SA Jewellery News (SAJN) • March 2020

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• Jewellery that’s set to sparkle in 2020 • Jewellex Africa 2020 date announced • SA Mint launches new coin to help rhinos

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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 Publisher: Imraan Mahomed E-mail: imraanm@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: Ian Starnes Cell: 082-052-8428 E-mail: ian@isikhova.co.za Advertising Sales Representative (India): Bhupal Potdar Cell: 91-982-115-1035 Email: bhupalpotdar@gmail.com Advertising Sales Representative (Hong Kong): Maud Errera E-mail: maud@lni.com.hk Designer: Joanne Brook E-mail: joanne@isihkova.co.za Copy Editor: Anne Phillips Subscriptions & Accounts: Thuli Majola Tel: +27 (0)11 883-4627 Fax: +27 (0)11 783-2677 E-mail: thuli@isikhova.co.za

• JCSA initiative to assist members • De Beers plans overhaul of supply policy • JCSA roadshows 2020 to take place in July • GIA examines Alrosa’s Matryoshka Diamond • Louis Vuitton buys 1 758ct diamond from Lucara • Jewellex Africa 2020 date announced

Distribution: Ruth Dlamini and Direct Marketing Solution

12. COINS

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

South African Mint hopes to take rhinos out of harm’s way with new coin

Website: www.isikhova.co.za 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© 2020. 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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7. NEWS

15. JEWELLERY TRENDS The jewellery that’s set to sparkle in 2020

26. JEWELLERY DESIGN The most famous jewellers of all time

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> SA JEWELLERY NEWS – MARCH 2020

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

R36,00 (incl VAT)

MARCH 2020

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33. WATCHES Rolex’s remarkable legacy

34. JEWELLERY

• Jewellery that’s set to sparkle in 2020 • Jewellex Africa 2020 date announced • SA Mint launches new coin to help rhinos

Sharing the beauty of Table Mountain

On the cover 29. BRAND MANAGEMENT • Breitling’s Aviator 8 Curtiss Warhawk editions • MB&F creates timepiece dedicated exclusively to women

38. BUSINESS BAROMETER 31. THE PERFORMANCE CATALYST Coaching in business: The ultimate success factor

A monthly survey conducted by SA Jewellery News among industry players (small and large) on a national basis to give readers some feeling as to what is happening at the retail front

SM Watch Wholesale is a reputable company with an excellent product range. It has over 30 years of experience and a highly motivated team. Its products include alarm clocks, diamond testers, wall clocks, watch batteries, watch straps, watchmaker tools, clock movements, Farah watches, gold scales, gold testers, jewellery cleaners, Renata batteries and watch spares. It wholesales watches of the finest quality. For more information, contact SM Watch Wholesale on tel: (012) 323-1774 or e-mail: info@smwatch.co.za.

40. LITTLE GEMS Rings and religion Banking Details: Isikhova Media (Pty) Ltd Bank: Standard Bank, Sandton, South Africa Branch Code: 01-92-05 Current Account Number: 3319 867 44

SA JEWELLERY NEWS – MARCH 2020

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ED'S NOTE|SAJN

Editor's IT’S 2.30PM ON A FRIDAY AND I’VE JUST received a notification on my phone that Eskom has implemented stage 2 loadshedding until Monday. Thank goodness we have a generator! We also have a borehole and water tank because Louis Trichardt has seldom had water for the past six years due to poor maintenance. We also recently changed our electric fence from six to 10 lines because of crime in the area.

It’s easy to become negative these days.

Negativity is everywhere: it’s on the news, it’s on Facebook and other social media platforms, it’s on WhatsApp groups, it’s in the jokes and memes we receive and it’s in conversations with friends and family.

Of course, there’s a lot to be negative about. There always is. But being constantly

inundated with negative stories prevents us from enjoying life and drains our energy. It makes us anxious about the future and leaves us feeling depressed.

My husband watches the news every night, I choose not to. I prefer reading news online so that I can decide which articles I want to read. I also learnt long ago never to read the comments below these articles, which invariably deteriorate into slanging matches between strangers.

Whenever I socialise these days, the topic inevitably veers towards politics and the state of the country: power outages, crime, corruption and political mismanagement. In Hans Rosling’s book Factfulness (Flatiron), South Africans are rated as the fourth most negative people in a survey of over 30 countries.

I urge you to take a break from negativity.

If the news depresses you, change the channel. If the content of the feeds you see on Facebook upsets you, unfollow those pages. If a Facebook friend continually shares negative

thoughts, choose the “snooze for 30 days” option. If a WhatsApp group sends regular pessimistic videos and messages, leave the group. If you receive jokes with a negative undertone, don’t forward them. If the conversation at a social gathering becomes pessimistic and bitter, talk to someone else or change the topic.

Positive thinking is not just a feel-good tem: it can actually change your life. It helps you become a happier and better-balanced person. Remember, you are what you feed your mind. Change what you watch, what you read, what you share and who you talk to, and it will change how you feel.

This issue of SAJN is full of feel-good articles, from the beauty of Cape Town to the SA Mint’s initiative to protect rhinos, the JCSA’s initiative to help members and much more. Enjoy!

Adri Viviers

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NEWS|SAJN The Jewellery Council board has taken a decision to host an event at which it gives retail/art/ contemporary jewellers an opportunity to sell jewellery to the end consumer.

This event may take the format of either a cocktail function or an exhibition on one or two days during Jewellex Africa 2020, which will be taking place from 15-17 August at the Sandton Convention Centre in Johannesburg.

The event will not be part of Jewellex, but will be run separately, with separate entrances and exits. “Some exhibitors may wish to have a stand at Jewellex to sell to the

RETAIL JEWELLERY SHOW TO RUN ALONGSIDE JEWELLEX AFRICA 2020 trade and one at the retail show to sell to the consumer,” says Lorna Lloyd, CEO of the JCSA and Jewellex Chairperson.

“A wholesaler may appoint a retailer to represent its collections at the retail show.

“We’d like to gauge the interest of potential participants and would appreciate your input on whether you’d be interested in exhibiting at this event. If so, we need to know

whether you’d prefer a cocktail event to which consumers will be invited, or an exhibition event on the Saturday and/or Sunday. A cocktail event would possibly lend itself to a smaller group of exhibitors, while an exhibition event would be for a larger group of exhibitors.”

Potential participants can e-mail their input and/or queries to: lornal@jewellery.org.za Confirmation of stand bookings is only final upon receiving a signed application to exhibit.

ALICE WEIL TO CELEBRATE 101ST BIRTHDAY THIS MONTH This month, Alice Weil, an icon in the world of fine watches, jewellery and diamonds, will be celebrating her 101st birthday. Alice, who has been a part of the industry for over 40 years, only commenced her current career of captivating audiences with her fascinating and significant articles at the age of 60.

Alice was born on 14 March 1919 in Cape Town and attended the Michaelis School of Art at the University of Cape Town. She worked as a Junior Executive for Engelhard Industries and remained with them for 10 years. She then started writing short articles for SABC Radio’s Short Stories From Near and Far. With encouragement from her family, Alice accepted a writing position with SA Jewellery News (then known as Diamond News & SA Jeweller).

Her monthly column, Little Gems, is still a favourite read in the magazine.

KATHY STARNES PASSES AWAY It was with great sorrow that the SA Jewellery News team learnt of the passing of Ian Starnes’ beloved wife, Kathy. Ian – Sales Representative for SA Jewellery News, Jewellery Biz-News and its sister publications – and Kathy were married for 29 years and had five children: Matthew, Joshua, David, Michael and Rebecca. Kathy passed away after a long illness on 18 January, surrounded by her family.

“We’re deeply saddened by Kathy’s passing,” says SA Jewellery News publisher, Imraan Mahomed. “Our thoughts and prayers are with the Starnes family.”

SA JEWELLERY NEWS – MARCH 2020

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SAJN |NEWS

DE BEERS PLANS OVERHAUL OF SUPPLY POLICY De Beers plans to abandon its practice of using sightholders’ purchase history as the main factor in determining how it allocates rough supply, sources have told Rapaport News.

The move, which would go into effect from 2021, would see the miner shift to more subjective criteria for deciding the value of goods each client receives.

The current system, known as “demonstrated demand”, requires sightholders to buy the rough that De Beers has allotted them or risk losing access to the company’s diamonds in future. The method has faced criticism for encouraging dealers and manufacturers to take on unprofitable inventory.

But with the current sightholder agreement expiring at the end of this year, De Beers has told clients that demonstrated demand will not be the main driver of allocations in the new contract period. Discussions about the matter

HONG KONG FAIRS RESCHEDULED DUE TO CORONAVIRUS In line with the measures taken by the Hong Kong SAR Government against the spread of the coronavirus, and after consultation with representatives of the jewellery industry,

continued at the January sight in Botswana.

The proposals include studying data about clients’ business activities, as well as qualitative factors, to help determine whether companies should be on the client list, a sightholder explained on condition of anonymity. De Beers is also considering reducing the number of sightholders, according to a recent Bloomberg report that Rapaport News could not corroborate.

“We will be communicating directly with customers in the coming months about the new sightholder contract period, which will focus on maximising the considerable opportunities ahead in the diamond sector,” a De Beers spokesperson said. The company would not elaborate on the details.

The midstream’s accumulation of excess inventory contributed to a severe slowdown in the diamond market in 2019, with De Beers’ full-year sales falling 25% to US$4,04 billion. Last July, Dutch bank ABN Amro wrote to its clients urging them to buy rough only when it is profitable and attacked the practice of making purchases purely to maintain supply allocations. – Rapaport

the Hong Kong Trade Development Council (HKTDC) will reschedule its HKTDC Hong Kong International Diamond, Gem & Pearl Show 2020 (originally scheduled to take place from 2-6 March) and the HKTDC Hong Kong International Jewellery Show 2020 (originally scheduled to take place from 4-8 March) to 18-21 May 2020.

The twin shows will be concurrently held at the AsiaWorld-Expo.

JCSA ROADSHOWS 2020 TO TAKE PLACE IN JULY The JCSA has released the dates for the 2020 annual roadshows. They will take place in the following regions during July: • 7 July: Durban • 8 July: Port Elizabeth • 9 July: Cape Town • 16 July: Johannesburg The venues will be confirmed closer to the time. The roadshows are open to all JCSA members, as well as non-members.

JEWELLEX AFRICA 2020 DATE ANNOUNCED The date for Jewellex Africa 2020 has been confirmed. Jewellex Africa will take place at the Sandton Convention Centre, Johannesburg from 15-17 August.

Jewellex Africa is the premier trade fair of the South African jewellery industry and has been hosted by the JCSA for over 40 years.

The Jewellex Africa Trade Fair attracts exhibitors from all over the world, including Europe, the USA, the East and SADC countries.

This is the time when new merchandise lines and the most exclusive and extensive product ranges of watches, clocks, fine jewellery, pearls and precious stones, jewellery packaging, machinery, accessories and services available are offered to the local and international retail jewellery industry.

GIA EXAMINES ALROSA’S MATRYUSHKA DIAMOND Three months after Alrosa revealed its discovery of a diamond-within-a-diamond, the Gemological Institute of America (GIA) has proposed an explanation for how this mysterious phenomenon came about.

The GIA’s team, which examined the stone at its New York lab, found that over a period of millions or billions of years, approximately 0,11ct of diamond dissolved through two small channels that extended from the surface of the diamond to its inner cavity. The remaining diamond material created a 0,03ct crystal that is entirely detached and moves freely within its outer diamond shell, the institute said.

“We’ve never seen anything like this,” says

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Tom Moses, GIA’s Executive Vice-President and Chief Laboratory & Research Officer. “This is a truly unusual diamond, not only for the fact that there’s a small diamond crystal inside it, entirely detached from the host crystal, but also for the mystery of how this diamond-ina-diamond was formed.”

Alrosa discovered the diamond last year during sorting at its Nyurba division in Yakutia. The miner, which said the diamond was the first of its kind in history, named the stone Matryushka, the Russian term for “nesting dolls”.

The inner and outer diamonds had nearly identical “trace elements” – substances found in small quantities within the stone.

This confirmed that they were initially one solid diamond without the cavity, the GIA explained. The original diamond had been naturally irradiated, based on the clear-green colour of the inner stone and etchings on its surface which resembled Christmas trees.

Those patterns were caused by fluid containing radioactive elements that seeped through shallow fractures along the diamond’s edges, the GIA noted.

“Examining this nesting-doll diamond was a remarkable opportunity,” says Moses.

“The opportunity to examine it added to our understanding of how diamonds form.” – Rapaport

SA JEWELLERY NEWS – MARCH 2020

NEWS|SAJN

JCSA INITIATIVE TO ASSIST MEMBERS The Jewellery Council of South Africa (JCSA) is inviting members who wish to sell their businesses or those who would like to buy a business to contact the council. It is in the

process of putting together a register in order to help bring buyers and sellers together. “We often receive calls from companies and would therefore like to put a system in place to help

them,” says Lorna Lloyd, CEO of the JCSA. For more information, contact Bavina Vassan at the JCSA on tel: (011) 484-5528 or e-mail: bavinav@jewellery.org.za.

LOUIS VUITTON BUYS 1 758CT DIAMOND FROM LUCARA The Lucara Diamond Corporation has sold Botswana’s largest diamond to Louis Vuitton in a rare move that will see the fashion house partner with an Antwerp manufacturer to polish the stone.

The mining company will receive an upfront payment for the 1 758ct Sewelô rough and retain a 50% interest in the final polished, it said in a statement. While the diamond is of variable quality and appears black, recent analysis has confirmed that it includes “domains of higherquality white gem”, Lucara added.

“Lucara believes that the full potential of this special stone will only be revealed once polished,” the statement continued. “The purpose of this unprecedented collaboration between a miner, a cutting-edge manufacturer

SA JEWELLERY NEWS – MARCH 2020

and a large luxury brand will be the planning, cutting and polishing of a collection of diamonds from Sewelô.”

The selling price was in the “millions”, the New York Times quoted Louis Vuitton CEO Michael Burke as saying.

The polishing will take place via a partnership with Belgium’s HB Company.

Together, Louis Vuitton and HB have bought 50% of the rough, while Lucara owns the remainder and will continue to do so up until the polished stage.

The resulting jewellery, which Louis Vuitton will make, will commemorate the “extraordinary discovery” and benefit the people of Botswana, said Lucara CEO Eira Thomas. As part of the deal, 5% of the retail sales proceeds will go

toward Lucara’s community-based initiatives in the African country.

The move comes amid Louis Vuitton’s increased focused on jewellery, with the French brand hiring two former Tiffany & Co executives – designer Francesca Amfitheatrof and marketing expert Catherine Lacaze – in the past two years. Its parent company, LVMH, which also owns Bulgari, is in the process of acquiring Tiffany for US$16,2 million.

Lucara discovered the rough at its Karowe mine in April 2019, declaring it to be the largest diamond in Botswana’s history, surpassing the 1 109ct Lesedi la Rona it extracted at the same deposit in 2015. The company called the stone Sewelô, meaning “rare find” in Setswana, following a public naming contest. – Rapaport

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SAJN |COINS

SA Mint hopes to protect rhinos with new coin

The SA Mint, a wholly-owned subsidiary of the SA Reserve Bank (SARB), has announced the launch of the third coin in the Big 5 series featuring the indomitable rhino.

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SA JEWELLERY NEWS – MARCH 2020

COINS|SAJN THE “BIG FIVE” TERM ORIGINATED WHEN big-game hunters visited the shores of Africa to shoot for trophies and locals warned them about the five most dangerous animals on the continent: the elephant, lion, leopard, rhino and buffalo. In 2019, the SA Mint introduced the Big 5 coin series, a multi-year coin programme of exquisitely crafted, highly collectable coins that feature the likeness of these majestic creatures.

Issued bi-annually, the coin range consists of a Brilliant Uncirculated (BU) quality coin struck from 999,9 fine silver and a proof quality version of the same, the latter only available in a double capsule set. The range also includes a 24ct 1oz proof gold coin, a 1oz proof platinum coin and two combination sets – the Big 5 Rhino 1oz proof silver Ag 999 and Krugerrand privy marked 1oz proof silver Ag 999 set, and the Big 5 Rhino 1oz 24ct proof gold and Krugerrand privy marked 1oz 22ct proof gold set.

For those not lucky enough to have seen a rhino in the wild, the reverse should be of particular interest. It features two halves of the face of the rhino and when two coins are placed next to each other, a complete close-up image of the animal’s face can be seen. When multiple coins are placed next to each other, a herd of rhinos is formed.

The rhino populations in SA are not keeping pace with current poaching rates and conservationists continue to fight this battle.

From January-June 2019, the number of rhinos poached countrywide was 318, only a slight drop from the 386 rhino killed during the same period in 2018.

“The brazen slaughtering and dehorning of the rhino almost to the brink of extinction has spurred widespread outrage among activists to

advocates, but a lot more needs to be achieved on the demand side,” says Gerda Janse van Vuuren, Acting MD of the SA Mint.

The organisation will partner with the Wildlife Conservation Trust (WCT) during 2020 to support its work. The partnership will see a portion of the proceeds from the sale of the Big 5 Rhino coins go towards protecting the fastdwindling population of rhinos.

The WCT facilitates projects that focus on conservation, rehabilitation, research and the protection of wildlife, as well as education and training programmes relating to wildlife conservation and the environment.

“Awareness of the environment and enforcement of its protection are vital to reversing the complex socio-ecological problem facing national parks. The World Money Fair held annually in Berlin was an appropriate global platform for us to have a conversation on the conservation of rhinos. The rhino horn trade has grown beyond the medicinal myth and the horns are now largely sought after by wealthy individuals [as a status symbol]. The end, however, doesn’t justify the means,” says Janse van Vuuren.

The rhino is the third animal to be featured on this series, following the elephant and the lion. The obverse features a breathtaking design of the African rhino, which fills up much of the surface area of the coin. The words “South Africa” and “Big 5 2020” appear below the image, with SA’s national coat-of-arms in the centre signifying its legal tender status.

From some 500 000 rhino across Africa, Southern Asia and Indonesia at the start of the 20th century, human avarice has managed to wipe out about 95% of this population, with a mere 29 000 surviving in the wild, albeit under protection of guards armed with military-grade equipment and air support.

“As the SA Mint, we’re uniquely placed to use our coins to canvass support for causes

close to every South African. In 2019, we had the country talking about SA’s 25 years of constitutional democracy. With the launch of the Big 5 Rhino coin at the WMF, we hope to rally global support for our efforts to protect rhinos in the wild, rather than seeing them only on our coins,” says Janse van Vuuren.

Prestige Bullion, the joint venture between the SA Mint and Rand Refinery, also announced that they will soon be introducing the Big 5 as a bullion product in platinum and gold coins. This significant investment-grade coin programme will provide those wishing to diversify their portfolios with a greater choice, while propelling the mint into the impressive company of highly respected peers offering investment products in platinum, gold and silver.

The Big 5 gold and platinum bullion coins will bear the same design as the collectible BU and proof coins and will be issued in the same sequence: elephant, lion, rhino, leopard and buffalo, beginning in the first quarter of 2020.

About the SA Mint The SA Mint is the continent’s leading manufacturer of legal coin tender, as well as commemorative and rare collectible coins. With over 100 years’ experience in supplying symbols of value to the African and global markets, we pride ourselves on delivering products that represent our commitment to uniquely African design and supreme craftsmanship. We collaborate closely with our customers to develop distinct and durable monetary products that capture and preserve the heritage and pride of a nation. The SA Mint is a wholly-owned subsidiary of the SARB, established in accordance with the SARB Act 90 of 1989, as amended.

As the SA Mint, we’re uniquely placed to use our coins to canvass support for causes close to every South African. In 2019, we had the country talking about SA’s 25 years of constitutional democracy.

With the launch of the Big 5 Rhino coin at the WMF, we hope to rally global support for our efforts to protect rhinos in the wild, rather than seeing them only on our coins.

SA JEWELLERY NEWS – MARCH 2020

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Piyuve Jewellers cc is an Empowerdex verified Level One Contributer to BEE

JEWELLERY TRENDS|SAJN

Set to sparkle in 2020 Whether it’s big, bold, bright or ballshaped, this year’s jewellery will be all about making a statement.

STAYING TRUE TO THE MILLENNIAL FASHION ethos, responsibly sourced materials and new, unique styles will play a big role in this year’s jewellery trends.

Rapaport took a look at the top picks for 2020 according to Vogue, Forbes, Harper’s Bazaar and Cosmopolitan.

Going natural Raw materials such as driftwood, seashells and raffia will be popular this year, with designers such as Hemmerle, Chaumet, Prada, Miu Miu and Simone Rocha raising the bar on luxury using these simple items.

Nature-inspired themes will hit store shelves as well, with designs featuring the sand and sea featuring prominently. Aviary pieces and tortoiseshell designs will also be top-sellers.

All the hoopla Hoops will take on a new twist, with different designs modernising the traditional staple.

Expect tubular shapes, paint- and enameldipped pieces and eclectic materials such as stone, lucite and ribbons.

Having a ball Three-dimensional, round shapes will be big items, featuring balls, globes of metal and

SA JEWELLERY NEWS – MARCH 2020

glass, multi-coloured beads, round pearls and pendant orbs dangling on the ends of chains, as earstuds, or clumped together on neckwear.

Finding the link Ultra-large, chunky link chains are expected to be all the rage, worn as bracelets, necklaces or rings, and stacked, piled and layered on top of each other. More is more, both in terms of size and quantity, according to experts.

All choked up Chokers are in, appearing in all shapes, sizes, styles and materials, as long as they make a statement. From thick gold bands that cover the whole neck to chunky chains and lucite tubes, bolder is definitely better.

Taking the long way On the opposite side of the spectrum, long, dangling, lariat-style, bolo and elongated Yshaped necklaces are headlining the runways.

These sport balls, tassels, charms and sweeping chains. Draped like a scarf, or decorating the décolletage, they often have adjustable slides that can change the length.

Bright colour to no colour See-through jewellery made from clear crystal, stone, lucite and other materials dominated 2020 jewellery preview catwalks, juxtaposed with pieces featuring a splash of colour, such as bright enamels, vibrant beads and multicoloured rhinestones.

Other popular trends include full-body jewellery that resembles clothing, earcuffs, mixed-metal pieces and statement earrings worn in only one ear. – Rapaport

Raw materials take centre stage in jewellery this year, with top designers taking natural elements to new and luxurious levels.

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Finest Gemstones & Beads Cape Town: 021 422 4677 or 021 424 0063 or 076 162 3741 Email: info@ajanta.co.za or gems@ajanta.co.za www.ajantaafrika.com

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

Written by Dr PetrĂŠ 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 6

ISSUE 6 MANAGING A JEWELLERY WORKSHOP

• Job instructions • Control systems required • Short description of manufacturing processes • Safety rules • Costing and quoting for profit

Retail jewellers often employ one or more goldsmiths for repair jobs or to produce custom-made items. These goldsmiths either work in sight of passing customers - in order to create interest and to promote the services offered - or in a small workshop in the back. Few retail jewellers have an intimate knowledge of jewellery manufacturing, let alone managing a workshop. This chapter will not make you an expert goldsmith, but provides essential information on how to manage a small workshop.

1. JOB INSTRUCTIONS Whether you have your own workshop or use an outside manufacturer, your job instructions and control over the precious stones and metals issued to the goldsmith are of prime importance.

When the order is returned, a quality check and costing must be done, an invoice prepared and a valuation certificate issued, if required. The job is then prepared for dispatch or is safely stored for collection.

Normally a pre-printed job order form (job sheet) is completed in duplicate. It is essential that all items issued to the goldsmith are documented properly and that your instructions and technical drawings are clear and well understood by him/her.

An outside goldsmith should issue you with an invoice for each job and a summary statement of jobs he has done at month end.

It is also important to know what tools and techniques a goldsmith uses in order to knowledgeably discuss jobs given to him.

2. CONTROL SYSTEMS Large workshops can usually afford a manager and a computerised system to control their inventory and the scheduling of jobs.

In smaller workshops, where goldsmiths work without supervision, a manual system needs to be followed diligently in order to control the following:

SUCCESSFUL START-UP AND MANAGEMENT GUIDELINES

TOOLS, EQUIPMENT AND CONSUMABLES A senior goldsmith should be responsible for maintenance and re-ordering of tools, equipment and consumables. All workers must sign for whatever they receive so that a check on their usage of tools, etc, can be done periodically.

Solutions: Install a metal trap under the wash basin, proper filters in the air-conditioners and a removable carpet. Use an industrial-type vacuum-cleaner in the workshop regularly, collect the paper bags and, after a few years, send all these filters to a reputable metal refiner.

For your own peace of mind, first mix properly and then split the grime and precious metal deposit that accumulates in the trap under the wash basin into two equal weights. Then give each to a different refiner and compare their metal returns. You may be surprised at the amount of precious metal you recover and which refiner to trust.

PRODUCT QUALITY The following aspects should be checked and evaluated to ensure that a job has been executed to the required quality.

Essential tools of a goldsmith. Clockwise, from top left: Ring mandrel, ring size stick, fret saw, chasing hammer, spring divider, rotary burs, 10 x loupe, sandpaper stick, hand file, needle files, pickle tweezer, metal shears, pliers, bench brush, gravers, steel bending block, bench anvil, doming punch, bent hallmark punch, hand vice.

PRECIOUS METALS Some workshops issue metal for each job and the goldsmith returns the completed item, a melted bar for the balance and an indication of the hours he has used.

Metal loss is calculated for each job.

Timeous delivery / Completion within time estimated / Accuracy of specifications according to design / Symmetry of piece / Piercing and soldering / Polishing / Neatness / Overall look.

LABOUR It is essential that your workers sign an attendance register as they come and leave the workshop. Larger workshops will probably control the movement of their workers with an automatic clock-in system.

SECURITY

Other workshops prefer to issue a larger volume of metal at the start of a period to each goldsmith. The goldsmith is then responsible for his metal reconciliation at the end of the period. This system is less cumbersome, but requires a larger gold inventory and carrying costs.

This is an essential part of managing any workshop where workers have access to precious materials. Buzz-in steel gates, CCVT cameras and a workshop security protocol need to be in place.

Please note: The weight of all precious metals purchased, worked and sold by the workshop must be recorded in a prescribed register (Form PMR4) and submitted annually to the SA Diamond and Precious Metals Regulator.

HAZARDS AND SAFETY

In all workshops a precious metal “loss”, varying between 1-5% of the weight of items produced, is to be expected.

Such metal is “lost” during the casting, filing, piercing, polishing and setting processes. It “disappears” into the floor covering, wash basin, polishing wheels, airconditioners, hands and clothes of bench workers and needs to be recovered as far as possible.

Labour law requires that a safe and healthy environment is provided for all personnel. A goldsmith’s workplace is not easy to keep clean and many health risks are associated with the job. This is described in detail in a following section.

ISSUE 6

PRODUCTIVITY

OTHER ESSENTIALS

One of your most difficult tasks will be to measure and control the productivity of your goldsmiths. Firstly, it is necessary to establish (obtain) industry time and quality standards for various types of jobs against which the production of each of your goldsmiths has to be compared.

• Training aspects

For instance, if your worker produces 10 items in a certain month in which there were 160 hours available, and the total standard time value of these 10 items (ie, how long it should take a qualified goldsmith to make these items) is 110 hours, then your worker’s productivity is; 110/160 = 69% (a normal productivity figure for the industry).

• A balanced team

Secondly, jobs should be grouped according to their complexity and allocated according to the individual skills of each worker. For example, do not let a highly skilled goldsmith spend time on polishing.

Thirdly, a goldsmith needs to plan ahead and concentrate on the job at hand. Limit interferences such as untimely questions and requests, play music that is acceptable to all and make sure that his workstation is ergonomically correct.

Sending your workers on training courses, employing a consultant for in-house training, or embarking on a learnership programme will be time and money well invested.

Always hire the best craftsmen you can afford. Make sure that your team does not get top-heavy, ie, that all of them are at retirement age or are at the same skills and salary levels.

Do not be concerned if goldsmiths leave to broaden their experience. They may return to your workshop as betterqualified workers.

• Union representation If your workers wish to belong to a union, encourage them.

Make sure that you follow all legal and labour requirements.

Hire a consultant if you need assistance with redundancies, short time and productivity issues. It will save you money.

3. A SHORT DESCRIPTION OF MANUFACTURING PROCESSES A jeweller needs to understand the processes whereby jewellery is made. He needs not only to appreciate the goldsmith’s skill, but also to know what design features are practical and possible.

HAND-MADE ITEMS Melting of precious metal is done in an electric oven or using a gas flame to melt granules of metal in a crucible. The melt is poured into a metal mould to form an ingot.

Shaping the ingot. The ingot is then rolled by hand or an electrical roller into a bar of required dimensions or into a sheet of metal. Wire is made by pulling a thin bar of metal through the holes of decreasing diameter in a draw plate.

Designs are transferred to the metal with a prick punch and a scriber using dividers and calipers.

Metal is bent by various types of pliers, steel bending blocks, hammers and anvils.

Metal is pierced by an electronic hand-held drill using various types and sizes of drill burs.

Metal is removed by filing with hand-held files or by using a lathe and diamond tool.

After being rolled or stretched a few times, most metals become hard and brittle and need to be annealed (heated to a certain temperature) before further work (formation) is possible.

Pieces of metal are combined by soldering using a gas flame and small pieces of solder that melt at a lower temperature than the metal. Some metals are welded without the use of solder or are combined in a furnace under pressure.

The metal is cut by shears and sawed by a jeweller’s fret saw which contains a thin, wire-like saw blade.

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SUCCESSFUL START-UP AND MANAGEMENT GUIDELINES

MASS-PRODUCED ITEMS There are many techniques for the mass reproduction of jewellery. The most widely used is called the lost wax casting process, while modern computer-assisted techniques have recently changed the face of jewellery-making. Jewellers should know the basics of these techniques.

• Lost wax casting Firstly, a model of the item that needs to be reproduced is made in silver by a model-maker. This is a specialist technique because the final item will be somewhat smaller than the model due to shrinkage that occurs during the casting process.

Secondly, a rubber mould is produced from the original model using a vulcanising process. Molten wax is squirted under pressure into this rubber mould to produce an exact wax replica of the original model. As many as required of such wax models can be made.

Thirdly, these wax replicas are then waxed together to form a “tree” which is placed in a metal cylinder and a slurry of investment (a type of plaster of Paris cement) is poured into the cylinder containing the wax tree. Once the investment has dried and hardened, it is heated so that the wax melts and flows from the mould (ie, the lost wax process).

Fourthly, molten gold is forced or sucked into the voids inside the hardened investment mould using either centrifugal forces or a vacuum system. The gold is allowed to cool and the investment mould broken to reveal a tree made from gold which is an exact replica of the wax tree.

Lastly, the individual items are cut from the gold tree and either filed and polished by hand, or tumbled for some days in a slowly rotating drum which contains water and fine

Rubber mould in front, wax tree with set gemstones (left) and casted gold tree (right).

polishing powder. The result - a large number of duplicated and polished gold items that were produced with relatively little labour input.

• Computer-assisted techniques Computer-aided design (CAD) combined with computeraided machining (CAM) programs and machines have been developed to assist the modern designer and manufacturer to produce jewellery in a most efficient way.

The use of CAD/CAM allows the designer to create intricate 3-D models on a computer screen which can be rotated and altered at will. Such intricate designs could not in the past be Computer-designed ring. manufactured by hand tools, but today rapid prototyping (RP) techniques are available that can produce a useable production model directly from a CAD design. In some cases, a wax model can be produced in 60 minutes.

In fact, your client can try on a wax replica of the final item within an hour after it has been designed.

Two different technologies are used to produce wax models.

In the one, called stereolithography, the computer cuts the CAD design into multiple slices which are then used to build a wax model slice by slice. A total production system can cost up to half a million rands.

Wax model being built “layerby-layer”.

The other technology uses a subtractive process whereby a computer-controlled milling machine carves the CAD design from a solid wax block. This is a less expensive process and quite user-friendly, but does not allow as many geometric permutations as in stereolithography.

The subtractive technology has also produced a milling machine that cuts a CAD design directly from precious metal. This is obviously a time-consuming process which may need 1015 hours to produce a perfect metal model that can be sold as a one-off item, or from which a rubber mould can be made for mass production.

Milling machine cutting a ring.

Photo: Bob Lombardi.

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ISSUE 6

4. DANGERS IN THE WORKSHOP SAFETY RULES

Every bench jeweller has a tale of injury, pain or illness caused by ignorance or carelessness in the workplace. Even salespeople are at risk. They often run into the workshop to consult with the goldsmith or clean an item (while the goldsmith is on lunch) without any knowledge of the dangers lurking on the bench.

Manufacturing jewellery requires the use of acids, poisons, open flames, abrasives and solvents, often in limited space with poor ventilation. It is of the utmost importance that proper safety rules and training procedures are in place.

• Have an electrician check your electrical load regularly and remove all unwanted wires.

• Always wear darkened protective goggles when melting.

FUMES AND GASES Your workshop is full of fumes, some smelly, others poisonous. They emanate from soldering, hot alloys, flux, burning wax, vulcanising rubber, glues, epoxy, solvents, alcohol, ultrasonic cleaning solutions, lye, etc. Cadmiumbased solders can damage the brain, nervous system, kidneys and lungs. Fumes from fluoride-based fluxes can convert to hydrofluoric acid in the lungs. Sulphuric acid can irritate both skin and lungs. Zinc, copper and nickel, used as alloys, also cause damage to the body.

To prevent problems with fumes:

FIRE AND HOT OBJECTS Fire is part of jewellery-making and a variety of risks are associated with it. For instance, when using boric acid and alcohol as a firescale retardant before soldering, the container can easily be knocked over, resulting in a fire on your bench. Having a lit torch close at hand and an unaware salesperson bending over your bench will sooner or later result in burnt hair or clothing.

Watch out for the salesperson picking up a ring soon after it has been soldered. Torches are connected to gas tanks which can explode when knocked over. Overloaded electrical systems can also spark a fire. During the melting of metal, intense lightwaves are generated that will damage the unprotected eye.

To prevent problems with hot objects: • Determine all the fire hazards in your workshop and keep the proper kind of fire extinguishers on hand.

• Clamp and label gas tanks properly.

• Provide excellent downdraft ventilation at the work sites.

• Create a well-ventilated space for soldering and epoxying.

• Clean exhaust hoods and filters regularly.

• Keep all solvents, acids and fluxes tightly capped when not in use.

SOLVENTS, ACIDS AND CYANIDE Ultrasonic solutions look innocent, but the mix of ammonia and liquid detergent can cause dermatitis, as well as cracking and sensitisation of the skin, allowing dangerous materials to enter the body. Far worse is the lye solution which is used to clean extremely dirty jewellery.

Most plating solutions contain cyanide, which is deadly.

It enters the body through fumes or ingestion, as well as through the skin. Low exposure can cause breathing difficulties, eye irritations, heart pains, nausea, vomiting, loss of appetite and an enlarged thyroid. High levels damage the brain and heart and cause death.

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SUCCESSFUL START-UP AND MANAGEMENT GUIDELINES

To prevent the risk of solvents, acids and cyanide:

• Supply downdraft ventilation.

• Inform your staff of the dangers.

• Wear a respirator when investing or quenching.

• Use copper wire hooks to dip jewellery into the ultrasonic bath.

• If possible, isolate dust-producing areas, such as those used for casting and polishing.

• When working with acids, use a fume hood, goggles, rubber gloves and aprons.

CREATE A “SAFETY FIRST” CULTURE

• Keep a neutraliser such as baking soda readily available.

• Store chemicals in their correct containers with correct labelling.

• Store acids in unbreakable containers in a proper cabinet and not near cyanide solutions. If spilt together, they form hydrogen cyanide gas like that used in execution gas chambers.

POWER EQUIPMENT Your polishing machine is a dangerous beast. It can slice flesh, amputate fingers, catch hair and has sometimes scalped a jeweller.

When sharpening tools on a grinding machine, flying sparks of molten metal can blind you.

To prevent accidents while polishing: • Tie hair back or tuck it under a cap.

• Never let sales staff polish a chain.

• Always wear protective goggles when sharpening tools.

AIRBORNE PARTICLES

Polishing jewellery spins particles of polishing compounds into the air.

Soldering on asbestos pads blows off microscopic fibres. Sawing and sanding create fine particles of copper, zinc and nickel that are inhaled.

Safety should become part of the accepted routines in the workshop. Here are some tips: • Provide the necessary safety training and equipment, and insist on its use.

• Write safety instructions and post them in strategic places.

• Check all equipment for wear, damage and dirt. Put one person in charge of replacement and cleaning.

• Keep the workshop clean.

• Make sure all exits are marked and free of obstacles.

• Dispose of all chemicals and solvents correctly.

• Keep first aid boxes stocked and available.

• Do not combine the workshop and lunchroom.

• Wash work clothes and aprons frequently. Clean up spills immediately.

• Use brightly coloured tape to indicate “no-go” areas for sales staff.

• Wash your hands regularly.

The body cannot expel particles of metal and asbestos, and over time, they scar the lungs. Fine copper and nickel particles can damage the eyes and irritate the skin. The silica found in Tripoli and in casting investment can cause silicosis.

To prevent illness from free-floating dust: • Wipe dust frequently with damp cloths.

A medieval goldsmith polishing jewellery. Note the cleanliness of his bench.

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ISSUE 6

5. CALCULATING PRODUCTION COSTS If a jeweller employs one or a team of goldsmiths, he needs to know what the average cost per hour per goldsmith is.

Without such information, he/she will not be able to quote responsibly on repair work or custom-made items and will soon find that the shop’s cash flow and profit margin are under pressure.

The beginner immediately wants to win clients and often under-quotes, due to lack of market research and insufficient knowledge of his “real” costs. The real cost of any worker consists of: A. Labour cost.

B. Overhead cost.

You also need to know how many bench hours are available to him/her per year.

Calculate as follows using your specific working conditions: 52-week year (40h/week) = 2 080 hours Less: Vacation (2 weeks) = 80 hours Ten days’ paid holiday = 80 hours Two coffee breaks daily = 120 hours Thus the total hours your worker is available (at the bench) per year = 1 800 hours

Overhead cost is made up of:

Divide this into his total annual labour cost: R227 200/1 800 = R126

(i) operational costs, and (ii) the cost of support services.

He/She is thus costing you R126 per hour at the bench - if he/she is 100% productive!

If a bench worker is paid R10 000 salary per month, his/ her real cost to the business could be very much more. Do the following calculation using figures that are related to your own business:

However, no worker can be 100% productive during the hours he/she spends at the bench. Interferences, extra smoke breaks, remakes and inexperience lower his/her “productivity”. Because you cannot sell non-productive hours, you have to establish how many “productive hours” each of your workers is capable of, and then calculate the cost of a “productive hour” for each worker.

Let us assume your goldsmith works 40 hours a week for a monthly salary of R17 000.

How to calculate “productivity”

A. BASIC LABOUR COST

Thus: Basic annual labour cost: 12 x R17 000 = R204 000 Plus: Bonus (13th cheque) = R17 000 Annual trade union fees = R500 Membership of trade organisation = R500 Government training levies = R1 500 Workmen’s compensation = R300 Unemployment insurance = R400 Medical aid contribution = R3 000 Total annual labour cost: R227 200

•

Compile a standard hourly rate for each type of job you normally do. You would be wise to let your goldsmith(s) assist you with this, ie, get their commitment and acceptance of how long each type of job should take.

Use independent goldsmiths (whom you probably use in busy periods) to verify the times indicated by your own team or ask for a price list that indicates hours charged per job type, from an independent workshop.

• Add up the actual time that your worker took to complete a number of jobs during a specific time period (use at least his/her production over one month) and compare this with the sum of the standard time it should have taken to do these jobs. This will indicate the “productivity” of your worker.

If he/she is 70% productive, it means that you can sell only 70% of the 1 800 hours available per year, ie, 1 260 hours per year. You should thus calculate what he/she costs you per productive hour.

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SAJN |JEWELLERY DESIGN

Some jewellers of the modern world, more than others, have created designs that have inspired and awed their own and subsequent generations.

The House of Cartier The House of Cartier was formed in 1847, when Louis-François Cartier took over the Paris jewellery workshop of his teacher, Adolphe Picard. His son, Alfred Cartier, had three sons – Pierre, Jacques and Louis – all of whom played a major role in establishing the company as it is known today.

Louis-François Cartier was a master jeweller whose designs have inspired, and continue to inspire, the Cartier brand. Pierre opened and managed their London store in 1902 and another store in New York in 1906. After the death of his two brothers in 1942, these houses fell under different management, while Pierre retained his shop in Paris

The most famous jewellers of all time until he retired to Geneva in 1947. He once owned the famous Hope Diamond, which he sold in 1911 to Evelyn Walsh McLean. In the 1970s, French industrialist Robert Hocq acquired Cartier and his only daughter, Nathalie, established “Les Must de Cartier” to serve the younger generation. In the late 20th century, the Rupert family of SA – through their investment vehicle, Richemont – obtained the controlling interest in Cartier.

Tiffany’s In 1841, Charles Tiffany imported a range of paste jewellery from France to the USA. The success of this venture prompted him to sell “the real thing”. He became famous when, in 1848, he acquired part of the French crown jewels after the regime of King Louis-Philippe I collapsed.

When the crown jewels of Marie Antoinette were auctioned by the French government in 1887, Tiffany’s again bought the bulk thereof.

Tiffany’s was one of the first large jewellery

houses to recognise the emerging engagement market. Today it still claims to be one of the largest sellers of diamond engagement rings.

Harry Winston Harry Winston’s fame as a jeweller started when he bought the entire jewellery collection of Arabella Huntington, wife of a railroad magnate. This collection, whose designs were somewhat oldfashioned, originally came from Cartier in France. He redesigned the pieces, which he cleverly used to establish a name as a skilful creator of high-quality jewellery.

Operating from New York and Los Angeles, Winston became known as “the jeweller of the stars”. In 1958, he furthered his fame by donating the Hope Diamond to the Smithsonian Institute.

Two decades after his death, his sons Ronald and Bruce engaged in a lengthy court battle over the sale of the company, which was finally resolved in 2000 when Fenway Partners, a private investment group, invested $100 million in the jewellery store chain, with $54 million of it used to buy out Bruce’s share of the business, leaving Ron, the Chairperson of the company, in charge. Today the company has diversified into diamond mining in Canada and Africa.

René Jules Lalique Reputedly the world’s best glassmaker, Lalique is also regarded as the foremost jeweller of the Art Nouveau period.

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SA JEWELLERY NEWS – MARCH 2020

Photo: Sailko - Supported by Wikimedia

When his father died in 1876, he started an apprenticeship with Paris jeweller Louis Aucoc and thereafter studied design at Sydenham College in London. By the mid-1880s, he had started his own workshop and quickly acquired illustrious clients such as Cartier and Boucheron.

His designs incorporated unusual nature motifs such as running water, exotic animals and the naked female form. Iconic actress Sarah Bernhardt and art collector Calouste Gulbenkian became his patrons and furthered his fame. Each new exhibition of Lalique jewels created a stir in the art world and defined Art Nouveau design. However, he became disillusioned with the many poor-quality imitations that his jewels had inspired and, from 1910 until his death in 1945, he devoted his talents entirely to the design and creation of glassmaking.

Lalique glassware – especially his vases – are among the most sought-after collector’s pieces around the globe.

He mass-produced his glassware and often frosted his work to give it a personal touch.

The price of a Lalique piece can vary enormously. A small, colourless vase in average condi-

Photo: Ji-Elle - Supported by Wikimedia

JEWELLERY DESIGN|SAJN

tion can sell for $1 000 or so, while the very large and rare Art Deco vases can fetch up to $1 million dollars apiece.

The most important value determinants of Lalique glass are: • Condition: The presence of chips, ground-down edges indicating repair, drill holes from converted vases, etc, lower the value dramatically.

• Colour: A colourless vase can fetch US$1 000-2 000, while a similar one in red could cost US$8 000 and one in electric blue more than US$25 000.

• Authenticity: The original designs are difficult to fake. However, modern Czech glasswork with Lalique signatures is plentiful (through e-Bay, etc). Lalique marked even his mass-produced items with his signature, “R Lalique”. It can be found in script, print, moulded and curved designs. In the earlier Lalique signatures, the capital “L” has a curlique top, making the letter resemble an “S”.

His fame as a master glassmaker eclipsed his genius as a goldsmith and he is regarded as one of the most influential figures in art history.

The House of Fabergé Famous Russian crown jeweller Peter Carl Fabergé (1846-1920) produced elaborate objets d’art and objects of vertu which are characterised by his extreme skill and precise craftsmanship.

These included enamelled Easter eggs (including a magnificent series for the Romanov tsars), dinner services, frames, boxes and

some jewellery. His designs borrowed from the French rococo style and Art Nouveau ideals, but could also be plain and sombre.

Today, most Fabergé creations are highly collectible and very expensive.

The House of Cartier was formed in 1847, when Louis-François Cartier took over the Paris jewellery workshop of his teacher, Adolphe Picard. His son, Alfred Cartier, had three sons – Pierre, Jacques and Louis – all of whom played a major role in establishing the company as it is known today.

SA JEWELLERY NEWS – MARCH 2020

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BRAND MANAGEMENT|SAJN

Breitling’s Aviator 8 Curtiss Warhawk editions Three new Breitling Aviator 8 watches honour Curtiss Wright, a renowned American aircraft manufacturer, and the Curtiss P-40 Warhawk, its most famous plane.

The P-40 Warhawks were manufactured between 1938 and 1944. With the release of two chronographs, one featuring a Breitling Manufacture Calibre 01 and an understated three-hand watch, Breitling makes it clear that aviation remains an essential part of its brand DNA.

These three new watches – the Aviator 8 B01 Chronograph 43 Curtiss Warhawk, the Aviator 8 Chronograph 43 Curtiss Warhawk and the Aviator 8 Automatic 41 Curtiss Warhawk – salute a partnership between two true aviation pioneers.

The Aviator 8 watches reflect the proud aviation heritage of two important brands, but – with their modern retro flair – they are sure to appeal to a new generation of watch enthusiasts.

Son of Earth Tobacco The gold bezel and lateral inserts of the ArtyA Son of Earth Gold Tobacco are intricately hand engraved by one of the most talented engravers of the world, Bram Ramon, creating a look that is truly unconventional.

It frames an even more unconventional dial, which is fully clad in genuine tobacco leaves delicately hand-“dialised” by artist Dominique Arpa-Cirpka.

“Working with living materials is always

a challenge,” explains Yvan Arpa. “We had to stabilise the material to make it as lively and expressive as possible, while ensuring it would stand the test of time. After carrying out a great many tests, we can now guarantee that the Tobacco will age just as well as the timeless passion of its owners.”

The mechanism behind this unique piece is an exclusive ArtyA Aion automatic COSC-certified movement. It is a unique watch, numbered 1/1.

MB&F creates timepiece dedicated to women Now in its 14th year of creating collaborative works of audacious horological art for the wrist – and sometimes for the tabletop – MB&F has finally created a timepiece dedicated exclusively to women.

The Legacy Machine FlyingT is a threedimensional creation, with a steeply cambered bezel and slender, bevelled lugs on a round case that is fully set with diamonds. The high, convex domed sapphire crystal hovers over a curved dial plate. An asymmetrical opening frames a raised flying tourbillon escapement,

SA JEWELLERY NEWS – MARCH 2020

the carriage of which is topped by a single large diamond.

A dial of white or black lacquer with blued gold hands sits on a 50° tilt at the 7 o’clock position. The watch is set with either round brilliant or baguette diamonds.

The timepiece features a mechanical automatic MB&F flying 60-second tourbillon movement with sun-motif rotor made of 18ct gold, titanium and platinum and vibrates at 18 000 VPH. It has a 100-hour power reserve. Functions include hours, minutes and a flying tourbillon.

The 18ct white gold case is set with diamonds and features high-domed sapphire crystal with an anti-reflective coating on both sides and sapphire crystal on the back.

It is 38,5 mm x 20 mm in diameter, with two crowns: winding on left, time setting on right.

The watch is water-resistant to 30 m.

Its strap is of calf or alligator leather and it is available with 18ct white gold pin buckle, set with diamonds.

Other versions include a diamond-set Black Lacquer edition featuring 168 stones (120 on the case, 21 on the buckle, one on top of the tourbillon cage and 26 for the crowns), totalling

1,7ct; a pavé diamond edition: 558 stones (390 on the dial, 120 on the case, 21 on the buckle, one on top of the tourbillon cage and 26 for the crowns) totalling about 3,5ct, and a baguette diamond edition: 294 baguette diamonds and three stones (134 baguette diamonds on the dial, 124 baguette diamonds on the case, 12 baguette diamonds on the buckle, 24 baguette diamonds, two stones for the crowns and one stone on top of the tourbillon cage), totalling about 8,2ct.

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THE PERFORMANCE CATALYST|SAJN

Nigel Smith, a results catalyst, aims to help people and businesses achieve goals by equipping them to innovate, relate, sell, coach and lead.

COACHING IN BUSINESS IS not a luxury, but a necessity – a key business imperative.

Unfortunately, though, I have not encountered it very frequently in the corporate world. When I ask managers and team leaders to list their key roles and responsibilities, they tend to list everything except the competency of coaching their staff.

Let us consider two definitions of it. According to Margaret Marshall PhD: “Coaching is the process of helping others embrace, make and sustain change.” And according to Neil Flanagan: “Leaders/Managers have a two-fold role. They must correct their employees’ performance problems and also help them grow professionally, so that they can contribute to the organisation while advancing their own careers. This means that to be effective, managers must be coaches, employing faceto-face techniques for solving performance problems, and for helping staff develop to their fullest potential.”

Who needs a coach? Answer: Everyone.

Whether someone is a top performer, the new kid on the block or a resistant challenger, everyone will benefit from intentional and effective coaching. Employees do not all perform 100% all the time in every area. The same goes for their level of motivation and commitment, which wanes depending on circumstances, events, seasons, etc.

Who should be the coach? The person who has the biggest impact on any subordinate’s job role – and that person is usually their immediate manager or superior. The inherent problem with this scenario (as we have all probably ex-

Coaching in business: The ultimate success factor perienced) is that, traditionally, promotion to a management role is based on having excelled at a technical/operational skill level. Then, overnight, the incumbent is expected to jump into the deep end of managing and coaching people, without the necessary knowledge and competencies. This is a tough reality. We have all heard the saying that “people do not leave companies – they leave their managers”. Ouch!

Coaching is essential for the leaders of any organisation who want to seriously drive their business forward and succeed. Coaching is no longer only a remedial action for poor performance – it is a discipline, a function and a core competency that improves performance.

Coaching develops capacity: developing new ways of thinking, feeling, acting, learning, leading and relating to others, which builds individual and organisational effectiveness. We see

Coaching is no longer only a remedial action for poor performance – it is a discipline, a function and a core competency that improves performance.

SA JEWELLERY NEWS – MARCH 2020

it in the sporting world all the time. We watch our national sporting teams at stadiums which seat 50 000 spectators, where the players all have about five different dedicated coaches.

Yet we have all had and benefited from some form of coaching, be it from parents, caregivers, teachers, lecturers, family members, sports coaches and others, so why does this stop as we enter the business world? Why is there an unrealistic expectation that once we leave our formal education, we should know it all?

In today’s world of continuous change and fast working pace, there is a great need for good coaching from all leaders to make the most of their employees’ untapped potential, skills and creative capacity. It is coaching that will get individuals and teams to work together effectively to achieve the vision and goals of the organisation. And the great news is that coaching skills can be taught to anyone willing and able to learn, apply and adapt.

The benefits of coaching include increased performance and productivity; a culture of learning and feedback; better cross-functional collaboration; creativity and innovation; purposed and motivated individuals and teams; and better adaption to change. Coaching is a win-win, both for individuals and the business.

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WATCHES|SAJN

Rolex’s remarkable legacy The history of Rolex is inextricably linked to the creative spirit of Hans Wilsdorf, its founder. In 1905, at the age of 24, Wilsdorf and Alfred Davis founded a company in London specialising in the distribution of timepieces.

IN 1908 WILSDORF REGISTERED “ROLEX” AS his brand and, from the outset, concentrated on the quality of the movements. Wilsdorf’s unrelenting quest for precision rapidly led to success and in 1910, a Rolex was the first wristwatch in the world to receive the Swiss Certificate of Chronometric Precision from the Official Watch Rating Centre in Bienne.

In 1919 Rolex moved its base of operations to Geneva and, over the next century, relentlessly pursued excellence and became the iconic company we all know so well.

Rolex has achieved some notable successes. In 1926, it created the Oyster, the first waterproof and dustproof wristwatch and in 1927, a Rolex Oyster crossed the English Channel, worn by a young English swimmer named Mercedes Gleitze. The swim lasted over 10 hours and the watch remained in perfect working order at the end of it.

In 1931, Rolex invented and patented the

world's first self-winding automatic mechanism with a perpetual rotor.

In 1953, Sir John Hunt’s expedition, in which Sir Edmund Hillary and Tenzing Norgay reached the summit of Mount Everest, was equipped with Oyster Perpetuals and in 1953 Rolex launched the Submariner. This was the first diver’s watch waterproof to a depth of 100 m.

In 1956, the Oyster Perpetual Day-Date made its début and was the first wristwatch to display the date and day of the week.

1967 saw the launch of the Oyster Perpetual Sea-Dweller, waterproof to a depth of 610 m to meet the needs of professional deep-sea divers.

During the late 1970s, Rolex introduced its Crown Collections. Each highly jewelled piece was made with unique reference numbers relating to the precious stones used.

In 2018, for the second consecutive year, Rolex topped the list of the most reputable companies on the planet. “The Swiss watchmaker’s retention of the top position comes on the back of strong scores in various categories, but – most remarkably – in the perception of its performance, products and services,” wrote Forbes magazine in February that year.

Today the Rolex Daytona remains one of the most highly sought-after watch by collectors and there is often a waiting list for the purchase of new models. Expect to pay about £9 100 for a new one and from about £8 000 for a pre-owned one. It got its name from the “24 Hours of Daytona”, now currently known as the “Rolex 24” – a 24-hour sports car endurance race held annually at Daytona International Speedway in Daytona Beach, Florida.

On 26 October 2017, legendary actor Paul Newman’s Rolex Cosmograph Daytona became the most expensive watch ever sold on auction at the time, going for £12,7 million to an anonymous telephone bidder. It was certainly a unique piece.

In 2018, for the second consecutive year, Rolex topped the list of the most reputable companies on the planet. 'The Swiss watchmaker’s retention of the top position comes on the back of strong scores in various categories, but – most remarkably – in the perception of its performance, products and services,' wrote Forbes magazine in February that year.

SA JEWELLERY NEWS – MARCH 2020

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SAJN |JEWELLERY

February was the month of romance and love and the Table Mountain Aerial Cableway Company (TMACC) and Shimansky partnered to celebrate with their #WonderOfLove campaign.

AS PART OF THE TABLE MOUNTAIN AERIAL Cableway Company (TMACC) and Shimansky’s #WonderOfLove campaign last month, visitors were able to purchase the sunset special, which allowed them half-price return tickets after 6 pm every day until 29 February 2020.

While they were visiting the top of the mountain, they were able to view the desirable Shimansky Table Mountain ring collection – a truly South African piece of jewellery – at the Shop at the Top. “At the TMACC, we strongly believe in the power of teamwork and collaboration, which is why running this campaign with an authentic South African brand like Shimansky made so much sense,” says Wahida Parker, MD of the TMACC. “Ultimately, it helped us share the message of the beauty of Table Mountain with even more people.”

Yair Shimansky, founder and CEO of Shimansky, wanted to create a meaningful piece that would resonate with every South African who viewed this distinct artwork that he created with the iconic silhouette in mind.

“The iconic Table Mountain Ring is more than just a ring – it’s a soulful connection between nature and the wearer, inspired by Cape Town’s most majestic landmark,” he explains.

The stunning rings are available in 14ct white, yellow or rose gold. The ring can further be embellished with one diamond in a Swiss setting or in the hero pavé piece, featuring 27 diamonds making the silhouette of Table Mountain. In a Shimansky first, the ring is also available in a sterling silver alternative, where the range starts from only R980.

The Table Mountain Ring collection is

Sharing the beauty of Table Mountain available at Shimansky showrooms and stores, and at the Shop on the Top. Made from SA’s most precious natural treasures, gold and diamonds, visitors were also able to view the making of the Table Mountain Ring at the Shimansky Clock Tower workshop, where the master jewellers and diamond polishers perform their magical craft.

The Shimansky legacy began over two decades ago. Respected worldwide for innovative design, superior artistry and quality gemstones, the brand is responsible for introducing

platinum to jewellery-making in SA and boasts more than 10 jewellery design patents, as well as over five international diamond cut patents.

Shimansky’s expanding footprint includes several jewellery stores in SA and a newly-opened boutique on New York’s iconic 5th Avenue.

The TMACC has been providing visitors with a world-class experience since 4 October 1929. The company operates in a National Park and World Heritage Site. The mountain’s magnetism has a way of drawing people in, inspiring them to visit the summit.

At TMACC, we strongly believe in the power of teamwork and collaboration, which is why running this campaign with an authentic South African brand like Shimansky made so much sense.

Ultimately, it helped us share the message of the beauty of Table Mountain with even more people.

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SA JEWELLERY NEWS – MARCH 2020

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Photo: Sgt Rupert Frere RLC/MOD

Interesting facts 1

2

The House of Garrard, appointed Crown Jeweller in 1843, took on the responsibility for cleaning, restoring and repairing the Crown jewels and plate. Each coronation required the adjustment of an existing crown to fit the new monarch, and sometimes to create a new crown.

The Marquise cut originated in the 1700s when King Louis XV employed a jeweller to create a cut that was reflective of the smile of his mistress.

Since then, this style of cut has evolved into the versatile piece of art it is today.

5

4

A hallmark is a government seal used to stamp precious metal objects, such as jewellery or silverware. The purpose of a hallmark is to certify the metal purity of the item. Testing precious metals for purity is called “assaying”.

7

The 40 000 miners who joined the California Gold Rush in 1849 were called “49ers”. The individuals who became the richest were in fact not these early miners, but entrepreneurs who created businesses to support all of the prospectors.

8

It was believed by the ancient Romans that Neptune (god of the sea) first aquired aquamarine when it washed up on the shore after falling out of the sirens’ jewel box. Because of this, it was believed that aquamarine protected sailors.

The temperature of the human body is 37°C. Gold’s conductivity of heat means that it rapidly reaches body temperature – one of the reasons it has become valued for jewellery.

3

At the 1998 Academy Awards, Gwyneth Paltrow loaned a 40ct Harry Winston diamond necklace from the jeweller.

When she won the Best Actress Oscar that year for Shakespeare in Love, her father bought her the piece. The following week the jeweller sold several more.

6

Sterling silver jewellery that is exposed to air and humidity tarnishes over time. The reason is that the other metals in the alloy (commonly copper) react with the moisture and sulphur in the air. These bond to the silver chemically and cause discoloration.

9

Following the death of her husband in 1861, Queen Victoria retreated for a time from public life. On her return, she commissioned a small diamond crown to replace the far heavier Imperial State Crown, which sat atop her widow’s veil.

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SA JEWELLERY NEWS – MARCH 2020

37

SAJN |MARKETS

Business barometer DECEMBER 2019 VS DECEMBER 2018

A monthly survey conducted by SAJN among industry players (small and large) on a national basis.

RETAILERS

DIAMOND DEALERS Best-selling diamond size

0%

0%

0,5ct

WHOLESALERS

General sales compared with last year this time

General sales compared with last year this time

0%

0%

0%

SAME

SAME

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100%

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Foot traffic BETTER

100%

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General sales compared with last year this time

Watch sales

0%

SAME

SAME

100%

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WORSE

WORSE

Breakdown of retail sales bridal

fine jewellery

watches

15%

73%

12%

MANUFACTURERS

33,3%

0%

BETTER

BETTER

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66,6%

SAME

66,6%

66,6% BETTER

0%

SAME

SAME

33,3%

33,3%

WORSE

WORSE

Consumption of gold compared with last year this time

Consumption of platinum compared with last year this time

WORSE

Consumption of silver compared with last year this time

THE SA JEWELLERY NEWS BUSINESS BAROMETER IS PROUDLY SPONSORED BY THE DIAMOND DEALERS CLUB OF SOUTH AFRICA For new membership applications contact Joyce on tel: 011 334 1930

(Above): South Africa’s annual inflation rate was 4,5% in January, higher than that recorded in December (4,0%) and November (3,6%). This places inflation right on the 4,5% midpoint of the South African Reserve Bank’s monetary policy target range. All information supplied by Stats SA.

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SAJN |LITTLE GEMS KNOWN THROUGHOUT THE CENTURIES FOR their feudal symbolism were papal rings. Early ones were associated with the Ring of the Fisherman, first mentioned in 1265 in correspondence by Pope Clement IV. Since the Pope is the designated successor to St Peter, by trade a fisherman, the ring is an integral part of papal regalia. Following centuriesold tradition developed by medieval monarchs, worshippers still follow the practice of showing respect to the reigning Pope by kneeling at his feet and kissing the ring.

Originally, the Ring of the Fisherman had a practical use for sealing all private documents.

This was achieved by pressing the ring into melted red sealing wax deposited on a folded paper or envelope. Its design depicts St Peter fishing from a boat. As a new ring is now cast for each new pontiff, raised lettering around this image identifies his name around the relief image. During the inauguration of a new Pope, it is slipped on the fourth finger of his left hand (or, on one occasion, on his right hand), which is seen as “marrying the church”.

One of the early papal rings was that of Pope Pius II, who was elected in 1418. It was massive, made of brass and thickly gilded, its square facet set with a topaz. Considerably larger than those normally found buried with religious figures, it could have been worn over a glove on state occasions when all Christendom came to receive benediction. At this time, during the late 15th century, the use of the

Rings and religion Rings can have religious significance, as well as being purely ornamental or having other symbolic uses, writes Alice Weil. ring changed from the aforementioned uses, doubling as a seal on documents known as papal briefs. This practice was discontinued in 1842, when the impression made by the more prevalent Fisherman’s Ring was replaced by a stamp to achieve the same result.

Upon the death of a Pope, the ring is ceremoniously crushed by the official who placed it on his finger, using a silver hammer. This was deemed necessary to prevent the sealing of backdated forged documents during the period before the official inauguration of his successor.

The Jewish religion, too, has special significance for ceremonial rings, particularly those used in the marriage service within the ultra-Orthodox community. The wedding ring is seen as representing the cycle of life.

It was used for the marriage ceremony among Jewish mystics as far back as 2 000 years ago and became almost universal in the Holy Land around the 8th century, particularly in Babylon, where Jewry was centred about a century later.

Custom decreed it should be of gold, not gold-plated or of brass, to indicate that the groom considered his bride as precious as the yellow metal. Even today, in these religious circles, other metals are frowned upon because

gold is a visible and identifiable sign that can be identified by the bride. The reason for excluding a ring with a stone therein is long established.

This also relates to value, as a stone is considered a “blind” item, its value only established by a trained gemmologist. The belief is that the bride might assume the gemstone is worth more than it actually is and this could call the legality of the marriage into question.

For very Orthodox Jews, custom decrees that the ring should be perfectly smooth to represent an easy, untroubled circle of life.

Therefore any engraving, design or pattern is frowned upon, either inside or outside the ring. Furthermore, in order that the marriage be binding, the ring must be the property of the groom, rather than loaned to him, as this could also cause the marriage to be declared null and void.

During the inauguration of a new Pope, the Ring of the Fisherman is slipped on the fourth finger of his left hand (or, on one occasion, on his right hand), which is seen as 'marrying the church'.

40

SA JEWELLERY NEWS – MARCH 2020

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