Q2 jewellery demand to 4t. The uncertain domestic economic environment, at a time of relatively high local gold prices, contributed to the more cautious consumer sentiment. Australia Australian jewellery demand rose 8% y-o-y to 3t. The higher cost of living is weighing on demand; although consumption is up, the growth in jewellery demand is slowing.
BUSINESS INSIGHTS / WORLD GOLD COUNCIL www.balticjewellerynews.com 42–2022NEWSJEWELLERYBALTIC 14●
■ Middle East and Turkey Jewellery demand in the Middle East cemented its return to pre-COVID average levels; in contrast, Turkey remained subdued.Q2Turkish gold jewellery consumption fell 9% y-o-y to 7t. Demand has been remarkably steady for the past three quarters but remains weak in a historical context. Currency weakness has contributed to volatility in the local gold price and surging inflation squeezed disposable incomes. Demand for 22k gold with low making charges held up relatively well, as a safe-haven proxy. Markets across the Middle East mainly witnessed y-o-y growth in Q2. Rising oil prices were supportive of demand across the region, boosting consumer sentiment and income levels. The UAE continued to benefit from a return to nearnormal tourist numbers. Iran managed a y-o-y increase in Q2 demand, although this was partially due to the low base from Q2’21. Egypt was an outlier: demand fell 3% y-o-y as depreciation of the local currency translated into a notable increase in local gold prices. The West US consumers continued to demonstrate their desire for gold jewellery, although momentum may be slowing. Q2 demand grew 2% to 38t, comfortably above the 33t fiveyear quarterly average. This took H1 demand to 65t, broadly on a par with H1’21. The return to a more normal year for weddings continued to support demand, but there are early indications that the end of federal income support may have taken the wind out of the more affordable, lower carat end of the market. European jewellery demand registered the strongest Q2 since 2016 at 15t. The 14% y-o-y increase contributed to a similar (15%) rise in H1 demand to 26t – signalling a return to pre-pandemic levels. Growth was largely due to a rise in the number of weddings, plus a better economic scenario –particularly with regards to lockdowns – than in Q2 last year. However, a reported cooling of demand towards the end of the quarter, as the cost-of-living crisis began to bite, suggests that momentum could slow in H2.
CONTROVERSY
BUSINESS INSIGHTS / DANISH JEWELLERY REPORT www.balticjewellerynews.com
The figures were shown by Minister of Foreign Affairs and Integration, Kaare Dybvad Bek to Danish parliament.
“Does a rich country like Denmark really need to strip the very assets of these desperate asylum seekers before providing them basic services?” HRW’s executive director Kenneth Roth said in January 2016.
According to the police figures, there have been between 0 to 5 jewellery law cases a year, from 5th February 2016 to 30th May 2022. For example the law hasn’t been used this year or in 2019 but in 2021, the law was used five times, involving nationals of Iran, Eritrea, Sri Lanka and Afghanistan.
Disapproval could also be found in international media, including in a New York Times editorial and a cartoon published by British paper The Independent, which depicted the Little Mermaid flush with cash and jewellery confiscated from refugees. Technically the law could have applied to Ukrainians who have come to Denmark as refugees, to escape Russian invasion of their country but Danish parliament decided the law should not apply to Ukrainians.
15●
The legislation, which came into effect in February 2016, allows police to confiscate cash and valuables with a value above 10,000 kroner from arriving migrants and asylum seekers.
Under Ministry of Immigration guidelines, police are told not to take wedding rings or engagement rings and individual officers are left to determine the sentimental value of other items.
CONTROVERSIALUSEʻJEWELLERY LAW’
42–2022NEWSJEWELLERYBALTIC
At the time of its introduction, the law, which was passed by a large parliamentary majority, received criticism from international human rights groups including US-based rights watchdog Human Rights Watch (HRW).
More than six years after the controversial 'jewellery law' was passed, enabling Danish authorities to confiscate valuable items from refugees, the law has been used 17 times, according to figures from the National Police.
17 TIMES IN LAST SIX YEARS
DANISH POLICE
■
However it is not clear what has been taken in each case; whether the item was jewellery or what the value was.
AMBER ROAD OF UKRAINE BUSINESS INSIGHTS / UKRAINIAN JEWELLERY REPORT www.balticjewellerynews.com 42–2022NEWSJEWELLERYBALTIC 16●
It is common knowledge that Ukraine is second in the world when it comes to the amber deposits. However, the way of the official amber mining market formation has been ongoing in Ukraine for more than 30 years. Since August 24, 1991 when Ukraine gained independence, each new power has promised to develop legislation that would allow amber to be mined legally in Ukraine. But the promises just remained promises. The security agencies often in cooperation with the criminals have organized more and more new schemes for illegal mining and black export of amber to Europe and China. And the state has lost hundreds of millions of dollars from doing so, especially during the reign of the President-the-fugitive Yanukovych, when the global amber prices have reached sky highs. During this period, the Ukrainian Polissia, which bears the largest reserves of sunstone, has seen and gang wars over the spheres of influence on amber mining, and the demonstrative arrests of illegal miners who refused to pay, and exposure of corrupt officials who “covered” the illegal mining. In every amber region there are many stories about the incredible luck of the miners and the instant opportunity to get rich. In short, this period can be called “the amber rush in Ukraine”. Realizing the prospects of the amber business in Ukraine and the necessity of transforming the illegal business into the official type of activity, an initiative group of several enterprises has created the ASSOCIATION OF AMBER BUSINESS OF UKRAINE. The association is a network of economic entities whose activities are related to the functioning and development of the field of geological study, mining, processing and sale of amber and amber products. During the period of activity the Association was joined by several dozen members from Ukraine and other countries of the world. Some of them are engaged in amber mining, while others process amber into semifinished products or jewelry. Among the members of the Association there are enterprises that provide services for geological studies, research and industrial development of amber deposits, development of project documentation for mining, etc.
The official amber mining market in Ukraine has come into being in December 2019, when the Verkhovna Rada of Ukraine has adopted the Law on
Contacts of the ASSOCIATION OF AMBER BUSINESS OF UKRAINE: 33014, Ukraine, Rivne region, the city of Rivne, Kniahyni Olhy Street, building 9, office 1. Phone: +380673604770 E-mail: amber.business.association@gmail.comhttp://uaamber.com/
Already in the near future, active subsoil users will start the amber mining on the received areas and, accordingly, export to the interested countries will begin.
The ASSOCIATION OF AMBER BUSINESS OF UKRAINE is ready to assist the investors from Europe and other countries in starting an amber mining business in Ukraine. For the nearest period the ASSO CIATION OF AMBER BUSINESS OF UKRAINE plans to unite all holders of special permits for amber mining, as well as the majority of processing and exporting enterprises. Under the auspices of the Association, the subsoil users is expected to participate in the international exhibitions that are periodically held in different countries of the world. And the strategic goal of the Association is the organization of a permanent exhibition in the city of Rivne and transformation of the latter into the “amber capital”. Due to the war the world’s attention is focused on Ukraine and after the victory there will be an unprecedented flow of investments and those wishing to see Ukrainian charms with their own eyes, one of which is the amber sun stone.
According to Mykola Kotniuk, the Chair of the Board of the ASSOCIATION OF AMBER BUSINESS OF UKRAINE, by the beginning of Russian fullscale invasion of Ukraine, at the public electronic auctions were sold 75 special permits for subsoil use, of which 65 permits for amber mining and 10 permits for the geological study of amber-bearing subsoil. The amber mining is allowed for subsoil users on an area of 625.14 hectares, and geological exploration –on 1574.03 hectares. Since the beginning of Russia’s war against Ukraine, the sale of special permits has been suspended, although, according to Mykola Kotniuk, the State Service of Geology and Subsoil of Ukraine has prepared for auction more than 120 another plots. Despite the adoption of the Basic Law on Amber Mining, the subsoil users in Ukraine still face difficulties in conducting amber business. But the ASSOCIATION OF AMBER BUSINESS OF UKRAINE is constantly working on improving the legislation on amber mining. For example, with the participation of the ASSOCIATION, the mechanism of subsoil users’ access to land plots is being improved, the problem with existing forest plantations on the plots is solved, a unified mechanism for determining the amount of damages to landowners and land users for the temporary occupation of land plots is being introduced and so on. Through joint efforts of the State, the ASSOCIATION OF AMBER BUSINESS OF UKRAINE and subsoil users, all obstacles in doing amber business will be overcome, and amber mining activity will be comfortable and profitable.
There is a lack of sunstone. Ukraine is able to satisfy the demand of the most demanding connoisseur of amber from European countries, as well as from the countries of the Arab world and China.
Improvement of Legislation on Mining of Amber and Other Minerals. This Law provided for the possibility of purchasing at electronic auctions special permits for the extraction of amber on land plots disturbed by illegal miners with an area of up to 10 hectares. The idea behind such legislative changes is for investors, after obtaining special permits, to mine the remains of amber on disturbed lands and carry out reclamation of land plots.
www.balticjewellerynews.com 42–2022NEWSJEWELLERYBALTIC 17● ■
Meanwhile, as a result of sanctions imposed on russian federation and suspension of amber exports from kalininhrad the cost of amber and amber products in the world is increasing.
And after the end of the war with the victory of Ukraine, the state will put up for sale at the auction additional plots of amber-bearing subsoil, in the purchase of which the investors from foreign countries will be able to participate.
Photo of the process of illegal amber mining Mykola Kotniuk – chairman of the board of the ASSOCIATION OF AMBER BUSINESS OF IvanUKRAINEPradosh is the president of the AMBER BUSINESS ASSOCIATION OF UKRAINE
By Günter Bechly Resin
I photographed this very interesting little critter in 2013 at a German private collection (coll. Carsten Gröhn, no. 1623), which will be inherited by the Centrum für Naturkunde at the University of Hamburg. The insect is preserved as an inclusion in Eocene Baltic amber, which is a fossil conifer resin that is about 34-37 million years old. It is only 2.5 mm long, thus likely representing an early nymphal instar. It belongs to the wingless insect order Zygentoma (silverfish), which is a small group of only 470 species that are classified in seven families. They are very rarely found as fossils (Mendes & Wunderlich 2013), but this specimen is an even more remarkable scientific novelty, which is here revealed for the first time. Therefore, please allow me to get a bit technical for the specialists. The animal certainly belongs to a new genus and species and either represents the first record of the family Nicoletiidae in Baltic amber, or even an undescribed new family of silverfish, which is characterized by the following combination of characters: The body is elongate and slender (as in Lepidotrichidae, Nicoletiidae, and Maindroniidae); the thorax lacks pronounced paranotal lobes (as in Nicoletiidae and Maindroniidae); abdominal urosternites II-VIII are supplied with pairs of stylets (unlike the articulated styli in Lepidotrichidae, Tricholepidiidae, and Maindroniidae) and II-VII with eversible vesicles (as in Lepidotrichidae, Tricholepidiidae, and Nicoletiidae); the tarsus is threesegmented (unlike Lepidotrichidae and Tricholepidiidae); scales are totally absent (unlike Ateluridae and Lepismatidae); the head is globular and hypognathous (as in Tricholepidiidae), and is distinctly longer and larger than the prothorax (as in Maindroniidae); lateral eyes seem to be present (unlike Nicoletiidae, Ateluridae, and Protrinemuridae); the maxillary palps are very long and five-segmented; the labial palp is short with an ovoid distal segment (unlike Maindroniidae); the antennae seem relatively short (maybe incomplete) and robust with elongated distal segments (contrary to the filamentous annulated antennae of most other silverfish, but maybe due to early ontogenetic stage). The median appendage (paracercus) is incomplete or broken, which is sometimes found in living silverfish (e.g., Maindroniidae and Nicoletiidae).Interestingly, this unique combination of characters includes a strange mixture of archaic and derived features that does not fit well with the assumed evolutionary relationships within silverfish (compare Koch 2003). Such incongruent or homoplastic characters represent a notorious problem for modern phylogenetics and contradict the evolutionary prediction of a perfectly nested hierarchy, which is so often championed by the apostles of Darwinism as one of their best arguments.
BUSINESS INSIGHTS / WORLDWIDE JEWELLERY REPORT 42–2022NEWSJEWELLERYBALTIC 18● www.balticjewellerynews.com
Literature ● Koch M 2003. Towards a Phylogenetic System of the Zygentoma. pp. 122-125 in: Klass K-D (ed.). Proceedings of the 1st Dresden Meeting on Insect Phylogeny: “Phylogenetic Relationships within Insect Orders” (Dresden, September 19-21, 2003). AbhandlungenEntomologische 61(2), 119-172. ● Mendes LF, Wunderlich J 2013. New Data on thysanurans preserved in Burmese amber (Microcoryphia and Zygentoma Insecta). Soil Organisms 85(1), 11-22.
NEW KIND TRAPPEDSILVERFISHOFINSTICKY ■
A M B E R I N C LU S I O N S AMBER WARES, INCLUSIONS INCLUSIONSAMBERBERNSTEINSCHMUCK,INKLUSENGINTARODIRBINIAI,INKLIU-ZAIAMBERWARES,INCLUSIONSBERNSTEINSCHMUCK,INKLUSENGINTARODIRBINIAI,INKLIUZAI Amber Inclusions MB Talino 3 3/1 , 0 5 2 0 0, V ilnius , L ithuania tel . : +3 70 6 9 9 5 76 7 7, +3 70 6 4 6 3 0 2 3 4 e mail: info@amberinclusions eu w w w amberinclusions eu Amber MB Talino 33/1, 05200, Vilnius, Lithuania tel.: +370 699 576 77, +370 646 302 34 e-mail:www.amberinclusions.euinfo@amberinclusions.eu
ust like every year, the incredible jewellery event brought together amber designers and craftsmen, professional jewellers, and even developers of technological units and devices for jewellery in the Baltic States. After two years, Amber Trip Exhibition appeared back in March and an event was held in which both suppliers and buyers attended as they were eager to meet and interact each other after being away due to the Thispandemic.year,Author Jewellery Zone, a new project introduced several years ago, was organized again. Author jewellers participated to demonstrate their creations, and a separate hall was dedicated for authorMakingjewellery.jewellery is undoubtedly an art and this art is different for every nation. In different countries around the world, jewellery-makers follow different trends and technologies for the production of sophisticated and eye-catching jewellery.
EXHIBITION AMBER TRIP BUSINESS INSIGHTS / LITHUANIAN JEWELLERY REPORT www.balticjewellerynews.com 42–2022NEWSJEWELLERYBALTIC 20●
J
At Amber Trip, a platform is created where talents and renowned artists from around the world come around to showcase their products and works. From different countries, different artists come with different skills and works. The ultimate outcome is a blend of unique and exotic jewellery products and items that appeal to people.Youcan also participate in the event and get the opportunity to not only observe but also interact and negotiate with some of the renowned jewellery manufacturers and dealers from around the world. In addition, you even have the opportunity of participating in the upcoming events and showcase your own work. If you are a person who is interested in jewellery or technologies associated with its production, you can definitely take the time to participate in the event and show your work jewellery experts from across the globe.
Amber Trip, the largest XVIIIth International Jewellery Show in the Baltic states took place this March in Vilnius at the largest exhibition and convention centre in Litexpo.
AMBER AND JEWELLERY
Just like every year, a jewellery contest was held at the event. In 2022 the topic was Opportunities. From around the world, renowned jewellery experts applied and delivered their works. The winners were presented and their works were appreciated during the event. You can find photos of competition works in another article in this magazine.
Next year exhibition will have even more art in the exhibition. Organizers invite artists to present their art installations and perform art performances during the exhibition.
The international jewellery exhibition featured some of the latest and most exotic products from around the world. A large number of jewellery products were based on modern trends and easily caught the eye of Otherpeople.thantrending jewellery products, modern technologies being used in the jewellery industry were also featured and professional jewellers showcased their sophisticated and stunning works. You will be surprised to know that around 60% of the exposition area was occupied by amber goods and amber raw materials. Meanwhile, the remaining 40% was occupied by different jewellery products.Inthe beginning of January, around 80% of the last exhibition’s participants confirmed their participation in the event and a number of collectors, museologists, jewellery wholesalers, and amber appeared in the event and even demonstrated their support and interest to the organizers of the exhibition in the event.There is no doubt that the International Jewellery Exhibition is a platform where a person can not only meet but also negotiate, sell, and purchase different types of jewellery products. Just like every year, the exhibition hosted a variety of different seminars and events on the themes of amber and jewellery. In the recent event, experts from around the world shared their views and experience on different topics and jewellery techniques.
www.balticjewellerynews.com 42–2022NEWSJEWELLERYBALTIC 21● ■
GDAŃSK IS THE WORLD CAPITAL OF AMBER!
■
We hope that this short feature about amber, a remarkable material, its symbolism and rich history will become an invitation for you to visit Gdańsk, where amber trends are born. The best place to admire amber’s assets and experience its magic is the AMBERIF International Fair of Amber and Jewellery, with its coming editions on 01–03 September 2022 and 22–25 March 2023. www.balticjewellerynews.com
BUSINESS INSIGHTS / POLISH JEWELLERY REPORT
It is in Gdańsk that all amber roads intersect, it is also here the historical tradition of amber crafting continues as part of the unique atmosphere of the city and its material culture. The heart of Gdańsk’s Old Town proudly features the Museum of Amber with the oldest examples of archaeological finds, spectacular artefacts of amber craft, natural inclusions and a thorough selection of works by leading jewellery artists from around the world. One of the most stunning exhibits is a prehistoric lizard, embedded in amber and found on one of the local beaches. Nearby Mariacka (St Mary’s) Street has many stores, galleries and studios of contemporary amber artists and, all over the city, there are multiple references to its amber heritage, including a unique football stadium that looks like a piece of Baltic amber.
42–2022NEWSJEWELLERYBALTIC 22●
AMBERIF, the world’s principal Baltic amber jewellery fair, is held here as well. Twice a year, in March and in late August/early September, exhibitors and buyers from all over the world meet at Gdańsk’s state-of-the-art Amber Expo exhibition centre to look for unique jewellery, which is available only then in such a massive selection and in top quality.Thisspecialised trade show is also an annual opportunity for influential meetings among experts from many areas of business, science and art, a venue for conferences, symposia and cultural events, with AMBERIF DESIGN AWARD—the international jewellery art competition—standing out in particular. In 2022, the Spanish artist Emma Carrau Bueno won the prestigious ADA Grand Prize. AMBERIF SELECTION is a parallel design competition addressed to AMBERIF exhibitors. Its purpose is to select jewellery products of exceptional design and supreme quality of workmanship. This year’s winner, S&A Jewellery Design, is renowned in Asia, where amber jewellery and sculptural items made of this material continuously enjoy great popularity. Baltic amber was already treasured by ancient Romans, who marked out amber roads in search of this valuable raw material in northern Europe. Amber is mentioned in many legends and literary sources, including Greek mythology. The 18 th century Baroque era was an important period in the development of amber art, when not only amber jewellery was made but also amber coffers, furniture, dishes, personal accessories and even architectural details. Many people believe amber to have magical and medicinal properties and it is often regarded, especially in China, as an amulet and a personal talisman. Perhaps this is influenced by its unique feature, namely its electrostatic properties (amber’s ancient Greek name is Elektronos). When rubbed against a fabric, raw amber charges up and attracts small pieces of paper; when heated, it gives off an aromatic scent and ionises the air with beneficial effect—after all, it is a natural fossilised resin of prehistoric conifers from forty million years ago. That said, AMBERIF is not just about amber, with over half of its 400 exhibitors manufacturing original silver and gold jewellery, gemstone jewellery and fashion accessories. The Design Gallery, with its unique design zone and art jewellery from leading jewellery artists, is a special feature of the fair. Meanwhile, the renown of jewellery designers has become a globally significant distinguishing factor of Polish creative industries. The Gdańsk cluster of companies, industry and academic institutions is an excellent environment to develop and implement amber innovations. The Gdańsk Academy of Fine Arts has become a laboratory, so to speak, for new forms, uncommon material choices and experimental design. It is here that future designers study CAD/CAM technologies and the most advanced 3D printing methods, test the limits of the artistic avant-garde and look for ways to revive traditional handicraft in line with the idea of sustainable design.
By Andreea – Luca Iavorenciuc
Sold Short of Records
BUSINESS INSIGHTS / SWISS JEWELLERY REPORT 42–2022NEWSJEWELLERYBALTIC 24● www.balticjewellerynews.com
Originally, it was hoped that The Rock would break the record for white diamonds sold at an auction house, which was $33.7 million for a 163.41carat jewel sold in 2017. However, the bid started at 14 million Swiss francs and ended at 18.6 million – the final price going up to 21.7 million, once the buyer premium was included. During the pre-sale estimate, it was stated that the value would be around 19-30 million Swiss francs. Due to this estimation and the fact that the diamond is perfectly symmetrical, Max Fawcett (head of Jewels at Christie’s) believed that the auction would explode. That being said, bidders still fought fiercely for the stone, ending in increments of 50,000 francs. Eventually, the auction came to an end and the piece of jewellery reached the hands of a private collector. The name of the owner was not mentioned, and the private collector made the bid through a telephone call. As a result, it is not exactly known who owns the piece of jewellery.Whilethe diamond fell short of the overall record, it still hit a new record for price per carat. The sale price lands at $10,000 per carat, which is a value that you would normally find in a D-color diamond. Both the seller and the buyer were content with the price that was fetched during the auction.
“The Rock” diamond, a 228.31-carat stone, became officially the biggest white diamond to ever be sold at an auction. Bigger than a golf ball, the diamond stole the breaths of many guests at the Christie’s auction house in Geneva, eventually being sold for $21.9 million (21.7 million Swiss Francs).
The Origins of the Rock Originally, the rough stone from which they polished The Rock was discovered in 1901. Its place of origin was a company mine owned by De Beers in South Africa. At the time of the discovery, the stone weighed around
THE ROCK: THE BIGGEST WHITE DIAMOND AUCTIONEDFOR $21.9 MILLION
Diamonds are graded from D to Z in terms of color – with D-grade diamonds being the clearest of them all. The Rock was graded as a G-color diamond, which means that the quality was still exquisite.TheRock is defined as being a particularly unique piece. In most cases, a lot of the weight needs to be sacrificed to maintain the shape. However, the Rock had a perfect pearl-shaped form with which they could work, making it a very rare gem.
Verdict – Wave of Investments More and more people are investing in jewellery, as a way to secure their future. While stocks and crypto are volatile, diamonds represent a steady bet. The Rock is only one part of these investments, as many jewellery collectors prefer diamonds to gold. While far from the record that was expected, estimates say the Rock’s value will increase in the future.
375 carats – the size was reduced after theBeforetreatment.being sold to various private owners, the diamond was shown in a variety of places, including Tapei, Dubai, and New York. The former owner wore The Rock as a lavish Cartier necklace, where its shape was maintained and not sacrificed to create a smaller piece. The stone was not only admired as being the largest diamond in the world, but it also had quite a few striking features. The most important one was the pavilion, which took the shape of the Maltese cross even in its natural state.
Auction History After being polished and refined into the beauty that we became acquainted with, the diamond was sold at Christie’s auction house in London. It was sold by the Diamond Syndicate, to come to the help of the British Red Cross Society, as well as the Order of St. John. During the auction, The Rock fetched almost £10,000, which values around $740,000 of today’s money. It was purchased by S.J. Philips, a company of jewellers in London. Up until 1973, the piece remained in the possession of its previous buyers. However, in that year, The Rock once more reached Christie’s auction house –this time in Geneva. It fetched a total of 1.8 million Swiss francs, after which it was offered by the auction house in Geneva for the third time. The Rock was sold alongside various other expensive jewellery pieces – one of which was the Red Cross Diamond. This canary yellow 205-carat cushioncut diamond reached a total of $14 million, making it the second most expensive item purchased in that auction. The pre-sale estimate was $10 million, a value that was once more comfortably exceeded by an anonymous buyer. Nearly a century over the Rock’s last sale, the diamond reached a new home. The proceedings of the sale will serve as humanitarian efforts to benefit the International Committee of the Red Cross.The Rock was also showcased along with a tiara that belonged to a Hamburg Empire aristocrat princess, Irma of Fuerstenberg. The piece of jewellery was estimated to value around 400-600 Swiss francs, but it broke all expectations when it was sold at 2.4 million francs. The diamond market at this very moment is very strong, with the demand going to high peaks as a result of geopolitical restrictions. Inflationary pressure has been placed on commodities, precious stones included, which is why the market has been pushed at its highest point since 2013-2014.Asprices continue to increase, more people are placing their investments in jewellery and precious stones –especially diamonds. As around 40% of the diamonds are obtained from Russian mines, collectors and investors are desperate to obtain them, since the mines are now closed to the international market.
■ www.balticjewellerynews.com 42–2022NEWSJEWELLERYBALTIC 25●
By Emma Martin Angolan miners have unearthed what experts believe to be the largest pink diamond discovered in over 300 years. Named after the mine in which it was found, the Lulo Rose weighs in at 170 carats. Adding to the excitement around the stone is the fact that it is a rare type IIa diamond, meaning that it has few to no impurities.
■ BUSINESS INSIGHTS / WORLDWIDE JEWELLERY REPORT 42–2022NEWSJEWELLERYBALTIC 26● www.balticjewellerynews.com
N atural pink diamonds are incredibly rare, with top quality stones fetching more than $1 million per carat at auction. The Lulo Rose has yet to be cut and polished, a process that can take years and result in a stone losing up to half of its weight. This makes its value hard to ascertain, but we can look to the past to get an idea of the market for the best quality pink diamonds. In 2017, the 59.60 carat Pink Star was sold at Sotheby’s Hong Kong for an astounding $71.2 million, the world record for any diamond sold at auction. It is the largest pink diamond ever to be graded by the Gemological Institute of America as internally flawless vivid pink. Mined in South Africa in 1999, the 132.50 carat rough stone had taken two years to cut and polish into the spectacular oval Pink Star. Most coloured diamonds get their hues from trace elements mixing with carbon atoms at the time of their formation – nitrogen in the case of yellow diamonds, boron for blue. Pink diamonds are different in that 99.5% of them contain no trace elements. Rather, they are subject to a process called plastic deformation which occurs after theirExtremecreation.heat and pressure from all directions cause distortions in the stone’s crystal lattice which results in carbon atoms being moved from their original positions. This alters the way in which the stone reflects light and this new molecular configuration means that we see the diamond as pink. Pink diamonds were first discovered in the famed Golconda diamond mines of India. The Great Table diamond was a rough stone believed to have weighed well over 250 carats and adorned the legendary Peacock Throne of Mughal emperor Shah Jahan. It was plundered in 1739 by the Persian ruler Nader Shah and disappeared a few years later. The approximately 182 carat Daria-iNoor (Sea of Light) is the largest cut pink diamond in the world. It now forms a part of the Iranian state jewels along with its smaller sister, the roughly 60 carat Noor-ul-Ain. Their origin is the subject of debate, with some researchers claiming that these two stones were actually cut from the Great Table diamond. Pink diamonds have also been discovered in Brazil, Canada, Tanzania, Russia and South Africa. It is Australia though, specifically the Argyle mine in Kimberley, Western Australia that is most associated with these stones. Until its closure in November 2020 it was responsible for around 90% of the world’s pink diamonds.
LULO ROSE: 170 SETPINKCARATDIAMONDTOSMASHRECORDS
“The record and spectacular pink diamond recovered from Lulo continues to showcase Angola as an important player on the world stage for diamond mining”Thesouthern African country is one of the world’s top ten sources of diamonds and the Lulo alluvial mine, in the northern region of Lunda Norte, has a history of producing exceptional stones. Previous discoveries include an enormous 404.20 carat colourless diamond, one of 27 diamonds weighing over 100 carats that have emerged from theThemine.mine is owned by Australian company Lucapa, in partnership with the state-run mining firm Endiama and Rosas & Petalas, a private Angolan company. It is expected the Angolan state-owned diamond trading company, Sodiam, will be responsible for the sale of the stone.
To get an idea of the stone’s rarity, one need only look at the Argyle mine’s results: of their 20 million carat annual production, less than 1% were pink diamonds and only a very small proportion of those were a rich, vivid colour. What’s more, the largest pink diamond found at the Argyle mine was only 12.76 carats. The Angolan government declared the discovery of the Lulo Rose to be ‘historic’, with the minister of mineral resources, petroleum and gas, Diamontino Azevedo, stating:
RETAINS THE JEWELLERY, IN ANOTHER FORM
– This is something that is increasing, that customers want to turn grandma's or grandpa's old ring into something else. Old heirlooms simply get new life, he says.
The old jewellery may have become outdated, but there is an affection value in it because it comes from a dear relative, Tobias explains. – In this way you keep it, but in a different form. Sometimes the customer wants to keep parts of the old jewellery in the new way, such as a stone or a certain detail. Another reason to melt down your jewellery can be a divorce, says Tobias. – I can have customers who say: “I never want to see it again.”
Quite hidden but very central, on the ground floor of Gustavsberg's inn, Värmdö's only goldsmith works. The benches in the small room are covered with tools, tiny parts in different materials and heavy mechanical machines that seem to originate from another time. In the corner stands Tobias Harborn melting gold with a gas burner. Four old rings that someone has submitted will be given new life, in a new piece of jewellery.
And it can be arranged. Tobias Harborn has worked as a goldsmith for 27 years and has run the company Skärgårdsjuveler together with his wife Isabel for the past ten years. That was when they decided to move from the city to Värmdö. Before that, he was hired by goldsmith shops in Stockholm to make jewellery for their customers.–Iwanted to start working more with private customers. It's more fun to meet the person who will wear the jewellery and I like the social part of my work, says Tobias.
VÄRMDÖʼS OWN GOLDSMITH TURNS GRANDMAʼS RING INTO A NEW PIECE OF JEWELLERY BUSINESS INSIGHTS / SWEDISH JEWELLERY REPORT www.balticjewellerynews.com 42–2022NEWSJEWELLERYBALTIC 28●
Värmdö's goldsmith Tobias Harborn has always a lot to do. Right now, the trend is that more and more people want to melt down their heirlooms and make new jewellery out of it.
Now he makes jewellery for private individuals. There will be a lot of wedding and engagement rings, including change work and customers who want to upgrade their wedding rings, if they have been married for a long time.
– Many people avoid working with that material, but I like it. It is durable and retains its color well.
Jewellery has always had a special meaning to people, and they often carry a story, says Isabel: – It could be that they are associated with something dear and fun, a gift, a memory, maybe something that you have carried all your life. We hear many great stories here.
Photo: Pekka Pääkkö ■ www.balticjewellerynews.com
BOND VIBES
42–2022NEWSJEWELLERYBALTIC 29●
– It may be a couple which wants to pay for new, nicer rings.
WHAT IS IT THAT FASCINATES YOU ABOUT THE PROFESSION?
Photo: Pekka Pääkkö Old becomes new. Tobias Harborn melts down gold rings with the help of gas burners. Photo: Pekka Pääkkö Crafts. Gold rings are melted down using a gas burner.
Precision. Tobias Harborn examines the diamonds on a ring using a microscope attached to a large screen.
– It is probably the combination of being an artist and a craftsman in one. To be able to create and work with details. I can sit and file out pieces of platinum and the end product will be something very beautiful, says Tobias. Orders increase a bit every year, and the studio is open when they are working there. Platinum and white gold are popular right now, according to Tobias. One of Tobias Harbor's specialties is platinum. Recently, he developed his first own collection of jewellery with platinum and diamonds.
– Men usually love to come here to the workshop. There is fire and machines and beautiful stones, there is a bit of Bond vibes, Tobias adds and laughs.
– The world is changing, and then men must also change, says Siem Woldu Araya. He picks up several rings from his pocket and puts them on. He thinks it's both nice and cool. Araya is not alone. For something has happened when it comes to men's relationship to jewellery. In a few years, a trend has emerged.
– Trendsetters like Harry Styles have helped to show that jewelry for men is no longer reserved for cufflinks and tie pins.
INTERNATIONAL STYLE ICONS
BUSINESS INSIGHTS / NORWEGIAN JEWELLERY REPORT 42–2022NEWSJEWELLERYBALTIC 30● www.balticjewellerynews.com
Young men are experimenting with jewellery like never before. Fashion expert thinks people have started to open their eyes to what jewellery can add to a style.
– It is in a way my little “guilty pleasure”, he says. Now he is looking for new gold earrings. For him, rings and jewellery have become a way of expressing himself. A way to stand out in the crowd.
Siem Woldu Araya
Christoffer Espinoza Garrido
SALES OF JEWELLERY FOR MEN ARE DOUBLING
– I think a lot of people are starting to open their eyes to what accessories such as jewellery can do with an outfit, and perhaps not least a style, says Elise Alexandra Gulbrandsen. She is a fashion expert and VG journalist, and has noticed that jewellery and rings have become part of the everyday look of more and more men. Gulbrandsen believes that many people have gained a sense of the personal touch that jewellery gives. She also believes that international style icons have helped to give the man in the street a new perspective on jewelery as an accessory.
Christoffer Espinoza Garrido has taken the trip to a goldsmith in Kristiansand. There he stands and looks carefully at the products that are displayed.
Siem Woldu Araya calls himself a “jeweller”. He is one of many men who in recent years have embraced the trend of jewellery and rings.
42–2022NEWSJEWELLERYBALTIC 31●
During the last three years, sales of jewellery and rings for men have doubled in our stores and online shopping, says marketing manager Vibeke Holann in Bjørklund to NRK. The chain Mestergull confirms the progress.
STILL, HE THINKS THE STYLE CAN STILL BE MORE UNFAMILIAR TO THE OLDER GUARD. He himself experienced this once he came home with a pearl necklace around his neck. – Mom and they are not very used to it, but I think it is very nice. I have friends who also use it, so it becomes a little more accepted among us, he says with a smile.
At home, Garrido has at least 20 rings lying around. He estimates that he has spent well over 20,000 kroner on the jewellery range. But there is always room for more: He prefers to go with several rings at a time, and he likes to stack some of them on top of each other. Garrido also believes that jewellery and rings as accessories for men are only becoming more and more acceptable.
– I think we are ready to dress up a little after two years of pandemic, and that we will be there for quite some time, she says, and adds: – And I think that jewellery will be a natural part of how we will decorate ourselves in the time to come. Have you noticed that the fashion for men has changed?
– The standard ring size for boys is actually smaller now, because the young boys are a large customer group, she are changing the world – Embret Henock Haldammen believes that American rappers and celebrities have helped to make jewellery popular among men.
HOT OR NOT? But what do ladies think, then, that men have embraced the jewellery trend?
HAS COME TO STAY Back at the goldsmith in Kristiansand, Christoffer Espinoza Garrido is still looking for earrings. In addition, he has found himself some rings that he is tempting to buy.
The 23-year-old from Kristiansand wears jewelery every single day. – I hate to go out without jewellery. It often happens that I just turn around, he says. Haldammen says that most people in his circle of friends use jewellery, rings and watches to spice up the style. He used to hear negative comments because of his jewellery, he now gets positive feedback and questions about where he bought them.
– It is something that is becoming more and more widespread and socially accepted.
adds.–Influencers
When he started wearing jewellery in sixth grade in elementary school, rapper Snoop Dogg was the big inspiration.
■
– It does something with the style. Looks a little extra, says Benedicte Greig. – I think it's very nice. But not everyone fits in, says Tomine Hananger. The two girlfriends are in no doubt – men should use THISjewellery.FASHION
That the interest in jewellery has increased considerably is also noticeable in the country's largest goldsmith chains.
Embret Henock Haldammen www.balticjewellerynews.com
Fashion expert Elise Alexandra Gulbrandsen believes the trend has come to stay.
– The boys clearly have a greater interest in decorating themselves than before, and we see that the jewelry is to a greater extent part of the everyday outfit, says product manager Nina Wassum. The interest is greatest among young men.
RARITY BREEDS WORTHWHILE INVESTMENTS
HOW TO JEWELLERY – A COLLECTOR’SINVEST IN GUIDETOINVESTMENT
By Andrea –
The rarer a piece of jewellery is, the more expensive it is likely going to be. Just look at pink diamonds, and the prices they fetch at auctions most of the time. Pink diamonds are rare in comparison to regular diamonds, and that rarity makes them more and more expensive as time passes. Aside from being rare, Russell Fogarty from the Kazanjian & Fogarty estate jewellery company also brought a definition for a worthwhile piece of jewellery. For jewels to fetch a good price in the future, they need to be of high quality, beautiful, in great condition, vintage – and most importantly, signed by the manufacturer. Without the authenticity certificate, the value of the jewellery can drop, due to the investor’s fear of buying a replica. From that list, vintage is likely one of the most important. If a piece is a vintage, then it means that the supply for it is likely over, yet its demand still has not stopped. For this reason, more and more people have been investing in jewellery made from the 1920s onward. Anything earlier than that would be considered “antique.” As the companies changed and the ownership shifted, more and more pieces of jewellery began increasing in value. For instance, the so-famous Tiffany was once owned by Avon, a cosmetics company. During that time, the focus was not necessarily on jewellery design. However, they did create a few pieces, and their rarity caused them to become a worthwhile investment.Ifyouare looking to invest in contemporary jewellery, it’s important to keep an eye for rarity. Many jewellery designers will produce many potentially valuable pieces in high quantities, but as they won’t be one of a kind or part of a limited series, they won’t fetch such high prices in the future.
With more and more people investing in their future, especially in stocks and crypto, there is yet another opportunity for investment that people have grabbed: jewellery. Precious metals such as gold or silver (commonly used in jewellery) have always been a good investment opportunity, but investors are now going for the jewels themselves. As opposed to crypto or stocks, these investments will not stay in the bank. In fact, many people prefer to invest in jewellery simply because they can wear the pieces throughout their life. They buy items that they love, and even as they are wearing them, those pieces will continue increasing in value.Withthat in mind, investing in jewe llery asks for a rigorous analysis. Unlike gold or silver which are fairly clear-cut, jewellery is a bit different. You must make sure that what you buy has enough potential, and that you also buy first class. And similar to stocks and crypto, you will have to do thorough research first.
Lucia Iavorenciuc ■ BUSINESS INSIGHTS / WORLDWIDE JEWELLERY REPORT 42–2022NEWSJEWELLERYBALTIC 32● www.balticjewellerynews.com
www.balticjewellerynews.com 42–2022NEWSJEWELLERYBALTIC 33●
SEEKING POTENTIAL When investors are looking to put their money into jewellery, vintage items are not the only way to go. Nowadays, many designers are creating pieces that are fetching a high price, attracting the eye of the collectors. Brands such as JAR, Taffin, or Hemmerle are most popular among collectors, mainly due to their rarity and high craftsmanship.
■
We have numerous historic jewellery houses that were coveted by both jewellery enthusiasts and investors. Belperron, Verdura, David Webb – all of these fetch a very high price these days. However, the names that catch the most attention are usually Cartier, Bulgari, and Van Cleef & Arpels. These jewellery designers are not necessarily popular due to the stones they use (although their collection is very generous), but mainly because of their design. And this is what many investors are looking for nowadays: a beautiful piece with excellent craftsmanship and a distinctive design. It expresses that exact kind of rarity that we were talking about recently, the collection pieces beingEachone-of-a-kind.brandhadits own peak era and its pieces that somehow transcended time. For instance, Bulgari’s Monete collection from its La Dolce Vita period in 1960 is still in very high demand. The ancient coins set in yellow gold were rare then – and are just as rare now. Because of that, pieces from that collection bought in the early 2000s have more than likely doubled in price. These pieces of jewellery have not always been popular – and just like stocks and cryptos, they had their ups and downs. A few years back, the Monete collection saw a slump, and no one thought they were “cool” anymore. However, recently, they began seeing a revival – and those who held on to their investment are reaping the benefits now.
THE MATTER OF DESIGN
The Cartier Tutti Frutti collection, featuring leaves and berries from ruby, emerald, and sapphire has also seen great value. In 2011, a bracelet from that collection was sold for $842,500 – and in 2020, that same bracelet sold for $1.3 million. The rarity of the piece made it valuable, which is why the investors are searching for this kind of jewellery.
STONES TO INVEST IN
For example, a JAR bracelet bought 6 years ago would be at least six times more expensive now than when it was purchased. This is because Joel Arthur Rosenthal’s work is quite limited, creating only about 70 imaginative pieces of jewellery per year. Their quality and attention to detail make them coveted – and are the factors that will likely increase their value in the future.
FINAL THOUGHTS When it comes to investing in jewellery, you don’t necessarily need to focus on a specific time. Instead, focus on craftsmanship, rarity, and beauty. One-of-a-kind pieces will certainly bring nice profits in the future.
We see people invest in gold for jewellery, but most of the potential is brought by gemstones. Diamonds, not surprisingly, reign supreme – especially rare batches of diamonds that led to the creation of unique jewellery. After that, the “Big Three” will follow – emeralds, rubies, and sapphires. It is quite rare to find the perfect gemstone, which is why more and more jewelers have discovered various ways to treat the stone and improve its color. As a result of this process, more of the stone can be used, and more pieces can be found on the market. The rarity element is taken away through the treatment process. This is why the gemstones that have not been treated are the most expensive ones – mainly because they are one of a kind and very little treatment was needed to bring them into their current state.Rubies and amethyst stones are also coveted by many investors, and their value keeps increasing over time. For instance, in 2003, a single Belperron amethyst cuff was auctioned for $28,680. Last year, in 2021, that same cuff had a value of $87,500. Kashmir sapphire has also more than doubled its value since 2012, and it is more than likely that its value will only grow with time.When investing in gemstone jewellery, it’s important to go for items that have a certificate of authenticity. Every dealer should be able to provide a recent certificate and assess its origin. More and more sellers are looking at letters from more than one lab. The more appendix letters it has, the more it will attest to their rarity.
BUSINESS INSIGHTS / WORLDWIDE JEWELLERY REPORT 42–2022NEWSJEWELLERYBALTIC 34● www.balticjewellerynews.com
This growth is benefiting commerce in the city center, whether at Place Vendôme or specialist retailers (+10% compared to 2019), distance selling (+23%) but also discounters (+ 14%).
JEWELRY
“
Both the Covid-19 crisis and the conflict in Ukraine are there to remind us that nothing is ever certain and that everything can change at any moment. However, the performance of the French watchmaking-jewelry industry in 2021 is remarkable and will go down in the annals”, indicates the professional committee Francexplosion which publishes this report.
SIGNIFICANT GROWTH IN DISTANCE SELLING
The export market is back to its pre-pandemic level, driven by a very attractive Chinese market: in 2021, France will represent a quarter of Chinese imports of precious jewelery and it is China's leading supplier country for a total of 1.2 billion euros.
The French market saw sales growth of 2% compared to 2019, benefiting from the spending of households who could not make long trips or afford restaurants and outings due to health restrictions, according to the report.
||│||||│| | | │ | | | | │ | | | | │ | | | | │ | | | | │ | | | | │ | |
PRODUCTION OF WATCHES AND IN FRANCE EXCEEDS ITS PRE-PANDEMIC LEVEL
The sector benefited from a turnover up by 32% compared to 2019 and strongly recruited.
The workforce in the sector is also on the rise with 12,700 people in production (+4% compared to 2019).
The production of watches and jewelry exceeded its pre-pandemic level in France in 2021 with a turnover reaching 3.9 billion euros, an increase of 32% compared to 2019, according to the annual report of the sector.
Overall, it is the jewelry sector that is experiencing the best growth with production of 3.5 billion euros (+36% compared to 2019). Most of its activity is carried out by jewelery in precious metals (3.2 billion euros, +40% compared to 2019).
French watchmaking production stabilized, at 341 million euros, down slightly by 2% compared to the level of 2019. Production is 80% exported.
■ BUSINESS INSIGHTS / FRENCH JEWELLERY REPORT 42–2022NEWSJEWELLERYBALTIC 35● www.balticjewellerynews.com
By Henrik Kihlman
RU RUNEBERG A SYMPHONYIN SILVER
The most recent work by silversmith Ru Runeberg is a complete symphony orchestra with imaginative insects playing all the instruments. Watching the setup in the gallery stimulates your imagination and puts you in an imaginative concert hall where you can almost hear the sound of the musicians tuning their instruments before the conductor will knock for silence with his conductor´s stick for silence before the music starts.
Ru Runeberg is a descent of Finland’s national poet Johan Ludvig Runeberg and his son the sculptor Walter Runeberg so it is no wonder that he has inherited a strong sense for both story and form. Ru always had an interest in creative work. After high school a career in interior and furniture design was high on the wish list. However, destiny put him in a community college for arts and crafts with silversmithing as main subject.
– It clicked immediately, and I practically lived in the workshop for the duration of the education. My teacher noticed my devotion and suggested to me to apply to the art university Konstfack in Stockholm. I applied and by some miracle I was accepted immediately. It is very common that people apply many times before they get through. As a result of that I was one of the youngest students in my class with my 22 years of age. Glass and insects – During my studies I was intrigued by the thought of adding elements of colour to my work to lighten up the beautiful, but very grey, silver. In my final BFA piece, a foldable “Pandoras Box”, I experimented using plastics. However, the different heat expansions in these materials proved to be an obstacle. This experiment led me to the idea of exploring the possibilities of working with glass as well. When it was time to do my work practice, I decided to contact a Finnish design legend Oiva Toikka who previously had taught glass design at Konstfack and ask him if he could help me. Luckily, he responded favorably and asked me if I would be interested in becoming his assistant at the famous glass factory I Nuutajärvi. This period opened a new world with the secrets of making glass. This period of four months tha obviously went well resulted in that I was contacted by another famous glass designer Markku Salo who hired me as assistant for the next two years. I was very privileged to have this opportunity to learn more while I at the same time
ARTISTIC INSPIRATIONS / FINNISH JEWELLERY REPORT www.balticjewellerynews.com 42–2022NEWSJEWELLERYBALTIC 37●
First of all, he is one of the last remaining professional silversmiths in Finland. He has, with a large portion of humor, created his very own style combining two very traditional materials, silver and glass, in a new fresh and creative way. The result is a lovely family of insects engaged in various tasks.
Who is Ru Runeberg?
www.balticjewellerynews.com 42–2022NEWSJEWELLERYBALTIC 38●
finished my MFA at Konstfack. Apart from learning the skills of a silversmith I also had discovered what would be my lead in my future work, glass and insects.
Time to explore After a long period of studying Ru was temporarily fed up with silversmithing and felt an urge to explore other aspects of life. This led to a few years of adventurous projects. At first, he travelled up north to Lemmenjoki, a famous gold river in Finnish Lappland where he was manually digging gold with some old gold diggers under very primitive conditions. Experiencing hands on where the raw material jewellers are using is coming from gave him a special relationship, understanding and respect of the material. Six days of hard work with a shovel could result in three grams of gold. After a summer of gold digging the scenery changed to Lofoten in Norway where he took work as a deckhand on a fishing boat. A rough job close to the forces of nature but the adventures didn´t end there. During a six month long stay in Australia he worked in the opal fields of Lightning Ridge, the home of black opal, digging for raw stone. A job as hard as digging for gold but with good prospects of finding treasures. This experience gave Ru a good understanding of this very exquisite gemstone and at a later visit he continued by also learning how to cut opals. These adventures have all in their own way contributed to the way Ru sees and understands the world, and they have built a strong base for his design philosophy.
■ ARTISTIC INSPIRATIONS / FINNISH JEWELLERY REPORT www.balticjewellerynews.com 42–2022NEWSJEWELLERYBALTIC 39●
Time for silversmithing – For me jewellery was never very interesting. Of course, I make some jewellery pieces on commission every once in a while, since they are much easier to sell than silver objects. For me it was always the unique silver objects that are my thing. In 2000 my adventurous life came to an end, and I finally settled down and started to build my own workshop. In the beginning it was hard to find customers and financing for my plans, so I had to work part time on a building site to finance my dream. Three months building and three months in the workshop. As time went by people started to recognize my style. Humorous functional sculptures in the shape of insects in silver and glass. – With time my clientele and network grew, and I was able to keep, and participate in exhibitions both in Finland and abroad. With more visibility I managed to sell more, and it became easier to get financing för my projects. Artist grants has been a very important support that has enabled me to realize my designs and dreams without having to make artistic compromises. Future plans – My latest project was creating a whole symphony orchestra with 64 insects in silver playing thir tiny instruments under the wings of a bird conductor. Quite a task yhat took two years of work but it ended up in a beautiful bunch of fantasy creatures like straight from a musical fairy tale. I exhibited it in Helsinki this summer and luckily the orchestra in its whole found a new home with a collector and will stay together as one piece which makes me very happy. After working in several locations in Finland the future holds a plan of establishing my workshop in the famous glass village of Nuutajärvi from where I have acquired the old Bank house which will be renovated into a studio. Inspired by the success of the orchestra I now feel confident to go ahead with new projects that I am sure will break some boundaries compared to the silver pieces we are used to!
NEW CHALLENGES In resent times there has been a big challenge for small professional museums to develop their concept to survive in the competition. In this situation the watchmakers and jewellers, who at the time didn´t have a museum for exhibiting jewellery, started to create Museum Director Essi Pullinen. Photo Henrik Kihlman Harri Syrjänen exhibition. Photo Henrik Kihlman KRUUNU. Photo Henrik Kihlman
A NEW MUSEUM HAS SEEN THE DAYLIGHT!
The Finnish watch makers school started to collect clocks in 1944. The Finnish Museum of Horology based on the collection was founded by The Finnish Watchmaker´s association in 1959. In the year of 1981 the collection was so big that a foundation was founded to manage the museum. With the large, exquisite collection on hand there was a demand for a public space to exhibit collection. At that time in 1988 the watchmaker´s association had finished their new investment, an office building in which there was included space for a museum, the first official Museum of Horology in Finland. In time the museum found its role among the museums in the city of Espoo and in 2006 the museum was offered to be integrated as one of several museums in the main exhibition center of the city, exhibition centre WeeGee.
By Henrik Kihlman Most readers of this magazine are dealing in jewellery and watches to some extent. Maybe you are one of those who, during your travels, has an urge to visit jewellery and watch related museums and galleries and would cherish the chance to experience professionally interesting exhibitions dealing with time, watches, or different concepts of jewellery. This is now possible in the brandnew Museum of Horology and Jewellery “KRUUNU” in the city of Espoo in Finland. The only one specially designated for clocks horology and jewellery in Scandinavia. HISTORY
“KRUUNU”
ARTISTIC INSPIRATIONS / FINNISH JEWELLERY REPORT www.balticjewellerynews.com 42–2022NEWSJEWELLERYBALTIC 40●
a vision of a new concept where we could combine these to genres that the public already has paired in their minds since these products generally are sold in the same shops.
DEMANDS Museums of today play a much different role from the traditional concept of statically displaying old pieces in showcases. The museums operations of today are based on explaining concepts, teaching, arranging workshops adapted to suit and benefit all parts of society. Elderly, children, handicapped, immigrants, students as well as common viewers. To put all this together has been a big challenge but, in the end, our highly qualified staff came up with a concept that felt good and met up with the demands for a modern museum, and the project got a green light to go ahead. Part of the new concept is to exhibit jewellery and horology in changing exhibitions that lasts approximately one to six months. There is no permanent collection shown in the museum but in the future the museum will exhibit its own collections thematically. Another novelty is a virtual collection platform “Holvi” (the vault) where the public can document their jewellery and stories behind it as well as professionals can present their selves and their work. As an extra bonus the new museum was assigned space in a brand-new building in a prime location next to the main museum complex in Espoo.
42–2022NEWSJEWELLERYBALTIC 41●
FINALLY In March 2022 the new museum named “KRUUNU” (crown) opened its door for the public. The opening exhibitions were an overview of watchmaker Stepan Sarpaneva, SUF collection, My World, stories told by the means of jewellery as a collaboration between disabled and jewellery artists and the 50 years artist anniversary of a Finnish jewellery, leather, and craftsman Harri Syrjänen. The premises also allows for some pop-up exhibitions. We are proud to announce that in the fall of 2022 we will have the honour to present the jewellery of Finland´s maybe most famous jewellery designer Professor Björn Weckstöm. This unique exhibition will certainly be worth a trip to Finland for all jewellery enthusiasts.Asthemuseum has opened there are still challenges to face. The museum as, due to the history of the Museum of Horology has a big collection of clocks and horological equipment. Now is the time to start collecting jewellery and jewellery making equipment. Our aim is to acquire a comprehensive collection Finnish 20 th century jewellery. Even though the focus of the museum is on Finnish 20 th century production the museum will be open for international cooperation regarding exhibitions and events and we look forward to collaborating with colleagues from the international clock- and jewellery community.
As this new museum is the only designated clock- and jewellery museum in Scandinavia we feel that it will have a big impact in educating the public about the world on watches and jewellery and will as such serve as a huge marketing platform for the business, we are working in. It will hopefully also be a center for conducting research in both respective fields as it hosts a large library available to scientists and serve as a knowledge hub and “home address” for both the watchmaker´s and goldsmiths associations. My World exhibition. Photo Henrik Kihlman Stepan Sarpaneva SUF exhibition. Photo Henrik Kihlman ■ www.balticjewellerynews.com
A HUB FOR KNOWLEDGE AND COMMUNICATION
REPORT JEWELLERYABOUTMARKETINLATVIA–“CUMNETWORK” AND “DESIGNERS 5” Jewelry by Andris Lauders; Handbag by VASKALA; Model: Paula Peridistaja; Photo: Krista Bumbiere By Ginta Grūbe
Valdis Brože; asimetric necklace; onix, enamel, gold 24ct, oxidized sterling silver; photo courtesy of author 1
https://cumnetwork.net/pages/about 2 https://www.fold.lv/en/2022/07/design-provocations-on-the-cumnetwork-platform/ ARTISTIC INSPIRATIONS / LATVIAN JEWELLERY REPORT www.balticjewellerynews.com 42–2022NEWSJEWELLERYBALTIC 43●
CUMNETWORK
DESIGNERS 5 Salon/concept store DESIGNERS 5 has opened not virtually as nowadays it often happens, but physically with premises in Riga, Tērbatas street 85. Designers Antra Hanna Elerta, Andris Lauders, Māris Šustiņš, Ērika Rudika and Valdis Brože have set up a space for design, jewellery, perfume and accessories.
Despite the fact that bare breasts can be viewed on any smartphone and it doesn't even require much finger dexterity, this work of art still managed to resonate in Latvian society indicating that nudity is understandable, but an artistic interpretation perhaps not.
This was a short preface before I introduce the reader with the new jewellery and design trading platform Cumnetwork that has formed in Latvia. “Absorbing the heightened concentration of present globalisation, we offer an international platform for European-based artists who hand-make sustainable and delicate wearable art,” can be read on Cumnetwork website1 . Katrīna Jauģiete (the founder of the platform) explains more about the project in an article by fold.lv2. “At the moment, four Latvian designers and artists — Brenda Jansone, Madara Keidža, Persefon, and Spookcrook — are represented on Cumnetwork, but any European designer who offers bold and high-quality creations is invited to apply to join the platform,” says in the article. The platform shows an increase in supporting and promoting the creative work of young Latvian jewellery artists. And even more – it outlines a possible waypoint for international collaborations.
Valdis Brože is one of the winners of the International Contemporary Jewellery Fair AUTHOR 2022 thus proving to be a well recognized figure not only in Latvian jewellery community but also abroad. Valdis Brože invited Māris Šustiņš and Andris Lauders to join the group of designers forming a professional collective. They illustrate how jewellery designers in Latvia work in their individual handwriting and gain recognition among others. Brože has a powerful visual language using strong asymmetric compositions and contrast between the fine precious metal constructions and massive voluminous optical glass and stones.Šustiņš is an artist recommended by Homo Faber guide and masters craft in its highest excellence. His jewellery tends to hold in between the classics and the vanguard of jewellery in Latvia. His jewellery is often a choice by prominent wearers such as Latvian born lady Signe Zeikate, who has recently become the first lady of Costa Rica. “The brooch (for Signe Zeikate) is designed in the shape of a stylized orchid flower, which is the national flower of Costa Rica,” explains Šustiņš. Flowers in metal are a passion of his. Andris Lauders is an excellent jewellery artist with exquisite taste. Clever geometry and light forms are on his jewellery characteristics list. Basically, he lives with a file in his hand, because jewellery is not only his job but also his hobby. Andris Lauders believes in miracles, he is playful but Nakedness and sexiness isn’t a daring area for artists today. A custom nipple pin set that allows you to receive pins, cast from your custom mould is neither shocking nor genius from the creativity means. In the 70’ prominent jewellery artists as Gerd Rothman have incorporated cast parts of the human body into jewellery with great creativity and diversity. In the second decade of 2000s French jeweller Clementine Despocq designed a very feminine and fragile nipple pin from egg shell and gold plated silver. However a nipple still appears to be very suggestive. Especially when playing around with the number of them. The Latvian press recently spread news about a mural in which stylized women figures with four and six breasts appeared.
Māris Šustiņš; rings (May, June, July, August); photo courtesy of author Andris Lauders; rings; photo courtesy of author www.balticjewellerynews.com 42–2022NEWSJEWELLERYBALTIC 44●
Madarablack! photoCharmedKeidža;ring;silver;courtesyofcumnetwork.netBrendaJansone;Nipplepinset;silicone; photo courtesy of cumnetwork.net ■ ARTISTIC INSPIRATIONS / LATVIAN JEWELLERY REPORT www.balticjewellerynews.com
can become fantastically serious at the same time. “If the puddles freeze, I'll be the first to go skating,” he laughs.Theidea for a concept store did not take long to come up with. The recent closing of gallery “Putti” was one of the reasons but not the decisive. It is possible that the virtual environment has been overestimated and in some cases presence is irreplaceable. Presence hand-made is the new
and
■ ARTISTIC INSPIRATIONS / POLISH JEWELLERY REPORT www.balticjewellerynews.com 42–2022NEWSJEWELLERYBALTIC 46●
LAST DAYS OF THE LEGNICA
The award ceremony of the 30th International Jewe llery Competition “Touch” is behind us, and the Legnica Jewellery Festival SILVER is coming to an end. The main event – the culmination of the Festival –is when the winners were announced.
THE FULL LIST OF WINNERS IS AVAILABLE BELOW.
JEWELLERY FESTIVAL SILVER
The ceremony, as well as openings of other “silver” exhibitions, attracted artists and lovers of artistic jewelry from all over the world, making the eyes of the European goldsmith community turn to Legnica. A part of the exhibitions are still available until the end of June in the centre of Legnica. The most important event we organize is the International Jewellery Competition – it dates back to 1979 and every year it has a different topic. The competition is open and addressed to all artists and jewellery designers, whose task is to present their work on a given topic – every year a different one – including an original artistic idea and representing a high level of artistry and technical skills. What is favoured is the concept, value and meaning of an artistic expression. Works entered for the competition are assessed by an international jury, on which over fifty outstanding goldsmithing artists and theoreticians have sat so far. The results of the competion in 2022 are as following. The first prize, the Grand Prix of the Ministry of Culture and National Heritage, was awarded to Andrzej Szadkowski, a recognized Polish goldsmith, whose work with the meaningful title “ Painful Touch of Time” refers to the war in Ukraine. The second prize went to Rudolf M. Sheffold from Germany, whose brooch entitled “ Spring” impressed the jury with its precision and perfect design. The third award – the Prize of the President of the City of Legnica – went to Agnieszka Działo-Jabłońska for the brooch “ Touch-painted love colours” The Gallery of Art Award went to Peter Machata from Slovakia for his work made of plexiglass, while the Silver Spur – the Organizers' special award for creative courage and uncompromising attitude, innovation or sense of humour, went to Zhipeng Wang, who presented in Legnica a set of rings made of tea and coffee. The honoured artists also received a very special award, referring to the tradition of the region – a silver granulate funded by KGHM Polska Miedź S.A. –Polish Copper Mining Company. In addition to prizes awarded by the jury, the artists were also honoured with extra-statutory prizes from sponsors and partners of the Festival: YES Gallery from Poznań, MYDAYBYDAY Gallery from Rome, Inhorgenta International Fair from Munich, International Amber Association from Gdańsk, Polish Association of Goldsmiths, Lost in Jewellery magazine and companies: Hopea and “ Usługi Odlewnicze” (Foundry Services).
Let’s remind, the Jury of the 30th International Jewellery Competition “Touch”: Sofia Björkman, Miroslav Cogan, Sławomir Fijałkowski, Nastya Ivlieva and Małgorzata Kalińska evaluated 426 works by 240 artists from 30 countries, qualifying works by 51 artists from 13 countries for the post-competition exhibition.Thequalified works will be presented at the exhibition in the Gallery of Art in Legnica during this year's edition of the Legnica Jewellery Festival SILVER from May 4 to June 30, 2022. Detailed program of the Festival on the website silver.legnica.eu.It’sworthtounderline that the Gallery of Art in Legnica has been specializing in the promotion of contemporary jewellery and artistic objects for more than forty years. The Jewellery Festival SILVER is one of the most important events shaping the cultural life of the region and building its image on the international forum. Every year we organize individual and group exhibitions of Polish and international artists, publish exhibition catalogues, organize conferences and symposia, as well as jewellery shows, workshops, debates and concerts. The festival traditionally includes presentations within cycles: About the Artists, Silver Schools, Debuts, as well as popular-science session devoted to the newest art, goldsmithing and design – The Boundaries of Global Art. The Organiser’s are already warmly welcome to attend next year’s SILVER in Legnica.
Andrzej Szadkowski – Poland Painful Touch of Time brooch, silver, aluminum, lapis lazuli, paper, 28,7 g, 70 x 70 x 15 mm, 2022 GRAND PRIX OF THE MINISTER OF CULTURE AND NATIONAL HERITAGE + 1 kg of silver founded by KGHM Polska Miedź S.A. Agnieszka Działo-Jabłońska – Poland Touch-painted love colours brooch, silver, mouline, 28 g, 120 x 65 mm, 2022 III AWARD OF THE MAYOR OF THE LEGNICA CITY + 1 kg of silver founded by KGHM Polska Miedź S.A. YES GALLERY AWARD www.balticjewellerynews.com 42–2022NEWSJEWELLERYBALTIC 47●
A JEWELLERYVIKINGWITH A FOUNDBACKGROUNDMYSTERIOUS IN JÄKÄRLÄ IN TURKU ARCHAEOLOGISTS–SURPRISED www.balticjewellerynews.com 42–2022NEWSJEWELLERYBALTIC 48●
The people who help with the excavations in Jäkärlä are participants in Arbiskurser.
The archaeologists have now taken measures to preserve the object to the best of their ability in order to be able to examine the buckle more closely. At the moment, the buckle is placed airtight, wrapped in damp paper and finally placed in a cold refrigerator. This protects the buckle from wear and tear, which can easily ruin the historical value of items like this. The surveys will provide answers to several of the questions that Jan Fast and his colleagues are now scratching their heads over. For example, archaeologists can rule out several theories about whether textiles are found on the object. This would mean that the clothes have also been left on site and that the buckle is no longer a detached find. When the investigations are complete, the buckle will be moved to the National Museum's collections. So far, the object is still an important addition to the cultural-historical value for Jäkärlä. The archaeologists continue their work at the former Stone Age settlement and eagerly await the following finds.
On Thursday, June 16, 2022, archaeologist Jan Fast and his team encounter an object that appears to be a horseshoeshaped bronze buckle from the Viking Age. What, on the other hand, puzzles archaeologists is why and how the object ended up right there. In Jäkärlä in Turku at the famous Stone Age settlement, archae ologists have now, with a smile on their face, been able to establish that they have found an object from the Viking Age. Over a two-year period, archaeologists from all over Finland and abroad have become interested in the site, partly because of the many interesting objects found there, and partly because of how historically instructive objects have been accessed. – What we found yesterday was really surprising. In the sand was a piece of Jewellery from the Iron Age about 8001000 AD. A thousand-year-old metal object without any more explanations for why or how it ended up there, says archaeologist Jan Fast. The Stone Age settlement in Jäkärlä was a beach area during the Stone Age 6,000 years ago. But during the Viking Age 5,000 years later, it was a very remote area and lacked buildings, which in itself raises questions about why anyone moved in the area at all then. A small watercourse made possible fishing and transport, but the area did not have other important living conditions at that time.–It feels strange that someone has dropped an object like this in a place like this, says Fast. WHY WAS THE JEWELLERY IN SUCH A REMOTE PLACE?
The bronze buckle was part of the female attire of the Vikings of that time. The buckle held the upholstery together and is not very small, which further puzzled the archaeologists. Without the buckle, it was difficult to keep the clothesAccordingon. to Fast, the buckle probably has a gloomy, somewhat dramatic background to why it ended up there. – Someone here has probably had an accident and the buckle has thus been here on the site for a thousand years. Normally, Iron Age objects in Finland are found in the upper soil layer, below the peat. Grave finds are found deeper in the ground. The current span, archaeologists were able to excavate from a level of about 15 centimeters below the ground. At this stage, archaeologists do not want to draw conclusions based on the level at which the object was found, as they are awaiting answers from experts and further investigations. WHEN WILL WE SEE THE JEWELLERY?
ARTISTIC INSPIRATIONS / FINNISH JEWELLERY REPORT www.balticjewellerynews.com 42–2022NEWSJEWELLERYBALTIC 49●
Jan Fast during excavations in Jäkärlä 2021.
Photo: Jan Fast ■
A piece of jewelery from the Viking Age has been found in the Stone Age settlement in Jäkärlä.
“ADBIBERE VERBA PURO PECTORE” –“TO ACCEPT WORDS IN A PURE HEART”... Fanigina.Anna SvetlovsVladimirsbyPhoto
By Galina Gabriel, Candidate of Art History
Anna Fanigina is a beautiful, thinking person, and, despite the outward “Baltic” restraint, she is impressionable and reflective. This is all organically fused together in her work, where there is a place for reflection and architectural structure, precise, almost mathematical accuracy of details, as well as subtle lyricism, sometimes even sensuality at the same time. And yet there is always an excellent taste and the highest professional culture in her work. S he usually builds her projects on specific themes, objects, and impressions. She creates emotional and philosophically rich images finding a theme and reason for creativity in various layers of culture: literature, architecture, travel, squares and pigeons of Venice, old photographs, and vintage toys.
Love for mathematical precision largely determines the chastity and conciseness, the logical justification of the forms of almost all collections of the brand VERBA –(from Latin – “word”). The brand has been successfully developing for almost two decades. Each product whether it is the simplest ring with a cabochon and an engraved inscription on it or a brooch with a fragment of a yellowed photograph fixed under glass on a silver plate is marked with the VERBA brand as a mark of “artistic quality”. Recently, in some projects, the author refers to herself as Anna Fanigina VERBA, blurring the boundaries between unique items intended for exhibitions and items for sale. However, VERBA is not just admiring the purity of well-considered forms, an exquisite, often monochrome combination of metal and stone. First of all, it is “... an invitation to a silent conversation with the help of the “magic crystals” of stones. These are memories: either fragments of phrases of ancient philosophy, ancient cults of meeting spring, or Easter joy, existential melancholy... this is a play on words...” These words are engraved on jewellery by hand. They are sayings of ancient philosophers, fragments of love letters of historical characters, and catchphrases, composed in accordance with the thoughts or the wishes of customers. These “magic crystals” are fixed in restrained silver holders and accompany most of Anna Fanigina's jewellery. They are her kind of code, a message to humanity on rings, earrings, brooches... Let us take the TERES jewellery collection (from Latin – “rounded”) as an example. It represents rings with transparent cabochons of amethysts, aquamarines, and topazes with Latin inscriptions engraved on them. These inscriptions resemble messages rolled by the ocean and washed ashore, ready to tell the wisdom of ancient philosophers to anyone who found them. The ANALEMMA collection (from Greek – “base”) is dedicated to the ancient cults of Sun worship, where bright red acrylic glass appears next to transparent semi-precious stones in rings and earrings. This bright glass looks like a small personal solar disk illuminating our everyday life with joy and light. The line of jewellery COMPOSITIO (from Latin – “connection”) is accompanied by a quote from the first letter of Paul to the Corinthians: “Faith, hope, and love. But the greatest of these is love.” At the same time, each item in this collection can be worn on its own or in sculpturesque and colour combination with other items that symbolise your own reading and understanding of this famous phrase. Images can be added to quotes on jewellery. Thus, in the LIQUET ESSE DEAM collection of earrings, images of the heroines of Pompeian frescoes are elegantly carved on multicoloured transparent stones, accompanied by quotes from Ovid's Metamorphoses. All the while the SAKURA collection is dedicated to blossoming trees and the texts are engraved in Latin, ancient Greek, and Japanese, expressing the artist's admiration for the beauty that unites eras and languages. It is no coincidence that the famous Latin phrase “Adbibere verba puro pectore” (“To accept words in a pure heart”) became the motto of Anna Fanigina's work. The reason for the artist's collection can also be a vintage toy accidentally seen in an antique shop, for example, a teddy bear, beloved all over the world. One of her most lyrical collections URSIS is dedicated to a teddy bear. Miniature photographs of bears processed on a computer are placed under rock crystal cabochons, which visually enlarges them, making them voluminous and surprisingly alive. Bears raise their paws in greeting, wish you good luck, and look at you with interest and care. Each decoration is accompanied by messages in Latin speaking of love, friendship, and harmony, which we lack so much: “It's good that you came”, “I kiss you many times”, “the most beautiful, the happiest, the best”, etc. The laconicism of forms and material in this collection is fully justified and compensated by the emotionality of images and texts. However, the greatest passion and constant motive of Anna Fanigina's work is Venice. She has dedicated many collections to Venice and has said, that “…over the past 20 years, the trapezium of Piazza San Marco has become the main place that I always remember and always return to...”The first collection NATI IN VENEZIA appeared after a trip to Venice in 2003. Struck by the “specific chemical composition of the atmosphere and the unique graphicness of architecture”, she tries to convey this atmosphere in jewellery. Anna takes many black and white photographs of architectural details, ornaments, and texts and surrounds them with a sort of walls faded from the sun and washed out by water, represented by time-worn silver which is textured or covered with a pale shattered coloured enamel. The shapes of rings and pendants are simple and geometric, but they also have a delicate softness, smoothness of outlines, an elusive fluctuation inherent in the architecture, and the appearance of Venice in its entirety. A few years later another image of Venice is born in the collection OMNIA MUTANTUR, NIHIL INTERIT (from Latin – “everything changes, nothing disappears”), which may be even deeper in terms of emotional content.
ARTISTIC INSPIRATIONS / LATVIAN JEWELLERY REPORT www.balticjewellerynews.com 42–2022NEWSJEWELLERYBALTIC 51●
The works of Latvian artist Anna Fanigina have firmly filled their niche in the saturated space of the modern author's jewellery art. Her pictorial language is expressive and recognisable, it clearly indicates the characteristic stylistic and artistic techniques as well as priorities in the choice of materials and technologies.
ARTISTIC INSPIRATIONS / LATVIAN JEWELLERY REPORT www.balticjewellerynews.com 42–2022NEWSJEWELLERYBALTIC 52●
This collection is so interesting and unusual because the artist used exclusively the form of brooches, which had practically never been seen in Anna's works before. Their form undoubtedly unites the collection, but the main thing here is the theme of water – a symbolic sign of eternal changes and endless transformation. The image of water is present in almost all the works of this collection in the form of fragments of old photographs mounted under glass on a smooth, flowing silver base. Here is the Venetian regatta, a view of the French seaside resort of the 1920s, ships in the lagoon, and endless boats, swaying on the water ...
Almost all the images are accompanied by a scattering of bright faceted stones: sapphires, aquamarines, topazes, citrines, diamonds. Many of them were received by Anna as a prize at the K. Faberge International Jewellery Design Competition in Finland and finally were used in her works of art. Old stones with chips, scratches, and fragments of Murano glass thrown out by the Venetian lagoon are next to them. They have already lived out their fate and have now become part of a new artistic reality. Each brooch in this collection is some kind of story or event that gave rise to the creation of this or that item.
Venetian pigeons – “guardian angels of St. Mark's Square”, as Anna calls them, or the birds that she watches from her window are the reason for her works of art as well. Finally, she turns one of her latest collections CARPE DIEM (from Latin – “seize the day”) into an homage to ... Collection Analemma. Photo by Kaspars Teilans
Collection Compositio. Photo by Vladimirs Svetlovs Collection Teres. Photo by Vladimirs Svetlovs Collection Venezia. Photo by Vladimirs Svetlovs a diary as a literary genre. In this collection, the rings are like birds flying out of the white pages of a diary filled with the joys and sorrows of our lives... An incredibly elegant and poetic collection that gives rise to thoughts, allusions, and emotions... Thus, I think it is no coincidence that this collection wins the competition in Vilnius. By the way, Anna is a winner of many prestigious European competitions, including those held in Venice, where she participates incessantly. The enumeration alone would probably require a page of text. We refer curious admirers of Anna's talent to her well-thought-out and clear website, which lists all exhibitions with her participation as well as numerous awards.Indeed, one can see poetry everywhere: in the pigeons on the town square, in the narrow streets of Venice, in vintage toys or old photographs. One can see poetry if one can see the beauty of everyday life and can melt it into artistic and plastic forms that reflect joy and sadness, delight and pain, or simply the beauty of the world. There is absolutely no doubt that Anna Fanigina succeeded in it. www.verba.lv
■ www.balticjewellerynews.com 42–2022NEWSJEWELLERYBALTIC 53●
TOP TRENDSJEWELLERY9IN2022 that TakeWillYourSummerOutfitstotheNextLevel By Mariam Atef www.balticjewellerynews.com 42–2022NEWSJEWELLERYBALTIC 54●
1. Body Chains are a Must-have
The weather is getting hot, and so should your jewellery choices! Besides the cute swimsuits and sandals, one of the best things about the summer is that it gives us women more room to flaunt our beautiful jewellery that was otherwise useless under heavy clothes and in a lack of sunshine. Summer clothes are great on their own, but that one girl that always sticks out in summer is likely to have her outfit touched up with dazzling jewellery.
If you’re a fan of fringe jewellery but were too hesitant to wear it before out of fear that it might be “too much,” summer 2022 is your chance! Apart from it being a trend, you can pair it with pretty much anything — tops, dresses, or even swimsuits!
2. A Splash of Color Summer is all about stepping out of your comfort zone and hitting the scene with new, bright colours! The sky's the limit this season; you can wear the whole rainbow in your necklace, earrings, and rings. Whether as a statement piece or just a finishing touch to your fave outfit, colorful jewellery can add much more to your look than you think!
Now forget about all the darkness and depression that have been taking over because of everything that's going on in the world, and get ready for a bright summer this year with the pretty, sparkly (and sometimes even wacky!) jewellery trends of this year.
You can never go wrong with body chains in the summer — they’re stylish, sultry, and stunning! If you ask us, the hottest way to wear a crop top in summer is by pairing it with body chains. You can even add a bit of sparkle to your swimsuit just by combining it with this magical piece!
3. Embrace your Fringe Bling
4. Cuffs are THE THING Now Cuffs are absolutely taking over this summer, and we’re totally on the bandwagon! Pairing cuffs with your fav swimsuit or dress is guaranteed to make you stand out and turn heads this summer.
ARTISTIC INSPIRATIONS / BELGIAN JEWELLERY REPORT www.balticjewellerynews.com 42–2022NEWSJEWELLERYBALTIC 55●
From sexy body chains to cheerful rainbow pieces, let’s have a look at the 2022 jewellery trends that will almost certainly allow you to have the biggest hot girl summer yet!
www.balticjewellerynews.com 42–2022NEWSJEWELLERYBALTIC 56● ARTISTIC INSPIRATIONS / BELGIAN JEWELLERY REPORT
42–2022NEWSJEWELLERYBALTIC 57●
6. Statement Chokers are all the Rage
9. Mix and Match ■ www.balticjewellerynews.com
Since the Y2K style is taking over again, after being brought back to life by both Dua Lipa and Bella Hadid, you’re definitely allowed to have fun with your jewellery choices this season to create that unique, aesthetic look! One of the best pieces that could help you achieve that is a big, statement choker. You can go ahead and pair it with your favourite night dress or just a fancy summer top.
7. Back-to-nature Style
8. A Piece with a Story Personalized jewellery is on waves this year. Birthstones, zodiac signs, and initials are not just stylish and unique to you, but they're also fantastic conversation starters. Whether you’re into gold or silver, colours or no colours, maximalist or minimalist looks, It doesn’t matter anymore in summer 2022 because the trend is to go wild with jewellery!
Summer is the perfect time of year to flaunt raw stones and shells. Keep up with this season’s trend while keeping it all natural by adding a piece of earthy jewellery to your casual (or even classic!) outfit.
5. Silver Just Made a Comeback
Good news for team silver! Silver accessories have been fighting for a place in this season's top 5, and they’ve certainly earned their spot! Aside from being a budget-friendly metal, silver jewellery has this incredible ability to compliment almost any outfit you have in mind. So, make sure not to sleep on this one before the trend fades away!
Since you can finally be relieved that your out-of-the-box jewellery choices will be appreciated, you can freely mix things up and play around with your fav pieces. No rules! Now that you’re armed with enough knowledge about the hottest trends in the jewellery industry for summer 2022, nothing can hold you back from letting the sunshine reflect the beauty of your sparkly pieces this summer!
Come and have a jewellery experience Museum Kolding opened the exhibition “Our Jewellery ” in ChristiansfeldSøstrehuset,onFriday10 June. The jewellery is from the Statens Kunstfonds jewellery collection and contains unique and experimental Danish jewellery art. On Friday 10 June at 3 pm, Museum Kolding opened its doors for the opening of the exhibition Our Jewelery. There were speeches by Anne Damgaard, chairman of the Statens Kunstfonds Scholarship Committee for Crafts and Design and Merete Due Paarup, city councilor in Kolding Municipality and membet of the board of Museum Kolding – and active jeweller.
The exhibition Our Jewellery goes behind the jewellery as works of art and examines what jewellery is and the boundaries between art and function. Themes such as status, gender, meaning and how the jewellery is worn on the body are addressed in the exhibition. Through the exhibition, you gain insight into the development and diversity within Danish jewellery art and how to experiment with materials, design language and meanings. The jewellery is made of a wide variety of materials. In addition to gold, silver and diamonds, you come across the turtle skeleton, mammoth tusk, tea towel, cardigan scraps and billiard ball.
CHRISTIANSFELD AS THE FRAMEWORK FOR GOOD CRAFTSMANSHIP
The world heritage city Christiansfeld has been chosen as an exhibition space, as the city and the Brethren are known for their good quality craftsmanship with a flair for aesthetic expression.
OUR CHRISTIANSFELDCOMESJEWELRYTO ■ ARTISTIC INSPIRATIONS / DANISH JEWELLERY REPORT www.balticjewellerynews.com 42–2022NEWSJEWELLERYBALTIC 58●
One of the unique things about the works of art in this exhibition is that they can be borrowed by the people of Denmark if you have an active role in a public context, for example, if you have to give a lectures. That is why both the exhibition and the collection are called Our Jewelry.
THE DIVERSITY OF JEWELLRY
Anne Damgaard, chairman of the Scholarship Committee for Crafts and Design says: – One of the original ideas with the Art Foundation was to give the Danish population access to experience the art. Both design, visual arts and crafts are purchased, and all that is purchased is lent to institutions with public access – it can be hospitals or schools. But jewellery must be seen and experienced on the body. That is why we have a special jewellery lending scheme where citizens can borrow jewellery if they play an active role in public contexts. The borrowers get the art very close – and at the same time act as a kind of ambassador for Danish jewellery art by opening up for conversations about the jewellery they have chosen to wear. In the exhibition, the lending and the experiences with the jewellery loans are in focus. In particular, it is interesting to see how the display case with the most lent jewellery reveals trends and differs from the other themes that help to show the great diversity in Danish jewellery art.
– The jewellery in the exhibition represents some of the best in Danish jewellery art, where both the good craftsmanship, quality and aesthetics fit directly into the Brethren's parole, says cultural heritage director and UNESCO site manager at Museum Kolding, Steen Rosenvinge Lundbye.
THE LOAN SCHEME
By Anna Sado
His greatest passion is creating jewellery – so great that wanting to stay in the profession at all costs, he found a niche in the jewellery market, where he has been successfully working for a decade now. The jewellery he has been making for more than 40 years and the photographs he has been taking for over the last four years have earned him the Badge of Honour for Merits to Warsaw. When I turn up at the studio, Jan is in the process of... editing the text of a book. Can you write too? That’s what they say. That’s why I was given this book to edit. A man of many talents. Do you have any other? It looks like I take great pictures (laughs). I still make jewellery, but it’s different now. 10 years ago, together with Marcin Gronkowski, we took up making wedding rings. In our studio and under our watchful eye, the bride and groom can participate in the creation of their wedding rings or they can commission us to make them in accordance with their own wishes. The birth of the concept Your wedding rings are up to you was the result of the crisis in the market of goldsmithery and art more than a decade ago, which caught up with us relatively early compared to other fellow goldsmiths. At that time, we were faced with a choice: either change profession or look for a niche in the profession we do, know and like. This year, we are celebrating the 10th anniversary of ‘rings’... This ring-making niche is pretty large, many good goldsmiths have found their way into it. That’s true, the subject has also been tackled by other designers and they are doing really well. An approach with an artistic flair and a good workshop, in the sense of classic jewellery work, gives us a certain edge over chain jewellery stores. Although we are actually no competition – the big companies probably don’t even notice our existence. Do customers notice the difference between rings made by you and those from a retail chain? Of course, otherwise they would be chain customers and not ours. First of all, they appreciate the handiwork, which you can see. With us, you can perhaps see it even more, because I simply don’t like jewellery that looks like it was made with a ruler. I definitely prefer it when there is a trace of human handiwork, a certain controlled imprecision, maybe even carelessness, which gives the final effect that is unique to each piece. Customers also appreciate the possibility to make their wedding rings from entrusted gold. When they turn up with old jewellery, I persuade them not to remelt it, but to refresh or adjust the size. Recently, a couple came in with their grandparents’ rings, with the wedding date engraved inside.
JAN SUCHODOLSKI No boredom, only inspiration – an interview with ARTISTIC INSPIRATIONS / POLISH JEWELLERY REPORT www.balticjewellerynews.com 42–2022NEWSJEWELLERYBALTIC 59●
In the beginning of the business in the early 1990s, the days of trading on camp-beds and odd business deals, I was commissioned by two businessmen who had some gold to work with to make earrings: smaller and larger balls on a stick. Then polished silver balls took their place. The process of soldering the two halves of the ball together, as we all know, was frequently a matter of success. Such shapeless and somewhat freakish balls were thrown into a container of material for remelting. When I had collected quite a few of them, it occurred to me that they could make a pretty cool bracelet. I brushed them, sanded them, oxidised them, added a few copper balls and that’s how the first bracelet was made. In no time at all, it found a delighted client who provided me with further orders. And then a real craze took over for the balls (laughs). So I decided to go with the punch and dared to make bead necklaces – the same thing! I created bead jewellery in different sizes, finishes or colours. I once counted that if these necklaces and bracelets were joined together, it would come out in a straight line of... several kilometres of these balls (laughs). Those were beautiful times... I remember once before Christmas I put five necklaces in the Milano Gallery in Warsaw and before I got home I already had a phone call saying I should bring another one. It was the same in the galleries in Krakow – I would deliver th necklaces, go to lunch nearby, and when I came back they had already been sold, so I collected the money and went back to Warsaw. You totally hit the trend. Both yes and no. In the second half of the 1980s, when I was still mastering the art of goldsmithing in Jaroslaw Westermark’s studio, blown and highly polished jewellery reigned supreme. I wasn’t able to do that kind of thing. Firstly because it was completely not my aesthetic, but also because I disliked polishing silver terribly. So I started looking for other possibilities and immediately loved playing with different shades of oxidation, textures, and mattes. And that appealed to the recipients too. From today’s perspective, I think that this jewellery of mine attracted attention because it was completely different from all those polished silver pieces, and that I nevertheless contributed a little to changing the trend. I think I intuitively sensed the wind of change as the following years were a real revolution. Jewellery by Polish designers and visual artists, which was – and still is – very good in terms of design and much cheaper than on European markets, started to attract contractors from Germany and other European countries. The revolution lasted for a good few years, until trends changed and we were forced to raise prices because it was simply no longer possible to produce so cheaply. Nowadays, it is very difficult to stay in the art jewellery market, so I am cheering my colleagues on who are still succeeding. Between the crisis and the period of rings, you also created the first online jewellery gallery. I remember that when I wanted to find out what was new on the market, I would go to Zero925 Gallery – the latest news was always there. The gallery operated for 2 years, but as a result of pro-environmental ostracism and unfair competition from stationary shops and galleries, it closed down. The artists who worked with me were given an ultimatum: either sell at my place or in those galleries. I remember that one well-known gallerist thought I was stupid, because you can’t sell jewellery online. And she kicked me out of her gallery. So at some point I gave up. I tried my luck at running a stationary gallery in Warsaw, but after a short time, I gave up, too. At the moment I came up with the idea for wedding rings. And now you took over photography. Where did the interest come from? When the theme of weddings rings emerged, I moved from Brwinow to Warsaw. As I hate driving in the city by car, I walk or cycle. And if you’ve been walking for an hour from home to the studio and back for four years, you get a bit bored, look around more and notice things. And when you see them, you think about them, you comment on them, and want to keep those fleeting impressions for longer, so you take out your phone, you capture it, start to process it, then you upload it to Instagram or Facebook, where you get a delightful response. Then people start liking the photos, commenting on them, and someone even offers to put them on display. I felt like a bit of an intruder, trespassing on an area that wasn’t my own – nowadays everyone has a phone and everyone thinks they can take a
ARTISTIC INSPIRATIONS / POLISH JEWELLERY REPORT www.balticjewellerynews.com 42–2022NEWSJEWELLERYBALTIC 60●
I couldn’t help but offer to engrave their wedding date next to the original one, without remelting. I imagined that their children would do the same – isn’t that a beautiful way to preserve family jewellery? I have another story of this kind: a couple came to remake their grandparents’ jewellery and the girl cried as she watched the gold rings melt away. She must have had a very close emotional connection to them... She later thanked us that she got new rings made of exactly the same gold. For many customers, this guarantee of reworking the material they brought in is of great importance.
There are still a few ladies walking around who came to love and still love my style, so I keep making that jewellery of mine. But not much beyond what someone wants to order. Sometimes I get the urge to see if I find myself in the prevailing minimalist trend... As you know, it’s totally far from my aesthetic feeling – some of my ball necklaces could weigh up to 200 grams (laughs). Recently, I have even started making rings, which is also completely uncharacteristic of me, as this form has always been too small for me to express myself. Meanwhile, to my surprise, they have received a positive response. I have to admit that they are even cool, although so minimal (laughs). Balls are characteristic of you. What were the origins of their worldwide success?
Do you focus only on rings now, or do you still happen to design and make other jewellery?
■ www.balticjewellerynews.com 42–2022NEWSJEWELLERYBALTIC 61●
Congratulations once again. Was there a laudation? I’m curious, what exactly did you get the badge for? For overall contribution. Also for the fact that I am a Warsaw goldsmith, so Warsaw has got some profits from me (laughs). When granting me this badge, the chairwoman of the presidium of the City Council reminded me that I did my military service at the National Museum in Warsaw, where I was a guard. For the first year, I guarded the Battle of Grunwald, and for the second year, I guarded the carps in the Royal Baths Park (Lazienki). So already then, as a young boy, I managed to make a contribution to the capital city of Warsaw (laughter). Let me just add that next to the Battle of Grunwald, the painting Battle of Somosierra by January Suchodolski, my great-greatgrandfather, was exposed. So I was still guarding the family legacy (laughs).
picture. Just like everyone thinks they can buy beads at Empik and become a super jewellery designer. With this in mind, I felt confused that I was dealing with a field that I was completely unfamiliar with from a professional point of view. I do have a sense of aesthetics, colour, I can design, I can see a nice detail, I can also see the whole thing, but I have no idea about technique. This is why my exhibition +48 22.jpg, which one could see at the Milano Gallery run by Elzbieta Kochanek van Dijk, also had a subtitle: Photographic Notes from Warsaw. For me it is not photography, rather a photographic-graphic game. These photos are not good looking from a technical perspective – they are often overexposed or blackened, bleached, sometimes deliberately, in the graphic software on the phone. I must honestly admit that I have been very pleased with the positive reactions to these 'notes' of mine. A little of this is also due to my illness – life is short, you have to make pleasures for yourself, and this exhibition is just such a pleasure. Particularly as I have had a positive response, with a few pieces of work already sold. By the way, the City Council of Warsaw awarded me the Badge of Honour for Merits to Warsaw, so I feel happy.
Is there perhaps an exhibition offered in line with this honorary title for you? No, it’s an honorary title and that’s the end of it. I didn’t even get a discount on public transport, which I sometimes use when there’s a hailstorm and I can’t walk (laughs). It’s a bit of a shame, it would be an opportunity for many people to get to know you, for others to see your jewellery again. Anyone can see it in the collections of the Museum of Goldsmithing in Kazimierz, the Museum of Copper in Legnica, the Museum in Gliwice and in the private collection of contemporary jewellery of Magdalena Kwiatkiewic z. Several of my works are available for sale at Galeria Milano in Warsaw and Galeria Otwarta in Sandomierz. These are, incidentally, the last two stationary galleries with artistic jewellery still in operation. I framed the last two necklaces of large spheres I had left and gave them to my daughters. I don’t think there will ever be another opportunity to make such again... Is there any other area which you would like to try your hand at? For now, I’m filled with a small success in my photo show. What’s next? I don’t know, something will definitely pop into my head. Rings are a developing subject because they provide cool contact with cool young people, full of passion, with whom it is interesting to talk. There is no boredom, only inspiration. There is also motivation – although wedding rings are also an artistic activity, but, I make no secret of it, a certain deficit of creative activities has already appeared. So I will try to satisfy this deficit. I wonder if you will forever be associated with the ball/bead? At one time you even had the nickname Kulkodolski (kulka: a ball in Polish) (laughs). I probably will. But I hope also with squares and triangles, because brooches gilded in triangles and squares are, after all, the other significant segment of my artistic jewellery. I liked brooches because I could go wild making them. Even my smallest earrings were big too (laughs). As I said, the trends that have prevailed in jewellery in recent years are completely alien to me. What can I do about it? I guess it has to stay that way now. Trends tend to come back, why not get another chance? Maybe...? Who knows...? I have my ring history, I don’t have to think about whether this minimalism will past and baroque or rococo will appear in jewellery. …and a bead (śmiech). There is no chance that a bead will ever be eliminated from jewellery. Even if one form of it vanishes for a while, it comes back under another. If not silver balls, then at least pearls in round form. The bead will always live on. This article was first published in www.amber.com.pl
By Anna Sado Poland, like Lithuania and Russia, is commonly associated with Baltic amber. Meanwhile, Poland also boasts striped flint, a stone that is found only in one region.
50 YEARS OF STRIPED FLINT IN AnJEWELLERY.Interviewwith CEZARY LUTOWICZ Cezary Lutowicz ARTISTIC INSPIRATIONS / POLISH JEWELLERY REPORT www.balticjewellerynews.com 42–2022NEWSJEWELLERYBALTIC 62●
Although its history dates back many thousands of years, it was only half a century ago that it was discovered for jewellery. What is it that captivates you about striped flint? For 50 years, I have been invariably enchanted by its bright surface full of swirls and textural weaves and the very calm, organic sculptural forms emanating from it. Although this is only a delusion... In reality, it turns out to be surprising – just by hitting it with a tool, it explodes and releases energy accumulated millions of years ago. When cracking it releases the fire asleep in it, the smell of sulphur and the picturesque beauty, it reveals its strength, character, and pride... For many centuries, the technology of making tools from striped flint consisted in flaking it – this was the mystery of shaping the stone, something that is timeless, eternal. The work involved all the senses – it was accompanied by olfactory, auditory, visual, tactile stimuli. As in the past, it is close to magic today...
It was 1971 when you came from Słupsk, a coastal town in the northwest of Poland, to Sandomierz in the south-east, where you saw striped flint. Do you remember what you felt at that moment? I saw the beauty and uniqueness of the striped flint because I was a stranger. And a stranger always sees more than a native because he looks from a different perspective. While learning about Sandomierz, the history of the city and its monuments, I came across an axe from the Neolithic period with a blade made of some strange stone. I was used to the fact that axes at archaeological expositions were mostly made of chocolate or yellow flint, but never one as beautiful as this one here. So I started asking around and found out that it was the kind of local stone that only occurred in this region. Seeking further information, I contacted geologists –they had little knowledge of it as it was outside their area of interest, but at least they confirmed that this was the only place it occurred on the entire globe. I came out of the meeting with them happy – I had ‘discovered’ a unique stone that had a chance to become an
At such difficult times, you decided to introduce striped flint into jewellery. What reactions did you encounter? It was not easy, it was 1972... I offered the recipient a piece of jewellery with a stone from a gravel road. A stone that was used to make tools in Neolithic times, i.e. some 5,000 years BC, and which lost its importance with the invention of bronze and iron. As flint is present in limestone like raisins in a cake, once the limestone was used for building purposes, it was thrown out like a useless weed onto the roads to harden them. This has been done for dozens of generations, so it is no wonder that it was difficult for the people of the region to see the aesthetic value of this ‘weed’. I fell in love at first sight and convinced myself that their prominence in jewellery had profound meaning. To było coś nowego, coś, czego nie widziano wcześniej w biżuterii. I had to learn how to process it – the jewellery tools and machines I had used so far were completely unsuitable for this, and I needed to get diamond tools that were virtually unavailable at the time. My determination was noticed and appreciate. A a year later the Sandomierz Museum hosted my first exhibition also featuring jewellery with Cezary Lutowicz Śródborze 1972
www.balticjewellerynews.com JEWELLERYBALTICNEWS42–2022 63●
ideal distinctive feature of Polishness in jewellery, and still had the three most important qualities of a jewellery stone, i.e. rarity, decorativeness and hardness. Flint was like a gift from fate, better than amber, which was the pride of not only Poland, but also other Baltic countries, and could have become an interesting alternative to the rose gold rings with a red stone that reigned supreme in those days, which were a sign of wealth, a sense of aesthetics and a place in society.
striped flint. I honestly admit that at the time the stones were not yet properly polished and honed. They were simply to the best of my technical abilities. This was probably the reason for the scant interest in flint and this jewellery of mine at the time. However, there must have been a great deal of optimism, since I believed in its and my power (laughs). I learned to work with it, and two years later, I was already showing a bigger and much better collection. I was slowly gaining an audience, although there weren’t many. I was then running a pretty good workshop converting Russian rings into Polish aesthetics, which allowed me to devote my time to making silver jewellery with striped flint. In 1985, I was ‘discovered’ by the director of the Goldsmith Art Museum in nearby Kazimierz Dolny. He liked the fact that I was introducing a new local material into jewellery, and they offered me a year-long exhibition. In this way, the striped flint, so to say, became credible. Since it appeared in such a specialised space as a museum, it means there must be something about it. The exposition attracted the interest of other museums, as well as galleries with artistic jewellery, and journalists. Thanks to them, virtually the whole of Poland was able to learn about striped flint. So when the downturn in gold came, I could already afford to switch my studio to striped flint and devote myself entirely to it alone. At what point did you manage to get other jewellery makers interested in striped flint? As in the case of amber, sooner or later most of them reached for it. I persuaded the Castle Museum in Sandomierz to organise a goldsmith's workshop for jewellery designers, which took place between 2000 and 2014. It was a great opportunity to pass on all my knowledge of striped flint and its processing to people in the goldsmithing community. The condition for taking part in the workshop was to donate one piece of work to supplement the collection of striped flint jewellery which was being developed by the Museum. It was in this way, among others, and also thanks to the great commitment and cooperation of the senior curator of the Castle Museum, that we managed to collect about 300 exhibits, which are now on permanent display. Throughout all these years, my workshop has also been open to anyone who wanted to learn about flint and explore the secrets of its processing. In total, about 80 artists have passed through it. In 2007, during a scientific session celebrating the 35th anniversary of the introduction of flint to jewellery, Sandomierz was named the World Capital of Striped Flint. This happened at my request, so I was all the more obliged to do everything to justify this prestigious title. It was very important to me that as many artistic flint processing studios as possible were set up in the region from which the flint originated, so I tirelessly, and with quite good results, encouraged and still encourage locals to open their own galleries and souvenir shops, promoting what is local. It is important that there is a lot going on around flint, so that Sandomierz is its world capital in more than just name. Between 2011 and 2015, thanks to the efforts of Mariusz Pajaczkowski, a goldsmith from Warsaw who also fell in love with striped flint, three editions of the Striped Flint Festival were held to showcase the stone in its many aspects: from archaeology, history, mineralogy, craftsmanship, goldsmithing art and museum collections to activities inspired by or associated with flint, including sightseeing and musical aspects. The festival was
ARTISTIC INSPIRATIONS / POLISH JEWELLERY REPORT www.balticjewellerynews.com 42–2022NEWSJEWELLERYBALTIC 64●
www.balticjewellerynews.com 42–2022NEWSJEWELLERYBALTIC 65●
accompanied, among other things, by the National Author’s Jewellery Contest titled STRIPED FLINT. THE STONE OF OPTIMISM, in which many Polish visual artists and jewellery makers took part as well as numerous exhibitions of jewellery made of flint were displayed. This year, on the occasion of the 50th anniversary of the introduction of striped flint into jewellery, a scientific conference is planned to summarise achievements in this field until now, with speakers from all over Poland. A collection of silver jewellery with striped flint has also been prepared by a leading jewellery company addressing its products to the mass customer. Apparently, it turned out to be a sales hit. In 2005, I persuaded the then owner of the chain of about 100 W. Kruk stores to create a collection of jewellery with striped flint. It was really successful, especially as a moment earlier a journalist from the Polish Press Agency had taken an interest in the flint. It was from him that I found out that my flint jewellery was being worn by Victoria Beckham and Robin Williams. It wasn’t just me who found out, but everyone who read his material quoted by many news outlets. Poland literally went mad for the striped flint. The jewellery was literally swept away not only from my gallery, but also from all the shops and galleries that had it on offer. A while later, jewellery with flint appeared in W. Kruk stores. The company really could not have dreamed of a better advertisement... The world has also fallen in love with striped flint. Indeed. Over these five decades, I have displayed my work with striped flint on three continents, including the Polish pavilion at the Expo in Milan or Astana, and it has always evoked very enthusiastic reactions. The fact that my ornaments with this stone are worn by such people as Queen Mathilde of Belgium, in addition to the aforementioned Victoria Beckham and Robin Williams, can attest to the really great interest. When diamonds were deprived of romance, people needed a new stone to associate with real values: sincerity, truthfulness, honesty and, at the same time, the history of the Earth. Jewellery has always had a special meaning because it was inextricably linked to emotions, it was and is nowadays special. I have called striped flint a stone of optimism because, for nearly 50 years, it has been giving me the energy and conviction that the enterprise of promoting it is bound to succeed. Especially as times, and the first three decades in particular, were not always kind. Nowadays, invariably for years, people come to my workshop who have heard about this optimistic energy and wish to own even a small piece of flint. Sometimes I also receive letters from sick people asking me to send flint to obtain optimism in every form. As the ‘discoverer’ of flint, what would you wish for flint?
Currently, large Polish companies send striped flint to China, where semi-finished products are made from it. As it is, the Chinese return only 30 per cent of the shipped stone, and not at all the prettiest one, claiming that the remaining 70 per cent is a loss during production. It shows that they leave the prettiest pieces with them. I believe that in order to stop this practice, striped flint should be protected by law and its export abroad should only be possible as a semi-finished or finished product. Poland should protect it as its national asset: take care of its resources, develop an indigenous processing industry, producing highquality products and addressing them to a more aesthetically demanding clientele worldwide. Only by having an influence on what is produced from it can it be saved from depreciation. I am already on the brink of my biography, so I won’t take on this task anymore. But I very much hope that others will continue the work of promoting striped flint as a unique jewellery stone found only in Poland. It is a great joy for me that, with the participation of many helping people, Poland finally has its national gem – striped flint. ■
THE MATERIAL THAT I HOLD IN MY HANDS LEADS ME Dodo Paruznik, photo by Magdalena Tritscher www.balticjewellerynews.com 42–2022NEWSJEWELLERYBALTIC 66●
6. Where can we find your jewellery? You can find my jewellery either at one of the exhibitions I am attending, which I always announce on my instagram and facebook accounts @DOLCEDODOJEWELS, or on my website, WWW.DOLCEDODO.COM Currently I am also working on my new online shop, so stay tuned.
I could say that I am a creative person, and most of us are naturally chaotic in an organised way. That could drive people around us crazy, but this is one of the best ways for me to produce exciting and innovative pieces. I love to travel the world and I normally transfer my experiences into my jewellery. That means everything around me, and especially nature, is my main source of inspiration. And since I love nature so much, my work is often a critical approach to current topics like animal welfare, environmental pollution, and nature conservancy.
1. Tell me about how you came to be a jeweller. How did your love affair with jewellery begin?
Necklace “BUBBLE DREAM” from series “WASTISH”, year 2022, material: bio resin, bubble wrap, brass, red coated metall, photo by Dodo Paruznik
ARTISTIC INSPIRATIONS / POLISH JEWELLERY REPORT www.balticjewellerynews.com 42–2022NEWSJEWELLERYBALTIC 67●
Johann Wolfgang von Goethe once said, “The nature of women is so closely related to art.” In the sense of this quote, I create wearable art. Most people have a confusing concept of jewellery in their heads, and that is that the value of precious stones and precious metals is worth more than anything else. I am very conscious of and obsessed with the question of how we can change people’s thinking, and whether they can accept this new concept of producing jewellery.
2. How do you define yourself?
5. What sets you apart from other jewellers? I make one- of- a- kind jewellery and objects. My pieces are either unique or very rarely produced in a small series. Mostly I de- and re-construct found objects and adapt them with goldsmithing techniques. I don't see any reason to declare everything that lands in the garbage bin as useless. Upcycling is another possibility and I want to show the world my way of being creative with things that would otherwise have been thrown away.
As a child I always watched my dad making new things out of simple pieces of raw material, and I was fascinated by how he could miraculously produce something precious. My first works and experiences at the goldsmiths academy and the charming aura of this industry dragged me from there ever more into its magic. Therefore, jewellery design studies were the only logical step I could make to further my development.
The material that I hold in my hands leads me. I also try to recreate forgotten, found, or just thrown away things and turn them into jewellery and wearable art. At the same time, my pieces constitute a platform for my thoughts. Upcycling things and materials is my way of reminding our society of the necessity of environmental awareness.
Necklace “HAPPY MEAL” from series “JEWELLERY TO THE BONE”, year 2018, material: resin, meat, poultry blood powder, bone meal, brass, karneol, gold leaf, photo by Dodo Paruznik
7. So what's new? Tell me about your latest work. My latest work, “O COZZE MIO,” includes earrings made out of a mussel, bio resin, glass beads, sand, silver and 23kt
Interview with Dodo Paruznik
Because of the influence of artists and goldsmiths in my family, I always felt love and passion for jewellery and design.
The generally accepted should not be the limit... I always felt unfulfilled by traditional jewellery, so I started to study jewellery design at the SchmuckModeDesign Herbststrasse. These studies changed my whole view on jewellery, especially the workshop “intervention – invention –intention – the great egg race project” with the two renowed jewellery artists Peter Vermandere and Tim Carson. After this it was easier for me to choose my graduation project topic, which was “JEWELLERY TO THE BONE”. For this series I made pieces out of bone, blood powder, and meat, and these were shown at a lot of exhibitions in many countries.
4. Tell me about the evolution and range of your styles of jewellery.
3. Can you talk me through your design process?
From 24th September – 30th October some pieces of my work “WASTISH” will be shown in Portugal at the international Exhibition “Collectiva Meeting ´22” organised by Collectiva Joalharia de Autor. My piece “O COZZE MIO” will be exhibited from 14th – 16th October in Rome at the Premio Incinque Jewels Award during the Roma Jewellery Week. It will be hosted by the Incinque Open Art Monti Gallery. Meanwhile, I am working on two new collections and on my online shop, so stay tuned.
9. Who are your customers? My customers come from all corners of society, as my jewellery covers many different categories. Students, business people, and retired ladies and gentlemen are all potential clients.
Last year, my brooch “on point” was awarded with an honorary mention at the amberif design award 2021 with the theme “skarb – treasure – bijou – schatz”.
8. What is the greatest recognition of your work so far? I was selected and invited to several exhibitions, including at the MAK – Museum of Applied Arts in Vienna, Joya in Barcelona, Amberif Award in Gdansk, Amber Trip in Vilnius and many more. Each and every one was a great pleasure.
gold leaf. These will be shown at the Premio Incinque Jewels Award during the Roma Jewellery Week in October 2022. The inspiration for this piece came to me during an Italian road trip, when I realised that mussels, called “cozze” in Italian, are a famous dish, especially in the Venice region. Together with their taste, and the breathtaking sunset over Venice, the idea was born. I am also working on two new collections, “WASTISH” and “AT THE BEACH.” The pieces for “WASTISH” are made out of packaging materials and “AT THE BEACH” is a potpourri of my impressions of the dolce vita in Italy. The earrings “O COZZE MIO,” are a part of this series.
10. What can we expect next from you?
Earrings “O COZZE MIO” from series “AT THE BEACH”, year 2022, material: mussel, bio resin, silver, gold leaf, glass beads, sand, photo by Dodo Paruznik Inspiration photo for “O COZZE MIO”, sunset over Venice, photo by Dodo Paruznik ■
ARTISTIC INSPIRATIONS / POLISH JEWELLERY REPORT www.balticjewellerynews.com 42–2022NEWSJEWELLERYBALTIC 68●
www.balticjewellerynews.com 42–2022NEWSJEWELLERYBALTIC 69● ARTISTIC INSPIRATIONS / LITHUANIAN JEWELLERY REPORT
https://www.sieraadartfair.com/
JEWELLERYINTERNATIONALART FAIR SIERAAD 2022 IN AMSTERDAM
Amsterdam SIERAAD is a European platform where contemporary designer jewellery trends are revealed, where jewellery makers, connoisseurs and lovers meet, where connections and new ideas are generated. By Laima Kėrienė
The 2022 SIERAAD fair featured 70 stylish jewellery stands and a conceptual retrospective exhibition of a group of European artists called Extranalities – pictureware. The majority of authors represented their products in such a way as to reflect the modern design, the authentic style of the creator, individually selected materials for the pieces or special, exclusive production technologies. One could see both jewellery made using traditional goldsmithing techniques and non-standard jewellery solutions. There were pieces made using innovative technologies such as digital devices, laser processing, and photo media. However, handwork and craft are still relevant. At the fair, one could find not only jewellery with precious stones made using goldsmithing technologies that have existed for millennia and centuries, but also pieces made of modern experimental textile, ceramic, glass, enamel, leather, wood, and various synthetic materials. The assimilation of different countries and cultures, the synthesis of old traditions and innovations could be felt. Functionality was solved inventively, new ways of wearing suitable for modern personalities were looked for, but high-quality classic jewellery always has its own audience.
Photo by Arjen Veldt
On 26–29 May of this year, the 19th professional jewellery art fair SIERAAD (meaning “jewellery” in Dutch) took place. It is a specialized event that has been gathering creators and designer jewellery lovers, including professional artists and designers, critics, museum owners and gallerists, manufacturers and buyers, jewellery wearers and collectors, from various countries around the world for two decades. The fair exhibitions are held in Westergas Park in the impressive historic Gashouder building. After the wave of the pandemic subsided in the spring, and after a break of several years, the creators could exhibit their works here again, and the visitors could meet the authors live, communicate, view the works directly and purchase them. Remote communication makes the world easier to connect with, but jewellery is the tactile art closest to the body – the pieces deserve to be seen and touched live. Therefore, this event was a much-awaited meeting for both artists and visitors.
ARTISTIC INSPIRATIONS / LITHUANIAN JEWELLERY REPORT www.balticjewellerynews.com 42–2022NEWSJEWELLERYBALTIC 70●
Ieva Grigienė’s colourful rings created from precious stones, natural, synthetic or painted, look monumental and even rough due to the way of processing. The aesthetic of imperfection in contemporary jewellery is a theme of Ieva’s, which she explored to discover the design of her rings. Spontaneous creative process, memory of emotions and images inspires the artist to cut, drill, carve, polish precious stones and create original rings from monolithic mineral pieces never seen anywhere else.
The purpose of the exhibition concept Academia Lituaniae: in situ was to present Vilnius Art Academy and the existing potential of young Lithuanian professional jewellery artists to Europe, to enable students to get acquainted with the challenges and opportunities of the specialized international market, to gain direct experience in representing their work, and communicating with buyers. Each author strove to be authentic and bring their own individual message about the uniqueness of jewellery as works of art.
EXHIBITION “ACADEMIA LITUANIAE: IN SITU” OF THE MASTER’S STUDENTS OF THE APPLIED ART PROGRAMME OF THE TELŠIAI FACULTY OF VILNIUS ACADEMY OF ARTS
The Telšiai Faculty of Vilnius Academy of Arts prepared a solid project and for the first time such a large group of young artists from Lithuania went to SIERAAD. Participating Master’s students Violeta Adomaitytė, Ugnė Burvytė, Irmantas Kiela, Aušra Mačiulaitienė, Paulius Rukas, Adelė Šumkauskaitė, and Ieva Laskevičiūtė, and Ieva Grigienė who is already holding a Master’s degree presented their collections, the architect of the Academy’s stand was Viktorija Lapinskaitė, who is also a Master’s student of Applied Art
Photo by Arjen Veldt
Paulius Rukas actualizes history with an interdisciplinary project, he transforms archaeological documents into jewellery and creates a digital video media installation. Brooches made of soil and gold, photographs of visitors to the exhibition capturing time and image are thought-provoking.
Aušra Mačiulaitienė explores fixations of personal iden tity and creates jewellery from amber dust. Each person’s body shapes, movements, habits, and household are unique, so the objects and shapes he/she touches become personal. The special value of jewellery is individuality, immortalized self.
Ugnė Burvytė expresses her metaphysical searches by sculpting, casting, costing the shape of a heart. She tries to
Photo by Arjen Veldt
Adelė Šumkauskaitė immerses herself in the world of vegetation forms. As a collector, she studies the structures of twigs, leaves, inflorescences and casts them in bronze or silver. Having mastered the technology of vacuum casting virtuosically, Adelė achieves a precise and clean reproduction of plants from metal, thus preserving the beauty of a temporary plant for a longer charm.
■ express human spiritual states in a material way using metal, glass, paper, and cement. The viewer first holds up a very heavy heart cast from iron, then a lighter cement heart full of glass shards and inclusions, then a fluttering paper heart made of a lot of leaves. Catharsis restores the memory of human experiences.
Ieva Laskevičiūtė stands out for her futuristic personality and creative style. Zero waste ideology led the author to sustainable creative methods. Instead of minerals found in nature and difficult to process, she uses minerals of the same composition as the main material, waste from the food industry, e.g. egg shells. Using organic resins and natural colour pigments, she creates bright, bold jewellery. Extravagant neck and hand jewellery, objects-accessories created by Ieva declare that nature-friendly creativity has unlimited possibilities to create both everyday beauty and exclusive elite luxury for a modern personality. The international space and the prestige of the event set a high bar, but the young people really prepared an impressive exposition and received the best reviews and professional recognition. It is in this context that the pieces reveal their true value, and it is extremely important for novice professional jewellery makers to learn this.
Violeta Adomaitytė is interested in the representation of light in jewellery. Deeply impressed by how a blossoming almond tree glows in the darkness of the night, she searches for how light emerges, what contrast with darkness it creates, and perhaps how one complements the other, what the relationship between black and white is expressed in nature and art, what materials can convey it. In the exhibition, Violeta exhibits a brooch with stars.
Photo by Arjen Veldt
The initiator and manager of the project is a jewellery artist herself. Three decades of creative work intertwined with long-term academic work at Vilnius Academy of Arts. One activity complements the other. The author summarizes her experience using metaphors, noticing parallels in nature. Here is the concept of the exhibition: “Trees have qualities that people don’t have, and people have qualities that trees don’t have. For example, trees live longer and are sedentary. We live next to one another and observe one another: people look at the trees as they pass by, and the trees look at the people that keep passing by. There are many different trees in Lithuania. My favourites are oak and pine. Many of them were seen by my eyes and touched by my fingers. The stories of trees and people can be told with words, but they are more powerful in jewellery.”
Irmantas Kiela discovers the world of explorations in grandparent’s things. He simply creates jewellery from old handicrafts and household items such as textile embroidered by his grandmother or a basket woven by his grandfather. In many European countries, as well as in Lithuania, women have been embroidering flowers since their youth, and SIERAAD visitors recognized this. Pleasantly surprised, they were interested in Lithuanian culture and customs. Fragments of household items also evoked stories of the environment and work from the past.
Photo by Arjen Veldt
Every piece of jewellery by Laima Kėrienė tells a certain story, reminds of meaningful things. It can be a comfortably worn brooch or simply a jewellery object for viewing and meditation. Most of the time, the artist deals with both content and function, so her jewellery is made to last.
PROFESSOR LAIMA KĖRIENĖ’S SOLO EXHIBITION “TREES AND PEOPLE”
Photo by Arjen Veldt
www.balticjewellerynews.com 42–2022NEWSJEWELLERYBALTIC 71●
Relational Aesthetics in Lithuanian Jewellery, or What is Absent in the Art of POŠKUTĖ-JUKUMIENĖNERINGA www.balticjewellerynews.com 42–2022NEWSJEWELLERYBALTIC 72● Neringa Poškuė-Jukumienė. Photo by Ingrida Mockutė-Pocienė
The works of Neringa PoškutėJukumienė are process-based, not object-oriented. Even when they are tangible and material. Or golden. And this is the second thing absent in the author’s work: the value of the object. In jewellery, value means a lot; it is one of its distinctive features. Jewellery goldsmiths, designers, and artists encrust an abundance of sapphires, rubies and diamonds in platinum and gold, thus creating added value for these materials which are already precious and valuable by themselves. This was (and still is) common, unless of course you are not a creator of designer jewellery, such as those artists from the seventh decade of the last century who were rebelling against the use of expensive materials in jewellery and transferred value from the material to the artistic However,plane.Neringa Poškutė-Juku mienė is unique in her own way. She uses gold, refusing to see it as valuable. To be more precise, gold, as one of the most important metals used in jewellery and one of the equivalents of value, exists in this exhibition in all possible forms, none of which generate value by themselves. The golden flag blowing in the wind at the entrance of the gallery immediately points to irony – it's like a sign that everything you see when you enter the gallery will be sprinkled with gold dust, which, however, should not be taken seriously. There is a lot of gold in our lives, but it is fake – or if it's real, it doesn't mean anything. This is exactly what the artist was talking about when exhibiting a “golden” jacket that can still be seen in shop windows, or “golden” shoes, fiercely advertised in all the shoe stores a few years ago. Golden thoughts, written in gold on the wall. The real gold here is the cast of the
By Jurgita Ludavičienė Creators of Lithuanian designer jewellery rarely step outside their field of work. This should not necessarily be viewed as criticism, since each medium has its own game rules, field of effect and means of expression, and jewellery by itself is a very lonely art field. What I mean by that is mostly the circumstances of its creation, typically requiring specific means, materials, tools and devices, all of which must fit into the workshop, which in turn requires concentration and detachment. Creation of jewellery takes more than one day, and usually more than one week or even a month.
In one of her interviews, the author said: “The first impulse of a creator is typically to put his works in display cases and keep them there. But what I care about is provocation. I aim to get my work out of the showcase. I want the viewer, who was provided with active new information thanks to the artwork, to also discover the medium of the jewellery. To stop looking at a piece of jewellery as if its only possible form is a cold untouchable object placed inside a showcase, and its material value is the only valuable thing that it has.”
www.balticjewellerynews.com 42–2022NEWSJEWELLERYBALTIC 73●
On the other hand, for the past half a century, designer jewellery has not been simply about making it (we still don't have a word that could be used with jewellery without referring to decoration). It is a field closest to the body, a field where communication between the creator and the wearer is extremely important. And a field that creates signs for the body which can also become signs for the society. They can, but rarely do so. The involvement of creators of designer jewellery in relational art in Europe should be dated to the beginning of the last decade of the 20th century, when jewellers no longer had to prove their conceptuality and modernity, their belonging to the sphere of art rather than craft. Relational aesthetics is a term coined by the French critic and curator Nicolas Bourrioud; this is how he described open, unfinished, interactive works, where the most important thing is the process of communicating with the audience. At the time (last decade of the 20th century) in Lithuania, jewellers opened a group exhibition in the Pamėnkalnis Gallery with a performance, acting almost synchronously with their Western colleagues; there was a number of subsequent attempts to step out of the frame of decorativeness, such as “Desmurgija” by Algis Mikutis and Ąžuolas Vaitukaitis, and “Priekūniai” by Sigitas Virpilaitis, however the vast majority of such Lithuanian pieces of jewellery remained within the limits of the exhibition space/showcase. At best, they were taken from the workshop or gallery to be placed onto their wearer's clothes, thus completing their mission.
Neringa Poškutė-Jukumienė who has been consistently conducting her jewellery research program over the past decade can undoubtedly be called the most prominent (if not the only) representative of relational aesthetics in the field of contemporary Lithuanian jewellery. After refocusing from creation to research, she demonstrates her aspiration to constantly expand the fields of effect, while still remaining in the field of designer jewellery but at the same time abandoning many of the things that traditionally define jewellery, or questioning common concepts, definitions and materials. “OMG”, the solo exhibition of N. Poškutė-Jukumienė held in Telšiai Gallery, is so far her most comprehensive story of what remains important when the goal is no longer the object, but the process, and which things crumble away as unnecessary metalAndshavings.thefirstthings that crumble away are objects. It may seem that artists simply aim to create enduring work which would stand the test of time and speak of eternal things even many years later. This is not true. At least not for Neringa. Acronyms and sheet gold on the skin, pots that turn into accessories or a column, the sound produced by metal rhombuses thrown into a magnetized steel sheet, a proposal to try on metal regalia in front of a mirror, a golden flag blowing in the wind at the entrance to the gallery – there is a lot of everything and everything speaks of the desire to attract, involve and provoke the viewer here and now. So that he would “bring his body” to the exhibition and turn into a showpiece himself here and now. What happens to the works later is not so important, since they already fulfilled their function.
www.balticjewellerynews.com 42–2022NEWSJEWELLERYBALTIC 74●
In Gold We Trust, as ironized by the artist, and I can't help but remember another creator of original jewellery – Swiss artist David Bielander who gives his gold jewellery a cardboard appearance. At first glance, you wouldn't even guess that this is not a cardboard bracelet.
Another thing abandoned by N. Poš kutė-Jukumienė in her exhibition (and her work) is permanence. A piece of jewellery seems to assume that it will be created with a lot of love and patience, will be valuable materially (we have already discussed and rejected this), and will last for a very long time. Maybe it will even be passed down from generation to generation. Meanwhile, Neringa creates her works from random objects and steel scraps, from mirrors and pots. They are meant to move the viewer around and within them. They do not work without participants. It is necessary for these works (and the author) that the people coming to see the exhibition experience it with their whole bodies. Back in her interview in 2021, the artist said: “I never shy away from additional “game” elements showing that an object is really just a thing until you start playing with it. This means that any conceptual jewellery object can express its main idea only with the help of the body.” The viewer must bring his body and become a component of the exhibition. In this case, for example, a city mayor, since Neringa enables the viewer to try on the regalia: while standing in front of the mirror, he must find a body position in which the stylized diamond-shaped (we'll talk about this later) regalia would “climb” onto his shoulders, giving the temporary player the status of a city ruler. Mirrors and rhombuses appear in the exhibition in various forms, provoking the viewer to play instead of encouraging his narcissism. Suggesting not to look at himself once again, but to simply try on the epaulettes of someone else. Without the viewer, the works of Neringa Poškutė-Jukumienė would remain silent. On the one hand, this brings her work closer to traditional jewellery, for which the body of the wearer is also unconditionally necessary, but, on the other hand, this is also performance work where jewellery is used only as much as it is needed to cut a rhombus out of metal and cover it with coloured enamel.Moving forward, I am counting what else was rejected by the author, and this is the point where we should go back to relational aesthetics – the aim to engage the audience in an active relationship and receive its response to the social and political context. N. Poškutė-Jukumienė doesn't care about the static, asocial or apolitical state, and this is probably the thing that distinguishes her the most from the field of Lithuanian designer jewellery. She always keeps her finger on the pulse, on the political vein connecting Lithuania, Belarus (this is where I remember her work reflecting the protests in Belarus) and Ukraine, which can be seen in the rhombuses used in her works, covered in the colours of the flags of countries that are suffering. She reacts to the corrupt games of politicians, to the remnants of the Soviet system in Klaipėda, the city where she lives, and to the sexist and patriarchal aspects of everyday life. You can tell from her performative, changing and interactive jewellery what the artist cares about and, most importantly, that she truly CARES. That she tries to get involved, break through and blend in instead of retreating, separating or distancing herself. Just like the Dutch artists Atelier Ted Noten or Dinie Besems who, in the last decade of the 20th century, asked their audience to provide random objects and remade them, set up a machine in the Amsterdam's red light district, which enabled to buy a ring for a prostitute, etc. Interesting things were (and still are) happening, however at the moment Neringa is the only jeweller in Lithuania who is playing with the audience; it is not surprising that viewers often shy away or generally try to immediately leave the uncomfortable interactive space. However, this does not discourage the author. If there will be no one who will dare to try on the ring or the crown of a city ruler, she will still not stop, and will continue to throw metal rhombuses into a sheet of metal, build a column from kitchen pots stacked on top of each other, or create accessories from enamelware.Shedoesn't care about being serious and plays with all the said categories, turning objects, images and words upside down. Acronyms which the author loves so much, accessories, meanings and values, sounds and movements, clanking of metal and bottomless pots, a chair that turns into a backpack, which Neringa carried from the central square of Klaipėda to the beach during her geographical performance, rhombuses cut from yellow-black barrier/warning tape – it all comes together in a sort of a metagame where metal and jewellery are simple parts of various other aspects. Her works have no end. They can come to life at any time, when physical, social and political circumstances change and another space opens up. And then other constellations will form, along with other acronyms. For now, the author ironically destroys faith in material things, balancing between OMG and WTF (which are the names of the works that are part of the exhibition), and sees the world through the shape of a rhombus. Because the said shape allows you to play in many ways: a yellow-black barrier tape spreads out into rhombus shapes; a rhombus symbolizes a diamond, and it was the rhombus that was once drawn on the streets of Kaunas as a warning sign. After drawing a rhombus instead of a circle on the floor of the Telšiai Gallery, Neringa Poškutė-Jukumienė throws metal rhombuses into tin, making a racket and thus saying that jewellery is not necessarily a quiet and solitary art.
■ ARTISTIC INSPIRATIONS / LITHUANIAN JEWELLERY REPORT www.balticjewellerynews.com 42–2022NEWSJEWELLERYBALTIC 75●
author's fingers with a gold ring on one of them. Is this a reference to King Midas whose touch turned everything to gold? And we remember how things ended for him. Therefore, Neringa PoškutėJukumienė tried to cover fragments of her body with gold foil during a filmed performance, specifically the parts that we typically decorate – wrists, neck –to show the temporary nature of such decoration and (of course) to question the necessity of gold. Gold always becomes more expensive in times of crisis, when money depreciates. Gold is the guarantee of banknotes issued by the state. Investment gold (as I write this, my imagination begins to draw gold bars stored in underground vaults) and the like. However, everything is simply a matter of agreement. Especially gold. We ourselves have decided that this particular metal will be valuable. It is simply a social construct that humanity itself has formed and decided to follow.
When the natural elements intertwine with modernity: ARTŪRAS DAVAINIS PRESENTS AMBER FOR A MODERN MAN Interview with Artūras Davainis www.balticjewellerynews.com 42–2022NEWSJEWELLERYBALTIC 76● ARTISTIC INSPIRATIONS / LITHUANIAN JEWELLERY REPORT
www.balticjewellerynews.com 42–2022NEWSJEWELLERYBALTIC 77●
After all, no one count times when creating. There was even a case when on my birthday I asked my wife what day of the month it was because that was the moment when I did not count days or hours. What trends do you see in amber jewellery today? Do you follow them yourself? It is difficult to talk about today’s trends. Maybe there prevail smaller, minimalist products. I myself prefer them bigger... Anyway, a bigger piece is always more modern, makes a bigger impression with its shape, age, impresses as a heritage (smiles). My works change as time goes by – their shapes and dimensions are different, they increase in size. There is an increasing demand for massive and exclusive jewellery. The bigger the piece of jewellery, the more you can see something wonderful and magical in it, especially in amber, because all its history and beauty are revealed.
My customers grow together with me and even those who thought my jewellery was too big when I first started are now happy to buy pieces from new collections. I have heard feedback from several of my customers that my jewellery becomes a talisman, and brings good luck (smiles). I think it is because of the fact that each piece of jewellery is made with love, every curve is thought through, and I stroke the pieces countless times until they are finished. This is especially true for jewellery that is made individually. When creating them, I try to get a product that would not only suit the future owner in its appearance, but would also reveal their character.
Artūras Davainis is a professional jeweller who resurrects amber to a new, modern life, where there intertwine natural elements and natural wonders dating back even millions of years. The jeweller got acquainted with amber for the first time as a child, in the workshop of his father Šarūnas Davainis. Then he was mostly impressed by and liked the smell of amber that is emitted during its Atprocessing.theageof about 26, Davainis got to work with amber more professionally – he was invited to work in the company UAB Amber founded by his father. Having started from such works as amber sorting by colour, he soon was creating jewellery with amber Davainishimself. is also one of the pioneers in the production of mini sculptures in Lithuania. After trying many different techniques, he managed to make amber ships of 1 meter and longer, amber cars, motorcycles, helicopters, and even a lunar rover. Among the jeweller’s clients are several ex-prime ministers of Lithuania, a former president, leaders of foreign countries, representatives of culture, etc. Artūras, why have you chosen amber? I would compare amber to a woman, maybe that is why it is so attractive. Amber requires gentle handling and touch, attention, patience and, of course, love – you have to feel it. You cannot always make what you intend or imagine of it – sometimes it dictates the rules to you, just like a woman (smiles). And it also has a very mild and special smell.That is why my greatest inspiration and muse is my lifelong friend, my wife, who often also advises me on some issues. After all, sometimes you need not only to rely on your own opinion, but also to rely on female logic (smiles). What other materials do you choose for jewellery? Over time, I developed the need to highlight amber even more, which led to new forms and combinations. This is how I started to use black oak in my jewellery, which was the closest material to amber because it came from resin of the tree. Also, its life process is very similar to that of amber – oak lay and matured in water, in swamps from 500 to 7000 years (that is the oak what I workedAlthough,with).according to science, the age of Baltic amber is over 50 million years, I think that these two materials are related, especially since oak also grew and matured in Lithuania. After some time, my products started to be copied a lot, using wood that is completely distant in colour or painted. I felt that it was already time to make something new. This is how a new material appeared in my work, in particular, elk, roe-deer or deer horns. Again, all this comes from nature and Lithuanian forests. The horns I use have also been dealt with by nature before, as they often lie in the woods for years, exposed to rain and sun. In your hands, amber is reborn completely different. How did you come up with the idea of choosing a different approach? I have always wanted to change the attitude of Lithuanians (and not only of them) to amber, to show that it can be modern and surprising with its beauty. I think I managed to do it (smiles). At the same time, everything I do is a merit of God as the materials are already created by nature, and I just try not to spoil them, to put one particle with another, to reveal their natural beauty. My latest collection, which is currently exhibited with the works of other famous artists in different places of Lithuania (National Mikalojus Konstantinas Čiurlionis School of Art, Zanavykai Museum, etc.), is called “Heritage”. These are works based on Lithuanianness: ancient blacksmith’s hammer nails that have also survived the exposure to water for hundreds of years, black oak, and, of course, amber. How long does it take you to create one piece of jewellery? Sometimes the creation of a piece can take several years, months or weeks. Sometimes I make a piece in half an hour or less, but it takes 30 years of practice to create it in such a short time. It also depends a lot on inspiration, mood and, of course, what exactly you are doing at that moment. That period of time can be quite long, it is also called creative suffering. When inspiration strikes, things happen quickly.
ARTISTIC INSPIRATIONS / LITHUANIAN JEWELLERY REPORT
What do we, as people not working with amber, not know about it? What still surprises you after all this time? I love working with amber because I feel it. However, there are also difficulties with it, especially now that the war is going on. For example, you cannot go to the store and just buy raw materials. It is possible that at that moment you cannot simply find the kind of piece of amber that is needed to produce the piece of jewellery you have come up with. However, when I, being angry, try to replace amber with another material, somehow that anger quickly goes away... Apparently, this is loveAlso,(smiles).thedesire to own and buy as much amber as possible, to feel every piece does not go away because it will always surprise you with something. I do not even know how many tonnes of amber have already passed through my hands. What kind of amber do you think Lithuanians like the most? Lithuanians like white amber the most, which is also called “royal”. Lithuanians like it probably because they do like everything that contains the word “royal” – royal ice cream, royal cheese, etc. (laughs). There are indeed very beautiful pieces of white amber, but the way the sun plays and reflects on the clear amber, the way the sun seems to be trapped in that piece – it is just a miracle, and you will not see this miracle in white amber. I could not even say which amber I like more... I think that probably clear amber, a sunstone (smiles).
■ www.balticjewellerynews.com
42–2022NEWSJEWELLERYBALTIC 79●
ARTISTIC INSPIRATIONS / LITHUANIAN JEWELLERY REPORT www.balticjewellerynews.com 42–2022NEWSJEWELLERYBALTIC 80●
It was a very large theme considering the ongoing situation in the world. Consequently, the theme offers an endless variety of approaches that could be seen through the entries. This year the competition had received 57 entries from 17 countries which can be considered a good turnout.
After a year of not being able to conduct a physical show due to covid restrictions the Amber Trip international Jewellery contest was this year more than happy to return to normal, being able to show the competition pieces live to the visitors of the show. The theme for the 2022 competition was “About opportunities”.
TRIP
The jury wanted to emphasize the interpretation of the theme in an artistic way combined with the technical skill and quality of the piece. The entries represented a large diversity in styles and concepts. However, the jury was quite fast able to select and agree on ten pieces that fulfilled the qualities we were looking for. The way the jury worked was for each member to first assess their own preferences. After that to get together and through discussions find a common ground to find the criteria for choosing the winners in the various categories. After two consultations the jury had reached an anonymous decision and the result was clear to be announced. The winners were: PRIX ANNA FANIGINA
The jury of the competition consisted of three persons representing experience from various fields in jewellery. As chairman of the jury served Professor Laima Keriéné from The Vilnius Academy of Arts. The artists were represented by previous winner of the competition, jewellery artist Lauryna Kiskyté and the international part was represented by jewellery designer and executive director Henrik Kihlman from the Finnish Goldsmith Association.
OPPORTUNITIESABOUTCOMPETITION –JEWELLERYINTERNATIONAL
AMBER
GRAND
www.balticjewellerynews.com 42–2022NEWSJEWELLERYBALTIC 81●
OBJECT NOMINATION VITA PUKŠTAITĖ-BRUŽĖ JEWELLERY NOMINATION KAMILĖ STANELIENĖ “UNTIL DEATH DO US PART” AMBER NOMINATION PAULA CASTRO ARTISTIC INSPIRATIONS / LITHUANIAN JEWELLERY REPORT www.balticjewellerynews.com 42–2022NEWSJEWELLERYBALTIC 82●
FOR HOPE PETRA BOEHLER “MY CHANCE ” Honorary diplomas were given to: FOR THE BALANCE GINTARĖ JANULAITYTĖ “DON’T CLOSE YOUR EYES” FOR SPATIALITY UGNE “COLORSBURVYTEOFPOSSIBILITIES” FOR UNTOLD STORIES UGNĖ “TOMEBURVYTĖOFNI” FOR THE CONCEPT CHIEN YU, LIU – “LINKED #3” www.balticjewellerynews.com 42–2022NEWSJEWELLERYBALTIC 83●
BARBARA LASO FERNANDEZ“UNSTRUCTUREDJESSICA“CHAROS”GRESPI” MANTVYDAS LASINSKAS MONIQUE“STREAM” VOZ “SKIN AND AMBER” OTHER PARTICIPANTS: ARTISTIC INSPIRATIONS / LITHUANIAN JEWELLERY REPORT www.balticjewellerynews.com 42–2022NEWSJEWELLERYBALTIC 84●
RASA “FRACTIONS”JUNDULAITĖ ROMUALDAS INČIRAUSKAS “EMPIRICAL” KARINA “SWEETHEART”LAZAUSKAITĖ DOVILĖ ŽYDELIENĖ “I AM ROAD, TRUTH AND LIFE” www.balticjewellerynews.com 42–2022NEWSJEWELLERYBALTIC 85●
TOMAS “AMBERALBERTO“EATDODO“SHELTERMISKOVICCOLLECTION”PARUZNIKMEALICE!”DAVILACAMERAFILTERS” OLGA “LASTRICOPODFILIPSKA-KRYSINSKA3” ARTISTIC INSPIRATIONS / LITHUANIAN JEWELLERY REPORT www.balticjewellerynews.com 42–2022NEWSJEWELLERYBALTIC 86●
MAJA “THESEYMA“RINGDINGHOUTMANFINFINE”ESMAUYGUNBOX” SOLVEIGA “UNALOME”VASILIAUSKAITĖJURAA.VASKEVICIUTE“NOWITISHOWITIS” www.balticjewellerynews.com 42–2022NEWSJEWELLERYBALTIC 87●
JULITA GAVEIKAITĖ “BEING AT“WHENDOVILĖHOME”BUTAUSKĖTHEDAWN COMES” URTĖ “HARDŠMITAITĖTOSWALLOW PILLS” DOVILĖ “UNEXPECTEDLYKAZAKEVIČIENĖPASSES” www.balticjewellerynews.com 42–2022NEWSJEWELLERYBALTIC 88●
JUSTINA MAKAREVIČIENĖ “ABOUT OPPORTUNITIES” BEATRIČĖ LUKOŠIŪNAITĖ “CHILD OF FAITH” AINĖ ŠIMOLIŪNAITĖ –“INTERTWINING” ELA “ISLAND”POZIN ARTISTIC INSPIRATIONS / LITHUANIAN JEWELLERY REPORT www.balticjewellerynews.com 42–2022NEWSJEWELLERYBALTIC 89●
VAIVA “WORLD,KAZLAUSKAITĖAMILOOKING AT YOU OR AT “FAKEDALIAMYSELF?”BAJORŪNĖNEWS” ANNA “STANDTERESHCHENKOVAUPANDGO”MORTAVILEIKYTĖ“HELLO” ARTISTIC INSPIRATIONS / LITHUANIAN JEWELLERY REPORT www.balticjewellerynews.com 42–2022NEWSJEWELLERYBALTIC 90●
NINFA “ONMERIKE“BABELSALERNOTOWER”BALODTHEEDGE” EGLĖ “WHENŠIRVYTĖONEDOOR CLOSES ANOTHER OPENS” LAURA MOTIEJŪNAITĖ – MARČIAUSKĖ “SPIKES OF UNKNOWN FUTURE” www.balticjewellerynews.com 42–2022NEWSJEWELLERYBALTIC 91●
LUKAS “VALUES”TOMKUS TATIANA “FOLLOWGARTYOUR OWN PATH” BEELEN “UNEXPECTEDFRANS“FREEDOMRASAPEACE”TRAPIKAITĖWHERE IS NO FREEDOM” ARTISTIC INSPIRATIONS / LITHUANIAN JEWELLERY REPORT www.balticjewellerynews.com 42–2022NEWSJEWELLERYBALTIC 92●
ANDRIUS GUDIŠAUSKAS “HOW DO YOU SEE IT?” 42–2022NEWSJEWELLERYBALTIC 93●
EMILIJA ČEREŠKEVIČIENĖ “I CHOOSE STARS” LIUCIJA “OPPORTUNITYŠEŠKUVIENĖTOGROW, BE, SURVIVE” SVETLANA JALUNINA “DARE TO LIVE” ARŪNĖ “FLOWERING”KARITONAITĖ ARTISTIC INSPIRATIONS / LITHUANIAN JEWELLERY REPORT www.balticjewellerynews.com 42–2022NEWSJEWELLERYBALTIC 94●
DALIA “SAFER”GALNAITYTĖ ■JUOZAS “NIGHTSVETLANAVEILANDASBAGLIKOVAANDDAY” www.balticjewellerynews.com 42–2022NEWSJEWELLERYBALTIC 95●
IX International Biennale of Vilnius Enamel Art “Vilnius 2022” announced an open call for applications. Taking place since 2005, the biennale of enamel art has already established itself on the Lithuanian jewelry map. This is a great opportunity for spectators and jewelry professionals to see the work of famous Lithuanian and foreign metal artists. D uring the entire period, hundreds of artists from various countries of the world – Latvia, Estonia, Spain, France, Italy, Japan, Venezuela, Great Britain, Germany, Georgia and others – participated in the biennale, representing enamel art and supporting itsThecontinuity.theme of the 9th Enamel Biennale is impression. As the curator of the biennale, Marytė Dominaitė (Gurevičienė) states – “When creating, an artist experiences satisfaction, being able to implement ideas and hopes to convey this feeling to the viewer, through the color or technical solution of the work. Impression – in Latin Impressio, is a work of art that conveys a personal impression or mood.” We invite all enamel art creators who cherish the deep traditions of this art to become part of the biennale of enamel art and offer works in the following categories: traditional enamel technique category (cloisonne, etc.) and enamel –conceptual (jewelry, objects, plaques, etc.).The exhibition will be presented not only in the “Meno niša” gallery, but in 2023. will travel to the Panevėžys City Art Gallery in January.
IX ENAMELBIENNALEINTERNATIONALOFVILNIUSART ■ 2022“VILNIUS” ARTISTIC INSPIRATIONS / LITHUANIAN JEWELLERY REPORT www.balticjewellerynews.com 42–2022NEWSJEWELLERYBALTIC 96●
Neringa Poškutė-Jukumienė. A feeling II, from series “Boundaries”, 2020. Photo by: Vidmantas Ilčiukas
Competition concept by chairman of jury Laima Kėrienė: “In a world full of stress, it is becoming increasingly difficult for people to travel, to work, to get to know to others and yourself in different cultural contexts. Our ideals and openness are reaching their limits. We need to choose with discernment, so that our decisions do not lead to dead ends, so that we do not fall into the trap of evil, so that we do not lose hope in life. We can no longer ignore the urgency of choosing lifestyles, values such as good or evil, freedom or violence, respect or contempt, fullness or emptiness, construction or destruction. The heart and the mind navigate between the inevitable and what depends on our efforts. We invite artists to express their thoughts on this through jewellery.
CHCEI
The deadline to apply and send the works is 1st of February.
International Art Jewellery Contest
As every year Amber Trip is inviting jewellery artists to participate in the art jewellery competition.
Amber Trip 2023
The means of expression are free to choose, amber is the recommended material. Important criteria: relevance of the concept, contemporary artistic expression and its suggestiveness, work executed in a professional manner.”
To apply please contact: info@ambertrip.com
pasirinkimas
ONLINE!ISAMBERTRIPRAWTRADEHEREAND Contact us via: FB: Amber Trip Email: trade@ambertrip.com Phone: +370 618 53 www.ambertrip.com538
2021-01-29 1 534,4 2021-02-26 1 494,9 2021-03-31 1 444,1 2021-04-30 1 470,4 2021-05-31 1 524,9 2021-06-30 1 522,2 2021-07-30 1 528,2 2021-08-31 1 516,2 2021-09-30 1 509,9 Data/EUR per troy ounce 2021-10-29 1 531,6 2021-11-30 1 595,9 2021-12-31 1 581,7 2022-01-31 1 604,7 2022-02-28 1 636,5 2022-03-31 1 767,4 2022-04-29 1 790,1 2022-05-31 1 746,8 2022-06-30 1 738,1 The 2021GoldWorldwidePriceJanuary–2022July MARKET REVIEW / WORLDWIDE JEWELLERY REPORT 42–2022NEWSJEWELLERYBALTIC 100● www.balticjewellerynews.com EUR per troy ounce 1200125013001350140014501500155016001650170017501800 www.gold.org 2021 2022 01 02 03 04 05 06 07 08 09 10 11 12 01 02 03 04 05 06
Data / USD/Oz The SilverWorldwidePrices AMBER TRIP RAW TRADE trade@ambertrip.com Source: Macrotrends MARKET REVIEW / WORLDWIDE JEWELLERY REPORT 42–2022NEWSJEWELLERYBALTIC 101● 2021-01-01 30,49 2021-02-01 29,79 2021-03-01 27,45 2021-04-01 28,71 2021-05-01 30,84 2021-06-01 28,57 2021-07-01 27,72 2021-08-01 25,99 2021-09-01 23,81 2021-10-01 25,65 2021-11-01 24,28 2021-12-01 24,82 2022-01-01 23,6 2022-02-01 25,44 2022-03-01 25,91 2022-04-01 23,65 2022-05-01 21,99 2022-06-01 21,14 2022-07-01 20,36 EUR per troy ounce 20293032312827262524232221 www.gold.org 2021 2022 01 02 03 04 05 06 07 08 09 10 11 12 01 02 03 04 05 06 07
The Worldwide Price for Raw Amber 2022 August No. Regular Amber Piece Size Price / 1 kg – EUR 1 /-4 fraction 6 2 /+4–8 fraction 8 3 /+8–11.5 fraction 25 4 /+11.5 fraction 45 5 /+14 fraction 90 6 /+16 fraction 200 7 2 gr. – 5 gr. 200 8 5 gr. – 10 gr. 370 9 10 gr. – 20 gr. 850 10 20 gr. – 50 gr. 1600 11 50 gr. – 100 gr. 2500 12 100 gr. – 200 gr. 3500 13 200 gr. – 300 gr. 4000 14 300 gr. – 500 gr. 4500 AMBER TRIP RAW TRADE trade@ambertrip.com MARKET REVIEW / WORLDWIDE JEWELLERY REPORT 42–2022NEWSJEWELLERYBALTIC 102● www.balticjewellerynews.com
Amber From PriceUkraine 2022 August No. Regular Amber Piece Size Price / 1 kg – EUR 1 until 2gr 70 2 2 gr. – 5 gr. 230 3 5 gr. – 10 gr. 450 4 10 gr. – 20 gr. 550 5 20 gr. – 50 gr. 1300 6 50 gr. – 100 gr. 1600 7 100 gr. – 200 gr. 1900 8 200 gr. –300 gr. 2100 9 300 gr. – 500 gr. 2400 10 500 gr. – 1000 gr. 3700 MARKET REVIEW / WORLDWIDE JEWELLERY REPORT 42–2022NEWSJEWELLERYBALTIC 103● www.balticjewellerynews.com
LITEXPO LAISVES av. 5, LITHUANIAVILNIUS Contact us for information:more +370 688 www.ambertrip.cominfo@ambertrip.com56063 VILNIUS, 2023 15-18 MARCH i €P i €P XIX BALTICINTERNATIONALJEWELLERYSHOW AMBER TRIP
