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

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Finest gemstones, beads & unconventional diamonds 076 162 3741 or 021 422 4677 gems@ajanta.co.za

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SAJN | CONTENTS

contents Editor: Adri Viviers Tel: +27 (0)11 883-4627 Cell: 084-261-1805 E-mail: adri@isikhova.co.za Managing Director: Imraan Mahomed E-mail: imraanm@isikhova.co.za Publishing Director: Jason Aarons Cell: 074-400-6677 E-mail: jason@isikhova.co.za Creative Director: Joanne Brook E-mail: joanne@isikhova.co.za Director Brand Strategy: Jenny Justus Cell: 083-450-6052 E-mail: jenny@isikhova.co.za Operations and Admin: Thuli Majola Tel: +27 (0)11 883-4627 E-mail: thuli@isikhova.co.za Media Specialist: Ian Starnes Cell: 082-052-8428 E-mail: ian@isikhova.co.za Media Specialist: Lamees Mahomed Cell: 084-590-5123 E-mail: lamees@isikhova.co.za Media Specialist: Gail Keogh Cell: 082-929-4935 E-mail: gail@isikhova.co.za Copy Editor: Anne Phillips Distribution: Ruth Dlamini and Direct Marketing Solution

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

10. NEWS • Hong Kong trade fairs rescheduled • Richline SA expands offerings and services • SSEF scientists author first published study of new high-quality emerald type • Webinar spotlights industry’s new movers and shakers • Seiko Watch Corp appoints new President • Christie’s Watches Online breaks several world records • VAJ launches first online collection

14. PEARL QUALITY 101 Perfect shining spheres. Lustrous baroque forms. Seductive strands, warm to the touch. Simply and purely organic, pearls are perhaps the best-loved gems of all time.

18. HOW WINNING THE SLA IMPACTED MY CAREER Lilja Pesanka Hastie was the winner of the 18th De Beers Shining Light Award. We caught up with her to find out how winning such a prestigious accolade impacted her career.

Website: www.isikhova.co.za

SA JEWELLERY NEWS - MAY 2021

CONTENTS | SAJN

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

32. HOW TO MARKET ACROSS GENERATIONS To reach different age groups, jewellers need to embrace multi-channel advertising with targeted messaging. R36,00 (incl VAT)

Founder of NQ Jewellery Nqobile Nkosi tells SAJN about his latest creations, mentoring programmes and what he would still like to achieve.

st e ll e r y i n d u

36. FROM HUMBLE BEGINNINGS TO BESPOKE JEWELLERY DESIGNER

MAY 2021

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• Pearl quality 101 • From humble beginnings to bespoke jewellery designer • How to market across generations

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On the cover GIA Pearl Reports offer thorough,

39. CHRONOGRAPH FOR THE CUP To celebrate its role as official timekeeper of this year’s America’s Cup, Omega has launched a race-ready timepiece that delivers extraordinary precision under pressure.

31. SOUTH AFRICAN MINT RELEASES THE KRUGERRAND “LOST HOARD” A rare, intriguing trove of South African gold coins discovered in a Swiss vault has been released by the SA Mint, a whollyowned subsidiary of the SA Reserve Bank.

unbiased analysis in an easy-tounderstand format. Know the quality of your pearls with the new, in-depth Cultured Pearl Classification Report, which grades pearls along the GIA seven Pearl Value FactorsTM (size, shape, colour, lustre, surface, nacre and matching). Available for loose mounted, or strung pearls. Learn more at GIA.edu/gem-

43. EXPLORING WATCH GLASS

lab-service/pearl

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

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

SA JEWELLERY NEWS - MAY 2021

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ED’S NOTE | SAJN

Editor’s

note

years ago. It seems that the pace (and magnitude) of change are increasing tremendously (in large part due to technological advancements and shifting social norms) and I’m grateful for these interviews, which help me keep my finger on the pulse of that transition. I’ve always been nervous about change because of the uncertainty and chaos associated with it. However, all industries – including ours – must embrace it as an inevitable aspect of today’s business environment, especially since COVID-19. It’s human nature to avoid change, especially when our current situation and the way we’re used to operating are relatively comfortable. Yet we have to explore new and different ways of doing things. Resisting change is not only futile, but unproductive. A footnote to myself is that embracing change doesn’t necessarily mean surrendering one’s values. Rather, it means reflecting on them in new contexts and learning to navigate with them as a compass in new terrain. Certain principles must be immovable, but are

ONE OF THE THINGS I ENJOY MOST ABOUT my job is interviewing people and hearing their different perspectives and ideas. When putting an issue together, I always try to include a mix of interviews and each issue usually contains at least one with an up-and-coming generation jeweller. I’m fascinated by each person’s unique journey, inspired by their ambitions, impressed by their creativity and excited by their ideas (this issue, in fact, features two such interviews: one with Lilja Hastie, winner of the De Beers’ 18th Shining Lights Award and Nqobile Nkosi, who was the first fine jeweller to open a workshop and retail outlet in Soweto). Tough trading conditions and fierce competition, it seems, are forcing jewellers to work even harder to stand out from the crowd – and it shows. These interviewees make me extremely optimistic about where our local industry is going. They also make me realise that our industry has changed considerably since I started writing for SAJN almost 16

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still entirely compatible with changing landscapes. People from different generations can grow and learn from one another as they’re exposed to each other’s viewpoints and experiences. The different perspectives they gain can spark new ideas and prompt new ways of working. While the older generation have decades of experience to share with younger people, the up-and-coming generation also have unique insights of their own to share, as well as support with recent innovations such as developments in technology and the growing importance of social media and visual marketing. We should force ourselves out of our comfort zones and embrace the changes that are taking place by encouraging multi-generational knowledge-sharing and focusing on each other’s strengths, rather than on generational differences. I believe this is the only way to thrive in the modern workplace.

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SAJN | NEWS

RICHLINE SA EXPANDS OFFERINGS AND SERVICES The basket of products Richline SA offers to the industry has expanded significantly. “We’re extremely excited about the developments at Richline SA and are thrilled to share our new offerings with the industry,” says Managing Director Johan Bezuidenhout. “The past year has thrown the industry a number of curveballs, which makes us grateful to be in a position to offer clients additional products and services to

help their businesses thrive. The existing casting processes have been upgraded and expanded. Our new offerings include three-dimensional printing, specials and repair work. These are in addition to our current services, which include design, casting, stamping, industrial products and manufacturing. “We’ve also embarked on a new marketing strategy which includes a digital platform to meet safely with customers and showcase new product concepts and trends. We look forward to assisting clients with their designs and taking them from an initial concept to a finished product,” says Bezuidenhout.

HONG KONG TRADE FAIRS RESCHEDULED After consultation with industry representatives and key stakeholders, a decision has been made to reschedule the HKTDC Hong Kong International Jewellery Show and HKTDC Hong Kong International Diamond, Gem and Pearl Show from 2-6 July 2021 to 25-29 July 2021. Both fairs will be held at the Hong Kong Convention and Exhibition Centre. Details of the arrangement will be provided to exhibitors in due course. For enquiries, visit: hkjewellery.hktdc.com.

FIRST STUDY OF NEW HIGH-QUALITY EMERALD TYPE The first detailed study characterising an emerald type from Afghanistan which has recently become available in the gemstone trade has been prepared by a team of scientists from the Swiss Gemmological Institute (SSEF) and published in the most recent edition of Journal of Gemmology. One of the challenges posed by such emeralds is that they are on occasion mislabelled as being Colombian, for they closely resemble South American specimens not only visually, but also in terms of their gemmological properties. To conduct the study, the SSEF research team tested and analysed more than 100 gemquality emeralds from the Panjshir Valley in Afghanistan, ranging in size from 1-30+ct. To develop reliable means of distinguishing the Afghan emeralds from others in the marketplace, the research team compared

hundreds of emeralds from different origins using a machine learning statistical algorithm (t-SNE: t-distributed stochastic neighbour embedding). Through a compilation of 56 elements in the t-SNE calculation, the emeralds from Afghanistan could be further characterised and differentiated from Colombian samples. Gemmologically, the research team reported that the new emerald type from Afghanistan is characterised by spiky to tubular fluid inclusions (multi-phase) and very fine and parallel hollow channels, both quite similar to inclusion features observed in Colombian emeralds. Although the team occasionally observed some chevron-like growth features, the honeycomb-like pattern (“gota de aceite”) which is characteristic of emeralds from Colombia emeralds has not been observed to date in these new stones from Afghanistan.

The chemical composition of the Afghan emeralds is astonishingly similar to that of Colombian emeralds. Only a careful trace element analysis of the stones revealed differences, with the most frequent being a higher iron concentration in the new-type Afghan samples, compared with emeralds from Colombia. However, the iron concentration in Afghan materials is still much less than that found in emeralds mined in Zambia, Brazil and Russia, among others. “This research project perfectly shows how the science of gemstone testing is constantly evolving and we’re proud to be at the forefront of such efforts in providing gem labs and the trade with new scientific knowledge about these fascinating new emeralds,” says Dr Michael Krzemnicki, Director of the SSEF and one of the authors of the study.

WEBINAR SPOTLIGHTS INDUSTRY’S NEW MOVERS AND SHAKERS A new generation of jewellery and gemstone professionals, more diverse geographically and culturally than the generations who preceded it, is poised to transform the trade. This is largely because the composition of its members more precisely mirrors the consumers who both buy and aspire to buy fine jewellery products. What characterises many in this peer group is that they are first-generation jewellers who chose to join the industry not through family legacy, but primarily because of a fascination with jewellery products and the creative processes by which these are designed, manufactured and marketed. The journeys that they took are often markedly different from those of their compatriots, whose forebears were already well established in the business.

These new-generation jewellers are less likely to be restrained by tradition or convention, injecting into the industry new ways of thinking – not only from a design perspective, but also from the viewpoint of how the trade interacts with its target audiences and addresses their needs and desires. Their understanding of the end-customer is intuitive, because most are individuals who only recently made the transition from consumer to industry professional. April’s Jewellery Industry Voices webinar introduced the public to members of this new group and allowed them to tell their stories and shed light on ways in which they and their peers are changing the industry and the items it produces.

Panellists included Jo Mathole and Khomotso Ramodipa, two sisters from South Africa who founded cutting and polishing company Kwame Diamonds; Elodie Daguzan, Executive Director of the World Diamond Council, who began her career in France’s high-end diamond and jewellery sector; Shehana Kimiangatau, who journeyed from Fiji to Auckland, New Zealand, where she now owns and operates Shahana Jewels, an online pearl jewellery brand; and Justin K Prim, an American gem-cutter, author and historian living in Bangkok, Thailand, who is also a lapidary instructor at the Institute of Gem Trading. The seminar was co-moderated by Edward Johnson and Steven Benson, while CIBJO President Gaetano Cavalieri welcomed participants.

SA JEWELLERY NEWS - MAY 2021

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VAJ LAUNCHES FIRST ONLINE COLLECTION Extra Sweet Little Nothings, Veronica Anderson Jewellery’s (VAJ’s) newly launched online collection, consists of individually designed earrings handmade by South African jewellers. These unusual earrings can also be customcrafted to capture a customer’s own personality in a gemstone and design of his/her choice. “Extra Sweet Little Nothings is the perfect piece to add a bit of colour to your look,” says founder and owner Veronica Anderson. “Each

piece is a one-off and will make you feel extra-sassy.” After 15 years in The Firs in Rosebank, Johannesburg, VAJ relocated its business online earlier this year. “Our emphasis is still on personal contact and the service we always offered when we were in The Firs. We continue to work closely with our goldsmiths and still have access to all the gemstones needed,” says Anderson.

LOVE of gems

SEIKO WATCH CORP APPOINTS NEW PRESIDENT Seiko Watch Corporation (SWC), which encompasses Seiko, Grand Seiko and Credor, has appointed Akio Naito as its new President. Naito, a 30-year company veteran, has held leadership roles in both Australia and Japan, as well as helping usher the establishments of the Grand Seiko Corporation of America and Grand Seiko Europe. Naito takes over as Watch Division President from Shuji Takahashi, who will become President of Seiko Holdings Corp, the watch company’s parent. In addition to watches, Seiko Holdings sells electronic devices, clocks, apparel and accessories. Shinji Hattori, current CEO of the Seiko Watch Corp, will step down as CEO of that division, but

will remain Chairperson, Group CEO and Chief Commercial Officer of Seiko Holdings Corp. As part of this restructuring, Hattori will not be replaced as the watch division’s CEO. Hattori is the great-grandson of Kintaro Hattori, who founded Seiko in 1881 at the age of 21. “With his extensive experience in a variety of roles within our organisation, I’m certain Mr Naito is the right person to lead SWC in this new era that’s now dawning,” says Hattori. “He and his team will make our companies, and our Seiko and Grand Seiko brands, stronger than ever in the years to come.” SWC and its subsidiaries worldwide have welcomed the management changes with enthusiasm and excitement for the future.

A reputation you can trust Fully independent and South African owned Reports for all your Gemmological requirements

CHRISTIE’S WATCHES ONLINE BREAKS SEVERAL WORLD RECORDS Christie’s Watches Online: The Dubai Edit, which took place from 24 March-8 April, achieved a total of US$14 120 250 million, with 89% sold by lot, 100% sold by value and 131% hammer above low estimate. This exceptional result doubles the previous record for any Christie’s watches online auction, set in December 2020 in New York at US$7 743 370. There was global participation from 37 countries, with a total of 558 registrants. This sale has expanded its reach by welcoming participants from 13 new countries for the first time, including Norway, Darussalam and Uganda. Building on the outreach of digital and its 24/7 availability, combined with the convenience of a physical viewing in accordance with local COVID-19 regulations in the DIFC in Dubai, the sale attracted more than 30 000 visitors online, while the by-appointment-only preview exhibition in Christie’s Dubai office was fully booked throughout the two weeks.

SA JEWELLERY NEWS - MAY 2021

The top lot of the sale was Patek Philippe’s Sky Moon Tourbillon Ref 5002, one of the most important watches ever made in modern history. It sold for US$1 590 000, setting two new records simultaneously, as the most expensive watch sold at auction in the Middle East, plus the new auction record for any watch sold online at Christie’s, previously standing at US$600 000 (December 2020 for a Ref 1462 by Patek Philippe), established in March 2018 when the Patek Philippe Ref 1518 once owned by King Farouk of Egypt sold for US$912 500. “These very strong results of the sale demonstrate the continued strength of Christie’s online platform and its ability to reach the broadest possible global audience, establishing the highest-value online watches sale ever offered at Christie’s,” comments Remy Julia, Head of the Dubai Watches Department and in charge of the Dubai Edit auction.

Tel: +27 11 334 4527 / Cell: +27 83 656 9013 E-mail: services@egl.co.za Website: www.egl.co.za Suite E8, First Floor, The Paragon, 1 Kramer Road Off Skeen Boulevard Bedfordview, Johannesburg

SAJN | PEARLS

Pearl quality 101 PERFECT SHINING SPHERES. LUSTROUS baroque forms. Seductive strands, warm to the touch. Simply and purely organic, pearls are perhaps the best-loved gems of all time. Pearls can be found in saltwater and freshwater molluses. When the mollusc secretes an iridescent substance, called nacre, around an irritant, it forms a natural or cultured pearl. Natural pearls occur when the irritant, such as a minute organism, accidentally enters the mollusc. When humans introduce the irritant, the end result is a cultured pearl. Not all molluscs secrete nacre. When there is no nacre, the pearls are referred to as nonnacreous pearls. Conch pearls and Melo melo pearls are non-nacreous in form (sometimes referred to as porcelaneous pearls) produced by snails (gastropods), which are univalve molluscs. There are four major types of cultured whole pearls: Akoya cultured pearls Akoya cultured pearls are the most familiar type of saltwater cultured pearl to most people

in the USA and other Western markets. Many customers think of white or cream coloured akoyas as the classic pearl used for jewellery, especially single-strand necklaces. Japan and China both produce akoya cultured pearls. South Sea cultured pearls Australia, Indonesia and the Philippines are lead-

Image by inna mikitas from Pixabay

Image by mdgrafik0 from Pixabay

If pearls are your gemstone of choice, you’ll want to learn more about the Seven Pearl Value Factors – the criteria the Gemological Institute of America (GIA) uses to classify and describe pearl quality. Although GIA is most recognised as a world authority in diamond grading, it has been a leader in the identification and classification of natural and cultured pearls since 1949.

ing sources of these saltwater cultured pearls. South Sea cultured pearls can be white to silver or golden, depending on the type of oyster. Their large size and thick nacre, due to a long growth period, plus their limited critical growing conditions are all factors contributing to their value. Tahitian cultured pearls Cultivated primarily around the islands of French Polynesia (the most familiar of these is Tahiti), these saltwater cultured pearls, sometimes referred to as black pearls, have a wide colour range. They might be grey, black or brown and they can have blue, green, purple or pink overtones. Freshwater cultured pearls Freshwater cultured pearls are the most commonly produced pearls and they are one of the most popular pearl types among shoppers and

SA JEWELLERY NEWS - MAY 2021

PEARLS | SAJN jewellery designers. This is due to their remarkable range of sizes, shapes and colours, plus their commercial availability at lower price points. They are usually cultured in freshwater lakes and ponds, often with many pearls grown in one oyster. China is the leading source for freshwater cultured pearls. Just as quality influences diamond price, the same is true for pearls. GIA developed the Seven Pearl Value Factors for the same reasons it developed the Four Cs of diamond quality: to establish a standard terminology for describing pearl quality, using language everyone can understand. And just as the GIA defined the methods and best practices for evaluating diamond quality, it also defined the procedures for evaluating pearls. Like diamond grading, pearl classification is a complex process that takes a trained gemmologist time and extensive knowledge to execute. There are a number of factors that influence their value and how they are assessed.

Pearl value factors Pearls come in a wide variety of sizes, shapes and colours. The GIA Seven Pearl Value Factors is a comprehensive standard it developed over a 60-year period of ground-breaking research on pearls. It provides a systematic way to evaluate pearls of all types and to describe their appearance and quality in a way everyone can understand. The qualities that determine the overall value of a natural or cultured pearl or a piece of pearl jewellery are size, shape, colour, lustre, surface quality, nacre quality and – for jewellery with two or more pearls – matching: 1. Size The size of round and near-round pearls is expressed in terms of their diameter measured in millimetres. Other shapes are measured according to their length/depth and diameter/ width. When other value factors are equal, larger pearls are rarer and more valuable than smaller pearls of the same type. 2. Shape The three main categories of shape are spherical, symmetrical and asymmetrical (semi-baroque and baroque). Pearls come in seven basic shapes: round, near-round, button, drop, oval, semi-baroque and baroque. Round is the most difficult shape to culture, making it the rarest cultured pearl shape and – if all other factors are equal – also generally the most valuable. There are exceptions, though. Well-formed pear, oval, or baroque (irregularly shaped) cultured pearls are also prized by pearl-lovers.

Of the seven pearl value factors, lustre might be the most important. Lustre is what gives a natural or cultured pearl its unique beauty. Different pearl varieties have different standards for lustre. SA JEWELLERY NEWS - MAY 2021

3. Colour Natural and cultured pearls occur in a broad range of hues. There are warm hues like yellow, orange and pink, and cool hues like blue, green and violet. Pearls have a wide range of tone from light to dark. Pearl colours tend to be muted, with a soft, subtle quality. Pearl colour can have three components. Body colour is the pearl’s dominant overall colour, overtone is one or more translucent

SAJN | PEARLS colours that lie over a pearl’s body colour and orient is a shimmer of iridescent rainbow colours on or just below a pearl’s surface. All pearls display body colour, but only some show overtone, orient or both. The law of supply and demand determines the value of certain pearl colours at any given time. If supplies of high-quality pearls displaying a preferred colour are low, their prices can rise to unusually high levels. Other complex factors, like fashion trends and cultural traditions, can influence colour preferences. 4. Lustre Lustre is the intensity of light reflected from a pearl’s surface. Lustre is one of the factors that give a natural or cultured pearl its unique beauty. Pearls with excellent lustre have sharp, bright reflections on the surface. Different pearl varieties have different standards for lustre. Of the seven pearl value factors, lustre might be the most important. The GIA Lustre Scale ranges from excellent to poor: • Excellent – Reflections appear bright and sharp. • Very good – Reflections appear bright and near-sharp. • Good – Reflections are bright, but not sharp and slightly hazy around the edges. • Fair – Reflections are weak and blurred. • Poor – Reflections are dim and diffused. Within a pearl type, when other value factors are equal, the higher the lustre, the more valuable the pearl. 5. Surface Pearls commonly have blemishes or irregularities that are normally confined to the surface. Surface characteristics are judged by size, number, location, visibility and the types of blemish. If surface characteristics are numerous or severe, they can affect the durability of a pearl and severely lower its value. They have less effect on the pearl’s beauty and value if they are few in number, or if they are minor enough to be hidden by a drill-hole or mounting. The GIA Surface Scale classifies pearls as clean, lightly spotted, moderately spotted or heavily spotted. Like coloured stones, most pearls never achieve perfection. Some might show abrasions that look like a series of scratches on the surface, a flattened section that does not affect its basic shape, or an irregular ridge that looks like a crease or wrinkle. 6. Nacre quality Nacre is the substance that makes up a pearl, layer after layer. Thickness is important when

evaluating nacre quality to ensure that cultured pearls are durable, as well as beautiful. Nacre thickness measurements are provided as optional descriptions on GIA pearl reports. However, GIA pearl reports will clearly note if the nacre coating is too thin and/or damaged, thereby posing a potential impact on a pearl’s durability. Lustre and nacre quality are closely related. If the nucleus is visible under the nacre, or if the pearl has a dull, chalky appearance, you can assume that the nacre is thin. This affects the lustre, as well as the durability of the pearl. 7. Matching This relates to the uniformity of pearls in strands, earrings or other multiple-pearl jewellery items and is highly dependent upon a skilled grader to determine matching the other six value factors. The GIA Matching Scale ranges from excellent to poor or listed as not applicable for single pearls and certain intentionally mismatched jewellery items. Jewellery designers sometimes deliberately mix colours, shapes and sizes for unique effects, but for most pearl strands, earrings or other multiple-pearl jewellery, the pearls should match in all the quality factors.

daylight equivalent light source. Sitting about one foot away from the pearl, they rotate it to get an overall impression as they compare it with pearl masters. This specific environment, along with the tests and the procedures conducted during the examination, were developed by the GIA to ensure repeatable, accurate and dependable results so that pearl buyers can rely on an objective pearl assessment based on the GIA’s value factors. GIA Pearl Reports provide information on the identity of pearls (natural or cultured), the mollusc (when determinable) they originated from, the environment they formed within (saltwater or freshwater) and state whether pearls have undergone any detectable treatments. Multiple security features on GIA Pearl Reports ensure their authenticity and all reports include a digital image of the pearl(s). The GIA currently offers three types of pearl services: the GIA Pearl Identification Report Service, the GIA Pearl Identification and Classification Report Service and the GIA Cultured Pearl Classification Report Service: Pearl Identification Report The GIA Pearl Identification Report details the quantity, weight, size, shape, colour, overtone, identity (natural or cultured), mollusc, when determinable, environment (saltwater or freshwater) and any detectable treatments.

Classifying pearls Using standard and advanced testing equipment, GIA gemmologists specialising in pearls identify the pearl type (whether it is natural or cultured) and look for evidence of treatments. The pearl is weighed with an electronic micro-balance and its size is measured in millimetres using special digital calipers. The pearl is then compared with a set of carefully pre-selected pearl masters to determine colour and classify the other value factors. A second team of pearl specialists independently repeat all necessary observations and testing to ensure a precise and objective evaluation. Because lighting, background colours and other environmental factors can influence observations, controlling the pearl grading environment is critical. Staff examine the pearls against a neutral grey background, using a

Pearl Identification and Classification Report The GIA Pearl Identification and Classification Report includes all identification report information, as well as identification and classifications for lustre, surface and matching (if applicable). Cultured Pearl Classification Report The GIA Cultured Pearl Classification Report is an abbreviated report that provides classification information on unmodified cultured pearls. This dossier-sized report includes a detailed classification of the submitted pearls based on the GIA’s Seven Pearl Value Factors and is specifically and exclusively for the three major types of cultured pearls: Akoya, South Sea and Tahitian pearls. No identification or advanced testing is done. – Established in 1931, the GIA is an independent non-profit that protects the gem and jewellery buying public through research, education and laboratory services.

SA JEWELLERY NEWS - MAY 2021

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SAJN | JEWELLERY DESIGN

How winning the SLA impacted my career HASTIE’S WIN WAS ANNOUNCED TO A host of leading figures in the diamond industry in a spectacular grand finale held in the CIRCA Gallery in Johannesburg on 13 July 2015. Hastie, from the Tshwane University of Technology (TUT) in Pretoria, picked up the highest accolade of the “Forevermark Promise Award” and received a year’s scholarship to study for a Master’s in accessory design at Poli.Design founded by Milan Polytechnic. What triggered your desire to make jewellery? I’ve always been creative, but I didn’t excel at school. I struggled with direction, which culminated in a matric certificate that looked more like a weather report, with highs of 40 and lows of 28. The only exception was a distinction in art. As I didn’t get a university-entrance matric, I couldn’t enrol for the creative degrees I was interested in, which left me with limited options. I had a series of part-time jobs, including one in a gem and mineral shop. Very often jewellery students from the TUT would come in looking for stones to set in their projects and I’d assist in selecting them. Conversations would always be struck up and a seed was planted. I woke up one day and simply decided enough was enough: I wanted to start over. I was 23 and knew I wanted to be something. I called my par-

Lilja Hastie was the 2015 winner of the 18th De Beers Shining Light Awards, a prestigious jewellery design competition that showcases young African talent. She tells us how winning this accolade impacted her career. ents for a sit-down and explained that I wanted to rewrite matric and open those doors. I went for aptitude tests and visited numerous open days look for options. During a visit to the jewellery design and manufacture programme at TUT, I received the results from my aptitude test, which recommended that I pursue something which focused on three-dimensional design. It felt as if it had been written in the stars. I phoned my dad and said: “This is it! I know what I want to do!” I sat my entrance exam and was accepted. I’m so happy I pursued it because I managed to achieve a cum laude for both my diploma and my B Tech degree. I definitely found my passion. What is your favourite piece that you’ve designed? My favourite design is a concept collection I created. I conducted a study about the history of jewellery in southern Africa and the symbolism used in beadwork captured my interest. Colour plays an important role in the purpose of an item, for example, siNtu-speaking cultures are well known for codified beadwork squares sometimes called _amabheqe_, where a special message is encoded by not only the relations between geometric forms, but by the relations between the choice of colours in the piece, with each colour having a contextual meaning. I learnt about a writing system called _Ditema tsa Dinoko_, which was a linguistic extension of the traditional _litema_ and _amabheqe_ art. The writing system has the ability to represent the full phonological range in all of the siNtu languages of southern Africa. I had the privilege to work with Pule kaJanolintji, who helped me transcribe a word into the

writing system. We translated “together” into Sesotho languages as _Mmogo_. When transcribed into Ditema tsa Dinoko, it became the central motif in the collection. The colours I chose were red, green and blue, all colours that communicate the deep compassion we have to offer other nations, for we have seen the future and we are the future. What has been the highlight of your jewellery career? Winning the De Beers Shining Lights Award in 2015. Other stand-outs were making a bespoke piece for Idols judge Somizi to wear while hosting the SA Music Awards in 2018, being commissioned by friends of swimming champion Cameron van der Berg to make a tie-pin to take with him to the Olympics in 2016 and having my sister, comedienne Nina Hastie, wear largescale neckpieces from my 2017 B Tech collection at the SUNMET Horse Races. Why did you decide to enter the De Beers’ Shining Lights Awards? De Beers has always done a great job at promoting the competition through the TUT. Once the brief of the competition was sent out to all the institutions, we were fortunate enough – because of our amazing lecturer, Nina New-

SA JEWELLERY NEWS - MAY 2021

JEWELLERY DESIGN | SAJN ried through the whole collection, represented the two intertwined lives. The hero diamond embodied the promise, thus the name of the collection, “Forever Intertwined”.

the whole trajectory of your career and take you places you never imagined. They give students hope. There’s nothing to lose and everything to gain.

What was it like to win? Surreal! I still have moments of disbelief. When they announced me as the winner, I didn’t even realise what had happened and I didn’t have any reaction. All I remember is my friend, Louise Kriek, who was a runner-up in the competition, leaning across the aisle and mouthing: “That’s you, Lilja!”

What have you been doing since winning six years ago? When I won in 2015, I was actually in my second year of university, so the few years after that I spent completing my studies. And because I had the motivation of going to Italy in my headlights, it really pushed me to do well. After completing my degree in 2017, I worked on a few bespoke projects and exhibitions before leaving for Italy. In 2019 I was in Milan attending the Master’s course, fulfilling an internship at Italian jewellery brand Breil. For the past year I’ve been working as a commercial CAD designer and have gained experience in production, as well as in commercial design, both locally and abroad. I’m now looking forward to producing contemporary and fashion jewellery. I want to broaden my scope while I’m still in the early years of my career.

You received a year’s bursary to study a Master’s at POLI.Design founded by the Polytechnic of Milan. Tell us about the experience. It completely changed my life. Firstly, living in a foreign country comes with its own set of challenges and personal growth. I fell in love with travelling to new surrounding cities and really made an effort to embrace the culture and history of Italy, which informed the development of my craft. The programme I was enrolled in, a Master’s in accessory design, was world-class. I worked really well with the other students, who came from all over the world to study different forms of design. Interacting with them and seeing their approach to design morphed my process and interest in different materials. Then, of course, having to design objects I’d never designed before – such as watches, sunglasses, shoes and handbags – really stretched my scope. The calibre of teachers we had included the likes of Giovanna Villani, who was the senior handbag designer of Moschino and Veronika Allmayer-Beck, the senior footwear designer for Giorgio Armani. Each of us designed a project in collaboration with the head designers of Pomellato, which was a dream come true. I don’t think a girl could ask for more and I loved every minute of it. man – to have class time dedicated to putting all our efforts into developing the best projects we could. It was an opportunity that was given to us and we all entered together, as a group. Tell us about the process and the piece you designed. The theme we were given was “Promise”, which invoked the union of marriage. It was important for my process that I try to extract inspiration from a visual representation of how I interpreted a loving union. I started with a photograph of a couple intertwining their arms. Through stylising the lines, a twist formed and became a central motif of the design. The twisted band element, which was car-

SA JEWELLERY NEWS - MAY 2021

How did winning the award influence your career and growth as a jewellery designer? It gave me a great deal of exposure and many opportunities that really catapulted my career and allowed me to tap into an “anything’s possible” state of mind. That outlook has certainly added a lot more flavour to my ventures. The whole experience of winning and fulfilling the prize has taught me to be bold, innovative and to take risks. Would you recommend entering jewellery design competitions such as De Beers’ Shining Lights Awards to others? Absolutely. Competitions like this can change

What do you enjoy most about designing jewellery? I love telling stories. I think I’m essentially a story-teller and jewellery just happens to be my medium. I love dismantling an idea or message into visual elements and then translating them into a three-dimensional, wearable jewellery piece. Most of my work has a deeper meaning behind it. What advice can you offer young designers? Don’t be afraid of going after what you want, even if others don’t see your vision, because they never will unless you show it to them. Capitalise on the aspects of the job you’re good at and work hard on them every day. Ask for help and take every opportunity that crosses your path, because you never know who’s going to give you a break or which environment you’ll end up flourishing in. Finally, have a good attitude and be yourself. What are your career ambitions? The next couple of years are about lining up opportunities that will enable me to travel the world teaching workshops on design and operating in a collaborative space with global fashion and jewellery brands. I want to further my studies, so a PhD will be in the works soon. The goal is to develop a brand which accommodates more experimental stuff. Sustainability is a very important element I want to explore in my work, as well as the use of alternative materials in a fine jewellery context.

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

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

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

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

17 ISSUE 18

ISSUE 18 MEASURING PHYSICAL AND OPTICAL PROPERTIES OF GEMSTONES Optic character •

• Specific gravity • Refractive index

Magnification •

• Single and double refraction

Fluorescence • Phosphorescence •

• Pleochroism

Gemstones are normally carried in a folded paper envelope called a “briefke”. Learn how to open it before you use it.

1. SPECIFIC GRAVITY The density of a gem is determined by the atomic weights of its atoms, as well as the closeness of its atomic structure. Density is thus the mass per unit volume and is a characteristic seldom used by jewellers. Instead, the specific gravity (SG) of a gem is much easier to use in identifying gems. The SG of a gem indicates how much the gem is heavier than an equal volume of water. For instance, a diamond is 3,52 times heavier than water. Amber is only 1,08 times heavier and gold is 19,3 times heavier than water. Their specific gravities, then, are 3,52, 1,08 and 19,3, respectively.

METHOD OF MEASUREMENT The most rapid SG determination is made by using heavy liquids such as methylene iodide, CH2I2 (SG = 3,32) which is diluted with benzyl benzoate to form a series of liquids with an SG as low as 2,57.

Other instruments •

Use a small glass beaker filled with a heavy liquid and place the gem gently in the fluid. Tap the gem with tweezers to remove adhering air bubbles. If it floats, its SG is less than that of the liquid. If it sinks slowly, its SG is just higher than that of the liquid. If it drops rapidly, then its SG is much higher than that of the liquid.

A set of heavy liquids.

2. REFRACTIVE INDEX The simplest test to identify an unknown gem is to determine its refractive index (RI). When a beam of light passes from air into a transparent gem, it is slowed down because of the more dense atomic packing in the gem. Such light is either reflected off the gem’s surface or it passes through the gem, depending on the incident angle. At a certain critical angle, light is neither reflected nor transmitted and passes along the surface of the gem (Ray B).

Archimedes (287-212 BC) was asked by King Herod to determine whether his goldsmith had added silver to pure gold when he made the king’s crown. He found the answer while bathing. By considering the water displaced by his body, he realised that he could determine the SG of any item. It is reported that in his excitement, he ran home naked, shouting: “Eureka!” (“I have found it!”).

MEASURING PHYSICAL AN INTRODUCTION AND OPTICAL TOPROPERTIES GEMSTONESOF GEMSTONES

Each gemstone has a different critical angle which is related to the gem’s RI and the speed at which it travels through the gem. By measuring the critical angle using a refractometer, one can determine the RI of the gem. C B A

Air Gem

Using the refractometer (above).

Paths of light rays being reflected (A) and being refracted (C). CA= critical angle.

If the gem is single refractive, a clear demarcation is visible. With double refractive gems, the shadow’s edge is split (left).

spinel: singly refractive RI: 1,781.

Tourmaline: doubly refractive RI: 1,62 - 1,64.

3. SINGLE AND DOUBLE REFRACTION Pathways of light through the refractometer resulting in a stable shadow to be seen through the eyepiece.

METHOD OF MEASUREMENT The gem refractometer is an instrument that uses a glass hemisphere with a very high RI to measure the critical angle between the glass and the gem to be tested. Recent models automatically translate the critical angle into the RI. The glass hemisphere on which the gem is placed is a very soft lead glass and extreme care must be taken not to scratch or corrode its surface. To produce an optical contact between the gem and the lead glass, a drop of RI liquid is placed on the glass and the gem carefully placed face-down on the liquid. This liquid is highly corrosive and the glass surface needs to be cleaned immediately after use with xylene and a soft lens tissue (not tissue paper). If the refractometer is not used for some days, a thin layer of Vaseline can be smeared for protection on the glass hemisphere. Certain refractometers can also determine the RI of cabochon gems. Much experience is needed for this socalled “spot method”.

The internal atomic arrangement of a gem will influence the way light travels through it. In a mineral that crystallises in the Cubic (isometric) System, or those which are amorphous, such as opal or glass, the atoms are spaced equi-dimensionally and light travels through them in all directions, undisturbed and at the same speed, except for some absorption. Such gems are called isotropic and have a single RI. However, all minerals that crystallise in the other five crystal systems have atoms that are spaced further apart in some directions than in others. Light that passes through such anisotropic gems behaves differently and is broken up into two rays which vibrate at 90° to each other, called the O (ordinary) and E (extraordinary) ray.

Air Gem

E ray O ray light vibration directions O ray

E ray

A light wave is split into an E and an O ray travelling at different speeds through an anisotropic mineral (above). RI(O) - RI (E) = birefringence.

ISSUE 18

Doubling of facets in zircon due to its high birefringence. White light in random vibration is plane-polarised, ie, forced to vibrate in two planes, normal to each other, creating an O and an E ray.

These rays are said to be plane-polarised and travel at different speeds through the gem. As the RI is related to the speed at which the light travels through a gem, it stands to reason that if you have two rays travelling at different speeds through the gem, the gem will have a different RI for each ray. Such gems are called double refractive. The numerical difference between the RI of the O ray and the RI of the E ray is called the gem’s birefringence. Calcite is a transparent mineral with a large birefringence that is visible to the naked eye.

ii) The polariscope: This is a simple, yet valuable instrument for gem identification. It consists of a light source and two plates of polarising material which only allows light that vibrates in one direction to pass through it. When the polars are crossed, the field of view is dark. The gem is held by fingers or tweezers and rotated between these two plates. If the gem remains dark, it is single refractive. However, if at every 90° rotation the gem darkens and becomes light, the gem is double refractive.

Please note: When the gem is viewed along an optic axis, it will remain dark during rotation. Some single refractive gems such as garnet, synthetic spinel, diamond and amber may show anomalous birefringence due to internal strain. Further tests with the polariscope are needed to identify this anomalous effect. crossed polarisers

Large birefringence, ie, splitting of light into an O and E ray, seen through a calcite crystal.

A complicating issue is that all double refractive gems have certain directions in which the light is not broken up into an O and an E ray. These directions are called optic axes, which will be discussed later.

METHOD OF DETECTION i)

Under magnification. When a gem with high birefringence (such as zircon) is observed under magnification, the lines forming the facet edges are duplicated and seen as two parallel lines.

Please note: The absence of such doubling does not necessarily indicate that the gem is not double reflective. However, the presence of such doubling is proof of birefringence.

When a single refractive gem is rotated under crossed polarisers, it remains dark (left images). A double refractive gem darkens every 90° on rotation (right images).

4. PLEOCHROISM In coloured anisotropic gems, the O and E rays travel different paths at different speeds through the crystal structure. These rays are thus subjected to unequal absorption and will exit the gem as different colours. This property is called pleochroism and can be described as strong, distinct or weak.

MEASURING PHYSICAL AND OPTICAL PROPERTIES OF GEMSTONES

Pleochroic gems in the hexagonal and tetragonal systems show two colours and are called dichroic, while gems in the orthorhombic, monoclinic and triclinic systems may show three distinct colours and are called trichroic.

METHOD OF DETECTION Pleochroism can be seen in some gems, such as tanzanite and tourmaline, with the naked eye. Otherwise the polariscope can be used as follows: arrange the two polaroid plates in the parallel position (maximum light). When the gem is rotated between these polarisers, it will show different colours in positions 90° apart.

optic axis coincides with their crystallographic C-axis and they are known as optically uniaxial. Minerals from the orthorhombic, monoclinic and triclinic systems have two optic axes along which light is not polarised, ie, they are isotropic in these directions (showing a single RI along this direction). However, light which travels in all other directions through the mineral will be polarised into an O and E ray. Such minerals are called optically biaxial. Determining whether a gem is optically uniaxial or biaxial is an important clue to its identity.

METHOD OF DETECTION Parallel polarisers

If a double refractive gem is observed through the polariscope in a direction parallel to its optic axis, an interference figure will be seen under special conditions. These conditions are:

Under parallel polarisers, a dichronic gem will have a different colour (left) than when rotated through 90°.

the upper polaroid plate must be turned to the extinct position;

ii)

a condensing lens effect must be obtained.

Another useful instrument to detect pleochroism is called a dicroscope. It works on the same principles as the polariscope.

Place a drop of viscous fluid on the gem after it has been correctly orientated and touch it with a stainfree glass or plastic sphere. Alternatively, a 10x loupe is held under the upper polaroid and viewed from a distance of 30 cm or more.

5. OPTIC CHARACTER Minerals of the Cubic System are called optically isotropic. Light waves travel with the same velocity (or absorption) in all directions through such minerals and they have a single RI. It was mentioned before that when light travels through minerals of the other crystallographic systems, it is polarised, ie, “split” into O and E rays that travel at different speeds. However, tetragonal and hexagonal minerals have one direction, called the optic axis, along which light is not polarised into an O and E ray. Their

O.A

a a

Using the polariscope to obtain an optic axis figure.

b a

a O.A C O.A c

The tetragonal gem on the left allows light to pass unpolarised along its optic axis, which coincides with the C crystallographic axis. The orthorhombic gem on the right has two optic axes along which light is not polarised.

The image above is an optic axis figure of an uniaxial gem. The two images on the right show how the optic axes figure of a biaxial gem changes when the gem is rotated by 45°. Photo by: E Gubelin

ISSUE 18

6. MAGNIFICATION

The immersion cell

The proper use of magnification is essential for differentiation between natural and man-made gems. Instruments that can magnify between x10 and x200 are useful to the jeweller. Dark field illumination, where light is directed into the gem from its side, is most useful in illuminating the insides of a gem. Inclusions will show up white against a dark background.

This is a useful tool that will help observations through a loupe or microscope. If a gem is suspended in a liquid with a similar RI, the gem becomes less visible, and the inclusions and external imperfections more obvious. Placing a piece of tracing paper below the immersion cell will improve your observations. Different liquids can be used, for example, water (RI = 1,34), olive oil (RI = 1,47), bromoform (RI = 1,59) and methylene iodide (RI = 1,74).

Cleaning a gem before magnification is essential, as dust particles on its surface are easily confused with internal inclusions. The gem is dipped into tetrachloride, acetone or alcohol and then wiped clean with a coloured piece of silk (cotton or other cloth will leave lint on the surface). A camelhair brush can be used to remove surface dust. Do not touch the gem with your fingers, as they will leave oily residues.

Using an immersion cell will indicate whether the gem is a doublet or triplet (consisting of more than one type of material).

The loupe The normal jeweller’s loupe has a magnification of x10 and can be used with dark field illumination if the light source is positioned so that light enters the gemstone at 90° to your line of sight through the lens.

Immersion cell on microscope table.

The microscope Much higher magnification (from x10 to x60) is possible with a microscope. Ordinary or polarising microscopes are available and the jeweller should study the operations manual carefully in order to obtain maximum results. Your first objective is to make sure that the “imperfections” you see are actually inside the gem and not dust on its surface. By using a mechanical stone holder to turn the stone around and by raising the tube, different sections of the gem can be brought into focus and surface dust easily identified. A gemmological microscope. A number of accessories are available for the normal gem microscope. Of these, the most useful is a special gem holder and a graduated eyepiece which can be used to quickly assess the proportions of a polished diamond. Another useful accessory is a special eyepiece holder on which a digital camera can be mounted. The camera is connected to a video screen so that you can show and discuss a gemstone’s inclusions with your client.

Diffusion treatment visible in an immersion cell. Note the darker outlines of facet edges in the diffusion-treated ruby (right) and the absence thereof in the untreated ruby (left).

Distinguishing between natural or man-made sapphires and rubies - and whether they have been diffusion-treated - is only possible by using an immersion cell with bromoform or even water. This method will also highlight the growth lines, which will be straight and intersecting at a 120° angle in natural gems, or slightly curved in man-made gems.

Colour filters To assist his eye in identifying gems, a jeweller can use a colour filter. Of greatest use is the Chelsey filter, also called an emerald filter. This filter cuts out most of the green wavelengths that are transmitted from an emerald and allows only deep red wavelengths, which are also emitted by an emerald, to pass through the filter. Hold the gem over or in a strong white light source and, with the filter close to your eye, observe the gem’s colour.

Using a Chelsea filter.

MEASURING PHYSICAL AND OPTICAL PROPERTIES OF GEMSTONES

Gemstone

Appearance through the Chelsea filter

Dull red Natural and synthetic emerald (some African emeralds can look green under the filter) Demantoid and green garnet Other green gems

Pinkish Green

Green dyed chalcedony and jadeite

Pinkish

Synthetic blue spinel

Red

Most genuine spinel and other blue gems

No red tint

Please note: This test should not be the only basis on which a gem is identified

7. FLUORESCENCE When ultraviolet or x-rays fall on some gems, these invisible wavelengths are transformed into longer wavelengths that are visible to the human eye. This property is known as fluorescence. If the ultraviolet or x-ray source is removed and the gem continues to emit a visible radiation, it is known as phosphorescence (similar to the green glow your watch hands emit in the dark long after the sun’s rays have been removed). The Mineralight is an instrument emitting a short-wave UV light (2537A), as well as a long-wave UV light (3660A) and should be used in a darkened room. About 15% of all diamonds fluoresce with a pale blue colour under long UV radiation. Diamonds can also fluoresce in many other colours.

Fluorescent gems under long-wave UV radiation.

Gemstone

Fluorescence colour under: Short-wave UV

Natural yellow Ceylon sapphire Synthetic and other sapphires Chatham synthetic emerald Natural emerald

Long-wave UV

Apricot None or dull red Fluoresces No fluorescence (some weak red)

Natural lapis lazuli

Green

Feldspar

Red

Zoisite

Red

Black pearls (untreated) Treated black pearls

Pink to red None or whitish fluorescence

Diamonds

Blue, yellow, green, etc

8. PHOSPHORESCENCE Modern and highly technical instruments such as the Diamondview™ are used by gem laboratories to identify synthetic (man-made) diamonds. These machines identify the typical internal cathode luminescence (phosphorescence) patterns of synthetic diamonds.

9. OTHER INSTRUMENTS The spectroscope We know that when white light travels through a gem, certain wavelengths are absorbed and others transmitted. A spectroscope is designed to show a colour spectrum of the light which is transmitted or reflected from a gem. This colour spectrum will show bands of absorption (darkness) which correspond to the wavelengths of light which are absorbed by the gem. It is a difficult instrument for use by the normal jeweller, but gemmologists find it of great value when the refractometer cannot be used.

Correct way to use the hand-held spectroscope (above). Absorbtion spectra for ruby, red garnet and glass are given on the next page.

MEASURING PHYSICAL AND OPTICAL PROPERTIES OF GEMSTONES

Ruby: coloured by chromium

do. These instruments are useful in measuring gemstone dimensions (even while set) and estimation of carat weight. The jewellery designer also has much use for it in measuring the thickness and the height of settings. The diamond light

Almandine garnet: coloured by iron

Red glass: coloured by selenium

The thermal conductometer A diamond feels cold to the tongue because it rapidly conducts heat away from the skin. The unique and very high heat conductivity of a diamond can be measured by instruments such as the Ceres Probe and the GEM Diamond Master. Newer conductometers can even distinguish between diamond, moissanite and cubic zirconia.

Using a diamond light.

In order to determine colour and to see inclusions in gemstones, the correct light source must be used. Modern diamond lamps use daylight fluorescent tubes which must be positioned just above the level of your eye so that the light enters the stone from above.

10. COMPUTER GRADING EQUIPMENT Among computer-aided machines that assist gem laboratories with the grading of diamonds and gemstones are:

The diamond pen

•

An old, but useful tool. With it, one draws an Indian Ink line across the surface of the gem which will break up into beads if the gem is not a diamond.

Diamension™ - which measures the dimensions and cut grade of gems.

•

DiaVision™ - which measures the light performance of gems and suggests recutting proportions.

•

Colibri™ - does diamond colour grading and fluorescent grading for polished diamonds.

•

DiaScribe™ - uses laser technology to inscribe a number or sentence on the girdle of a diamond.

•

The electronic balance Modern technology has produced small, portable scales that are quite accurate, reliable and not too expensive. The larger Mettler and Sagittarius diamond scales are very expensive, but much more user-friendly than the pocket varieties.

10. OBTAINING INSTRUMENTS The start-up jeweller should have at least the basic instruments such as tweezers, cleaning cloths, loupe, an electronic measuring device, an electronic carat/gram scale, a diamond tester and a proper diamond light source.

High-precision electronic diamond scale (left) and pocket-size, portable diamond scale (right).

Electronic measuring devices Hand-held devices, such as the original Leveridge Gauge, and other electronic gauges are tools without which the modern jeweller cannot Digital gauge for measuring gem dimensions

Once you plan to extend your basic gem knowledge, or wish to enrol in a gem identification course, you can buy instruments from various suppliers. GIA offers a package of instruments at approximately US$2 100 that can be ordered from tel: (760) 603-4200, which includes a presentation microscope, a monochromatic light source, a duplex refractometer, a calcite dichroscope, a hand-held spectroscope and a polariscope. Alternatively, visit: www.gia.edu/geminstruments. Other suppliers can be contacted at: www.national jewelerssupplies.com or www.rubin-and-son.com.

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COINS | SAJN

SA Mint releases the Krugerrand “lost hoard” A rare, intriguing trove of South African gold coins discovered in a Swiss vault has been released by the South African Mint, a wholly-owned subsidiary of the South African Reserve Bank. WHILE IT IS TRUE THAT GOLD WAS EVACUATED from Pretoria by the then Transvaal government during the Second Anglo-Boer War (18991902), no accurate account has ever been produced of its fate, spawning an urban legend of the “Kruger millions”. The appeal of this missing gold thus makes the recent discovery of a large parcel of the gold Kruger ponde a significant find. Named “the lost hoard” by the numismatic community, the Kruger ponde were stored in the Netherlands during the early 20th century. The parcel was then transferred to Switzerland before the Second World War (1939-1945) for safekeeping and remained in a Swiss vault for decades, until

it was recently sold at an auction. Currently in the possession of the SA Mint, a true purveyor of the country’s rich coin history, these original, certified and graded coins are available for purchase, along with a 2019 limited-edition privy-mark Krugerrand. These unique coins are available in two sets. The first set is made up of an 1893-1900 Lost Hoard Kruger half-pond with a 2019 1/10oz gold privy-mark proof Krugerrand. The second set consists of an 1893-1900 Lost Hoard Kruger full pond and a 2019 ¼-oz gold privy-mark proof Krugerrand. The sets have limited editions of 233 and 677 units respectively. “The discovery of the ‘lost hoard’ is truly awe-inspiring and it’s with great pride that we offer the coin sets to the numismatic fraternity. The sets are the closest, once-ina-lifetime opportunity to physically owning authentic remnants of the Transvaal gold,” says Honey Mamabolo, Managing Director of the SA Mint. The authenticity of the “lost hoard” find has been independently verified and graded by the Numismatic Guarantee Corporation in Florida, USA. Each coin has been individually graded, certified and slabbed. The certification confirms the authenticity, legal tender status (1893-1900) and correct weight of each individual coin.

The packaging features, among other things, a replica of the original money bag in which the coins remained hidden for more than a century. The SA Mint is the continent’s leading manufacturer of legal coin tender, as well as commemorative and rare collectable coins. With over 100 years’ experience in supplying symbols of value to the African and global markets, it delivers products that represent its commitment to uniquely African design. It collaborates closely with its customers to develop distinct and durable monetary products that capture and preserve the heritage and pride of SA.

While it is true that gold was evacuated from Pretoria by the then Transvaal government during the Second Anglo-Boer War (1899-1902), no accurate account has ever been produced of its fate, spawning an urban legend of the ‘Kruger millions’. The appeal of this missing gold thus makes the recent discovery of a large parcel of the gold Kruger ponde a significant find. SA JEWELLERY NEWS - MAY 2021

SAJN | MARKETING MANY JEWELLERS RELY ON “TRIED AND TRUE” methods of advertising, blasting consumers with the ideal of a happy couple: a man spots a gorgeous woman across the room and cannot take his eyes off her. Their love grows and he proposes with a beautiful, sparkling engagement ring. The idea behind this is to suggest that you, too, can have the romantic fairytale if you shop with that jeweller. And for many in the target market – women – this is a story that sells. While such generation-neutral marketing may strike a chord with some shoppers, it does not always sit well with those who want to see brands representing them and their needs. “I think when you build your advertisements, you need to market to each of the different generations separately, because they’re all going to be interested in different things,” says jewellery consultant and author Beth Bernstein. “For instance, when it comes to a celebrity endorsement, you need to consider that every generation is looking for someone they can relate to. Someone like [actresses] Helen Mirren or Meryl Streep might appeal to the older generation, but the younger ones will likely not even have heard of them. However, you also can’t assume that all millennials and Gen Zs are keeping up with the Kardashians.” And it is not just the content you need to consider when reaching out; the way in which you offer that content that can also make a difference. “There has to be a multi-channel approach because of the different generations of consumers you have out there,” notes Megan Crabtree, owner of jewellery consultancy group Crabtree Consulting. “Every type of generation is going to have a different way you can get to them. There’s not one type of marketing that will work consistently and reach every type of consumer.” Crabtree points out the radical differences in shopping behaviour between baby boomers and millennials or Generation Z. “Through

How to market across generations

To reach different age groups, jewellers need to embrace multi-channel advertising with targeted messaging, writes Leah Meirovich for Rapaport Magazine. COVID-19, 5% of consumers in the USA aged 65 and older bought a product online for the first time. So, if your marketing’s just an online digital approach, you’re probably not going to get that older consumer, whereas you’ll see the younger generation on their phones every minute of the day.” Finding your financial focus Many small and independent jewellers do not have the money to create four or five different ads targeting multiple generations on multiple channels. However, most brands are not aiming to reach every generation all at once, maintains Laryssa Wirstiuk, founder of jewellery consultancy Joy Joya. In those cases, it would be more beneficial to figure out the age range of your brand’s target market and put most of your rands into reaching that generation, allocating a smaller budget to the others. “Millennials and above tend to spend more time on Facebook and Instagram, so you may want to create ads using Facebook Business Manager and then decide what specific channels you want to show those ads on to reach them,” she explains. “But if you’re targeting

Gen Z, it might be a completely different story. You might want to focus your attention more on Snapchat, TikTok or Instagram.” Most jewellers already have the means to determine what their target generation responds to and where they should focus the bulk of their marketing budgets. They just do not always pay enough attention to that information, says Crabtree. “Retailers have already been doing multi-channel marketing in local magazines and radio ads and on social media,” she says. “Now people just have to get smarter, look at the data and the results they’re getting and dive in on what works, pulling back from what doesn’t. Right now, they’re just throwing something at the wall and hoping it sticks.”

SA JEWELLERY NEWS - MAY 2021

MARKETING | SAJN

Back to basics It has been established that older generations tend to prefer print, while younger ones favour social media. But if you are short of advertising rands, going back to basics is the best way to reach the largest audience in a single marketing campaign, say the experts. “One thing retailers have been doing in the past year or two, and I’m pretty sure is going to be a trend moving forward in 2021, is a return to direct mail campaigns,” says Wirstiuk. “It’s a little different and can help you stand out, because a lot of brands aren’t doing that any more.” Bernstein also sees the benefits of moving backwards to move forward. “Marketing now needs to be more personal, and e-mail campaigns and newsletters are more focused,” she affirms. “Consumers of all generations are more likely to respond to that as a whole than to many other approaches.” Organic content is often extremely successful for retailers, maintains Crabtree. Things like blogs or editorials on store-owners in local magazines span the generation gap, she says. “It’s going to tie the strings of the older consumer who appreciates that it’s a family-owned operation. It’s also going to tie in the younger generation, because they see other older family members have shopped there and they’ve been in the local community for a long time. I think those types of marketing efforts can reach a pretty versatile demographic.” Caring about content While Generation X-ers and baby boomers are used to ads featuring skinny white females and tall, handsome white men, younger generations are looking for more diversity, says Crabtree. They want to see ads spotlighting people of different cultures, races and backgrounds, people with disabilities and those from the LGBTQ community. “Your content definitely needs to be ver-

SA JEWELLERY NEWS - MAY 2021

satile, as many of the consumers today are rewarding brands that capture diversity and share their inclusive values,” she notes. Young people are also less excited about the traditional representation of gifting, unlike those over 50, who grew up with that type of marketing. “They’re not necessarily connecting to a man proposing to a woman, or someone gifting a piece of jewellery,” says Wirstiuk. “They don’t care about that. They care more about the brand. They’re not even necessarily so concerned about the product being sold. They want to feel as if they’re caught up in something and to connect with a brand.” This does not mean that you cannot teach an old dog new tricks, say the experts. While some Gen X-ers and baby boomers may be used to more traditional ads, there are plenty who want to see themselves represented. “Gen X-ers and boomers are sensitive to where diversity feels forced, because they’re so used to things being depicted a certain way, but that doesn’t mean you can’t tweak things a bit – go traditional, but upgraded,” suggests Wirstiuk. Homing in on your money-makers While you should not ignore older clientele – particularly if they are your bread and butter right now – your main focus should be on younger shoppers, as they will be your biggest money-makers in the long run. “That’s what Tiffany & Co is struggling with right now,” says Wirstiuk. “It’s trying to reach younger customers, because eventually the people who’ve known Tiffany for years will no longer be with us. If you’re a legacy brand and you want to stay in business, you have to keep reaching the younger generation. Companies are really making an effort to create campaigns that

target younger customers, but is it actually working? I don’t know the answer to that.” Crabtree agrees that brands should concentrate more on millennials and Gen Z, and not worry as much if older generations do not respond as well to their marketing efforts. “Your younger generation, while they may not be purchasing the largest items, [are the ones who’ll] generate new sales in years to come. I’m not saying you shouldn’t focus on older generations who may come in to upgrade their rings and spend R700 000, but on the whole, for a healthy business, you need that younger generation to be able to have traffic throughout the life of the business.”

– This article was first published in the March 2021 issue of Rapaport Magazine

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DID YOU KNOW | SAJN

Interesting facts 1

May’s birthstone, emerald, symbolises vitality, health and wealth. Inclusions in emeralds are often viewed as desirable features. They can form patterns, referred to in the trade as the emerald’s jardin, or garden.

The Lord of the Rings film prop ring was crafted by New Zealand’s Jens Hansen Gold & Silversmith, a fatherand-son duo. The two made more than 40 ring variations for the film and were scaled for different scenes and sized to fit its various owners.

Most divers’ watches have luminous hands and markers that can be read underwater. Some divers’ bracelets and straps are equipped with an extension device that enables the watch to fit over a dive-suit sleeve.

SA JEWELLERY NEWS - MAY 2021

It is rarer to find a 1oz nugget of gold than a 5ct diamond.

Platinum pieces marked with a 950 purity are a blend of 95% platinum and 5% alloy metals. Pieces marked with a 900 purity consist of 90% platinum and 10% alloy metals.

Diamonds are naturally colder than any other gemstones due to the fact that a diamond does not retain heat.

The late Prince Philip designed a bracelet with stones from his mother’s tiara as his wedding present to the wueen. She has worn the cuff to various royal events and in some portrait images, but in more recent years, the accessory has seemingly been passed on to Kate Middleton.

A mangtikka is a jewellery piece designed in such a way that it rests on the centre, the sixth chakra of the forehead which also represents the third eye, also known as the power of soul.

The slave who stole the Regent Diamond had to hide it in an open wound on his leg. He then hopped a ship for Europe in hopes of selling the diamond. The ship’s captain got word, murdered the slave and sold the diamond himself.

SAJN | JEWELLERY DESIGN Rand Refinery recently launched the ED Silver Loan and Mentorship programme. Tell us about it and NQ Jewellery’s involvement in it. It’s the first of its kind and gives SMMEs a real opportunity to participate in the mainstream of a jewellery manufacturing business. Having access to raw materials and high-tech equipment is essential for any business to grow. My business coaching focuses on compliance, marketing and sales. Compliance plays an important role in any business because it enables it to become attractive to an investor and a supplier to developed companies. More importantly, it protects the business and the people working in it. This is a gap I identified in most incubations around South Africa, which don’t really focus on compliance, but far more on design and manufacturing. You may have a great product, but if you’re not compliant, it will be extremely difficult to grow your business.

I’m really grateful that Rand Refinery is allowing me to be a part of this programme. I hope my 13 years’ experience will be of benefit to the students and guide them to not make the same mistakes I made while trying to grow my business. I also want to commend Praveen Baijnath, CEO of Rand Refinery and Cecil Khoza, CEO of the South African Diamonds and Precious Metals Regulator, for this initiative. I truly believe that it will change the jewellery landscape in years to come. You have always been passionate about supporting aspiring local jewellers – especially from the townships – through mentorship and training. Tell us about some of the projects you have initiated or been involved in.

From humble begin bespoke jewellery d NQ Jewellery was officially launched in 2007 as the firstever manufacturer and retailer of fine jewellery in Soweto. Its founder, Nqobile Nkosi, tells SAJN about his latest creations, mentoring programmes and what he would still like to achieve.

I had the opportunity to work with young people early in my career – nine years ago, to be exact. When I started my business, I was the only fine jewellery manufacturer and designer with a retail outlet and workshop in Soweto. Working from a back room in my mom’s house, I used to get orders for about 200 cufflinks, keyrings, rings, etc from various companies countrywide. Capacity quickly become a challenge and I realised that I needed more manpower. So I started recruiting students from Further Education & Training colleges. I used to train them in NQ Jewellery’s style design, manufacturing standards and unique finishings of products. I also taught them about gemstones, focusing mainly on creating unique, contemporary, yet commercial jewellery. In addition, I started a jewellery-making initiative for children aged eight upwards. The activities focused on gemstones and making jewellery using beads, findings, gemstones and recycled materials. It’s a fun activity and I still love doing it.

SA JEWELLERY NEWS - MAY 2021

JEWELLERY DESIGN | SAJN

ginnings to y designer

How can other established businesses in the industry help grow and create job opportunities for the next generation? I think we’re all facing the same challenges. As an industry, we need to look after each other, create more regular exhibitions for the public and have radio and TV campaigns that support local jewellery manufacturing. In addition, local retailers and wholesalers should buy and support local. The government also has an important role to play in the jewellery industry’s development, importing and exporting policies and skills transformation to be able to create sustainable jobs . We have gold, silver, diamonds and industry experts and we’re an extremely creative nation. We have all the tools we need to compete on a global scale. NQ Jewellery became one of the first brands to manufacture and retail fine jewellery in a township. What were the challenges you faced? Logistics has always been one of the biggest challenges. Tell us about your childhood. I was raised by my mom and my granny. I used to visit the Johannesburg Art Museum quite often, so art was always around me. After finishing high school, I couldn’t continue studying for an electrical engineering qualification, as I’d hoped to do, because of a lack of funds, so I enrolled at the Soweto Jewellery School. What drew you to jewellery design? To be honest, it wasn’t love at first sight for me, but my passion for it grew. What really drew me to jewellery design and manufacturing was having complete control of the process, from the beginning to the end of a piece.

SA JEWELLERY NEWS - MAY 2021

How has NQ Jewellery evolved since it first opened its doors in Soweto in 2007? We started making jewellery from a small tin house and are now fortunate enough to be working from house number 9 at the Rand Refinery Estate (the Jewellery Village). We also have our own casting, plating and setting equipment, as well as technical bench workers and access to polishing and three-dimensional printing, among other things. Serving the tourist market has been a big part of your business. How has the COVID-19 pandemic influenced your business approach? It took us over four years to build our brand in hotels, casinos and duty-free shops in airports. We had a decent market share for a small brand coming from Soweto and I absolutely loved trading on an international platform and selling our products through high-end retail shops. It made me feel proud because it proved that no matter where you come from, you can succeed. When COVID-19 struck, we lost 90% of our business and our retail shop that was due to open in 2020 at Montecasino was put on hold. We also lost 80% of our staff. We realised that we had to find a way to re-invent the company, while keeping our standards high, so we still produce high-quality jewellery in silver and gold using gemstones, as well as various crafts. We also still have our retail stall at the Organic Market (for seven years now), which is our public showroom. What is a typical working day like for you? My days start really early and when I get to the factory (at around 06h00), the first things I do are water our little food garden and have coffee. Then I continue with what was planned for the day or complete work from the previous day. I have quite a number of young people calling me almost daily for educational or business advice. Where do you draw your creative inspiration? From various sources, such as art, paintings, buildings and cultural symbols. These all influence my work. What are your favourite materials to work with? I love working with rose gold and silver, as well as high-quality coloured gemstones and diamonds. In my spare time, I enjoy making sculptures using clay.

What have been your career highlights? Designing and manufacturing jewellery for South Africa’s First Lady, Dr Tshepo MotsepeRamaphosa. I still do bespoke designs for her. Another highlight was selling our jewellery brand on an international platform in the UK, Switzerland and Belgium. It’s been a very interesting journey. Who are the most influential people in your life? Laurence Graff, from Graff Diamonds, is someone I really admire. He’s a great inspiration to me and his jewellery is exquisite – in fact, the most beautiful I’ve ever seen. It would be a huge honour for me to collaborate with him one day. I’ve also learnt a great deal from my business partner, Jerry Nkeli. He enabled me to continue using my creative abilities while also teaching me how to run a business professionally. What do you still want to achieve? I’d like to grow NQ Jewellery and one day have my own retail shop that sells our pieces. My hope is that such an outlet would sell only locally made contemporary fine jewellery.

Keep it GREEN. keep it BLUE. Sustain our planet. We encourage our clients and suppliers to be as environmentally responsible as possible when it comes to printing, merchandising and general business practice.

Address: 10th ﬂoor, Metal Box, 25 Owl Street, Milpark, Johannesburg Tel: 011 883 4627 | Email: isikhova@isikhova.co.za | www.isikhova.co.za

WATCHES | SAJN

Chronograph for the cup To celebrate its role as official timekeeper of this year’s America’s Cup, Omega has launched a race-ready timepiece that delivers extraordinary precision under pressure. RICH WITH HISTORY, INNOVATION AND PRESTIGE, THE America’s Cup is one of the world’s oldest and most dramatic sporting events. The legendary sailing duel has been fiercely contested since 1851 and, in all the years since then, has only been won by teams from four different countries. Adding its own precision and excellence, Omega’s association extends back to 1995, when the brand supported Team New Zealand, led by the legendary sailor Sir Peter Blake. The Kiwis’ victory that year paved the way for Omega to take the coveted role of official timekeeper in 2000 and again in 2003. This year, history repeated itself as Omega returned to the role for the 36th edition of the great event, which took place from 10-21 March.

SA JEWELLERY NEWS - MAY 2021

Omega’s strong ocean heritage extends back to the early days of the brand. In 1932, long before its connection to sailing began, Omega created the first commercially available diver’s watch. Since then, its depth-defying timepieces have earned the trust of countless ocean explorers and professional divers, including those in the British Royal Navy, fields of science and legends of the sea, such as Dame Ellen MacArthur, who broke the solo round-the-world record in 2005, as well as free diver Jacques Mayol and world-famous conservationist Jacques Cousteau. It is no surprise that Omega’s achievements beneath the waves have led to a passion for sailing. The America’s Cup, first contested in 1851, predates the modern Olympic Games by 45 years. The coveted prize, affectionately dubbed the “Auld Mug”, is the oldest trophy in international sport. For 170 years, the trophy – fashioned from 134 oz of sterling silver – has been the source of fierce international rivalries and spectacular duels. It takes many wins on

SAJN | WATCHES the water to claim the prize – and there is no second place: either you win or you lose. The competitive crews could certainly place their trust in this year’s official timekeeper, given Omega’s reputation for split-second precision. In addition to delivering a flawless performance at the world-famous regatta in 2000 and 2003, Omega has served as official timekeeper at almost every Olympic Games since 1932. Throughout the years, adventurous sailors have also relied on the brand’s high-precision marine chronometers for navigation, including French sailing legend Éric Tabarly, winner of the OSTAR east-west transatlantic race in 1964 and 1976. Omega’s robust and highly water-resistant Seamaster has proven its worth countless times since. Today, Omega’s strong nautical links include partnerships with top competitive sailors and sailing events. With its new chronograph lock-system, quick-change strap and water grip pushers, the Omega Seamaster Diver 300M America’s Cup Chronograph is a fitting tribute to the 36th America’s Cup presented by Prada. Built from stainless steel, the 44 mm chronograph has a blue ceramic dial and

Omega’s Seamaster Diver 300M America’s Cup Chronograph has a metal bracelet and additional rubber strap, both equipped with Omega’s new quick change system. One press of a button releases the pins from the watchhead, enabling the wearer to switch easily between the bracelet and the strap without having to use tools. Unlike the boats, the America’s Cup chronograph requires no winds to push it forward. Omega’s Co-Axial Master Chronometer Calibre 9900 is more than up to the task. A special presentation box, in the colours of the America’s Cup, keeps it safe and secure on land – and adds to its collectable appeal.

bezel ring which features a white enamel diving scale. To get a better handle on the watch in high swells, Omega has included soft-touch rubber pushers, ergonomically designed to work efficiently in the wet and stylishly picked out in red and blue. Its laser-engraved wave-pattern dial includes a “regatta countdown indicator ring” in red anodised aluminium, which features an hour disc underneath the sub-dial, a red anodised aluminium minute and a rhodium-plated small seconds hand inspired by the shape of a boat hull. The central seconds chronograph hand, also in red anodised aluminium, carries an America’s Cup on the counterweight. Omega’s exclusive chrono lock system is included to secure the chronograph functions when needed – a must when marking time on the water, as sailing at high speeds leaves no room for error. As with all great commemorative watches, the event and year are clearly marked and highlighted in bold. On the alveol-shaped case-back, engravings filled with blue lacquer spell out “36th America’s Cup” and “Auckland 2021”.

Omega’s other America’s Cup tributes This Seamaster Professional diver’s watch, launched in 2000 to mark the 30th America’s Cup and Omega’s début as official timekeeper, was developed in association with Kiwi sailing legend Sir Peter Blake. A numbered edition of 9 999 pieces, it featured the distinctive “Auld Mug” logo on a wave-pattern dial. For the 2003 edition, Omega released the Seamaster Professional America’s Cup: an automatic diver’s chronograph with the event’s name printed on the dial. To give sailing fans greater choice, Omega launched two metallic marvels: a titanium and tantalum Seamaster with a red gold bezel and an all-titanium model.

Omega’s depth-defying timepieces have earned the trust of countless ocean explorers and professional divers, including those in the British Royal Navy, fields of science and legends of the sea, such as Dame Ellen MacArthur, who broke the solo round-the-world record in 2005, as well as free diver Jacques Mayol and worldfamous conservationist Jacques Cousteau. 40

SA JEWELLERY NEWS - MAY 2021

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LITTLE GEMS | SAJN

Exploring watch glass YOU WOULD EXPECT IT TO BE BLUE – BUT IT is not. You would expect it to be mined – but it is not. It was created for a specific need in a laboratory. In my early years as a writer for this magazine, I had much to learn about the products which are an important part of the watch and jewellery industry. This need prompted ongoing educational visits to numerous watchmaking production facilities, including one which manufactured sapphire crystal. A watch glass can be made of a variety of materials which, besides sapphire crystals, include mineral crystals, plexiglass (which is actually a plastic) and acrylic crystals. The choice depends on factors such as the eventual cost of the watch or the ruggedness of its functions, all of which influence the final price and value of the watch. In the luxury watch sphere, sapphire crystal is the preferred choice as it is extremely strong and scratch-resistant (though this last quality has been disputed by some watchowners). Sapphire crystals are usually created as a synthetic compound, but have the same properties as their natural counterpart. While standard glass is relatively cheap, sapphire glass is made from minerals grown in a furnace. When the resulting material is removed from the heat, it is not in the form of large sheets, like ordinary glass, but in long blocks called boules. These are optically trans-

parent and their primary advantage is their hardness, with strength which has been calculated as about 10 times greater than that of stainless steel. The process of producing sapphire synthetically dates as far back as 1893, when French chemist Auguste Louis Verneuil invented it and eventually released it in 1902. The Verneuil process is more commonly referred to as flame fusion, in which a long column of sapphire is manufactured in the furnace. Powder-sized aluminium oxide particles are sprinkled through a specific type of flame and are expected to melt at temperatures of over 2 000 ˚C. They then fall below the flame, drop to below the melting point and fuse with one another. Crystallised synthetic sapphire is slowly low-

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

SA JEWELLERY NEWS - MAY 2021

ered away from the flame, allowing more crystal to form on top. Eventually the long, cylindrical rod is complete and taken to be sliced with diamond-tipped cutters. It is then polished to become a watch crystal. This was exactly what I witnessed at the manufacturing operation I visited in Switzerland – one of five in the country – and it was an awe-inspiring experience. Watch crystal is better able to withstand cracks and breakages than ordinary glass or plastic. In fact, only a diamond or another plastic sapphire can scratch the surface and because it is so clear, anti-reflective coatings need to be added to both sides of it without damaging the crystal. Mineral glass crystal – referred to in the industry as “MG” crystal – is made of ordinary glass and is generally chemically treated to withstand scratches. It has superb reflective properties, strength and clarity and is hardened by a temperature process, but its main appeal to watchmakers is its reasonable price (and, ultimately, that of the watch on which it is used). While it is not easy to distinguish the type of glass used on a watch, mineral glass is more likely to break than plexiglass and is also more scratch-resistant, since its crystals are coated in a hard material which makes it more resilient. However, it is still subject to scratches and chipping. Viewed at an angle, it tends to have a greenish tint and may also cause distortion. Plastic – as in plexiglass or acrylic – is the least expensive option and most commonly found on lower-priced wristwatches. It will neither shatter nor crack, but it scratches easily.

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

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E-mail: leatherw@mweb.co.za; charldebeer@hotmail.com CHARLENE NEL T/A BELLA COSA Tel no: 021 975 5097 E-mail: charlene@bellacosa.co.za CHATEAU D’OR CC Tel no: 011 728 3741/3723 E-mail: denlincoln@mweb.co.za Website: www.chateaudorjewellers.com COLLEGE OF CAPE TOWN Tel no: 021 464 3821 E-mail: calbrechts@cct.edu.za; eoosthuizen@cct.edu.za Website: http://www.cct.edu.za/ CORNERSTONE MANUFACTURING (PTY) LTD Tel no: 082 599 5919 E-mail: cornerstonelof@gmail.com CAPE PRECIOUS METALS – CAPE TOWN Tel no: 021 551 2066 E-mail: sharon@cpmct.co.za Website: www.capepreciousmetals.co.za CAPE PRECIOUS METALS – DURBAN Tel no: 031 303 5402 E-mail: malcolm@cpmdbn.co.za Website: www.capepreciousmetals.co.za CAPE PRECIOUS METALS – JOHANNESBURG Tel no: 011 334 6263 E-mail: tom@cpmjhb.co.za Website: www.capepreciousmetals.co.za CAPE PRECIOUS METALS – PORT ELIZABETH Tel no: 041 365 1890 E-mail: renee@capepreciousmetals.co.za Website: www.capepreciousmetals.co.za CREATIVE DESIGN MANUFACTURERS (PTY) LTD Tel no: 031 563 3987 E-mail: goldlink@iafrica.com DABERON MANUFACTURING (PTY) LTD Tel no: 011 334 8841 E-mail: daberon1@gmail.com

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GLOBAL JEWELLERY ACADEMY Tel no: 082 337 6428 E-mail: robertb@globaljewelleryacademy.co.za Website: www.globaljewelleryacademy.co.za

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

JEWELLERY MANUFACTURERS' ASSOCIATION OF SOUTH AFRICA

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

JEWELLERY MANUFACTURERS' ASSOCIATION OF SOUTH AFRICA

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

E-mail: noloyiso@rarearth.co.za Website: https://www.rareearth.co.za/ RASIFIWA (PTY) LTD Tel no: 021 422 1350 E-mail: rssa@rasifiwa.com; jacqui@rasifiwa.com Website: www.rasifiwa.com

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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SA Jewellery News (SAJN) • May 2021

Articles inside

PEARL QUALITY 101