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MARCH 2016
SOUTH AFRICAN JEWELLERY NEWS
The industry's only trade journal
SIHH Geneva – first releases for 2016 from the high horology maisons
PPC Imaginarium Awards category winners announced
CALL TO ENTRY FOR 2016/2017
Corporate Social Responsibility strategies for jewellery industry come under spotlight
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STRAP Editor: Adri Viviers Tel: +27 (0)11 883-4627 Cell: 084-261-1805 E-mail: sajewellerynews@isikhova.co.za Watch Editor: Alice Weil Tel: +27 (0)11 880-1680 Cell: 083-266-9182 E-mail: aweil@mweb.co.za Advertising Sales: Linda Stock
c ntents 19. CORPORATE SOCIAL RESPONSIBILITY
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Corporate social responsibility strategies for jewellery industry come under the spotlight at VicenzaOro
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21. BRAND HISTORY
Maud Errera
A happy innovation
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SA Jewellery News is published by: Isikhova Publishing & Communications CC, PO Box 651793, Benmore, 2010, Johannesburg, South Africa. 27 Panners Lane, Riverclub, Sandton, South Africa. Website: www.isikhova.co.za Chief Executive Officer: Andrew Meyer E-mail: andrewm@isikhova.co.za Chief Financial Officer: Imraan Mahomed E-mail: imraanm@isikhova.co.za Printing: Colors Banking Details: Isikhova Publishing & Communications CC Bank: Standard Bank, Sandton, South Africa Branch Code: 01-92-05 Current Account Number: 4209 6822 9
7. NEWS • De Beers CEO hints at sight changes, continued flexibility in 2016 • Seventh ADTF holds its own in cautious market
23. BRAND MANAGEMENT
• French Jewellery at Hong Kong International Jewellery Show
• Breitling’s Avenger Bandit
• Diamantaires to receive additional options for identifying clients
• A new trio for Baselworld
• GIA débuts expanded lab and education facility in Botswana
• Reprising renowned sights of Paris
• Refined chrono restores tradition • On the international stage
• Polished diamond prices rise in January
13. AWARDS PPC Imaginarium Awards category winners announced
15. DIAMONDS Addressing the diamond industry’s global crisis: AWDC to focus on financial innovation
The views expressed in this publication are not necessarily those of the owners and the Diamond and Jewellery Federation 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 and the Diamond and Jewellery Federation 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© 2016. All rights reserved. No part of this magazine may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or any information storage retrieval system, without prior written permission from the publishers. ISSN 1817-5333.
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16. INTERNATIONAL FAIR SIHH Geneva – first releases for 2016 from the Haute Horlogerie maisons
28. LITTLE GEMS Inspired by a garden
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SOUTH AFRICAN JEWELLERY NEWS
MARCH 2016
Official Journal of the Diamond and Jewellery Federation of South Africa. Website: www.jewellery.org.za
The industry's only trade journal
SIHH Geneva – first releases for 2016 from the high horology maisons
PPC Imaginarium Awards category winners announced
On the cover The PPC Imaginarium Awards – SA’s biggest art and design competition – has jewellery as an entry category. With R500 000 in prizes up for grabs, enter a creation that
CALL TO ENTRY FOR 2016/2017
Corporate Social Responsibility strategies for jewellery industry come under spotlight
innovatively makes use of cement and your career could receive a valuable boost. Visit http://www.ppcimaginarium.co.za/ for more information on this year’s competition.
SA JEWELLERY NEWS – MARCH 2016
WFDB PRAISES APPOINTMENT OF STEPHEN LUSSIER AS DPA CHAIRMAN The World Federation of Diamond Bourses (WFDB) has congratulated Stephen Lussier on his appointment as Chairman of the Diamond Producers’ Association (DPA). “Stephen’s breadth of knowledge of the diamond business is second to none and the DPA will reap the advantages of having him guiding it,” says WFDB President Ernie Blom. Lussier serves as the CEO of the De Beers diamond brand, Forevermark, is Executive Vice-President of the De Beers Group of Companies and is also its Executive Vice-President: Marketing. He has worked for De Beers for more than three decades. “I’ve known Stephen for many years and his experience in driving forward marketing programmes, most recently with the successful Forevermark brand, will serve the DPA well,” says Blom. “With the support of Sally Morrison as MD of Marketing, I believe the DPA is well set to push forward creative generic marketing initiatives. “The WFDB is ready to support the DPA. With more than 20 000 members at 30 affiliated bourses across the world I believe we can work together successfully for the benefit of the entire diamond trade. Generic marketing is absolutely critical to the continued success of the diamond jewellery sector and I look forward to a co-operative relationship with the DPA to achieve this aim.”
SEVENTH ADTF HOLDS ITS OWN IN CAUTIOUS MARKET When the seventh edition of the Antwerp Diamond Trade Fair (ADTF) opened its doors on Sunday, 31 January, expectations among participating exhibitors were low-key, recognising the rather slow holiday sales season reported by European retail jewellers and diamond distributors. Fortunately, by the time the three-day fair – jointly organised by the Antwerp Diamond Bourse (Beurs voor Diamanthandel), the Diamond Club of Antwerp (Diamantclub van Antwerpen) and Antwerp’s Rough Diamond Bourse (Antwerpsche Diamantkring) and held in the halls of the bourse and the club – drew to a close, the overall mood was distinctly upbeat. “We were here for all three days and spent a lot of time in the halls, viewing many goods and conducting extensive negotiations about the diamonds we’d selected. It wasn’t easy, but we did some very serious business here,” said Albert M, a Middle Eastern diamondbuyer. “Of course, Antwerp remains the No 1 source for diamonds. If you don’t find what you’re looking for here, you won’t find it anywhere else either.” The ADTF wasn’t about diamonds alone. Some of the exhibitors displayed an exclusive choice of precious coloured gemstones, including emeralds, rubies and sapphires. “While we were only a few at this edition of the event, we had a lot to offer buyers on the high-end scale of coloured gemstones,” said Oded Shapiro of the eponymous firm. “Fairs are often less about sales and more about maintenance. With lots of new buyers coming in and a loyal, ever-growing body of retail jewellers and distributors coming back year after year, we’ve built strong and lasting business relationships that produce sales throughout the year,” said Organising Committee spokesman Michel Schonfeld. “By meeting both new and existing clients and offering them good entertainment and interesting educational seminars, we strengthen and prolong our association with them.” Close to 90 exhibitors at the ADTF offered visiting buyers a choice of diamonds in all sizes, quantities, prices and qualities.
SA JEWELLERY NEWS – MARCH 2016
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NEWS
DIAMANTAIRES TO RECEIVE ADDITIONAL OPTIONS FOR IDENTIFYING CLIENTS In Belgium, not only banks, but also diamond traders are required to identify potential clients before proceeding to a transaction. In this regard, the country is stricter than other European Member States. To simplify the process, the Antwerp World Diamond Centre (AWDC) has entered into a co-operation agreement with Bureau Van Dijk, which specialises in gathering information with regard to company data and shareholder structures. “Diamond traders are requested to implement a so-called client acceptance policy in which they investigate who the
potential client is, what risks are associated with that client’s profile and the nature of the business relationship,” says AWDC spokeswoman Margaux Donckier. “As a result of our collaboration with Bureau Van Dijk, from now on Antwerp diamond traders can easily find all the necessary information in the database.” In addition to identification data, the database includes sanctions lists, politically exposed persons, media reports, Financial Action Task Force high-risk countries, etc. It also contains identification data from some
250 million firms worldwide, including company information of diamond-related organisations in the most important trading hubs and diamond-producing countries, such as Israel, India, the USA, China and Botswana. However, Donckier cautions that the database should be considered an additional, rather than a primary resource. “Diamantaires still need to go through the traditional identification process, but can also look up the client details in the database and conduct a client risk analysis to supplement and verify the information. In this way, we’re providing diamond companies with an additional tool to meet all legal requirements.”
GEMFIELDS’ 2Q EMERALD AND BERYL PRODUCTION UP 41% Gemfields reports that emerald and beryl
a statement released on 16 February.
production from the Kagem mine in Zambia The coloured gemstone sector “appears surged 41% year-on-year to 8,2 million carats to have avoided many of the challenges being in the second quarter, ending 31 December faced within the diamond and wider resource 2015. Ruby and corundum output from the sector”, says Ian Harebottle, Gemfields’ CEO. Montepuez deposit in Mozambique slumped “Kagem delivered a 41% increase in pro53% to 1,6 million carats. duction volumes year-on-year, while costs SS PRINT Fabergé FEB 16.pdf 1 2016/02/22 10:04:43 AM Meanwhile, sales orders rose 13%, continue to be well maintained,” he adds. compared with the previous year, according to
“The second quarter of the 2016 financial year
has delivered positive results across Gemfields’ operations. This is an excellent achievement and clearly demonstrates the positive impact of our ongoing commitment to increased efficiencies and improved mining methods.” The miner says it maintains its 2016 production target of 25-30 million carats for rough emeralds and 8 million for rough rubies. – Rapaport
SCHNITZER CONGRATULATED ON ELECTION AS IDI CHAIRMAN Ernie Blom, World Federation of Diamond Bourses (WFDB) President, has congratulated Honorary WFDB President Shmuel Schnitzer on his election as the new Chairman of the Israel Diamond Institute (IDI). Blom says that during challenging times, it is critical for the global industry to have experienced and well-known industry figures leading its major organisations. “I commend Shmuel not only on his election, but also on his willingness to continue providing his vast knowledge and experience of our industry for the benefit of the trade,” says Blom. “He’s only just finished his fourth term overall as President of the Israel Diamond Exchange and has also served as WFDB President. He’s now serving as the Chairman of the WFDB’s Trade & Business Committee and his knowledge of the issues is invaluable. “It’s not always easy to find the time to serve the industry, but Shmuel has the concept of public service built into him and has always been willing to help the Israeli and global diamond trade. I look forward to being able to call on his assistance in the coming years.”
POLISHED DIAMOND PRICES RISE IN JANUARY According to figures released by the Rapaport Group, polished diamond prices rose in January as shortages continue to support the market. American demand is steady after a reasonably good holiday season, while China’s wholesale market slowed as the focus shifted to retail for the Chinese New Year Spring Festival. The RapNet Diamond Index (RAPI) for 1ct, GIA-graded diamonds rose 0,9% in January. RAPI for 0,30ct diamonds advanced 4,7% and RAPI for 0,50ct diamonds grew 4,5%. RAPI for 3ct diamonds fell 0,5%. RAPI for 1ct diamonds fell 4,4% from a year ago as manufacturers sought to reduce excess inventory in 2015. The Rapaport Monthly Report demonstrates that polished prices rose in January due to shortages, rather than increasing diamond demand. Polished trading was driven by American jewellers replenishing stock sold during the holiday season, as well as some inventory purchases. However, uncertainty remains as consumer demand is sluggish in emerging markets. The stronger American dollar is negatively impacting tourist spending in that country and domestic dealer demand in India and China.
FRENCH JEWELLERY AT HONG KONG INTERNATIONAL JEWELLERY SHOW Eight French jewellery brands will exhibit at the next Hong Kong International Jewellery Show, which is scheduled to take place at the Hong Kong Convention & Exhibition Centre from 3-7 March 2016. For the first time, a French pavilion will be set up at this show. It will be located in Hall 3C, from booths F01-F11.
SA JEWELLERY NEWS – MARCH 2016
NEWS
VICENZAORO VISITORS UP 5% Total traffic at the VicenzaOro January trade show rose 5% to more than 35 000 visitors as international interest increased, according to the event’s organisers. The fair in Vicenza, Italy, which was held from 22-27 January, saw 19 381 buyers turn up, with 5% growth in the number of buyers from outside Italy to 8 774 from 130 countries, says Fiera di Vicenza. Italian operator numbers increased 4,3% to 10 607, indicating a possible recovery of the domestic market. Products from 1 500 brands from 31 countries were on show across nine pavilions, covering 29 000 m². “We’re particularly pleased with the results in terms of visitor figures for this VicenzaOro,” says
Matteo Marzotto, President of Fiera di Vicenza. There was “strong growth” in visitor numbers from the USA, but the number of buyers from China and Hong Kong dropped, “confirming the slowdown in the Chinese economy”, the company says. The central theme of the fair was “The Golden Voice”, which involved giving a voice to important stakeholders in the gold and jewellery industries at workshops, seminars and meetings. There was also a special focus on technology used in the industry as part of the 39th T-GOLD, an international show dedicated to machinery and technology used in the gold and jewellery industry. It was attended by 133 businesses, including 111 Italian companies. – Rapaport
HRD ANTWERP ORGANISES SPECIAL COURSE FOR ALROSA On 12 February the HRD Antwerp Education Department organised a one-week special course for Alrosa, one of the leading companies in the diamond industry. The course provided a broad understanding of the various steps involved in transforming a rough diamond into a polished one, starting from the moment the stone leaves the mining facility until it’s ready to be mounted into a jewel. The course included hands-on training whereby participants were provided with a Run of Mine in order to sort out the different qualities of small stones, eg sawables and makeables, which then had to be divided into several sub-categories. Participants also received an introduction to diamond grading by being taught the four Cs (colour, cut, clarity and carat) and practising their skills using a diamond microscope and loupe X10. To complete the training, the Alrosa delegation visited the Antwerpsche Diamantkring, one of the four diamond bourses in the city, and a diamond polishing factory. – www.hrdantwerp.com
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AWARDS
PPC Imaginarium Awards category winners announced The country’s richest art and design prize to support emerging creatives, the PPC Imaginarium Awards, has upped the ante by outstripping the inaugural round of its own competition, which was launched in 2014. THE 2015/16 PPC IMAGINARIUM AWARDS not only garnered unprecedented attention from entrants, with a record number of 698 registered, but there has also been a noticeably marked improvement in the standard of the submissions. What’s more, the number of finalists for 2015/16 has more than doubled that of the initial year of the competition. A total of 47 regional finalists were selected for 2015/16, compared with the previous year’s tally of 21 finalists from 477 registered entries. Finalists were chosen in each of the six entry categories, namely: Film, Sculpture, Industrial Design, Architecture, Jewellery and Fashion. Submissions were judged by a regional panel of industry heavyweights, chosen for their notable achievements in their respective sectors. PPC Imaginarium Awards Director and wellknown architect Daniel van der Merwe curated the regional judging panel, which toured the country to evaluate the physical, digital and film submissions in each region: Johannesburg, Pretoria, Bloemfontein, Port Elizabeth, Durban and Cape Town. The regional judges included high-profile industry personalities such as Aaron Kohn of the Museum of African Design, artists Stephen Hobbs and Wilma Cruise and Cathy O’Clery of Platform Creative Agency. These judges were tasked with identifying the finalists in each category, based on the strength of their submissions. Having evolved from the longstanding PPC Young Concrete Sculptor Awards, the PPC Imaginarium Awards encourage artists and designers to create and express their abilities using Portland cementbased concrete as a primary base or material. The emphasis is placed on innovation – a
criterion which has resulted in dynamic and progressive works that truly push the limits of cement and excite the imagination. Says Van der Merwe: “We’re extremely thrilled that the number of expressions of interest increased from last year and the standard of the entries is exceptional. We can already see that the exhibition of the finalists’ work will be exciting and stimulating for the public. All of this attests to the validity of the PPC Imaginarium Awards and their relevance in the South African art and design context as a platform for promoting emerging talent.” To celebrate the pieces and projects that have been chosen as finalists, the PPC Imaginarium Awards is mounting a travelling exhibition, supported by Stuttafords Van Lines, which will move from Cape Town to Johannesburg and then on to Pretoria in the first half of 2016. In the latter half of the year, the exhibition will feature at the
Turbine Art Fair and at 100% Design South Africa, both in Johannesburg. The first leg of the travelling exhibition ran from 4-26 February 2016 at the Youngblood Arts & Culture Development in Cape Town, with the opening night forming part of the Mother City’s “First Thursdays” initiative. It was the first time the finalists had been showcased publicly. While the PPC Imaginarium Awards offer the country’s richest cash prize ever for an arts competition (over R500 000), they are equally remarkable for their primary ambition of providing a nurturing launch platform for the finalists and winners – with the aim of establishing them as leaders in their field. The PPC Imaginarium Awards cement PPC Ltd’s position as one of the largest and most exciting promoters and patrons of the arts and design in SA, a company which has previously been awarded for its innovation and support of the arts. Entries were open to South African citizens, residency permit-holders and foreign students with study permits – anyone not yet professionally established in their field. Entries by individuals, as well as team collaborations, were allowed. Artists and designers could enter multiple categories, with an original artwork for each category. Each category winner will receive R50 000, while the runner–up walks away with R15 000. Thereafter, each category winner stands a further chance of receiving the overall grand prize of R100 000. In addition to the monetary incentives, category winners will receive opportunities and mentorship from various thought leaders in their respective industries. The winners in each competition category were judged by a national judging panel convened on 1 February 2016 and the category winners were announced at the opening event on 4 February. This year’s jewellery category prize was awarded to Mignon Daubermann.
The exhibition will be on show at the UJ Gallery at the University of Johannesburg in Auckland Park from 3-28 March 2016 before moving to the Pretoria Arts Association from 1-12 April 2016.
SA JEWELLERY NEWS – MARCH 2016
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DIAMONDS
Addressing the diamond industry’s global crisis The diamond trade around the world is under duress. Antwerp did not escape the year unscathed, but was the best performer. This past year, US$48,3 billion worth of diamonds were imported to and exported from that city. THE WORLD’S DIAMOND TRADE IS CURRENTLY under duress, with a global decline in sales across the board. Antwerp saw its total trade value decline from US$58,8 billion in 2014 to US$48,3 billion in 2015. While this represents a decline of nearly 18%, competitors such as India and Israel endured much steeper declines. In this context, the Antwerp World Diamond Centre (AWDC) is turning to new technologies to meet the industry’s alternative financial services needs for international transactions. With a commitment to innovative solutions for driving the industry forward, the AWDC is starting a pilot programme with two so-called fintech companies to offer international transactions which are fast, transparent and instant. AWDC CEO Ari Epstein explains: “The global diamond industry took a beating last year. Thanks to our strong foundations and our ability to be agile and adopt new technologies, Antwerp has succeeded in safeguarding its worldleading position with regard to both rough and polished diamonds. Antwerp will consequently emerge from this downturn in a position of strength, poised for a profitable year ahead.” Causes of the global downturn As the diamond industry rises and falls on the waves of the global economy, the economic slowdown in the BRICS countries – particularly China, the second-largest market for polished
SA JEWELLERY NEWS – MARCH 2016
diamonds after the USA – had a huge impact on the diamond trade. While the dramatic downturn in the diamond industry resulted in a slight decline in prices for rough diamonds for the first time in decades, soft prices for polished diamonds made it increasingly difficult for diamond traders to turn a profit. As a result, the average profit margins for wholesalers were 0,11-0,37%, the same as in 2014. Additionally, the banking and sovereign debt crises led to drastic changes in the availability of bank lending to businesses. This made it difficult for many industries to obtain financing. Diamantaires had fewer resources available for purchasing rough diamonds, which has an impact on the global trade. AWDC to begin pilot project “The international terrain on which the Antwerp diamond industry does business means that we, as the industry’s representative organisation, are always searching for new technologies and ways to distinguish ourselves from our competitors,” says Epstein. “Last autumn we organised a Diamond Equity Investment Symposium, together with Morgan Stanley, aimed at promoting transparency to institutional investors who are considering in-
vesting in the diamond industry. Today we announce that this has resulted in a concrete co-operation agreement with two fintech companies: Uphold and FX4BIZ.” Uphold CEO Anthony Watson comments: “With Uphold, the AWDC and its thousands of trading partners can move, hold, transact, clear and settle in any currency or form of value they choose – securely, with real-time transparency and traceability. By removing all forex spreads, costs and settlement delays from AWDC’s US$50 billion yearly diamond trade, Uphold will save AWDC trading partners tens of millions of dollars every year. Uphold’s unique nextgeneration platform allows AWDC trading partners and dealers to immediately transact, clear and settle all trades in over 190 countries with zero waiting, delays or limitations. In addition, we’ll be opening our third European office here in Antwerp: staffed locally (initially six hires), it will directly support the AWDC and its trading partners on the ground and globally.” “As a Belgian payment service provider licensed by the National Bank of Belgium, we feel honoured to have been selected to enter into such a co-operation agreement,” says FX4BIZ CFO Patrick Mollard. “We’re highly motivated to work with the AWDC in building a tailor-made and sustainable bank infrastructure for this industry. We’re convinced that the key success factors in this project will be the AWDC’s capacity to share its expertise and our ability to comply with strict international regulatory constraints.” A total of 60 diamond companies will be able to sign up for these two pilot projects, which will run for a full year. The AWDC will be holding a seminar to explain the project to the diamond companies.
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INTERNATIONAL FAIR
SIHH Geneva – first releases for 2016 Established in 1991, the 2016 Salon International de la Haute Horlogerie (SIHH, or the “Geneva Salon”) was an outstanding expo steeped in class and quality. For non-tech attendees, there was glitz and bling as well. Martin Foster attended it. IN ADDITION TO THE 15 established exhibitors, the SIHH also welcomed nine exclusive, independent watchmakers and créateurs inside the “Carré des Horlogers”. For five days, from 18 January, fine watchmaking offered a show of creativity brought into being by exceptional expertise. Ever more complex tourbillons, chronographs, dive watches, extrathin designs and sumptuously decorated timepieces took technical mastery, craftsmanship and sheer bling to dizzy heights. The SIHH is primarily a Richemont Group luxuries event and its illustrious exhibitors in-
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clude Cartier, Van Cleef & Arpels, Piaget, Vacheron Constantin, Jaeger-LeCoultre, IWC Schaffhausen, Greubel Forsey and Montblanc. Serious horophiles need deep pockets to venture into the company of this elite cabal. From the most simple to the most complicated, the new in-house creations confirmed the robust health of a centuries-old industry which feeds on tradition, yet keeps up with the highest technical requirements of exquisite timekeeping. However, there are signs of dark clouds gathering around the event, which may presage stormy times. Symptomatic of the Swiss watch industry, Richemont watch brands saw a small decline in sales of 4% in the past six
(Above): From Greubel Forsey, this timepiece is the essence of refinement with its solid gold dial and lower tourbillon bridge, whose “barrelled and polished” surface requires extremely rare expertise. Each bridge is discreetly signed by the Movement Finisher who completed it. The price is available on request – but it’s guaranteed to reduce you to tears! (Left): From Roger Dubuis in Geneva, the Blossom Velvet Pink and Blossom Velvet Blue are multi-petal expressions of sensuality, while three one-of-a-kind and even more elaborate interpretations – assembled as an exquisite set nestling in a superbly crafted, marquetry-worked box – comprise a dainty “trilogy bouquet”.
SA JEWELLERY NEWS – MARCH 2016
INTERNATIONAL FAIR
months, although the rest of the company performed very strongly in difficult market conditions, with overall operating profit up 6%. Despite an overall solid performance, investors gave the company’s share price a haircut of 25% over the past three months. The Federation of the Swiss Watch Industry has just released figures which reflect our unsettled times. The industry recorded its first downturn since 2009 – the total value of watch exports was 21,5 billion francs, a decline of 3,3% compared with 2014.
The SIHH is primarily a Richemont Group luxury event and its illustrious exhibitors include Cartier, Van Cleef & Arpels, Piaget, Vacheron Constantin, Jaeger-LeCoultre, IWC Schaffhausen, Greubel Forsey and Montblanc.
The situation regarding all Swiss watch exports deteriorated steadily during 2015, falling from +3,2% in the first quarter to -7,3% in the fourth quarter. The second quarter fell well short of its 2014 level (-6,8%), while the first halfyear as a whole remained slightly positive (+0,5%). Yet, notwithstanding these figures, the industry’s still a far more dependable investment than oil, coal or iron ore. From these darkening economic clouds emerged a thunderbolt last year when in midJanuary, the Swiss National Bank thumped the
(Above): At the 2016 SIHH, the authorities of the Republic and Canton of Geneva, the President of the Fondation de la Haute Horlogerie, which organises the event and the Federation of the Swiss Watch Industry mingled with CEOs of the representative industrial bodies and the exhibitor maisons.
SA JEWELLERY NEWS – MARCH 2016
(Above left): Urwerk’s UR-106 “Lotus” features the brand’s signature satellite hours in a guise not seen before. Three satellite hours wander across the dial to create the most graphic of horological blooms. “We’ve taken particular care over the smallest details of this UR-106. It’s taken us 18 years to perfect the concept, so we’re making no concessions,” explains Martin Frei, the company’s Chief Designer and co-founder. (Above right): From Hautlence comes a new, luxurious edition in 18ct red gold. Unveiled in July 2015, the Vortex is housed in a three-dimensional case that offers a glimpse of its movement from all sides. The timepiece’s avant-garde, dynamic design changes every hour, as the cage of the regulating organ rotates 60° every 60 minutes, thus turning the Vortex into a mesmerising, mechanical piece of art.
markets by scrapping its three-year-old peg of 1,20 Swiss francs/euros. Within a few chaotic minutes of the central bank’s announcement, the Swiss franc soared by 30% against the euro, finally settling at about a 12% revaluation against major currencies. Notwithstanding the notoriously jittery nerves of Richemont shareholders, the tough psychometric mindset of the Swiss watch industry will see the brand through. The exclusive Geneva Salon is the first fixture on the annual watch fair calendar. The products, the people, the traditional industrial culture and – above all – the production of beautiful things made this invitation-only event a very special one. Reserved for retailers, distributors and the media, the next one will be held from 16-20 January 2017 at the Geneva Palexpo.
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Contact: Aroon Bhoora Tel: +27 31 301 3963 • Fax: +27 86 528 6516 • Cell: +27 83 777 6657 E-mail: aroon@piyuvejewelers.co.za • Website: www.piyuvejewellers.co.za
CORPORATE SOCIAL RESPONSIBILITY
CSR strategies for the jewellery industry
THE SEMINAR AT this year’s VicenzaOro on CSR was part of CIBJO’s and Fiera di Vicenza’s joint programme to promote CSR education in the jewellery sector and was also supported by Gemfields PLC, the world’s largest coloured gemstone mining company. The basic premise of the seminar was that, in the current business environment, CSR is no longer is an optional practice: it has become a required component of every organisation in the industry, which must be able to describe its approach and, if possible, quantify it. There was a special focus on the coloured gemstone sector, with three of the speakers associated with that industry. The panel of speakers at the seminar included Dr Gaetano Cavalieri, President of CIBJO, who spoke of CSR as an essential business strategy in the jewellery sector; Corrado Facco, MD of Fiera di Vicenza and President of CIBJO’s International Trade Fair Commission, who provided a concise introduction to CSR in the jewellery sector and Eduardo Escobedo, Executive Director of the Responsible Ecosystems Sourcing Platform, who discussed sustainability and responsible environmental strategies in the coloured gemstone sector. Ian Harebottle, CEO of Gemfields PLC, also spoke and presented his company as a case study for implementing CSR principles in the coloured gemstone sector, while Dr Donald Feaver, Chief Technical Officer of Branded Trust Assurance Systems, outlined supply chain and CSR compliance strategies. Paolo Cesari, President of Assogemme, the Italian Association of Precious Gemstones & Related Material, described his organisation’s programme to create a supply chain compliance system for the Italian coloured gemstone sector. The moderator of the seminar was Steven Benson, CIBJO’s Director of Communications. “To present your company as a firm with a social conscience not only presents it in a positive light, but also communicates to consumers that when they buy jewellery, they’re making
Corporate social responsibility (CSI) strategies in the gemstone and jewellery sectors came under focus at a well-attended seminar conducted during the VicenzaOro January trade show in Vicenza, Italy, on 24 January.
a positive contribution to society,” said Facco. “In the modern business environment, it isn’t enough to just talk about behaving correctly – you have to be seen doing so. “Through CSR, we can safeguard the longterm health of our industry,” said Cavalieri. “By showing our commitment to our stakeholders and demonstrating that they, too, will be provided with fair and equitable opportunities to benefit from the jewellery enterprise, they’ll be incentivised to invest and reinvest in their future and that of the entire industry.” CIBJO is the international jewellery confed-
eration of national trade organisations. Its purpose is to encourage harmonisation, promote international co-operation in the jewellery industry and consider issues which concern the trade worldwide. CIBJO’s chief mission is to protect consumer confidence in the industry.
(Above): Members of the speakers' panel during the CSR seminar in Vicenza (from left): Paolo Cesari, President of Assogemme, Dr Donald Feaver, Chief Technical Officer of Branded Trust Assurance Systems, Ian Harebottle, CEO of Gemfields PLC, Eduardo Escobedo, Executive Director of the Responsible Ecosystems Sourcing Platform and Dr Gaetano Cavalieri, President of CIBJO.
The basic premise of the seminar was that, in the current business environment, CSR is no longer an optional practice – it has become a required component of every organisation in the industry, which must be able to describe its approach and, if possible, quantify it. SA JEWELLERY NEWS – MARCH 2016
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BRAND HISTORY
A happy innovation The Cannes Film Festival is an annual highlight in the world of entertainment and watch and jewellery manufacturer Chopard became its official partner in 1998. The award of the Palme d’Or (Golden Palm) is a major event. Its trophy was redesigned in 1978 and is presented annually by Caroline Scheufele, who’s better known in the world of watches and jewellery as Co-Director of the Chopard brand. There’s a unique relationship between the Scheufele family and acting. CHOPARD LUXURY TIMEPIECES ARE KNOWN for their innovative use of diamonds on the dial of a watch. This features mobile diamonds which float freely between two sapphire crystals. The novelty, aptly named Happy Diamonds, was first introduced in 1976 and it has become an integral and identifying speciality of the brand’s collection, of which the hallmarks are quality and creativity. The founder of the brand in 1836 was Swiss watchmaker Louis Ulysses Chopard. He was 24 years old when he established the LUC Manufacturing Company in the small village of Sonvilier. From the outset, it was a highprecision manufacture which specialised in producing watches and chronometers and he led the company until 1915. It still bears his name. There were, however, towns better known than Sonvilier and this prompted his son, André – who took over the reins in 1921 – to move to the well-established watch centre of La Chauxde-Fonds to be part of the fast-growing watch market of the time. In 1987 he relocated to Geneva, which had become the prime area for upmarket, quality timepieces. The company’s labour force numbered 150 at that time. Ownership of the company changed with its sale in 1963 after Louis Ulysses’ young grandson, Paul-André Chopard, chose to follow an alternative career. Karl Scheufele III, a young goldsmith, became head of the company that year and it was he who added a jewellery segment to the watchmaking facility, but retained the brand name. He quickly gained experience in watchmaking and contributed to the modernisation of the company. The creation in 1976 of the first Happy Diamonds watch design, which was audacious and playful, marked a new direction for the brand.
SA JEWELLERY NEWS – MARCH 2016
Within four years, under Scheufele’s leadership, the theme was extended to include the jewellery sector. It was then extended still further to a range of sports watches and Chopard boutiques were opened in Hong Kong and Vienna. In 1985, Karl-Friedrich and Caroline Scheufele were appointed Vice-presidents of the Chopard Group. Today they are its Co-presidents. Caroline’s passion for drawing jewellery, even at a young age, prompted her to sketch a clown with hinged legs and a tummy full of diamonds and coloured stones. This became an icon of the brand and propelled the company into its first high-end jewellery line of Happy Diamonds. A further development was the sponsorship by the brand of the legendary Italian classic car rally, Mille Miglia, of which Chopard became a partner in 1988. This resulted in the brand’s tradition of developing a special-edition timepiece every year and the Happy Diamonds Sport appeared in 1993. The production of the mechanical LUC movements was moved to the Swiss Jura town of Fleurier, marking a return to the brand’s roots. Chopard’s affiliation with the Cannes Film Festival began in 1998 with negotiations between Caroline Scheufele and the President of the festival. It culminated in the brand becoming the official partner of the event. In con-
junction with a team of specialised craftsmen, Caroline redesigned the Palme d’Or, which was then created in the company’s workshop. Each year new designs are created to celebrate movies, jewellery sets for the “mounting the steps” ritual, parties to honour films and a trophy for youthful talent, plus the Palme d’Or itself. Pursuing the brand’s association with the film world, the Chopard Trophy is a new award by a jury of professionals to promote creativity in films and honour two young actors judged as male and female “Revelations of the Year”. Yet another promotion was the rally of sports cars dating from 1926-1978, at which Chopard presented the Grand Prix de Monaco Historique. This was first organised in 1997 to commemorate the 700th anniversary of the Grimaldi dynasty. Originally planned as a one-off event, the enthusiasm generated by the gathering of legendary cars led the prestigious Automobile Club de Monaco to hold the race every two years. In 2002 Chopard became the official partner and timekeeper of the event and it inspired the development of a series of classic sports watches. The brand also became associated with Porsche in the Le Mans 2014 race and presented its version of the related Superfast Chrono in a limited edition of 919 pieces. Chopard has supported a number of charities, including the Prince of Wales’ Charitable Foundation, by donating pieces to them.
Caroline Scheufele’s sketch of a clown became an icon of the Chopard brand and resulted in its first high-end jewellery line of Happy Diamonds. 21
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BRAND MANAGEMENT
Luxury with a French touch French brand Pequignet is a luxury product with a 40-year history. Located in the town of Morteau in the Jura Mountains, traditionally the heart of watchmaking, the brand was founded by Frenchman Emile Pequignet in 1973. Each watch bears his initials. Taking over in 2004 from Pequignet was Dieter Lebundgut, who set about making the brand a Haute Horlogerie manufacture. Two years later he opened an in-house laboratory equipped with the latest technology, supported by talented engineers. Within five years the brand had installed its Manufacture workshops which introduced its innovative mechanical movement, its emblem the fleur-de-lys. A luxury brand traditionally has a distinctive icon, but Pequignet believes it has two. The Calibre Royale, a grandes complication movement, is the real flagship with a strongly defined identity. It required 279 technical drawings, 379 components and 150 tools to create its performance. A younger and more accessible collection is the legendary range Moorea, with a link bracelet which typifies the French touch. Inspired by Pequignet’s passion for his champion eponymous horse, it has a steel grain-shaped link hinged with the bracelet.
On show at Baselworld are new models such as Trocadero, which comes in a leather version with different dials, with or without jewelling. The Royal Titane Fantôme features an all-black case, dial and hands. It is a very trendy style equipped with the Calibre Royale in a limited edition. It has dual direction, automatic winding and a large date and day, with no amplitude loss upon aviation. Its unique system offers exceptional reliability, accuracy-integrated complications and an 88-hour power reserve. The small seconds are at 4 o’clock, while the bridges and main plate are circular-grained and snailed with Côtes de Genève and a sunray oscillating-weight gilt lys logo. The Royale 300 has a uni-directional, rubber-moulded Vulcamix bezel and Luminova features complement the minute scale, which is used to calculate decompression time. A quarter-turn crown features the fleur-de-lys logo, which allows for ease of use under pressurised conditions. The Calibre Royale movement is of Pequignet manufacture and has dual-direction automatic winding, an 88-hour power reserve and is water-resistant to 300 m. The case is 43 mm in diameter, polished and satin-finished, enhanced by the coloured bezel. This timepiece is available in orange, blue or black.
Impresario Lady First introduced in 1998, the elegantly crafted Concord Impresario proudly makes a comeback to the forefront of the watchmaking scene. Its sophisticated allure is a free-spirited blend of tradition and modernity interpreted in two designs, one for men and another for women. Released from the constraints of pure classicism, the feminine version provides its own definition of elegance and gives a pleasing twist to its refined lines, with a vibrant contrast between stainless steel, pink gold and shimmering white mother-of-pearl. The diamond embellishment on the dial pays a shining tribute to the design’s aesthetic harmony. This new model also features several of the Impresario’s original iconic design details, including finely fluted case sides and slender pink gold-plated hour-markers. An authentic manifesto of elegance, the Impresario Lady is above all a style statement, a watch to be experienced and worn by day or night.
Refined chrono restores tradition Longines’ column-wheel single push-piece chronograph is a re-issue of one of its period pieces. It revives an early 20th-century classic and is part of the brand’s Heritage line, from what might be regarded as its “heyday”. First made in 1936 using a calibre which was available in many variations, it was considered as defining what a high-end chronograph should be and correct to the period. It has a wide tachymeter scale to the leaf hands, the slender Bauhaus-style face evoking the ’30s and ’40s and exuding a luxurious aesthetic. Yet it is also a watch with a modern automatic column wheel and a mono-pusher/crown measuring 6,5 x 5,5 mm, has sapphire crystals and is set on a genuine alligator-skin strap.
SA JEWELLERY NEWS – MARCH 2016
The dial is black, the 49 mm robust polished steel case based on the heavier modern look, the thickness 14 mm, simple and elegant sub-dials at 3, 6 and 9 o’clock and a date window creating a balanced look. Minutes and seconds have small numerals, and one-fifth seconds for the chronograph. The watch is water-resistant to 30 m and has a sporty profile. The design itself is fairly modest. The middle case is a cylinder with slab sides, the bezel tin. The lugs are very angular – a unique look – with various bevels and flat surfaces. At 3 o’clock is
the single mono-pusher and at 10 o’clock a sunken pusher for changing the date which removes this function from the crown. By flipping the watch, the case-back is revealed, which is decorated with Côtes de Genève and shows off the decorated movement and the big blue column wheel, as well as the brand logo. The whole effect is simple and classic, with a subtle military touch, enhanced by graining and slight shifts in dial height and surface texture. There is also a white version on which the sub-dials are silver.
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BRAND MANAGEMENT
Reprising renowned sights of Paris Nothing typifies Paris more than the Eiffel Tower and its Opera House, so it is not surprising that French watch brand Saint Honoré has named two of its newest models after these wellknown tourist attractions. Tour Eiffel Lady is a limited edition of 500 among the brand’s 1 885 pieces of the range. It has a certificate of authenticity signed by the Eiffel Tower Committee. Set in a 38 mm steel collector’s case (or alternatively in rose gold, plated to 18ct), its bezel is carved from a piece of the famous tower, decorated with a “croissillon” lattice design. There is a choice of a white dial or “Éclat Effect”. The silver open dial echoes
the architecture of the famous tower. It has an automatic movement and a personalised oscillating weight and crown, as well as a sapphire glass and is waterresistant to 30 m. There is a choice of a white or brown crocodile-design leather strap with an Eiffel Tower pin buckle. Opera Sailor is in a case of stainless steel or rose gold PVD in two sizes – 33 or 37 mm – protected by a sapphire crystal. The dial is white mother-of-pearl set with six diamonds totalling 0,02ct. Its quartz movement has a date display at 4 o’clock. Seven interchangeable straps in violet, pink, blue, white, orange, brown and black all have white over-stitching.
Breitling’s Avenger Bandit Lightness, safety and precision are crucial attributes in the world of naval aviation. The Avenger Bandit is a COSC-certified chronograph that lives in step with the take-offs and landings on the decks of aircraft carriers. These “ocean fortresses” govern the demanding features that Breitling has incorporated into the Avenger Bandit. Its 45 mm case is lightened by the use of satin-brushed titanium, a favourite metal in the aeronautical industry. The graduated rotating bezel is topped by engraved stencil-type numerals and distinguished by its four rider tabs, a classic signature feature on Breitling watches serving to memorise times. The non-slip grip of the screw-lock crown and chronograph pushers guarantees optimal handling. The strap is made of rubber topped
by a supple, sturdy and light, high-tech textile fibre exterior. These technical attributes make the Avenger Bandit an authentic instrument for professionals tackling daunting feats and the most extreme missions.
A new trio for Baselworld Three new releases from French brand Michel Herbelin will be on show at the upcoming Baselworld 2016. The classic Newport line has a new model – the Newport Yacht Club Squelette. It has a charcoal grey PVD-coated bezel to its stainless steel case and silver internal bezels with indexes. The silvered internal bezel dial has indexes visible through the sapphire crystal and the Swiss movement is water-resistant to 100 m. The watch is mounted on a charcoal-grey Louisiana alligator-stamped full-grained calfskin strap. The Odyssée automatic has a case of brushed stainless steel and a sapphire glass. The dial is black with luminescent indexes, the wristband in stainless steel, polished and brushed, with a folding clasp. Its Swiss automatic movement is water-resistant to 100 m. A more feminine model is the Scandinave, which is available in a choice of stainless steel or PVD-coated rose gold-plated steel. The silvertoned dial has a slightly vertical satin finish, its hands sword-shaped. The bracelet is in either matching stainless steel or PVD-coated rose gold-plated steel. The Swiss movement is waterresistant to 30 m.
On the international stage French company Pierre Lannier has had over 30 years of experience in exporting its watch brand and has participated in trade shows at Baselworld Tokyo and Hong Kong. It is a family-run company founded in 1977 by Beatrice and Jean-Paul Burgun, who were succeeded by their son, Pierre, in 2004. The brand’s best-seller for a number of years has been the chronograph and it specialises in automatic watches. Styles which will be on show at Baselworld
SA JEWELLERY NEWS – MARCH 2016
include Ceramic Elegance, a women’s collection in rose gold with a pearly face and a stainless steel bezel. Set on a ceramic and stainless steel bracelet, it is also available in gold and is water-resistant to 30 m. Another model with a white pearly face has a rhinestone bezel, stainless steel casing and is set on a crocodile-effect leather strap. It is also available with a black strap and is water-resistant to 50 m.
In the gents’ collection, key styles from the brand’s best-selling chronograph range with new, sophisticated details are available in an elegant chronograph, its case of stainless steel with an indigo and rose gold face on a stainless steel bezel. Water-resistant to 50 m, it is set on a blue crocodileeffect strap and is also available with a black face.
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LITTLE GEMS
Inspired by a garden A jewellery design of the early 20th century was the historic garland style. As its name implies, it typically featured garlands of flowers which were tied with ribbons and bows. It was flaunted by the nouveau riche and popularised by Danish-born Princess Alexandra of Wales, who became the Queen Consort of King Edward VII. Alice Weil reviews the history of the movement and the French jeweller who spearheaded it. JEWELS, PARTICULARLY THOSE OF THE ANtique variety, reflect the history of their era. During the reign of Queen Victoria, various styles of jewellery were popular: early Victorian (romantic), mid-Victorian (mourning jewellery, following the death of her consort, Prince Albert) and the more delicate designs of the late Victorian era, such as cameos or pieces inspired by the ancient Assyrian, Greek, Etruscan, Roman, Egyptian, Gothic and Renaissance periods. Perhaps the garland (or Edwardian) style, which followed during the reign of Victoria’s son and successor, Edward VIII, was a reaction to these former designs. Even as the Prince of Wales, he was an infamous playboy and hedonist who surrounded himself with fastmoving plutocrats for whom jewellery was an important part of their lifestyle. During one visit to Paris (and no doubt to Cartier’s Rue de la Paix), he named Louis Cartier “King of Jewellers, Jeweller to Kings”. After his coronation, he continued his opulent, pleasure-loving lifestyle. As its name implies, the garland style, initiated by the third generation of the Cartier family, was inspired by floral themes. Jewels were designed to move and sway with the light, flowing garments of gossamer-delicate pastel fabrics and earrings were an iconic element of the period. Fragile openwork and articulated modules were typical features. The changing necklines in women’s fashions towards the end of the decade left no room for large pins and brooches, placing increased importance on necklaces. Larger pendants were often circular, with garland and geometrical motifs, and small brooches were worn in large numbers. The importance of the dog collar had its origins in a small scar on Queen Alexandra’s neck, which was probably the result of an operation during her childhood. She preferred to hide it by wearing these choker necklaces,
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which society ladies were quick to copy. Her effect on fashion was profound and the style she set lasted for over 50 years. These tight-fitting necklaces took the form of elaborate, pierced platinum gossamer designs mounted on simple black velvet or moiré ribbon, with a buckle, flowers and other designs at their centre. Tiaras were essential for the well-to-do and the use of platinum enabled them to be large and ornate, without being heavy. They were set off on an upswept hairstyle known as the “Edwardian” which, oddly enough, returned to favour during the 1940s. The pervasive garland style gave rise to these headdresses with festoons and loops suspended in pendulous motifs. They led to a bandeau worn across the forehead, daintily set with diamonds and secured by a ribbon at the back of the head. A design with a Greek motif was popular. Some tiaras had feathers attached to them, replacing the 19th-century fashion of wearing brooches as hair ornaments. The bow and garland motifs were used in rings with large centres, encircled by calibrated, coloured cut gemstones or small diamonds. A leading trend was rings stacked on each finger, while larger, more substantial designs featured an elongated outline pierced and pavéd with myriads of diamonds and coloured stones, adorning the fingers from palm to knuckle. The narrower, feminine silhouette saw buckles and slides employed to encircle the waistline. The buckles could double as diadems
by the addition of a ribbon to secure them around the head. Combinations of jewellery were worn together, as opposed to the Victorian perjures (sets of four or five matching items) worn together, despite being of different designs. Since it was impossible to sew heavy jewellery elements onto the gossamer fabrics, as had been done previously, the use of platinum and diamond jewellery allowed an easy mix-and-match to accessorise garments, whether for day- or eveningwear. Earrings of the period developed from simple diamond studs at the beginning of the century. These were soon eclipsed by fragile openwork designs which co-ordinated better with the fashions of the period; the garland style featured long, glittering miniature wreaths and articulated centre stones which swung from the ear lobes. Fragile, gossamer-like creations with delicate dangles were all suspended from decorated ear hooks. The Edwardian elements were present, including platinum openwork, diamonds and mille-graining, and were made to sway with the flowing garments. They were an iconic element of the period. Bracelets, of which fewer were worn than in Victorian times, turned to delicate, tapered designs with repeated motifs, elongated forms or links. The front section contained beautiful gem-set designs and were completed by expanding and contracting plain links that circled the underside of the wrist – a feature which made them less expensive. The “new” designs of the Edwardian age had their roots planted firmly in the 18th century and were inspired by the court of Versailles; these were for customers who desired aristocratically styled jewellery. As a prime jeweller of the Edwardian style, Louis Cartier encouraged his designers to wander the streets of Paris observing 17th- and 18th-century architecture for inspiration. The demise of King Edward in 1910 saw his son and heir ascend the throne as George V. He soon had weightier matters to preoccupy him, with the onset of World War I in 1914. And Louis Cartier found further inspiration for the wristwatch, which was gaining popularity, from his view of an American tank. That, in turn, led to an enduring iconic timepiece of the House of Cartier – the Tank watch.
SA JEWELLERY NEWS – MARCH 2016
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