SA Jewellery News (SAJN) • August 2021 by Isikhova Media

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• Founding females: their entrepreneurial journey • Inside Africa’s first mine with an all-female workforce • Peridot: the evening emerald

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SAJN | CONTENTS

contents Editor: Adri Viviers Tel: +27 (0)11 883-4627 Cell: 084-261-1805 E-mail: adri@isikhova.co.za Managing Director: Imraan Mahomed E-mail: imraanm@isikhova.co.za Publishing Director: Jason Aarons Cell: 074-400-6677 E-mail: jason@isikhova.co.za Director Brand Strategy: Jenny Justus Cell: 083-450-6052 E-mail: jenny@isikhova.co.za Creative Director: Joanne Brook E-mail: joanne@isikhova.co.za Operations, Admin and Media Specialist: Thuli Majola Tel: +27 (0)11 883-4627 E-mail: thuli@isikhova.co.za Media Specialist: Bavina Vassen Cell: 072-247-1122 E-mail: bavina@isikhova.co.za Copy Editor: Anne Phillips Distribution: Ruth Dlamini and Direct Marketing Solution

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

10 NEWS • Botswana diamond mine sells for just US$50K • Alrosa launches tracking method for diamonds • Unprecedented performance for watch auctions • Industry webinar to examine alternative industry strategies for online business environment • WDC President warns of marketplace with two diamond value chains • Rolex introduces new-generation Oyster Perpetual Explorer II

14. FOUNDING FEMALES: THEIR ENTREPRENEURIAL JOURNEY In honour of Women’s Day on 9 August, SAJN caught up with four inspiring, creative female jewellery designers who are making an impact through their businesses, their innovation, their products, services and craftsmanship.

30. INSIDE AFRICA’S FIRST MINE WITH AN ALL-FEMALE WORKFORCE Zimbaqua is the world’s first sustainable mine empowering women in rural communities. It works closely with community leaders to provide education and healthcare to children, while creating employment and a better quality of life.

32. OPERATIONAL INVESTMENT COMPANY SUPPORTS AFRICAN LUXURY AND PREMIUM BRANDS Founded with an all-female executive team, Birimian, the first operational investment company dedicated exclusively to African luxury and premium heritage brands, was launched earlier this year to help designers on the continent and in the diaspora to facilitate and accelerate the growth of their businesses regionally and internationally.

SA JEWELLERY NEWS - AUGUST 2021

CONTENTS | SAJN

Official Journal of the Jewellery Council of South Africa and the Diamond Dealers’ Club of South Africa. www.jewellery.org.za www.ddcsa.co.za

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41. PERIDOT: THE EVENING EMERALD Peridot is not only the birthstone for August, but the traditional stone for 16th wedding anniversaries. It symbolises clear thinking, wholeheartedness and light. In ancient times, it was believed that peridots’ bright sparkle could ward off evil during the night.

36. WOMEN IN JEWELLERY Solitaire, the most recognised women’s jewellery magazine in the Asia Pacific region, caught up with four inspiring women who are constantly striving for gender equality in the jewellery and gem industry.

42. TIARAS – REGAL HEADDRESSES Little Gems is one of SAJN’s favourite pages in the magazine. Penned by our beloved editorial doyenne, the late Alice Weil, it will still continue to weave its magic with flair and with the unyielding love Alice had for jewellery, gemstones and watches.

• Founding females: their entrepreneurial journey • Inside Africa’s ﬁrst mine with an all-female workforce • Peridot: the evening emerald

On the cover F is for… Fumana! MetCon and the SADPMR proudly bring you Fumana Jewellers’ Collective – an online marketplace that discovers local, visionary jewellers you need to know. This is a space where local jewellers and jewellery may be discovered, explored, celebrated and supported. An online store that connects independent, inspired artists to an eager, abundant market. The philosophy: Do good. Look great. Create. Towards a more progressive jewellery industry. Bookmark www.fumana.africa. Launching soon!

The views expressed in this publication are not necessarily those of the owners, the Jewellery Council of South Africa, the Diamond Dealers’ Club of South Africa, its members, the publisher or its agents. While every effort has been made to ensure the accuracy of its contents, neither the owners, the Jewellery Council of South Africa, the Diamond Dealers’ Club of South Africa, the editor nor the publisher can be held responsible for any omissions or errors; or for any misfortune, injury or damages which may arise therefrom. The same applies to all advertising. SA Jewellery News© 2021. All rights reserved. No part of this magazine may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or any information storage retrieval system, without prior written permission from the publishers. ISSN 1817-5333.

SA JEWELLERY NEWS - AUGUST 2021

ED’S NOTE | SAJN

Editor’s

note

IN HONOUR OF NATIONAL WOMEN’S DAY on 9 August, this issue of SAJN celebrates females whose achievements are ensuring a more inclusive, gender-equal industry. It also provides an opportunity to acknowledge some of the specific challenges women face and think critically about ways in which these can be addressed. In her book Girl, Wash Your Face (Thomas Nelson), Rachel Hollis writes: “Our words have power, but our actions shape our lives.” I thought about that statement a lot as I worked on this issue. It has been a tough year-and-a-half, to say the least, yet women have continued to persevere, fight back and overcome some of the odds stacked against them. Representation of women in the gem and jewellery industry has advanced in recent years, but there is still a long way to go. Like many other spheres, it has largely been seen as a “man’s domain”. In this issue, we catch up with four female role models leading that agenda to understand whether things are changing and how jewellery businesses and institutions can accelerate that transformation. We also chat

to five strikingly creative local jewellery designers who are putting SA on the global map through their uniquely inspired pieces and technical brilliance. In addition, we feature Zimbaqua, Africa’s first mine with an all-female workforce which is empowering women in rural communities. It works closely with community leaders to provide education and healthcare to children, while creating employment and a better quality of life. “The mining sector is highly conservative and maledominated,” explained founding partner Iver Rosenkrantz. “Many women have been forced into illegal, artisanal mining in order to survive. This is a common problem in many poor parts of Africa. There are even stories of women disguising themselves as men, in order to avoid being harassed. Many of our employees are single mothers who’ve been struggling to feed and offer their children basic needs. We’re setting a new standard for mining and creating opportunities for women, ultimately uplifting and improving their living standards.” We at SAJN want to recognise women of the past, the present and the future. We hail their achievements in breaking barriers for upcoming

generations of confident, independent females. We also want to acknowledge the often voiceless, seemingly faceless, but crucial – and vastly underpaid – thousands of domestic helpers, nurses, cleaners, cooks, street sweepers, security guards and others who rise every day before dawn, prepare food for their families and then begin the long walk or journey to their workplaces, often returning well after dark to begin another round of labour preparing food, ironing, washing, as well as tending children and husbands. They bear their many hardships uncomplainingly and keep our world on its axis. We seldom give these women a second glance. Yet each of them is a heroine with a spine of steel, an unwavering sense of duty, fierce courage, indefatigable commitment – and boundless love. We salute them. And let us not forget our own mothers, sisters, daughters, aunts and friends, whose daily interactions with us keep us grounded and motivated. Enjoy this issue!

Adri Viviers

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SAJN | NEWS

BOTSWANA DIAMOND MINE SELLS FOR JUST US$50 000 After six years of attempting to sell its Botswana operation, Firestone Diamonds has announced that it has entered a binding share sales agreement. Botswana-owned Visionary Victor Resources will acquire the BK11 mine, as well as Firestone’s 90% interest in its local subsidiary, Monak Ventures, for US$50 000. This agreement is Firestone’s third attempt at selling the Botswana business, which it valued at US$10,7 million at the end of 2014.

It embarked on a sale to Tango Mining (now Southstone Minerals) in 2015 for US$8 million. That deal fell through a year later after several delays, as Tango failed to raise the necessary funding. In 2017, it offered the project to a joint venture comprising ex-De Beers CEO Gareth Penny and manufacturer the Diacore Diamond Group for US$5,1 million. After a year-long delay, negotiations collapsed at the end of 2018, when Penny and Diacore

declined the option to purchase. Firestone also owns the Liqhobong mine in Lesotho, in which it has a 75% stake, with the government of Lesotho owning the remaining 25%. The company decided to put operations in Lesotho on hold in March 2020 when diamond demand collapsed due to the COVID-19 pandemic. It is currently in talks with lenders to restructure its debt, as it intends to resume operations by the end of the year.

ALROSA LAUNCHES TRACKING METHOD FOR DIAMONDS Alrosa has introduced a provenance programme that allows customers to trace diamonds back to their origin using nanotechnology. The Russian miner will place a permanent, non-invasive laser marking on rough and polished stones, which participants can “read” using a special scanning machine that Alrosa will provide. This will enable people along the supply chain to identify the goods as natural diamonds from Alrosa and will allow them to retrieve detailed information on the stones’ history. This is the first time anyone has used technology of this kind to trace diamonds for commercial purposes, Alrosa claims. The company has started patent application processes in key diamond trading centres, including the USA, China, Hong Kong, Belgium and India. “With access to the full cycle of manufacturing, we have all the necessary information about our polished diamonds and the rough diamonds from which they were cut,” says Alrosa CEO Sergey Ivanov. “The laser nanomark technology

we’ve created allows these guarantees to be extended to the diamonds sold by our partners.” The technology is currently available to business-to-business clients. Alrosa plans to expand it to retail at a later stage. The mark is a “three-dimensional code” that links to Alrosa’s provenance platform, offering a digital passport with details on the diamond’s origin and characteristics, along with a unique identification number, a photo and video, as well as information on how it was cut, says the company. The miner could consider including more precise origin information if there is a demand for it, says a spokesperson. Participants can also add personalised information, such as the identity of the jeweller. Scanning the code takes less than a minute. The miner’s method is “100% accurate” and makes an inscription further from the surface of the stone than do other technologies, it adds. The nanomark goes inside the crystal lattice,

across the diamond’s atomic structure, making it invisible without a scanner. Alrosa developed the technology with the help of scientists from the Russian Academy of Sciences, as well as the miner’s Research Geological Enterprise and the Yakutniproalmaz Institute. Consumer surveys in the USA and China indicate that traceability is an important factor for purchasers of diamonds. – Rapaport

ROLEX INTRODUCES NEW-GENERATION OYSTER PERPETUAL EXPLORER II

Rolex is introducing its new-generation Oyster Perpetual Explorer II. This technical watch, in Oystersteel, was created for the boldest explorers and now features a redesigned case and bracelet. This update brings enhanced visual balance and harmony to the timepiece, while remaining true to its aesthetic heritage. The Oyster Perpetual Explorer II in Oystersteel with an Oyster bracelet features a white dial with an arrow-shaped 24-hour hand and hour-markers characterised by a highly legible Chroma light display with long-lasting blue luminescence. Rolex uses Oystersteel for its steel watch cases. Specially developed by the brand, it

commonly used in high technology and in the aerospace and chemical industries, where maximum resistance to corrosion is essential. Oystersteel is extremely resistant, offers an exceptional finish once polished and maintains its beauty even in the harshest environments. The Explorer II features a date display and an additional orange 24-hour hand. It became the watch of choice for speleologists, volcanologists and polar explorers. In the additional 24-hour display, a dedicated hand circles the dial in 24 hours, rather than the usual 12, pointing to a fixed bezel with 24-hour gradations. This function enables the wearer to distinguish the hours of the day from

those who venture into environments where darkness reigns supreme (such as in caves), or where the sun never sets (like the polar regions in summer). Its highly legible dial, extremely resistant Oystersteel and waterproofness have made it the watch for extremes. The Oyster bracelet is a perfect alchemy of form and function, aesthetics and technology, designed to be both robust and comfortable. It is equipped with an Oysterlock folding clasp which prevents accidental opening and an Easylink extension link, also exclusive to Rolex. This ingenious system allows the wearer to increase the bracelet length by approximately 5 mm, providing additional comfort in any

belongs to the 904L steel family, alloys most

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SA JEWELLERY NEWS - AUGUST 2021

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NEWS | SAJN

WDC WARNS OF MARKETPLACE WITH TWO DIAMOND VALUE CHAINS In a powerful address, World Diamond Council (WDC) President Edward Asscher recently questioned the readiness of certain Kimberley Process participants to meet the expectations of today’s jewellery consumers, who increasingly demand that diamonds can be verifiably shown to have been responsibly sourced and handled in accordance with essential principles of human rights, environmental protection and social justice. “It might well be that the considerations of consumers are far beyond the field of perception of producing countries, polishing centres and governments – but what happens if producers don’t listen to the market? They become obsolete,” said Asscher. “The Kimberley Process has the ability to create a level playing field. If it meets these consum-

er expectations, then all natural diamonds from all participating countries will be represented. However, there’s clearly resistance, and I believe this is because some of us see the Kimberley Process Certification Scheme as an enabler of trade, while others see it as a restrictor of trade.” Asscher explained the consequences of a market with two different value chains. “Some producing countries will face less demand for their goods. Imagine having a wonderful, beautiful diamond, but one that’s difficult to sell because prospective buyers won’t have been assured that the stone’s done good on its way from the mine to the market,” he said. “Small and medium-sized enterprises will experience difficulties selling natural diamonds, because they don’t belong to the elite group of

polishers who can guarantee that the diamonds they source and polish are responsibly sourced. That will create an uneven playing field in the polishing centres and threaten the livelihoods of thousands who own, are employed by or service SMEs,” said Asscher. He stressed that limited time remained to change course. “I trust that this truth will sink in before the Kimberley Process Plenary later this year,” he said. “There are only two choices: either we genuinely work together to reform the Kimberley Process, addressing consumer expectations, or we leave many of our friends here at the process behind in a much smaller and concentrated diamond industry, where there are two value chains – one with consumer demand and another without it.”

UNPRECEDENTED PERFORMANCE FOR WATCH AUCTIONS

the leadership position in the watches auction

bidders from around the globe. More than a

market. This record performance during the first half of the year exceeds Christie’s watch figures for the whole of 2020 and 2019, further strengthening the premier auction house’s position as a global leader in horological sales on live and digital platforms. The enduring fascination with iconic, rare and beautiful timepieces, together with the vast diversity of offerings, is attracting new

trend, it signifies a shift towards a faster-paced, more segmented market. “It’s been an exceptionally strong first half of the year for Christie’s,” says Aline Sylla-Walbaum, Christie’s Global Managing Director: Luxury Division, “not only in terms of curating a fantastically diverse spectrum of timepieces at the highest levels of rarity, importance and value, but also by opening the market to a much larger client base.”

Setting numerous new records during an exceptional Spring 2021 watch season in just four months (March-June 2021), Christie’s watch sales in Geneva, Dubai, Hong Kong and New York totalled US$93,7 million, giving Christie’s

SAJN | DESIGNING WOMEN

Founding females: their entrepreneurial journey In honour of Women’s Day on 9 August, SAJN caught up with five inspiring, creative female jewellery designers who are making an impact through their businesses, their innovation, their products, services and craftsmanship. Apart from their unique sense of style, they all have an ethic of hard work, passion, an entrepreneurial spirit and talent. They are putting SA on the global map through their jewellery designs and technical brilliance

MEGAN KEYSER Meraki Jewellery Design Meraki [may-rah-kee] (adjective) is a word modern Greeks use to describe doing something with soul, creativity or love – putting “something of oneself” into one’s work. Each Meraki piece is hand-crafted by Cape Town-based designer Keyser, who completed her degree in jewellery design and manufacture at the Cape Peninsula University of Technology in 2012 and founded Meraki Jewellery Design at the start of 2013. Made with raw stones, sterling silver and recycled brass, Meraki jewellery pieces range from playful to effortlessly elegant, always with a subtle, sophisticated edge. How and where did you learn to make jewellery? My parents are both creative self-starters, so I’ve grown up around different creative materials. I studied art in high school and selected jewellery design as my subject. From there, I studied jewellery design and manufacture at the Cape Peninsula University of Technology [CPUT] and graduated in 2012 with the Dean’s Merit award, coming top of my class in BTech. My parents were extremely encouraging of the creative direction I was heading in and Meraki Jewellery Design was born the following year. Did you ever have any doubts about becoming a jewellery designer? During my studies at CPUT, we were made aware of how hard the jewellery designing industry is, especially in SA. Certain areas of it include many long hours behind the bench, low-paying apprenticeships and steep competition. It was then that I decided to start my own business with my personal style and figure it out as I went along. It’s been extremely difficult running and growing a

business, and there are many days when I feel like throwing the towel in, but the rewards are much greater than the downfalls and each mistake is a lesson. What are your favourite materials to work with? At the moment, I’m enjoying working with yellow gold. It’s an amazing metal and pairs beautifully with everything. Porcelain and uncut gemstones are also high on my list of favourite materials to work with. What inspires your design process? I’m mostly inspired by Cape Town and SA as a whole: the people, landscapes and architecture, as well as my travels and well-made objects and heirlooms. I’m also drawn to geometric forms. When creating a new piece of jewellery or collection, I allow the materials to tell me how they want to be formed. Often, the most beautiful pieces come from “happy accidents”! How would you describe your style of jewellery and the women who buy them? Every Meraki jewellery piece is designed to age with grace and serves as an affirmation of its wearer’s personal style. What’s been the highlight of your jewellery career? Being able to travel around the world and show off my craft. I’ve been fortunate enough to exhibit in New York, Paris and London, which have been milestones in my career. What’s your favourite piece that you’ve designed? I love the once-off engagement rings that I make. The special stories and connections behind each ring remind me why I love jewellery so much. It’s hard to pick a favourite from these rings, but the more unique and unusual the design, the better!

SA JEWELLERY NEWS - AUGUST 2021

DESIGNING WOMEN | SAJN

ADELAIDE MAVU Tali and Damy Jewellers

Tali and Damy was founded in 2017 by Mavu, who named the business after her two children, Talia and Damian. Her design inspiration is derived from organic shapes and basic elements. As a child, Mavu’s free time was spent doing anything that involved using her hands and bringing her ideas to life. During high school, she started playing around with beads and selling what she made in a clothing store. Her brand offers simple, everyday timeless jewellery. All the pieces are handmade with locally sourced materials. How did you come to design your first piece of jewellery? After matriculating, I studied jewellery design and manufacture at the Ruth Prowse School of Art. I designed my first piece during my first year for a class project. It was a locket and was probably the most difficult piece I’ve ever designed, as well as manufactured.

Tell us about the latest piece you designed. It was actually based on a project that had gone wrong, but instead of discarding it as a halfdone job, I decide to improvise and came up with a beautiful design through forging and hammering. The result was truly beautiful – much more so than I’d expected. What do you enjoy most about designing jewellery? Definitely the excitement of imagining what the end result will look like. However, I love the entire process, from an initial idea to the finished piece and everything in between. Where do you draw your creative inspiration from? Basic forms and elements – from pebbles to the moon!

What have been your career highlights? The continuous loyalty, love and appreciation I receive from clients are the greatest highlights I could ask for. Another highlight is when people enquire about us and want to stock our pieces in their stores. That’s an incredible feeling. What are your three favourite pieces in your jewellery box? There are many pieces which I absolutely love and treasure, for different reasons. However, if I had to choose three, they’d have to be my knot ring, my connected circle necklace and my half-moon ring. What advice would you give young people entering the realm of jewellery design? Don’t design based on what’s trending, but on what makes you happy – stay true to who you are. Always aim to be unique in your style: don’t blend in when you can stand out!

SA JEWELLERY NEWS - AUGUST 2021

SAJN | DESIGNING WOMEN

PHOEBE DU PREEZ BellaReathe Known for her extravagant and innovative, one-of-a-kind designs with a striking, contemporary feel, Du Preez – owner and designer of BellaReathe – translates her interest in the unusual and dramatic into her work. Her distinctive designs include organically fused and formed pieces, as well as unexpected combinations of clean-cut designs with rough crystals. When did you discover your love of jewellery? It’s always been a constant in my life. As a child, at our local shopping centre, it was fine to leave one’s child guarding a trolley of groceries

outside the supermarket while one popped into another shop. I remember pressing my nose against the glass windowpanes of the tiny silver jewellery store at the centre and staring hungrily at the pieces, then excitedly pointing out which piece I thought was the most beautiful once my mother returned. However, over the years, my relationship with jewellery changed: now my love is for making what I adore, rather than wearing it, although I do love wearing pieces by my favourite jewellers. I find it almost a guilty pleasure that I didn’t make it, but still get to wear it! What sets BellaReathe apart from other jewellery brands? The fact that I don’t see it as a brand or a business, but rather as an individual jeweller putting my utmost into every single piece. I probably spend far too long making sure everything is just right and that every piece not only reflects our aesthetic identity, but also achieves our standard of quality. I have a very personal relationship with what I create: it’s a reflection of who I am and what I can do. Can you talk us through your design process? My design process is less about process and more about chaos. I generate hundreds of bits of paper, scribbles and sketches until I can condense my ideas into a coherent, streamlined direction that coincides with my client’s vision.

Describe a typical day on the job. I’m lucky enough to live and work on our family fruit farm, so I have two jobs: one as a jeweller and in the other, being responsible for our many animals on the farm. As a creative, the nine-to-five routine never works well for me, as there are times when I have bursts of superproductivity at the bench, when my mind and hands just work beautifully together, but other times when I have to force the creativity. When that happens, I just put down my tools and go and work with the horses, herd the cows, take my dogs for a walk or take my geese for a swim. Then I return to the bench, refreshed and energised. Besides, I share my studio with my five dogs, which are pretty insistent that we don’t stay put in there all day long! What do you enjoy most about designing jewellery? The process of making it. Using my hands to create is immensely satisfying. Also, when I spend time with the piece, my relationship with it is formed. I don’t get to wear or own the final products I’m making for my clients, but I greatly enjoy making them. Which aspects don’t you like? Budget constraints are always a hamper to creativity. Do you have any advice for young designers? Work hard and keep learning. We really have incredible people – colleagues and professionals – in our industry who’ll give you advice and guidance whenever you need it.

SA JEWELLERY NEWS - AUGUST 2021

DESIGNING WOMEN | SAJN

NINA BOSCH Nina Bosch Porcelain Born and raised in a family of ceramic artists, Bosch creates fine porcelain jewellery. Drawing inspiration from geometric and organic shapes found in nature, she creates timeless, statement, wearable art jewellery pieces. How did you begin designing jewellery? My late grandmother made porcelain jewellery. I was inspired by her creations and started playing around with porcelain. That was when I realised I’d found my passion. At first it was just a hobby, but it turned into a fulltime career. What inspires you? My surroundings, people, nature – actually, everything around me. What attracts you to working with porcelain? Its gentleness and natural imperfections. Can you talk us through your design process? My creations are made from porcelain and further incorporate a variety of different materials such as glazes, pigments, 18ct gold lustre and sterling silver. Every piece is handmade with care and special attention is given to detail, while embracing natural imperfections of the material. The items undergo an intricate firing process which leads to different finished effects and, ultimately, individuality. How have you overcome challenges in your career? With patience and dedication. I’ve learnt that everything happens when the time is right and if you work hard enough to realise your dreams, you’ll succeed. Who or what couldn’t you live without? My cat Lily. What do you still want to achieve? I’d love to travel and expand my business.

My late grandmother made porcelain jewellery. I was inspired by her creations and started playing around with porcelain. That was when I found my passion. SA JEWELLERY NEWS - AUGUST 2021

SAJN | DESIGNING WOMEN

ANNA RAIMONDO SMITH Jewellery SMITH Jewellery is a Cape Town-based brand founded in 2010. Each piece is handcrafted by owner and designer, Raimondo. After completing her degree in BA fine art (jewellery and metal techniques) at Stellenbosch University, she studied a Master’s in design at Richemont’s Creative Academy in Milan, Italy. Using precious stones, sterling silver, recycled brass and precious metals, Raimondo and her team create delicate, timeless pieces that draw inspiration from nature, her travels and an appreciation for well-made, modern heirlooms. How did your love affair with jewellery begin? My love for jewellery was shaped by the women in my life as a child. My mother doesn’t wear a lot of jewellery (and still doesn’t have pierced ears), but always has a favourite selection of antique jewels available for special occasions. My Italian grandmother often wore large, beautifully crafted enamel shell earrings and Indian enamel bangles. I suppose being exposed early on to outstanding craftsmanship and an extraordinary design aesthetic helped foster my love of jewellery. What inspired you to start SMITH Jewellery? When I returned to SA after studying in Milan, I realised that I’d worked (and studied) myself into a niche market. It had always been my dream to have my own business, so I started SMITH while working at Elle Decoration magazine, eventually going full-time in 2013.

What do you enjoy most about your job? Actualising an idea. Building something from scratch, troubleshooting the technical issues and then having this beautiful piece at the end that my clients appreciate and love is extremely satisfying. What is your favourite stone? I’ve always been drawn to the colours of tourmalines. Do you have a favourite piece of jewellery from your collection? At the moment, it’s my chandelier blossom studs, but my favourites change with my moods and the seasons. If you could pick anyone to wear your jewellery, who would it be? I enjoy knowing that my jewellery is bringing a bit of joy into people’s everyday lives, so having “one person” who wears my jewellery doesn’t seem to be important. What does the future hold? In the current climate, who knows anymore? I’m trying to plan/control what I can and just letting go of the rest. I’m currently focusing on building my community and creating a collection of jewels that my clients love.

My love for jewellery was shaped by the women in my life as a child.

Can you talk us through the process of design and making? I tend to see something inspiring – an antique jewel, a piece of wallpaper or a seed pod – and start from there. I often turn an idea into a piece and then build a collection around it, or troubleshoot it until it makes technical and design sense. Often, I only put my designs down on paper when I’m working with clients.

SA JEWELLERY NEWS - AUGUST 2021

DID YOU KNOW? | SAJN

Interesting facts 1

Huge, elaborate necklaces are a representation of the social status of the wearer for Turkana women. They have such an important value that they are never removed, except in cases of illness or the death of a relative.

Cartier appeared to win the hearts of some prominent First Ladies. Jackie Kennedy Onassis was known to wear the rectangular Cartier Louis Tank, as was former First Lady Michelle Obama.

The marquise cut’s origin dates back to the 18th century, when King Louis XV of France (1710-1774) commissioned a jeweller to design a cut shape that resembled the lips of his mistress, Jean Antoinette Poisson, the Marchioness Madame de Pompadour.

SA JEWELLERY NEWS - AUGUST 2021

Marilyn Monroe was wearing costume jewellery while singing the song Diamonds are a Girl’s Best Friend.

In the early 20th century, screw-back and clip-back earrings were invented and became popular among women until piercing came back into style in the 1960s.

Paloma Picasso is the youngest daughter of Pablo Picasso and a renowned jewellery designer. She has been designing with Tiffany & Co since 1980.

A woman with a cool skin tone will look best wearing a watch with stainless steel, silver or white gold case. In contrast, wristwatches with a gold or rose gold case will be the best choice for warm-skinned women.

In the 1800s, mass production of jewellery led to lower fine jewellery standards. Because of this, many Victorian women rebelled and chose to wear no jewellery.

Jhumki is a kind of earring that has the shape of an inverted bell. When a woman wears a jhumki and shakes her head, the tiny trinkets clang against each other and produce a sound. This piece of jewellery was originally worn by Bharathanatyam dancers.

ITH

MEDICAL

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EARRINGS

via www.aps-studex.co.za Tel: +27 11 805 7574 Fax: +27 11 805 7576 Email: enquiries@aps-studex.co.za Website: www.aps-studex.co.za

Monthly educational insert An SA Jewellery News and Jewellery Council of South Africa initiative

Written by Dr Petré Prins, Gems and Jewellery: The South African Handbook is an introduction to gemstones, jewellery and store management.

The following is an extract from Gems and Jewellery: The South African Handbook

After two years' post-graduate research at Cambridge University, UK, and 10 years as senior lecturer in geochemistry and mineralogy at the University of Stellenbosch, South Africa, Dr Prins, in 1982, started Prins & Prins Diamonds, a leading supplier of diamonds, gemstones and fine jewellery in Cape Town.

ISSUE 17 21

ISSUE 21 THE DIAMOND STORY (CONT)

and became a “supplier of choice”, whereby it limited its clients to about 60 worldwide. These clients were expected to spend large sums on promoting natural diamonds and to establish brand names that the consumer would be able to recognise as “the real thing”.

In the late 1960s, the world experienced an oil crisis and inflation reached 25% in most countries. Investors looking for a save haven for their currencies flocked to “hard assets” and diamonds became a hot investment commodity. De Beers unsuccessfully tried to curb spiralling prices and speculation in “diamond certificates”. In 1981, the price of a 1ct D/Flawless diamond reached US$53 000 per carat and the gold price rose above US$800 per ounce. The market soon thereafter collapsed; investors burned their fingers, and it took a few decades for consumers to regain their confidence in diamonds as items of lasting value.

WHY ARE PEOPLE PREPARED TO PAY SO MUCH FOR A DIAMOND? The great Roman philosopher Pliny, in his Historia Naturali (AD 77), wrote: “The greatest value among the objects of human property, not merely among precious stones, is the adamas (diamond), for a long time known only to kings and even to a very few of them.”

During the 1980s and 1990s, major diamond deposits were discovered in Australia and Canada, but the control that De Beers had over the market did not allow for major price fluctuations.

Throughout history, mankind was prepared to pay vast sums of money - and even trade whole cities - for a piece of rock normally not larger than the average garden pea and composed of one of the most common substances on earth: ordinary carbon. Why? The reason must have a psychological basis, maybe founded thousands of years ago, when the exceptional properties of a diamond began to demand the attention of whoever came into contact with it.

At the end of the 20th century, major technological advances resulted in high-pressure/high-temperature (HP/ HT) techniques that could enhance the characteristics of diamonds. Fortunately, most laboratories soon discovered how to identify these “improved” diamonds. A more worrisome development of the early 21st century was the advance of techniques to produce large and colourless gemquality diamonds in the laboratory.

A diamond is not only the hardest, but also the purest substance that occurs in nature. It is the best thermal conductor at room temperature and has the lowest coefficient of thermal expansion of any material. It is a good electrical insulator but, when doped with trace elements, acts as a semi-conductor. A blow of a hammer will shatter it, yet it will penetrate steel by pressure. It will withstand attack by the strongest acids, but when heated to a bright red, will burn with a blue flame and convert to carbon

De Beers, which also produces vast quantities of synthetic diamonds, already had machines available which could identify these synthetic diamonds. It also realised that the availability of synthetic diamonds on a large scale could damage consumer confidence. It changed it's supply channels

PRICE FLUCTUATIONS FOR 1 CT/D/FLAWLESS/ROUND BRILLIANT CUT DIAMOND RAND VS DOLLAR VALUES SINCE 1975 250 000 RAND 200 000

100 000

Steep increases in rand value due to weakening of the rand against the US dollar

Investment boom 50 000

US DOLLAR 20 000

1975

08 09

AN INTRODUCTION THE DIAMOND TOSTORY GEMSTONES

dioxide gas. Its optical, physical and electrical properties are so unique that it has been studied extensively and has found many uses in industry. Its uniqueness is, however, not sufficient to explain the high value attached to it, as many other unique materials with very little value can also be found in nature. Diamonds are highly valued, not only because they are expensive to find

and to process, but also because they have a combination of special traits that satisfy a number of psychological needs universal to mankind. For example: Man attaches value to something hard and indestructible. Man attaches value to something pure, beautiful and rare. Man attaches value to something that has emotional appeal. Man wants to own something of universal appeal. Man needs to transpor t his wealth.

WORLD DIAMOND PRODUCTION

Rough diamond-producing countries

Major cutting centres

FAMOUS PLACES In the Bible, Zacharia 7:12, it is written: “Yea, they made their hearts as an adamant stone” and in Ezekiel 3:9: “As an adamant harder than flint have I made thy forehead.” These are the earliest references to a stone harder than all others. It is also known that a diamond was used as an engraving tool in India in the second century BC.

INDIA – BIRTHPLACE OF DIAMOND LEGENDS From ancient times, India was the only significant source of diamonds - until they were discovered in Brazil in the 18th century. In 1905, an ancient Sanskrit document - the Artha-Sastra - was discovered. This remarkable document describes the economic and legal history of India and reveals that diamonds were actively traded in India as early as the fourth century. Another ancient text - known as Ratnapariska (translated as The Estimation and Valuation of Precious Stones) - reveals an extensive knowledge of the subject and was used to determine taxes and other charges which applied to diamonds and other precious stones. Over 1 000 years, this body of knowledge evolved

into the Ratna-Sastra , a genuine technical manual that was used by poets, noblemen and merchants. In all these texts, the diamond is described as the jewel par excellence. Its extreme value was attributed to purely mystical reasons, but its actual nature was never defined. Valuation of gemstones was based on the form, ie, the shape of the stone and its optical properties such as colour, clarity, transparency and iridescence. The octaedral form was considered the rarest and most valuable. In fact, most minerals that crystallise as octaedra were called diamonds. Reference to black and red diamonds occurs frequently in the ancient text. Without doubt, it must have referred to the black octaedral crystals of magnetite and the An Indian jeweller at work. fairly common perfect 18th-centuary miniature. octaedra of red spinel. Photo: H Josse, Paris

ISSUE 21

We know that the colour of diamonds was once related to the caste system in India. Only Brahmins of the religious caste could possess white diamonds. Yellow diamonds were reserved for Vaisayas (or landowners) and red diamonds for the Kshatriyas (the caste of knights and warriors). Finally, dark grey diamonds, whose metallic sheen was compared with the “dark tone of a sword”, were reserved for Sudras (labourers and artisans). This makes sense, as the red and black “diamonds” – ie, magnetite and spinel were much more plentiful and of lesser value. Historical sources provide very little information about the mining of diamonds in India. Jean-Baptiste Tavernier gave us the first description of Indian diamond mining. It appears that miners were satisfied to dig pits only a few yards in diameter and no more than 5-6m deep. When the diamond-rich layer was reached, short lateral tunnels were dug, provided the surrounding rock was solid. Tavernier described that no fewer than 60 000 men were working at a time in the Golconda mining area. It is estimated that Indian mines produced up to 30 million carats up to the 17th century. Less than 100 years later, after diamonds were discovered in Brazil, Indian production virtually stopped and finally lost all importance. However, without producing any diamonds today, India has developed into one of the major players in the world diamond trade. Nearly 70% of all rough diamonds are polished here.

THE KOH-I-NOOR One of the world’s most famous diamonds, the KohI-Noor, originated in India and was owned by mogul emperors, various Indian princes and shahs, and finally brought to England in 1850. Today, it is set in the Maltese Cross at the front of the crown made in 1937 for the Queen Mother.

BRAZIL – LAND OF GEMSTONES, GRAVEL AND GARIMPEIROS For more than 150 years, from 1729 until diamonds were discovered in South Africa, Brazil was the most impor tant source of diamonds in the world. Today, it produces less than 500 000 carats per year and has to impor t diamonds for its local consumption. Although a number of diamond-bearing kimberlites have been discovered, none of these have yielded an economically viable mine. Brazilian diamonds are found mainly in sedimentary rocks such as conglomerates and unconsolidated river terraces and gravel. These deposits are not rich and only the labour of thousands of slaves, forced to search every stream and gravel bed by hand, allowed the Portuguese governors to achieve significant diamond production in the 18th and early 19th centuries. Today, most of these diamond fields are abandoned (except for the Tejucana Mine) as production costs are far too high. However, there are still about 30 000 “garimpeiros” who, as individuals, search full-time for diamonds in the hope of finding a for tune. In cer tain regions, people spend their weekends searching for diamonds as an outdoor activity. The “garimpeiro” has a temperament not to be found elsewhere. He is inspired by the hope of making a discovery that will bring him instant wealth. He lives in faith - a faith which is constantly reinforced by stories of luck and the wealth of those before him. The town of Diamantina is today a picturesque village with only a diamond museum and a few shops selling sieves to “garimpeiros” and curios to tourists. But its fame

Washing gravel under supervision in Brazil, late 18th century. From a watercolour, photographed by Marcel Gauthherot

once spread beyond the borders of Brazil – because it is here that diamonds were discovered in 1729 and from where wild fantasies of riches were spread that attracted thousands of fortune-seekers: fantasies that were shattered when diamonds were discovered in large quantities on the banks of the Orange River in 1866.

AFRICA – WHERE FORTUNES WERE MADE AND LOST DISCOVERING THE EUREKA Schalk van Niekerk could not make a living on his farm, De Kalk, near Hopetown. In desperation, he sold it to Daniel Jacobs and stayed on as a squatter. The children of Daniel Jacobs were always collecting pretty stones from the riverbed to be used in their game of Five Stones. One day, 15-year-old Erasmus picked up a shiny pebble and gave it to his mother, who placed it on a windowsill. By chance, the “bywoner ”, Schalk van Niekerk, saw the Jacobs children playing Five Stones and noticed an exceptional pebble among their collection. It had dropped from the windowsill to the ground outside, where they picked it up. He knew that a diamond would cut glass and on a sudden impulse, drew the stone across the windowpane. A deep groove appeared in the glass.

The Eureka, a poorly-cut 10,7ct brownish stone.

Erasmus Jacobs, the man who picked up the Eureka.

The stone picked up by Erasmus Jacobs was then handed to a hunter, Jack O’Reilly, who showed it to Lorenzo Boyes, the Assistant Commissioner at Colesberg, who sent it by post to William G Atherstone, a doctor and amateur mineralogist in Grahamstown who finally identified it as a diamond of 21¼ ct. Van Niekerk received £350 for his find. He offered half to Daniel Jacobs, who did not want anything for an old stone. It was later sold to the Governor of the Cape, Sir Philip Wodehouse, for £500.

The stone was shipped to London to be displayed at the Paris Universal Exposition of 1867-68. It was subsequently cut in London into a gem weighing 10,73ct and named Eureka. In 1966, 100 years after its discovery, Harry Oppenheimer purchased the stone and presented it to the South African government.

FACT OR FANTASY? Who really discovered the first South African diamond? This point has been argued for a long time, but we now think we have the answer. In 1859, a black man found a 5ct diamond on the banks of the Vaal River near the Berlin mission station at Platberg. A missionary bought the diamond from the man for £5, but it is not known what happened to the diamond after that. Since then, no-one has laid eyes on it.

THE STAR OF SOUTH AFRICA THE STONE THAT STARTED IT ALL After the discovery of the Eureka, disillusionment followed. No new discoveries were made and most prospectors lost faith. But Schalk van Niekerk was still on the lookout. In March 1869, his luck returned when he bought a massive 83,5ct diamond from a Khoisan witchdoctor who had been using it as a charm. He paid all he had – 10 oxen, his horse and 500 sheep. The witchdoctor got the stone from a Griqua boy named Swartbooi. Soon afterwards, Van Niekerk sold this stone for £11 200 to a Mr Lilienfeld. The sale of the stone, now named the Star of South Africa, soon gave rise to legal proceedings. The Diamond, Metal and Mineral Association (DMMA) had obtained sole prospecting rights from Nikolaas Waterboer, chief of the Griquas, in the territory which lay to the north of the Orange River. They claimed that the diamond was found on their side of the river, thus entitling Waterboer to some financial benefit. They also asked the Supreme Court to restrain Lilienfeld from selling, parting with or in any way disposing of the stone. Swartbooi refused to indicate exactly where he found

The Star of South Africa, a flawless pear- shaped stone, weighing 47,69ct.

ISSUE 21

the diamond and was kidnapped on two occasions to induce him to reveal the locality. He refused and later disappeared. On 19 May 1869, the Supreme Court ruled that the affidavits produced by the DMMA were based on hearsay and inadmissible. The DMMA and Waterboer lost the case. The Star of South Africa made its final appearance in South Africa at an exhibition in Port Elizabeth before being shipped to Great Britain on the steamship Celt, the same vessel which two years before had carried the Eureka. On its arrival in London, it was sold to the Earl of Dudley for the then record price of £25 000. The discovery of this diamond star ted a process which transformed South Africa from the pastoral land it once was to its current position as the most industrialised country on the African continent.

On 25 January 1905, during an inspection tour, the attention of the mine manager, Mr FGS Wells, was directed to a glistening crystal protruding from the rock face of an open pit. With his pocketknife he carefully loosened an enormous crystal which he thought could be a diamond. At the weighing office, nobody believed him and the stone was thrown out the window. Wells quietly retrieved it, then tested and weighed it. It was a white diamond weighing 3 106ct, measuring 4x2, 5x2 inches - the biggest ever found. It was named the Cullinan. The stone was notable for its rare blue-white colour and exceptional purity. On one side, it had a perfect cleavage face which indicated that it had once formed part of a much larger crystal.

THE PREMIER MINE - AFRICA’S TREASURE TROVE Being luckless on the Kimberley diamond fields, Percival Tracey moved to the nor th in search of gold. On one of his prospecting trips near Pretoria, he noticed a boulder of kimberlitic rock in a small riverbed and realised that a kimberlite pipe should be fur ther upstream. This he discovered on the farm Elandsfontein that belonged to Joachim Prinsloo. Prinsloo was not interested in Tracey’s offer and defended his privacy with a gun. Tracey then teamed up with selfmade millionaire, Thomas Cullinan. The two waited until the old man died and then bought a por tion of the farm from his daughter for £52 000. What they bought turned out to be the biggest kimberlite pipe yet discovered. It covered 78 acres and was extremely rich in diamonds. It was named the Premier Mine in honour of Cecil Rhodes, the Premier of the Cape Government, who had died the previous year. Soon it was producing so many diamonds that it threatened the survival of the whole marketing strategy of De Beers. When Sir Alfred Beit, par tner of Rhodes, visited the Premier Mine, the sight of this enormous mine in competition with De Beers shocked him to such an extent that, according to one writer, “he dropped down in a fit of apoplexy, never fully recovered and died a few years afterwards” - or maybe it was a heavy meal and the long walk to the mine that did it! Such was the production of the Premier Mine that diamond prices slumped dramatically - to a level that caused the mine to become unprofitable in 1911. Its owners had no choice but to sell it to De Beers.

Thomas Cullinan (left) with the general manager of the mine, William McHardy, holding the Cullinan, and Fred Wells (right).

The discovery of this colossal diamond and its colourful history made South Africa a household name for large quality diamonds – a reputation that still stands today. Between September 1903 and June 1905, no fewer than 22 diamonds, weighing more than 100ct each were found at Premier.

THE CULLINAN The world’s most famous gemstone The discovery of the Cullinan created great interest worldwide and caused an appreciable rise in the price of Premier shares overnight. The £80 000 capital with which the company was star ted in 1903 was, after the discovery in 1905, valued at £7 240 000, mainly because most people believed that other and more imposing stones of the same kind would be found at Premier. A geologist, Dr Molengraaf, described the big stone as follows: “The Cullinan is a por tion of a much larger stone. Four pieces of the original stone have broken off along cleavage planes, resulting in four flat planes now visible on the Cullinan. The stone is a single crystal, no twinning planes or lamellae being present. It is quite colourless and

THE DIAMOND STORY

comparable with fine ice. There are a few inclusions and some internal cleavages. The big question is: will the other four pieces ever be found?” After being put on display at the Standard Bank in Johannesburg, the Cullinan was sent to London. It reached Cape Town safely after being hidden in the hatbox of an employee of the postal service. In February 1905, the stone was heavily insured and dispatched by ordinary parcel post, with a nominal recovery value, while, as a decoy, a dummy stone in a carefully sealed package was placed in the captain’s safe on board a mailship guarded by detectives throughout the voyage to Britain. For the next two years, the Cullinan remained a public wonder as no-one was prepared to pay the asking price. Then, on becoming Prime Minister of the Transvaal in 1907, General Louis Botha proposed that the government buy the Cullinan and present it to the British king “in token of the loyalty of the Transvaal people”. Considerable opposition to the proposal ensued, but finally Botha persuaded the Transvaal government to pay £150 000 for the stone. But - as it levied a 60% tax on all diamonds found in its soil - the actual cost to the government was only 40% of that amount. The gift did not include the cost of cutting it. The task of cutting it was entrusted to the firm IJ Asscher of Amsterdam. The story that Joseph Asscher collapsed in a dead faint after the cleaving knife broke when he first tried to split the stone, is not true. The task of facetting and polishing the nine pieces which resulted from splitting the original stone took three polishers, working 14 hours a day, eight months to complete. Asscher may not have fainted, but the master polisher, Henri Koe, suffered a

III

VII

VIII

Replicas of the nine Cullinan diamonds.

nervous breakdown as a result of the strain imposed on him and was sent to South Africa to recover. The total weight of the gems cut from the Cullinan amounted to 1 055,90 ct, which represents a loss in weight during cutting of 65,25%. By arrangement, the “chippings” were retained by Messrs Asscher in remuneration for their services. In total, 96 smaller brilliants were cut from the chippings. These were bought by the Transvaal government in 1910, again at the insistence of General Botha, and presented to individuals of the Royal Family on behalf of the government and people of South Africa.

THE LICHTENBURG DIAMOND RUSHES – “ON YOUR MARKS, GO! AND FIND A FORTUNE” A South African geologist, Dr H Harger, predicted in 1913 that rich deposits of alluvial diamonds would be found in the Western Transvaal. His insight bore fruit when, in 1926,

THE NINE PRINCIPAL DIAMONDS THAT WERE CUT FROM THE ROUGH CULLINAN DIAMOND Name

Size

Cut

Name

Location today

Cullinan I

530,20ct

Pear

Great Star of Africa

British Royal Sceptre

Cullinan II

317,40ct

Cushion

Lesser Star of Africa

Imperial State Crown

Cullinan III

94,40ct

Pear

Granny’s Chips

Personal jewellery of Queen Elizabeth II

Cullinan IV

63,60ct

Cushion

Brooch

Cullinan V

18,80ct

Hear t

Brooch

Cullinan VI

11,50ct

Marquise

Pendant

Cullinan VII

8,80ct

Marquise

Brooch

Cullinan VIII

6,80ct

Oval

Brooch

Cullinan IX

4,40ct

Pear

Ring

THE DIAMOND STORY

he discovered 50 stones in the river gravels on a farm near Lichtenburg. This led to the famous Lichtenburg diamond rushes of 1926/27. In order to be fair to the thousands of diggers who wanted to peg claims on the newly discovered deposits, government officials organised races where diggers could - at the firing of a gun - start to run towards the area where they believed their fortune lay. Tens of thousands of pegs were planted by youngsters and the elderly (some on crutches) and middledistance runners who were employed by diggers. In a few years, Lichtenburg produced more than £10 million worth of diamonds that were dumped on the already weak diamond market, causing its near-collapse in the late 1920s. A number of diggers are still active today, but their production is only a fraction of the erstwhile fortunes which these river gravels produced.

their mounds. When rains washed these mounds away, grains of indicator minerals associated with diamonds such as garnets and ilmenites - were left behind. Geologists picked up these vital clues which led to the discovery of the buried pipes. The cost of exploration and finding a viable kimberlite pipe is enormous. At Jwaneng, 249 large boreholes were dug to a depth of 200 m, as well as six shafts to a depth of 158 m. Geologists flew low over the desert in small aircraft, trailing sensitive instruments that could pick up magnetic anomalies over the hidden kimberlite pipes. The Botswana mines are all 24-hours-a-day/six-days-a-week, open-pit operations. It is fascinating to see how the largest computerised hydraulic shovels in the world - the Demag 4855 - load 55 tons with every scoop and feed a fleet of 117-ton trucks, which haul the ore to the primary crusher and waste dumps.

Ants carrying rough diamond crystals. As many as 25 000 people took par t in a single rush in 1926 in the Lichtenburg district.

BOTSWANA – A COUNTRY BUILT ON SMALL STONES

In 1966, Botswana was one of the 25 poorest nations in the world. Then its destiny changed. Diamonds were discovered at Orapa, derived from "bovapa", meaning “resting place of lions”, and the country never looked back. Subsequent discoveries were made at Jwaneng (aptly named “place of small stones”) and at Letlhakane.

Today, Botswana is the world’s largest producer of gemquality diamonds (approximately 16 million carats annually). Diamond exports account for more than 60% of government revenues, over 70% of its foreign exchange and 40% of its GDP. Its bonanza has not been squandered, but has been used prudently to benefit every citizen in the land. The Botswana government and its par tner, De Beers, have been a shining example to the rest of Africa of how to exploit and benefit from the riches of which their continent has plenty.

De Beers started to look for diamonds in Botswana in 1955 but only discovered the pipe at Orapa in 1967. The Orapa pipe is the second-largest kimberlite pipe in the world – with a surface area of 113 ha, the size of 152 soccer fields. The Big Hole at Kimberley only covers 4,8 ha. At Jwaneng, the diamonds were hidden under 35-50 m of Kalahari sand. They might never have been revealed but for the termites that lived in the desert aeons ago when there was sufficient rainfall to sustain them. They burrowed deep into the earth in search of moist clay with which to build

Sor ting rough production into categories.

THE AUGUST BIRTHSTONE: PERIDOT | SAJN

Peridot: the evening emerald Peridot is not only the birthstone for August, but the traditional stone for 16th wedding anniversaries. It symbolises clear thinking, wholeheartedness and light. In ancient times, it was believed that peridots’ bright sparkle could ward off evil during the night. PERIDOT IS BOTH A DAY AND a night stone, maintaining its electrifying colour under artificial light and candlelight alike. For this reason, it is sometimes called the “evening emerald”. The name “peridot” originates from the Arabic word “faridat”, meaning “gem”. Most peridots were formed deep inside the earth and delivered to the surface by volcanoes. Some also came to earth in meteorites, but these are extremely rare and unlikely to be found in retail jewellery stores. Peridots’ origin stretches back to ancient Egypt, on the volcanic island of Zebargad in the Red Sea. The stones were so treasured by the Egyptians that they kept the island’s location a secret. With the fall of the Egyptian empire, the island fell into obscurity and was only rediscovered in 1906.

Today, large quantities of peridot are mined in the San Carlos reservation in Arizona, USA (though stones from America are generally much smaller and lighter than varieties from other locales). Peridot is also extensively mined in Pakistan and Kenya. Peridot is a type of silicate mineral called olivine. It is one of the few gems that occur in only one colour (in this case, green). Its pigmentation is due to the presence of iron trace elements. Depending on the amount of iron present, peridots may appear lighter or darker, ranging from pale golden-green to intense olive green. The stone has what is called “high double refraction” – if one peers closely at it, one will see a clear double image of its pavilion facets. It rates 6,5-7 on the Mohs scale of mineral hardness and is best suited for jewellery that will not be bumped frequently, as it can scratch or chip easily. It can also be damaged by certain acids and even by long-term exposure to acidic perspiration. Cleaning peridot is a delicate process. Never use a steam or ultrasonic cleaner, as it is vulnerable to thermal shock. It is safest to use a soft-bristled brush with a mild dish soap in warm water. Peridot should be stored with care to avoid being scratched by gems with greater hardness. While synthetic peridots may have no general commercial availability or economically viable jewellery use, many simulated stones can be found on the market. Synthetic corundum and spinel gems, as well as cubic zirconias, are

sometimes passed off as peridots. Perhaps the most frequently encountered peridot simulant is green glass. Although visually very similar, the physical and optical properties of these simulants differ significantly from those of the genuine article. Peridots are relatively inexpensive. They can be set into many kinds of jewellery, casual or glamorous, without breaking the bank. And when clarity and carat permits are combined with excellent jewellery designs, the stones can fetch a decent price. On the whole, they are just as attractive and desirable as any other gemstones, with many fascinating hidden stories waiting to be told.

Peridots are relatively inexpensive. They can be set into many kinds of jewellery, casual or glamorous, without breaking the bank. And when clarity and carat permits are combined with excellent jewellery designs, the stones can fetch a decent price. SA JEWELLERY NEWS - AUGUST 2021

SAJN | MINING

Zimbaqua is the world’s first sustainable mine empowering women in rural communities. It works closely with community leaders to provide education and healthcare to children, while creating employment and a better quality of life. THE WORD “AQUAMARINE” ORIGINATES FROM the Latin, meaning “water of the sea”, and refers to the blue to blue-green variety of beryl. Its beautifully delicate blue colour is derived from iron. Other well-known gem varieties of beryl include emerald, morganite and heliodor. Magma under the earth’s crust interacts with mineral-rich rocks (pegmatites), which are formed in the final stages of magma crystallisation. Aquamarine is formed in pegmatites once these rocks are heated.

Inside Africa’s first mine with an allfemale workforce Because of the way aquamarine is formed, it is found mainly in rocky or mountainous areas of the world – particularly Africa, India, South America, Russia and North America. The Zimbaqua mine in Zimbabwe was founded in a rural area where people traditionally farm tobacco and maize. “Starting a mine from scratch isn’t for the faint of heart – it’s a daunting task that takes time,” says founding partner Iver Rosenkrantz, a trained gemmologist with over 10 years’ experience sourcing gemstones across all parts of Africa. Based in Tanzania, he has built a series of iconic African luxury brands whose hallmarks are sustainability, empowerment and growth. He brings this unique knowledge and expertise to lead sales and marketing for Zimbaqua and to broadcast its important message to the world.

SA JEWELLERY NEWS - AUGUST 2021

MINING | SAJN “Once we’d found the appropriate location for the mine, we held meetings with the chief and community leaders to discuss the project. Although everyone seemed to be surprised and somewhat puzzled by our intention of employing only women, no-one was against the idea. “Once we received the go-ahead and support of the community, we took the time to meet each farmer whose land was affected by the mine to discuss the way forward. Every farmer within the mining area was given a new piece of land and we built each of them a new house in place of the one they had to abandon. “In the spirit of ensuring that all parties were satisfied and content, we performed the necessary local traditional and customary ceremonies, as well as meeting legal requirements such as carrying out environmental assess-

Zimbaqua is located in Zimbabwe’s Karoi district of Mashonaland West Province, near the border of Zambia. The mine covers approximately 50 ha of virgin mining land – an area known both for its fertile soil and significant gemstone deposits. The district’s main town, Karoi, is about 200 km north-west of Harare. Why women? Rosenkrantz explains. “The mining sector is highly conservative and male-dominated. Many women in areas like Karoi have been forced into illegal, artisanal mining in order to survive. This is a common problem in many poor parts of Africa. There are even stories of women disguising themselves as men, in order to avoid being harassed. “Ever since Zimbaqua was founded, we’ve been received with surprise and wonder. ‘Women can’t do this job!’ is one of the most common remarks we hear. However, we beg to differ. Today approximately 90% of farming

ments and obtaining all the necessary permits and licences.” For Rosenkrantz and his co-founding partner, Patrick Tendaye Zindoga, who has always been passionate about the environment and driving new opportunities to empower the youth of Zimbabwe, it was vital to have the support of the community as well as the government before commencing their mining operations. They aim to contribute positively to the national economy, as well as the local economy of the communities around the mine. “We believe in adding value through sustainability and positive stories about extraction of minerals,” says Rosenkrantz. “We believe that transparency, responsibility and traceability are the future of mining. Furthermore, we strive to operate at the highest standard, which is why we aim to align our approach with the United Nations’ Sustainable Development Goals.”

in Africa is done by women. An open-cast mine like ours doesn’t require more physically demanding work than farming does. Creating an environment where the women are in charge has allowed all our employees to feel comfortable,” says Rosenkrantz. “We’ve chosen to empower women through mining because we believe there’s a need for change and inclusivity. Unemployment in rural areas of Zimbabwe is a big challenge, so opportunities for women are very few. Many of our employees are single mothers who’ve been struggling to feed their children and fulfil their basic needs. We’re setting a new standard for mining and creating opportunities for women, ultimately uplifting and improving their living standards.” “At first I thought it was a dream,” said Rutendo Chigwajara during a recent video interview. Chigwajara, who is the Assistant Mine Manager at Zimbaqua, is a 42-year-old divorced mother of three. “It’s very exciting because these women who work in the mines are now able to pay school fees for their children and they can also look after themselves.” Zimbaqua’s vision is to become the leading supplier of responsibly sourced aquamarine to the international jewellery industry and offer a product competitive in both price and quality. In doing so, it aspires to become the world’s first all-women mining empire.

Many of our employees are single mothers who’ve been struggling to feed their children and fulfil their basic needs. We’re setting a new standard for mining and creating opportunities for women, ultimately uplifting and improving their living standards. SA JEWELLERY NEWS - AUGUST 2021

SAJN | BUSINESS SUPPORT

Operational investment company supports African luxury and premium brands Founded with an all-female executive team, Birimian, the first operational investment company dedicated exclusively to African luxury and premium heritage brands, was launched earlier this year to help designers on the continent and in the diaspora to facilitate and accelerate the growth of their businesses regionally and internationally. BIRIMIAN’S MAIN OBJECTIVE IS TO ACCELERATE the international emergence of African creators by positioning itself as their major partner in four main sectors: fashion, accessories, beauty and cosmetics, and gourmet. It is aimed at brands that carry the continent’s magnificently diverse culture, tradition, history and cultural heritage in their DNA and identity, but need to adapt to contemporary codes. Birimian was founded and is led by Laureen Kouassi-Olsson, a seasoned executive of the African financial services and private equity industries. Birimian will be a bridge between the continent’s entrepreneurs and creative talent, as well as strategic stakeholders in the international fashion and luxury industries such as jewellery. Delivered through a combination of mentoring, financial and operational support, Birimian aims to establish an ecosystem designed to create value for African entrepreneurs and help independent labels become

international brands. Created by a team with a strong understanding of premium digital brands, the company will take a hybrid approach designed to address the challenges associated with capital, production and international distribution faced by African designers and will focus on: • Long-term financing of brands in the com pany’s portfolio, investing US$30 000 US$3 million in brands and creative enter prises at incubation, acceleration and growth levels. • Brand consultation and coaching to ensure business processes and brand identity are in line with each designer’s goals. • Strengthening of production and distribution capacity through strategic partnerships. • Strengthening of internal control and financial planning processes. • Implementation of an expansion plan ensuring sustainable growth, with investors

tied in for a minimum of five years to ensure long-term support for partner brands. • International exposure for creative com panies by optimising digital marketing. The female leadership team includes Michelle Kathryn Essomé, former CEO of the African Private Equity & Venture Capital Association, as Chief Financial Officer and Head of Investor Relations; Céline Gainsburg-Rey, who specialises in supporting luxury brands, as Head of Strategy & Marketing, and Olufunke Faweya, who has dedicated her career to operations management and international brand expansion, as Head of Brand Operations. Birimian’s governance is strengthened by an investment committee comprising experts in investment, luxury goods and fashion and is completed by a creative board of experts and leading figures in the international creative scene who will help the company identify talent with strong potential. “Birimian is an invitation to discover and embrace a universe: one of exceptional African creativity. Our mission is to combine investment, mentoring and operational support to help our brands achieve their true potential and gain international exposure,” says KouassiOlsson. “The company is a call to action for the luxury fashion industry to contribute to the emergence of African heritage brands and to move towards a more diverse, creative and modern landscape.”

SA JEWELLERY NEWS - AUGUST 2021

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SAJN | INDUSTRY

Zambian gem-cutter, Thoko, is one of the very few trained female gem-cutters working in Zambia. Photo courtesy of INONGE ZITA

Women in jewellery Solitaire, the most recognised women’s jewellery magazine in the Asia Pacific region, caught up with four inspiring women who are constantly striving for gender equality in the jewellery and gem industry. 36

REPRESENTATION OF WOMEN IN THE GEM AND jewellery industry has advanced in recent years, but there is still a long way to go. Like many other spheres, this sector has largely been seen as a “man’s world” in which women have had to overcome significant barriers. While some progress has been made in releasing books and staging exhibitions about past and present women jewellery designers, the focus is primarily on the downstream retail and design sector. Representation of women is almost entirely absent in the upstream supply chain – from mining, sourcing and manufacturing to gem-cutting and gemmological research. According to most estimates, women drive demand for more than 90% of the world’s jewellery.

SA JEWELLERY NEWS - AUGUST 2021

INDUSTRY | SAJN Their tastes and preferences shape the market and influence decisions at every step of the supply chain. They are also the primary wearers of jewellery. So why it has taken so long for those in the industry to receive recognition? In recent years, there has been a renewed focus on the challenges to women’s wellbeing and empowerment, driven by cultural change that has spurred the world into reevaluating society’s views on equality and inclusivity. Four female role models leading this agenda give their views on whether things are changing and how jewellery businesses and institutions can strive to improve the industry. Melissa Wolfgang Wolfgang is the co-founder of the non-profit association The Glitterati, which aims to create synergy among women in the jewellery and watch space through support, education and mentorship. “We felt there was a real need for solidarity among women,” she explains. The gem and jewellery industry is intensely dynastic, with knowledge and savoir-faire being passed down from one generation to the next. “Creating The Glitterati was also a way of giving back to other women. This was particularly important to me, as I’ve been very privileged in my career,” says Wolfgang, herself a sixth-generation precious gem and jewellery dealer. She believes that gender equality – and, specifically, diversity – can be improved in every industry. “Tolerance, whether it be for women, racial diversity, or LGBTQIA+ issues, should be met with inclusivity, compassion and tolerance across the board. It’s 2021! This is a global issue which pertains not only to the jewellery industry. I think the #MeToo movement has shone a very bright light on things that have been problems for a long time and has led to a louder call to action.” Wolfgang supports members of The Glitterati by providing mentorship, advice and education. “Whether it be through our quarterly newsletter or webinars with special guests, I love being able to connect people who can potentially help one another, personally or professionally.”

Sustainability, ethics and inclusivity are big topics. According to Wolfgang, while there are many tools available, “the background or ability to comprehend the language and terminology isn’t given to all. I hope this becomes more fluid so that others can learn and apply these practices.” Iris Maria Alexis van der Veken Van der Veken is the force behind the Responsible Jewellery Council (RJC), a nonprofit organisation aimed at creating a responsible, worldwide supply chain that promotes trust in the global jewellery and watch industry. The RJC’s agenda includes identifying and addressing barriers to women’s economic empowerment and fulfilling overall gender equality goals. “My focus has been on driving the sustainability agenda forward in the jewellery and watch industry. Within that, I’m very passionate about gender equity and all the ways in which my team and I can influence the lives and livelihoods of so many women in our industry,” says Van der Veken. She is a strong advocate for more engagement and support to women in artisanal and small-scale mining. “A study from Business for

In recent years, there has been a renewed focus on the challenges to women’s well-being and empowerment, driven by cultural change that has spurred the world into re-evaluating society’s views on equality and inclusivity. SA JEWELLERY NEWS - AUGUST 2021

SAJN | INDUSTRY Social Responsibility found that in Africa, women make up 50% of the workforce. However, due to entrenched gender norms and patterns of resource ownership, they find themselves with limited economic and growth opportunities,” she says. Unfortunately, women’s roles in jewellery supply chains have been conditioned by existing gender disparities, skewing them towards lower-skilled activities where they are not fully rewarded or recognised. “As a result, women in our supply chains are performing more precarious work, yet they’re more vulnerable to income disparities. Also, the focus of public commitments from companies has largely been on women in retail-facing operations and corporate leadership and less on lower-income roles in the supply chain. “For progress to span the value chain, it’s crucial to expand gender considerations to the entire jewellery industry.” Van der Veken believes that ensuring women’s rights are protected is not only crucial to fulfilling the human rights expectations of companies, but has a strong business rationale. “Research has shown that companies committed to gender equality outperform peers,” she says. Despite the scale and complex challenges of the gem trade, she has immense hope that sustained action and focused leadership can create a more gender-equal workplace. Jennifer Markas It all started 35 years ago, with a small group of women who believed that women networking with each other could change the world. Today the Women’s Jewellery Association (WJA) has grown into a premier empowerment organisation for women, with over 20 chapters around the USA and worldwide. It is also the biggest advocate for addressing the industry’s gender imbalance. Markas is the Executive Director of the WJA. “Our organisation was founded to provide women with resources and a platform to elevate their voice. We advance the professional growth of our members through leadership training, networking and mentorship,” she says. The WJA is also deeply committed to embracing and celebrating diversity. “We recognise that many professionals, including women of colour and the LGBTQIA+ community, have

been excluded from decision-making processes and left behind when it comes to their advancement in our industry.” The association launched a dedicated Diversity Committee in January 2020 to help set strategic goals for its community. It regularly hosts conversations about how

it can best support professionals and grow diverse talent in the jewellery sector. The WJA is continuously working to make it easier for women to grow their leadership skills, gain access to capital to support their businesses and education, and connect with industry professionals. “One of our goals is to

build more empathy across our organisation and the industry overall and we look forward to continuing this important work with the support of our board, our members and our partners,” says Markas. Patricia Mweene Calling for equality and diversity across the gem and jewellery industry, Mweene – the founder of Inonge Zita, a jewellery brand based in Copenhagen, Denmark – started her business in order to create employment for unemployed female gem-cutters in her hometown of Ndola, Zambia. The country’s jewellery-cutting sector is often dominated by men. “Jewellery’s largely made for and bought by women, which is all the more reason to include women in the decision-making process across the jewellery value chain. It’s a no-brainer,” she says. Mweene is currently working with a German gem-cutter to teach quality management in gem-cutting and create employment opportunities for female cutters. She explains that the majority of women in Africa working in the precious materials supply chain operate as artisanal small-scale miners (ASM). “In Zambia, there’s a very high number of unemployed graduate female gem-cutters who’re also aspiring jewellery designers. But their employment prospects are dismal.” For women working as ASM, she says, there is no funding or government-led initiatives to help them formalise their operations and run profitable, small-scale mining enterprises. “There’s still a lot of work to be done in achieving gender equality in Africa,” she adds. However, she believes that progress to that end across the precious materials supply chain varies in different parts of the world. In Scandinavia and Germany, for example, 8090% of goldsmiths are women. “I’ve observed a real change in the outlook for gender equality by noticing more female-founded jewellery companies like my own that use precious materials in their jewellery design,” she says. Africa has a rich history of traditional jewellery-making which has been overlooked due to its focus on exporting raw materials. “Africa has all the raw materials required for establishing a vibrant jewellery manufacturing industry,” says Mweene, who hopes to see more gold refining, gem-cutting and jewellery manufacturing take place on this continent.

I’ve observed a real change in the outlook for gender equality by noticing more female-founded jewellery companies like my own that use precious materials in their jewellery design. 38

SA JEWELLERY NEWS - AUGUST 2021

tled-1 1

2018/05/30 17:43

SAJN | MARKETING

Why B2B print media? Here are 10 strong reasons When business-owners do not get the results they want from a print campaign, they often start doubting whether print media still works. However, more often than not, it is because best practices have not been followed. Numerous surveys agree that when it comes to making a purchasing decision, people continue to trust print ads, particularly in trade publications.

BUSINESS-TO-BUSINESS (B2B) PUBLICATIONS have evolved into multi-platform brands that service their audiences in new ways. By offering different platforms and thoughtprovoking content, savvy and forward-thinking publications have survived and thrived in the face of the COVID-19 pandemic rapidly changing technology. Trade magazines, business journals, newsletters, newspapers and other forms of media that rely on the written word continue to serve an important purpose. They provide information, expertise, thought leadership and timely reports to help readers stay informed and gain knowledge. Content in B2B publications includes the latest industry announcements, research, educational surveys and statistics,

special reports, opinion columns, feature articles and in-depth discussions with key players on new developments and practices within specific fields. And while traditional publishing has changed dramatically over the years, B2B publications are still a powerful medium for companies that want to attract attention, demonstrate leadership and create a competitive edge in the marketplace. They play an important role in their ability to increase a company’s visibility, credibility and name recognition. By developing a marketing plan that includes advertising in a relevant and appropriate industry B2B publication, companies can expand their influence, accelerate growth and build their brands.

SA JEWELLERY NEWS - AUGUST 2021

MARKETING | SAJN Targeted advertising While it is great for as many people as possible to see your advert, how much good is it doing your business if the people who are seeing your advertising are not those most likely to buy? Advertising via a B2B publication allows you to dissect your audience more thoroughly. Perhaps you want to reach engineers, IT professionals or jewellers; trade advertising makes that a lot easier to do. Stand out from the crowd Being different can be a good thing in marketing your brand. The greater the brand awareness you have, the more your target audience will be familiar with your company and products. If your competitors are doing exactly what you are doing, then you have no advantage. At a time where there is an overload of information and content in social media, mobile phones and e-mail on a daily basis, printed media actually helps you stand out in a crowd. Undivided attention One cannot compare the touch and feel of reading a magazine with any other platform. Readers of print magazines will give them almost their whole attention, unlike multi-tasking when you are on your computer or mobile device. There are no pop-up ads in a magazine to steal your attention. Major industry players still trust the marketing values associated with print, along with their existing online presences. Using print advertising (together with your other marketing channels) can certainly be the success formula that pays dividends. The commodity of trust A main factor in the success of B2B print is trust. For a successful business, this is one of the most important values it can possess. Trust in its products, trust in its service and trust in its people are difficult to build, but easy to lose. Studies have shown that customers, whether businesses or consumers, have a closer affinity with print. B2B advertising can save money In the current economy, ad budgets are getting smaller, while client expectations are getting bigger. It is more important than ever that every rand spent counts. Because the circulation and readership is larger, mass-market publications can demand more for their advertising. Additionally, customer acquisition costs should decrease for your prospective clients. Instead of buying an expensive ad for a large audience of whom only a few fit your target, your adspend can focus on a select audience you have researched and who are more inclined to buy your product.

SA JEWELLERY NEWS - AUGUST 2021

B2B publications play an important role in their ability to increase a company’s visibility, credibility and name recognition. By developing a marketing plan that includes advertising in a relevant and appropriate industry B2B publication, companies can expand their influence, accelerate growth and build their brands. They are the consumers least likely to spend time online and the most comfortable with traditional media. Longer shelf life With TV or radio, once a commercial spot has run, it is over. Daily newspapers get thrown out. However, once people have finished reading a trade publication, it usually gets passed on to a colleague, put in a business waiting room or it donated to an industry training institution. The ability to sell can continue long after you have paid for the ad.

Personal service B2B advertisers seldom have to compete with mega-brands for ad space or for the attention of ad sales reps. Associations are united by a shared interest in growing and increasing revenue for themselves and advertisers are helping them do that. It is to the benefit of an association to treat each of its advertisers, no matter how small, as if it were the biggest one.

Safe and comforting The fact you shelled out for an ad in an established publication gives you an aura of legitimacy. And if your target market includes a relatively big senior demographic, even better.

The greater the niche, the greater the reach There is a trade publication out there for just about any industry or profession. B2B publications not only reach, but create communities around these shared businesses/interests. The reason this is good for advertisers is that smaller niche communities tend to have greater wordof-mouth and rely more on recommendations and endorsements that come from their peers. Advertising to a niche audience shows that advertisers not only care about and have an interest in that community, but are willing to spend their money reaching out to them. Advertising can be more easily tailored to the audience Tailored advertising places an emphasis on the needs and wants of a small group of consumers, rather than a mass audience. Such a focus allows advertisers to better target advertising messages and reduce waste. With stability in the business world unlikely to improve anytime soon, many companies are searching for ways to build confidence in their brands and products, demonstrating authority and expertise in their respective fields, while creating long-lasting relationships with customers. B2B advertising has proved time and time again that it is the perfect business partner.

Tiaras – regal headdresses Little Gems is one of SAJN’s favourite pages in the magazine. Penned by our beloved editorial doyenne, the late Alice Weil, it will still continue to weave its magic with flair and with the unyielding love Alice had for jewellery, gemstones and watches.

SA JEWELLERY NEWS - AUGUST 2021

Image courtesy Rama (Wikicommons)

SAJN | LITTLE GEMS

Image courtesy Wikicommons

TIARAS – OR DIADEMS, AS THEY ARE ALSO known – have been fashionable hair ornaments in court circles and for ladies of society for centuries. In fact, hair ornamentation has been around ever since Adam tucked a flower into Eve’s hair! At the turn of the 20th century, more tiaras were made than ever before. By the 1920s, they had evolved into a fashion statement worn on bobbed heads, some as bandeaux and aigrettes. Every woman and young girl would like to wear one at least once in her life, as it signifies glamour and sophistication. That opportunity is provided to her as a bride. For centuries, brides have worn tiaras during the wedding ceremony. They add to the regal look a bride hopes to achieve, as well as to the grandeur of her appearance. Queen Elizabeth II wore one on her wedding day, as did Victoria Beckham.

According to customs of the past 200 years, tiaras or diadems have been the official headdress of married women and dowagers. They have always been worn by the nobility, especially at public functions or social events. The relationship between diadems and royalty goes back to ancient times. Egyptian princesses wore amazingly delicate ones which could represent a floral wreath executed in gold wire inlaid with stones, portraying delicacy and femininity. Among the earliest found were diadems from Greek and Roman times, always intended to signify that the wearer was someone important. Greek diadems were made of gold and were worn on ceremonial occasions. They were natural-looking imitations of wreaths of leaves made in gold, silver and materials, plated with gold or silver sheet and decorated with simple patterns of dots embossed from the back. The meaning of “diadem” is “to wind around” and in ancient Greece, this took the form of a white ribbon wound around the head. A diadem was also awarded to Olympic champions, who wore them on celebratory occasions. With the fall of Athens in the 4th century BC and its resurgence during the time of Alexander the Great, he and his cohorts donned Persian dress and wore diadems decorated in gold and precious stones. The name “tiara” originated in ancient Persia, where only the king was allowed to wear one. It was usually tall, conical and heavily ornamented with jewels. In regal circles, Danish-born Queen Alexandra, the consort of King Edward VII who was renowned for her beauty and good taste, commissioned court jeweller Garrard to create a tiara in the style of a Russian peasant girl’s headdress. Her sister, Princess Dagmar (who

Image courtesy Wikicommons

LITTLE GEMS | SAJN

became the Empress Marie Feodorovna of Russia on her marriage to Tsar Alexander III), had a similar tiara consisting of 61 platinum bars filled with 488 diamonds which is today sometimes worn by Queen Elizabeth II. It reappeared in England after Marie managed to escape from Russia during the revolution, taking her precious jewels with her. Also in England, in 1911 King George V commissioned a tiara which remains part of the royal jewels. The Roaring Twenties saw a different version of a diadem in the form of a bandeau worn around the forehead or on the back of the head. Jewelled versions could be transformed into bracelets. Film star Audrey Hepburn, who had a regal posture, wore a tiara in three of her movies – Roman Holiday, Breakfast at Tiffany’s and My Fair Lady. And in local circles, a renowned Sandton jeweller was commissioned by a senior De Beers executive to design and make a diamond tiara which he hoped his daughters would wear at their weddings and no doubt retain for posterity by passing it on to the next generation.

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

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E-mail: aurum@worldonline.co.za; adela@aurumdesign.co.za Website: www.aurumdesign.co.za AUTHOR BY KATHLYN ALLAN Tel no: 084 247 0358 E-mail: mail@worldofauthor.com ADELE’S MANUFACTURING JEWELLERS Tel no: 082 595 3868/083 227 6550 E-mail: adele@amj.co.za ADJANI SCHOEMAN T/A ADJANI DESIGN STUDIO Tel no: 083 460 7334 E-mail: info@adjani.co.za Website: www.adjani.co.za AFRICAN ARGENTUM RESOURCES Tel no: 011 608 0427 E-mail: info@silverchem.co.za Website: https://www.africanargentum.co.za/ AFRICAN TRADE BEADS JEWELLERY COLLECTION Tel no: 082 905 1736 / 011 726 7643 E-mail: tamiko@zazenconsulting.com Website: https://www.atbjc.com/about-us/ AKAPO JEWELS Tel no: 011 038 3130 E-mail: wumba@akapo.co.za; labi@akapo.co.za Website: www.akapojewels.co.za ALBO VAN DYK MANUFACTURING Tel no: 044 873 0567 E-mail: albo@telkomsa.net Website: http://www.albovandyk.com/ ALL BLING CREATIONS (PTY) LTD Tel no: 079 744 0971 E-mail: allblingcreations00@gmail.com; mmeshi.nkadimeng@gmail.com ALTIN JEWELLERS Tel no: 012 998 0141 E-mail: info@altin.co.za Website: www.altin.co.za ANACZYNSKI JEWELLERY Tel no: 082 934 5682 E-mail: anaczynski@gmail.com Website: www.anaczynski.co.za ANASTASIA JEWELLERS Tel no: 031 507 5561 E-mail: bazil.heeralall@gmail.com Website: www.anastasiajewellers.co.za ANDREAS SALVER MANUFACTURING JEWELLERS Tel no: 011 706 6828 E-mail: andreas@andreassalver.com Website: www.andreassalver.com ANDRONIKIS MANUFACTURING JEWELLERS Tel no: 082 966 6647 E-mail: mstergiou1966@gmail.com ANNELLE MURRAY GOUDSMID Tel no: 082 956 7747 E-mail: annellemurray@exclusivemail.co.za ANTONICORNELLIS JEWELLERY ENTERPRISE Tel no: 074 758 1014 E-mail: antonicornellius.nhlapo@gmail.com ASHLEY HEATHER JEWELLERY Tel no: 082 563 5086 E-mail: info@ashleyheather.co.za Website: www.ashleyheather.co.za ASIMI JEWELS INTERNATIONAL Tel no: 011 453 4775 E-mail: ellassa@iafrica.com ASSIQUE MANUFACTURING JEWELLERS Tel no: 021 706 3629 E-mail: hashiem@telkomsa.net AU TRADERS AND REFINERS (PTY) LTD Tel no: 011 334 7607/8 E-mail: barend@autraders.co.za; jacqui@autraders.co.za Website: www.autraders.co.za AURUM DESIGN Tel no: 021 423 6590

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

JEWELLERY MANUFACTURERS' ASSOCIATION OF SOUTH AFRICA

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

POPULAR DIAMOND JEWELLERY MANUFACTURING CC Tel no: 011 484 7044 E-mail: pop@tiscali.co.za

NILU ENGRAVING & JEWELLERY (PTY) LTD Tel no: 083 384 7792 E-mail: laser@nilu.co.za Website: www.nilu.co.za/ NOMAD JEWELLERY & ACCESSORIES Tel no: 082 770 9788 E-mail: idieh@mweb.co.za; info@nomadjewelleryandaccessories.com Website: https://nomadjewelleryandaccessories.com/ NOVUS DESIGN STUDIO Tel no: 012 332 5850 E-mail: info@novusdesign.co.za Website: http://www.novusdesign.co.za/ NQ JEWELLERY DESIGN SERVICES Tel no: 073 700 6225 E-mail: nq2jewel@gmail.com Website: www.nqjewellery.co.za NV DESIGN COMPANY T/A BY NANETTE Tel no: 021 883 3856 E-mail: nanette@bynanette.com Website: www.bynanette.com ORO AFRICA (PTY) LTD – CAPE TOWN Tel no: 021 480 9860 E-mail: sharin@oroafrica.com Website: www.oroafrica.com

PRECISION SETTERS Tel no: 011 484 7803/4 E-mail: julian@precisionsetters.co.za PRETTY FOUND THINGS Tel no: 083 651 9042 E-mail: prettyfoundthings@gmail.com Website: www.prettyfoundthings.co.za PRINS & PRINS DIAMONDS Tel no: 021 422 1090 E-mail: petre@prinsandprins.com; riana@prinsandprins.com Website: www.prinsandprins.com QUICKSET JEWELLERS Tel no: 031 468 9236 E-mail: qsjewel@telkomsa.net; osjewel@telkomsa.net Website: www.quicksetjewellers.co.za RALPH WALTON Tel no: 028 316 3851 E-mail: ralph@rwd.co.za Website: https://www.rwd.co.za/ RAND REFINERY LIMITED Tel no: 011 418 9000 E-mail: nicolab@gold.co.za Website: www.randrefinery.com RARE EARTH CREATIONS Tel no: 011 326 1727

JEWELLERY MANUFACTURERS' ASSOCIATION OF SOUTH AFRICA

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

SILVER MYST – JULIANA RED Tel no: 021 762 9794 E-mail: moyonela@gmail.com

TIP TOP JEWELLERS Tel no: 044 873 3048 E-mail: tiptop@lantic.net

SIMON EFUNE MANUFACTURING JEWELLERS Tel no: 011 334 4529 E-mail: simon.efune@mweb.co.za

TRIMALCHIO Tel no: 012 346 6874 E-mail: casanra@mweb.co.za

REC SET & ENGRAVE (PTY) LTD Tel no: 011 326 1727 E-mail: neil@rarearth.co.za; noloyiso@rarearth.co.za

SINCE NOW JEWELS Tel no: 072 336 9518 E-mail: sincenowcz@gmail.com

RICHLINE SA (PTY) LTD Tel no: 011 418 1600 E-mail: johan@richlinesa.co.za; marco@richlinesa.co.za Website: www.richlinegroup.co.za

SIRKEL JEWELLERY Tel no: 011 726 2365 E-mail: sirkeldesign@gmail.com Website: www.sirkeljewellery.co.za

TRISLO (PTY) LTD Tel no: 012 259 0100 E-mail: info@trislo.co.za Website: www.trislo.co.za

RITCO MANUFACTURING JEWELLERS Tel no: 041 374 2101 E-mail: sales@ritco.co.za Website: www.ritco.co.za

SL HERMAN MANUFACTURING JEWELLERS Tel no: 012 460 6771 E-mail: slhj@telkomsa.net Website: http://www.hermanmanufacturingjewellers.co.za/

ROHAN CHERRY DESIGNS Tel no: 082 974 4566 E-mail: info@rcdesigns.co.za Website: www.rcdesign.co.za

SMITH JEWELLERY Tel no: 071 313 8649 E-mail: info@smith-jewellery.com Website: www.smith-jewellery.com

ROK ORIGINALS Tel no: 072 203 3288 E-mail: info@rokoriginals.com Website: https://www.rokoriginals.com/

STARBRIGHT JEWELLERY Tel no: 083 775 9995 E-mail: megan@starbrightgirl.com Website: https://www.starbrightgirl.com/

ROMANELLI DESIGNS (PTY) LTD Tel no: 011 794 1666 E-mail: bling@romanellidesigns.co.za Website: https://romanellidesigns.co.za/

STUDIO 1980 (PTY) LTD Tel no: 083 379 0171 E-mail: info@studio1980za.com Website: https://studio1980za.com/

RONALD’S JEWELLERY DESIGN Tel no: 031 701 5154 E-mail: ronaldcbr262@gmail.com

STUDIO 39 JEWELLERY DESIGN Tel no: 031 764 3000 E-mail: studio39@telkomsa.net Website: www.studio39.co.za

RASIFIWA (PTY) LTD Tel no: 021 422 1350 E-mail: rssa@rasifiwa.com; jacqui@rasifiwa.com Website: www.rasifiwa.com

ROUX DU PREEZ DESIGNS Tel no: 084 207 3876 E-mail: sales@preezdesigns.co.za Website: www.preezdesigs.co.za RUTH PROWSE SCHOOL OF ART Tel no: 021 447 2492 E-mail: admin@ruthprowse.co.za Website: www.ruthprowse.co.za SATHKAAR JEWELLERS C.C Tel no: 031 306 4921 E-mail: sathkaar@gmail.com SCARAB JEWELLERY STUDIO CC Tel no: 021 683 4646 E-mail: janine@scarabjewellery.co.za; tanya@scarabjewellery.co.za Website: www.scarabjewellery.co.za SEDA LIMPOPO JEWELLERY INCUBATOR Tel no: 015 293 0214 E-mail: tessa@slji.org.za Website: www.slji.org.za SERAGLIO JEWELLERS Tel no: 011 783 8301 E-mail: rolling.albert@yahoo.com Website: www.seragliojewellers.com SHADOW JEWELLERS Tel no: 082 689 8297 E-mail: shadrackmogoane@yahoo.com

STUDIO C MANUFACTURING JEWELLERS Tel no: 011 642 7826 E-mail: chris@studioc.co.za; peggy@studioc.co.za Website: www.studioc.co.za STUDIO LOUBSER Tel no: 011 782 4051 E-mail: liz@lizloubser.com; info@studioloubser.com Website: www.studioloubser.com SUGARBUSH CREATIONS Tel no: 015 293 2358 E-mail: sugarbushcreations@gmail.com SUSAN ROOS JUWELE Tel no: 028 754 2949 E-mail: info@roosjuwele.co.za Website: www.roosjuwele.co.za TCHALIEU JEWELLERY Tel no: 011 453 0492 E-mail: siphokazi.tchalieu@gmail.com THATO RADEBE JEWELLERY E-mail: thato@thatoradebejewellery.co.za Website: https://thatoradebejewellery.co.za/ THE BERA DIAMOND ACADEMY Tel no: 011 854 4556 E-mail: mmbera@gmail.com; muhammad.bera@absa.co.za Website: http://www.benefittohumanity.com/

TSHWANE UNIVERSITY OF TECHNOLOGY Tel no: 012 382 6007 E-mail: newmand@tut.ac.za Website: www.tut.ac.za TURNER MANUFACTURING JEWELLERS Tel no: 021 424 2528 E-mail: sam@turnerjewellers.com Website: http://www.turnerjewellers.com/ UNCUT JEWELLERS Tel no: 083 225 8221 E-mail: mark@uncutjewellers.co.za Website: www.uncutjewellers.co.za UNIVERSITY OF JOHANNESBURG Tel no: 011 559 1129/1125 E-mail: fnazier@uj.ac.za Website: www.uj.ac.za UNIVERSITY OF STELLENBOSCH Tel no: 021 808 3047 E-mail: ct@sun.ac.za; Joani@sun.ac.za Website: www.sun.ac.za/english/faculty/arts/visual-arts/ VALLABHJEE’S JEWELLERY SHOP Tel no: 032 944 1657 E-mail: hemval1@yahoo.co.uk VAWDA GOLD GEM JEWELLERS Tel no: 031 208 9142/3 E-mail: info@vawdagoldgem.co.za Website: www.vawdagoldgem.co.za VICTORIA ORPEN JEWELLERS Tel no: 011 615 4758 E-mail: victoriaorpensa@gmail.com; roxanne.campbell07@gmail.com VIJAY SHAH CONCEPTS Tel no: 031 564 2948 E-mail: vijayshah@telkomsa.net; nihalshah23@gmail.com Website: www.vijayshahjewellers.co.za VK JEWELLERY Tel no: 082 789 4498 E-mail: vivek@vkjewellery.co.za Website: www.vkjewellery.co.za VUKANI UBUNTU COMMUNITY DEVELOPMENT PROJECTS Tel no: 012 342 1385/8099 E-mail: demos@vukani.org; info@vukani.org Website: www.vukani.org WAINWRIGHT JEWELLERS Tel no: 021 554 1169 E-mail: info@wainwrightjewel.co.za Website: www.wainwrightjewel.co.za

SHANI D JEWELLERY DESIGN (PTY) LTD Tel no: 082 308 2111 E-mail: diamondshani@gmail.com Website: http://www.shanidjewellery.co.za/

THE JEWELLERY HUB Tel no: 083 326 5746 E-mail: ian@worldofdiamonds.co.za; yolandi@worldofdiamonds.co.za Website: www.worldofdiamonds.co.za

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

SIBAHLE JEWELLERY (PTY) LTD Tel no: 011 049 3933 E-mail: nthabiseng@sibahlejewellery.co.za Website: www.sibahlejewellery.co.za

THE MAKERY Tel no: 082 600 7142 E-mail: info@themakerycollection.com Website: www.themakerycollection.com

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

SILK ROUTE GOLD (PTY) LTD Tel no: 011 450 3192 E-mail: info@silkroutegold.com Website: www.silkroutegold.com

THE PLATINUM INCUBATOR Tel no: 014 597 0736 E-mail: sibongile@tpi.org.za Website: www.tpi.org.za

SILPLAT (PTY) LTD Tel no: 021 461 5344 E-mail: info@silplat.co.za Website: www.silplat.co.za

TINSEL GALLERY Tel no: 011 782 4051 E-mail: geraldine@tinsel.co.za Website: https://tinselgallery.com/

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

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SA Jewellery News (SAJN) • August 2021

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SA JEWELLERY NEWS - AUGUST 2021

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