SA Jewellery News (SAJN) • November 2021

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The home of precious metals

• PlatAfrica 2021: the winners of Metamorphosis • Molto bene [well done], Vicenzaoro!

• Versatile white metals • Winners of Shining Light Awards unveiled

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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/Editor-in-Chief: Jason Aarons Cell: 074-400-6677 E-mail: jason@isikhova.co.za Director Brand Strategy: Jenny Justus Cell: 083-450-6052 E-mail: jenny@isikhova.co.za Creative Director: Joanne Brook E-mail: joanne@isikhova.co.za Operations Director: Thuli Majola Tel: +27 (0)11 883-4627 E-mail: thuli@isikhova.co.za

10. NEWS • Rough Diamond Dealers Association of SA elects new excom • Pandora introduces new charm in support of Unicef • Local jewellery design house’s new collection pays homage to the past • SADPMR head office relocates to Kempton Park • JZA spring 2021 issue out now

Advertising sales: Tel: +27 (0)11 883-4627 Cell: 083-450-6052 Copy Editor: Anne Phillips Distribution: Ruth Dlamini and Direct Marketing Solution

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

Website: www.isikhova.co.za

12. WINNERS OF SHINING LIGHT AWARDS UNVEILED On 28 October, the Shining Light Awards (SLA) once again paid homage to the wealth of design talent that exists in South Africa, Botswana, Namibia and Canada. The SLA is held every two years and is a design platform through which creative artistry can be showcased using nature’s most remarkable and finest creation: the diamond.

34 18. PLATAFRICA 2021: THE WINNERS OF METAMORPHOSIS Winners of the 22nd PlatAfrica Jewellery Design and Manufacturing Competition have been announced. PlatAfrica, sponsored annually by Anglo American Platinum in partnership with Metal Concentrators and Platinum Guild International (PGI) India, promotes innovation and technical expertise in the design and manufacture of platinum jewellery.

14. VERSATILE WHITE METALS Arabella Roden, Editor of Jeweller, explores how the white metal category is adapting to an unpredictable market and what the future holds. Roden writes in-depth features on the jewellery industry and has more than a decade’s media experience across Australia and the UK as a journalist and sub-editor.

6

SA JEWELLERY NEWS - NOVEMBER 2021

CONTENTS | SAJN

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

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34. BEYOND PRECIOUS METALS Jewellery-lovers occasionally turn to alternative materials when purchasing jewellery – and South African jewellery artists have been rising to the challenge with stunning contemporary pieces using metals outside conventional and expected forms.

The home of precious metals

• PlatAfrica 2021: the winners of Metamorphosis • Molto bene [well done], Vicenzaoro!

• Versatile white metals • Winners of Shining Light Awards unveiled

37. MOLTO BENE, [WELL DONE], VICENZAORO! One of our jewellery industry’s most respected shows made a magnificent return, writes Jason Aarons, Isikhova Media Publishing Director and Editor-in-Chief of JZA – Your Jewellery Magazine.

40. MEET THE GEMSTONE: TOPAZ

30. DISCOVERING FUMANA Metal Concentrators (MetCon) and the SA Diamond and Precious Metals Regulator (SADPMR) have officially launched the Fumana Jewellers Collective, an online marketplace that connects inspired artists to an eager market. SAJN spoke to the six visionary jewellers who were selected to be featured on the platform.

SA JEWELLERY NEWS - NOVEMBER 2021

The primary birthstone for the month of November is topaz (the secondary being citrine). Topaz has an exceptionally wide colour range which, besides brown, includes various tones and saturations of blue, green, yellow, orange, red, pink and purple. Colourless topaz is also plentiful and is often treated to give it a blue colour.

42. THE COLOURS OF GOLD 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.

On the cover MetCon is one of the most advanced refineries in South Africa, adding value locally to responsibly sourced precious metals, for supply to a local and global market. MetCon’s offering includes superlative refining, world-class wealth products and specialist jeweller services.

Its new, flagship refinery, MetCon SEZ is located in Kempton Park. Contact MetCon on tel: 012 000 4440 or 021 510 0770 or visit: www.metcon.co.za.

The views expressed in this publication are not necessarily those of the owners, the Jewellery Council of South Africa, the Diamond Dealers’ Club of South Africa, its members, the publisher or its agents. While every effort has been made to ensure the accuracy of its contents, neither the owners, the Jewellery Council of South Africa, the Diamond Dealers’ Club of South Africa, the editor nor the publisher can be held responsible for any omissions or errors; or for any misfortune, injury or damages which may arise therefrom. The same applies to all advertising. SA Jewellery News© 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.

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ED’S NOTE | SAJN

Editor’s

note

IF EVER THERE WERE AN ISSUE THAT celebrated the remarkable talent of our local jewellery designers, it is this one. On 28 October, the winners of De Beers’ 2020/2021 Shining Light Awards were revealed, while the winners of this year’s PlatAfrica Awards,

hosted annually by Anglo American Platinum, in partnership with Platinum Guild International India (PGI India) and Metal Concentrators, were announced the following day. The finalists’ pieces for both competitions were phenomenal. The creativity in showcasing the theme, the intricate techniques used and the designers’ passion were evident and striking.

SAJN congratulates and applauds each one of these very deserving winners. Enjoy the pages displaying their remarkable creations.

This issue also features exclusive interviews with the six local visionary jewellers who were selected to have their creations featured on the Fumana Jewellers Collective platform, an online marketplace that connects inspired African artists to an eager market. The official launch took place at MetCon’s new flagship refinery, MetCon SEZ in Kempton Park. Before Fumana, many of these designers exhibited their work at flea markets and other informal spaces over weekends, as access to a consumer market was one of their biggest challenges.

Fumana is a wonderful initiative which will hopefully inspire other similar platforms to support local talent.

Shining Light’s physical award ceremony and the Fumana launch made me realise how valuable and necessary any such gatherings

are for industries. While adhering to health safety protocols, it is wonderful to be able to exchange thoughts on industry issues in person again. Socialising is a fundamental human need and while physical distancing may be enforced when necessary, experiencing live contact with others is crucial to sustain our relationships and support the most vulnerable among us, especially after so many of us have endured exceptionally difficult times these past 20 months.

I do not know what the future holds for events such as Jewellex. However, while there is a place for virtual gatherings, nothing can replace coming together in person once a year as an industry, not only to do business, but to share ideas, encourage each other, give each other hope and instil a sense of camaraderie.

Our industry is a family like any other. We have been through a lot together and we need to see each other. We often face the same challenges as any other family and feel discouraged by the same things. And, as in any family, we are here to look out for and support each other.

Enjoy this issue!

Adri Viviers

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OCTOB ER 2020

SAJN | NEWS

JZA SPRING 2021 ISSUE OUT NOW JZA – Your Jewellery Magazine’s spring issue is out. Published seasonally, the magazine is SA’s only dedicated, online consumer retail publication, endorsed by the Jewellery Council of SA. “This issue’s storyboard includes homegrown and African features, as well as terrific global inspiration in the spirit of a bright, bold, innovative and exceptionally colourful season,” says Editor-in-Chief Jason Aarons. “We’re also over the moon about featuring the iconic Lady Gaga on our cover, having secured the rights from Metro-Goldwyn-Mayer Pictures Inc, with wonderful assistance from South African cinema group Ster-Kinekor.”

ROUGH DIAMOND DEALERS ASSOCIATION OF SA ELECTS NEW EXCOM The Rough Diamond Dealers Association of SA held its annual general meeting on 8 October, where a new Executive Committee was elected.

Jan Nortje will serve as Chairperson for the association for the ensuing year.

The following Executive Committee members were elected: Trevor Temkin, Ian Lutrin, Nash Parag, Lior Sitton, Vijay Rajguru, Pappie Mokoena, Frank Hinda and Claudia Bompani.

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SADPMR HEAD OFFICE RELOCATES TO KEMPTON PARK The SA Diamond and Precious Metals Regulator (SADPMR) has moved its head office to 48 Bonaero Drive, Bonaero Park, Kempton Park. Established to administer the Diamonds Act (Act 56 of 1986, as amended) and the Precious Metals Act, 2005 (Act 37 of 2005), one of the core functions of the SADPMR is

to facilitate the buying, selling, exporting and importing of diamonds through its Diamond Exchange and Export Centre (DEEC). The DEEC is a secure and controlled environment where goods are offered to other licensees and plays a vital role in ensuring that unpolished diamond tenders are facilitated fairly to the local market.

An additional service for the facilitation of polished diamonds was launched on 15 February 2013 by the DEEC and the first tenders were facilitated in March 2013.

The SA Diamond Board was established in 1987 in terms of the Diamonds Act to regulate control over the possession, purchase, sale, processing and export of diamonds. During 2007, three pieces of legislation – the Diamond Amendments Act (Act 30 of 2005), the Diamond Second Amendment Act (Act 30 of 2005) and the Precious Metals Act (Act 37 of 2005) – were promulgated, thereby broadening the legal mandate of the board to also regulate precious metals.

The SA Diamond Board was delisted as a Schedule 3A public entity in March 2007 and replaced by the South African Diamond & Precious Metals Regulator, which was established by Section 3 of the Diamonds Act, 1986 (as amended in 2005).

PANDORA INTRODUCES NEW CHARM IN SUPPORT OF UNICEF Pandora has introduced the “Dreams of the Future Crayon” dangle charm. A continuation of its Charms for Change initiative in support of Unicef, the charm has been designed to help create a brighter future for children around the world.

In honour of World Children’s Day on 20 November, Pandora celebrates how youngsters can come together to help each other realise their hopes and ambitions. The “Dreams of the Future Crayon” dangle charm was designed to represent the spirit of children today, including a colourful world full of opportunities for selfexpression and access to quality education.

Nearly 200 children of the Pandora family were invited to share their interpretation of the future, which collectively inspired the limited-edition charm. Themes of space, nature, heroes of tomorrow, diversity and freedom shone through as they imagined an exciting world in which people were kind to each other and worked together to create a better planet for everyone. Elements from the drawings, such as a crayon, colourful butterflies and wings, resonated with the themes of education, diversity,

creativity and freedom and gave clear inspiration to the Pandora design team. Pandora’s Creative Directors, Filippo Ficarelli and Francesco Terzo, were captivated by the children’s thoughtfulness, clarity and optimism, which helped them design the new dangle charm.

“It was wonderful to receive so many different visions from children of the Pandora family all over the world. The final design, the crayon with wings and butterflies, symbolises how education can help you soar, which is perfectly symbolic of the Pandora for UNICEF initiative,” said Ficarelli.

With the launch of this charm, Pandora hopes to inspire international togetherness and awareness for children worldwide. Through the Charms for Change initiative, Pandora and Unicef are aiming to provide young people – especially girls – with the tools and opportunities they need to pursue their passions and realise their potential. Their joint objective to reach more than 10 million children. €15 from every purchase of the “Dreams of the Future Crayon” dangle charm goes to Unicef’s programmes around the world.

SA JEWELLERY NEWS - NOVEMBER 2021

NEWS | SAJN Jewellery design house Black Betty has unveiled its new Oracle Collection, inspired by jewellery linked to family heritage, but with a mystical twist, incorporating tarot symbols.

“The tarot is in essence a soul map, a deep psychological guide to self-empowerment.

We wanted to empower wearers to create their own individual design that might act as a compass to guide them through their everyday lives – a modern heirloom,” says Black Betty founder Kristin Weixelbaumer. The range includes 17 symbols that can be chosen, including “the Aphrodite”, “the dagger” and “the wild card”.

Weixelbaumer says the collection redefines the traditional signet ring to be more inclusive of people who have either had difficult family relationships, pride themselves on individuality

LOCAL JEWELLERY DESIGN HOUSE’S NEW COLLECTION PAYS HOMAGE TO THE PAST or have fought against tradition. “Our goal was to create a piece for those attached to their family and heritage, but also those who aren’t – a piece that acknowledges the wearer’s past, accepts their present and charts their future.”

Black Betty employed the talents of designer Jamie Boon for the new range. Customers are able to determine their very own signature piece, etched onto either a signet ring or pendant. The signet and pendant can be presented in an oval, rectangular, diamond or round shape. The designs can be chosen in silver or gold, with the additional option of adding precious stones to enhance the design.

“People view signet rings as pieces that signify the past – a nod to their heritage and family lineage. We decided to turn that on its head and take a forward-looking view, redefining the concept to be more inclusive.

We chose symbols for Black Betty’s very own tarot deck that would remind someone every day of who they are, what they want to attract into their lives and where they want to go, so that they’ll never be lost again,” says Weixelbaumer.

The range can be viewed at Black Betty stores in Sea Point in Cape Town, Parkhurst in Johannesburg or online.

ANOTHER “DIAMOND INSIDE A DIAMOND” COMES TO LIGHT India Bore Diamond Holdings has found a piece of rough containing a separate diamond inside it.

The 0,84ct outer diamond is near-colourless, while the smaller inner stone resides in a tiny cavity and can move around freely, the Australian miner said. India Bore discovered the specimen at the Ellendale mine in West Kimberley, Australia, where it operates a portion of the site.

In 2019, Alrosa found a similar diamond with

a 0,62ct outer shell and a free-moving 0,02ct rough inside. The Russian miner dubbed it the Matryoshka diamond, after the traditional Russian nesting dolls.

There are two main theories on how the rare diamond-within-a-diamond was formed, India Bore explained. One hypothesis is that a layer of porous diamond crystal was formed inside the outer diamond due to ultra-fast growth,

but then dissolved due to high temperature and pressure, allowing a portion to be liberated and move freely inside. The second theory holds that they are possibly two separate diamond crystals, with one capturing the other during separate growth periods.

If the second assumption is true, the smaller, captured diamond would be much older than the larger outer diamond, the miner noted. – Rapaport

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SAJN | JEWELLERY DESIGN

Winners of Shining Light Awards unveiled THE DE BEERS GROUP HAS UNVEILED THE winners of the 2020/21 Shining Light Awards.

Tebogo Shaun Ledwaba was awarded first prize for his creation Icebow, while second place was awarded to Kgaugelo Pinyana Mphela and third place to Roelien Geldenhuys. The announcement was made in the Kentridge Suite at the Tsogo Sun Hotel in Rosebank, Johannesburg.

This year’s design theme, “The Evolution of Love and Life”, was aimed to inspire young designers to create innovative and gamechanging pieces showcasing their interpretation of the concept. The pieces had to be versatile and combine commerciality with red-carpet elegance, celebrate fresh thinking, showcase the beauty, strength and sustainability of natural diamonds and appeal to a millennial consumer anywhere in the world. Entrants had to design a full collection consisting of one ring (with or without pavé on shank), one set of earrings (with and without pavé), one pendant (with and without pavé) and one bracelet/ bangle (with and without pavé).

“The 2020/2021 SLA theme was birthed from the current global context and sends a powerful message of hope and resilience at a time when the world continues to evolve and innovate at lightning speed, and humankind continues searching for meaning and gaining strength through our traditions, our culture and our passions that have made us resolute

(Above, from left): Kgaugelo Pinyana Mphela, Tebogo Shaun Ledwaba and Roelien Geldenhuys.

On 28 October, the Shining Light Awards (SLA) once again paid homage to the wealth of design talent that exists in South Africa, Botswana, Namibia and Canada. The SLA is held every two years and is a design platform through which creative artistry can be showcased using nature’s most remarkable and finest creation: the diamond.

(Left and right): Icebow collection

by Tebogo Shaun Ledwaba (first prize).

(Left and far left): Ardent collection by Kgaugelo Pinyana Mphela (second prize).

(Above): Graceful descent collection by Roelien Geldenhuys (third prize).

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for centuries. Now, more than ever before, we celebrate love and life,” said Pat Dambe, VicePresident of Corporate Affairs & Government Relations: De Beers Global Sightholder Sales.

“Creating an enabling environment for beneficiation to succeed is critical, especially for a sector that competes on an international stage. By creating an international platform for showcasing local talent, we’re giving young designers access to the global diamond jewellery market,” said Dambe.

The De Beers Group Designers Initiative (DBGDI) – which incorporates the Shining Light Awards (SLA) – has existed for 23 years in South Africa, 11 years respectively in Botswana and Namibia and two years in Canada. The SLA is held every two years through a collaboration between De Beers Group and Forevermark.

The success of the SLA is reliant on a successful working relationship with training institutions, government stakeholders, media and youth across all our producer countries.

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SAJN | WHITE METALS

Versatile white metals Arabella Roden, Editor of Jeweller, explores how the white metal category is adapting to an unpredictable market and what the future holds. Roden writes in-depth features on the jewellery industry and has more than a decade’s media experience across Australia and the UK as a journalist and sub-editor.

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AS A JEWELLERY CATEGORY, WHITE metals – platinum, palladium, silver and white gold – are impacted not only by consumer demand, but by a complex interplay of macro-economic factors.

The disruption of the COVID-19 pandemic to global supply chains – particularly in the mining sector – as well as investor confidence and lowered demand from the automotive sector have all led to some volatility in the white metal market.

“Having suffered steep falls in early 2020 as a result of the global COVID-19 outbreak, precious metal prices rebounded strongly in the second half of 2020 as the pandemic triggered stockpiling by investors seeking to protect their wealth,” explains Richard Hayes, CEO of The Perth Mint. “This, alongside supply deficits, pushed gold prices up by 25% last year, while silver rose by 47%, platinum rose by 11% and palladium rose by 23%.”

Hayes notes that precious metal prices “again trended higher in early 2021 on a more optimistic economic footing, before retracing markedly” as a result of economic policy changes and the Delta variant of COVID-19.

White metal jewellery demand has followed a similar pattern, with the initial shock of the pandemic waning in around July 2020

before a sustained period of growth, later interrupted in mid-2021 by the Delta variant and associated lockdowns across New South Wales and Victoria.

Still, as a diverse category comprising premium-priced platinum, palladium, white gold and affordable silver, white metals have widespread appeal, as well as a competitive advantage in the high-value bridal sector – though this, too, has experienced recurrent disruption as a result of the pandemic.

Platinum progress Platinum prices reached a five-year high of US$1 266 per ounce in February 2021, rising steadily after a plummet in March 2020 to the lowest level since 2003. Still, platinum prices remain significantly below those of gold,

SA JEWELLERY NEWS - NOVEMBER 2021

WHITE METALS | SAJN palladium and rhodium – all components in the manufacture of white gold jewellery.

Rhodium, in particular, has experienced a “phenomenal price movement” since January 2019, according to UK resource firm Johnson Matthey, rising from US$2 300 to US$29 200 per ounce in March 2021; since May, it has plateaued at approximately US$15 000 per ounce.

Chris Botha, Innovation Division Manager at Palloys, observes: “Platinum pricing has had a continuous run for some time and while it’s slowed a little, jewellers will be weighing up the additional labour costs of working in platinum against rapidly having to purchase rhodium plating.

“The rhodium market is very volatile and has seen steep increases in pricing over the past 18 months.”

Like palladium, SA is the largest producer of rhodium. It accounts for 80-90% of total global production, which was significantly reduced by temporary mine closures last year, with the overall “rhodium deficit” – the gulf between supply and demand – more than doubling.

The unprecedented upward pressure on rhodium prices is largely from the automotive sector, with manufacturers in China and Europe utilising the metal to reduce emissions. The automotive sector has also buoyed platinum prices, in tandem with jewellery demand and disrupted supplies, notes Hayes.

According to the World Platinum Investment Council, jewellery demand for the metal recovered by 22% in the first quarter of 2021, compared with the same period in 2020, driven

by China and the USA. In April 2021, the council predicted that the overall platinum jewellery market would recover the ground lost in 2020, rising 13%.

Industry organisation Platinum Guild International (PGI) tracks demand for platinum jewellery across a number of retail chains in the key markets of the USA, China, Japan and India. Commenting on its first-quarter report, Huw Daniel, CEO of PGI, notes that while jewellery demand could “slow in some markets as subsequent waves of COVID-19 cloud the outlook”, there has been “a renewed enthusiasm for platinum” within the jewellery industry.

“Jewellers are increasingly engaging with

this precious metal, which has been effectively marketed as a metal of meaning and become important as consumers look for ways to

platinum jewellery in both men’s and women’s wedding rings.”

Ingham notes two factors increasing the

symbolise and mark occasions in restricted and unprecedented times,” he says.

Indeed, platinum sales across PGI’s key markets were driven by targeted campaigns promoting branded platinum collections. In India (historically a far stronger market for yellow gold), retailers who took part in PGI’s “Platinum Days of Love” campaign reported a 17% increase in platinum sales in the first quarter of 2021.

Locally, Greville Ingham, National Sales Manager at Peter W Beck, observes: “The family of white metals has seen popularity recently and we’ve especially noted a great demand for

demand for platinum: “Platinum is perceived as a rare and more exotic precious metal, so its current relative affordability has made it accessible to those who may not have previously considered it,” he explains.

“The second factor drawing customers to platinum is its high purity: platinum is a hypoallergenic metal and has a naturally strong white colour without the need for plating.

“In terms of the white metal market, the relative price difference between platinum and white gold has lately made platinum a popular choice. We see that this pricing will be an influencing factor for some time.”

While yellow gold has seen an undeniable resurgence in the market in recent years, some industry commentators have noted a generational divide of demand between Millennials and Gen Z, the latter of whom appear to prefer white metals.

SA JEWELLERY NEWS - NOVEMBER 2021

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SAJN | WHITE METALS At Chemgold, Director Darren Sher has observed “a slight increase in 9ct and 14ct white gold, as well as platinum being ordered – this, of course, due to the higher palladium cost pushing up the cost of 18ct white gold.

“Overall, the price increase in palladium has resulted in customers utilising lower-carat white gold, as well as platinum, quite often; however, the majority of our clients prefer 18ct white gold or platinum for white metal jewellery.”

Showing the strength of white metal demand, Botha told Jeweller: “Our sales data show the spread of sales in 18ct golds to be 50% yellow gold, 35% white and the balance rose gold.

“However, by weight value, if we add platinum – which nearly matches yellow gold for sales – definitively, the white metals are selling better.”

In refining terms, the figures echoed the sales data, with Botha noting “increases in white gold and platinum refining, with sporadic large bursts of platinum refining, as jewellers opt to save more of the white metal until there’s enough for a larger refining job”.

He added: “Our sweep and four-metal recovery services have seen a significant increase, as jewellers want to recover the palladium and platinum from their small lemel and sweeps.”

At Chemgold, demand for both two-metal (gold and silver), four-metal (gold, silver, palladium and platinum) and platinum refining has remained stable compared with previous years.

Meanwhile, the Peter W Beck precious metal refining division is now refining more platinum and palladium “than ever”.

“We’ve certainly seen those wishing to refine here in Australia directing these metals to us – platinum and palladium require specialist knowledge and techniques to recover,” says Ingham.

Silver in the spotlight As the most affordable member of the precious white metal category, silver has consistently maintained a stable level of demand in the market.

Between 2010 and 2019, the year-on-year change in demand for silver jewellery averaged 5%, compared with 9% for gold jewellery, according to the World Silver Survey 2021 report published by The Silver Institute and Metals Focus, an independent precious metals research firm.

Worldwide, silver jewellery fabrication accounts for approximately one-fifth of worldwide demand for the metal and the Silver Five-Year Forecasting Quarterly report, also authored by Metals Focus, predicts this will rise to one-quarter of total demand by the mid-2020s.

From a manufacturing perspective, Botha

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Like palladium, SA is the largest producer of rhodium. It accounts for 8090% of total global production, which was significantly reduced by temporary mine closures last year, with the overall ‘rhodium deficit’ – the gulf between supply and demand – more than doubling. says: “There’s always been a high demand for silver and, as a more affordable metal, it saw big growth in Australia [in the past year] due to many manufacturers bringing that production back on-shore to offset the shipping issues the world’s endured since the onset of the pandemic.”

At Palloys, “scientific silver” – used for industrial, research and medical applications – also led to an increase in demand for “highend” refining services.

The Perth Mint’s Hayes observed a surge in demand for refined silver “investment products”, such as bullion, in the first and second quarters of 2021 due to a rally in the silver price – though he notes that the price per ounce has since “suffered several bouts of weakness in recent months”.

“Silver’s been struggling to regain momentum, as growing concerns over the highly contagious Delta variant sparked a sell-off across industrial commodities,” he adds.

Silver prices remain relatively high from a historical perspective; it increased 137% during 2020, compared with gold’s 38%. Yet from a

SA JEWELLERY NEWS - NOVEMBER 2021

WHITE METALS | SAJN jewellery perspective, Western consumer markets such as Australia tend not to be influenced as strongly by fluctuations in the silver price – particularly when compared with gold.

Silver jewellery also enjoys other benefits; the World Silver Survey 2021 notes that the shift towards e-commerce is generally “positive, as silver jewellery’s price points work well in an online space”. This shift was pronounced in Australia over the course of the pandemic, with Australia Post’s 2021 Inside Australian Online Shopping report noting that e-commerce spending increased by 57% in the 12 months to 31 December 2020.

Potentially indicating strong consumer demand for silver jewellery are recent financial results announced by Pandora, the world’s largest jewellery producer by volume. The company refers to 925 sterling silver as its “signature metal” and utilises an estimated 340 tonnes of silver per year across its product lines.

Pandora recently upgraded its forecast for the year, following promising financial results and citing a robust recovery in the USA, which is also the largest market for sterling silver jewellery by value.

In the Australian market, the silver and alternative metal jewellery category has seen double-digit increases in sales dollars every month from January to June this year, compared with 2020, according to data from Retail Edge Consultants.

Even taking into account the impact of the extended COVID-19 lockdowns across Victoria and New South Wales in July, Retail Edge’s data – drawn from more than 400 stores – indicated sales in this category were still 6% higher than in July 2019.

However, the ongoing and unpredictable COVID-19 pandemic is likely to continue weighing on both supply and demand for silver jewellery. Ingham predicts that consumer tastes may also shift away from white metals in general.

“We’ve seen white metals enjoying popularity over the past three to five years, but in the cyclical nature of the market, we’re predicting increased popularity of yellow gold jewellery in due course,” he told Jeweller.

appear to prefer white metals.

In a 2019 survey of 18 000 consumers across six international markets, the World Gold Council found that “gold jewellery resonates less well with younger consumers, most notably the 1822 Gen Zs. The connection to gold’s emotional heritage is weaker among this group.”

Intriguingly, this trend was particularly pronounced in the Chinese market, with the report noting: “They are considerably less likely than Gen Z consumers in other markets to have bought gold jewellery in the past year – 18%, compared with 26% globally. And only 31% of them agree that wearing gold helps them fit in with their friends, compared with 46% at a global level.”

In contrast, Millennial attitudes toward gold jewellery were “not significantly different from those of older generations”.

Generational appeal While yellow gold has seen an undeniable resurgence in the market in recent years, some industry commentators have noted a generational divide of demand between Millennials and Gen Z, the latter of whom

at 45%, followed by silver at 19%, according to the De Beers report.

As Gen Z – currently aged 11-25 – further ages into the engagement and marriage bracket, it is likely that white metals will continue to enjoy a competitive edge in the bridal category.

SA JEWELLERY NEWS - NOVEMBER 2021

Research conducted by Platinum Guild International found that younger Chinese consumers strongly preferred platinum jewellery. “In China, platinum is most popular among Gen Z and Millennials aged 18-45 – the future driver of jewellery consumption,” the report noted.

“Younger Chinese consumers prefer platinum not only in rings marking relationship milestones such as engagements, weddings and anniversaries, but in a range of non-bridal types of jewellery, such as fashion rings, necklaces, earrings and chains.”

These findings were echoed in De Beers’ 2018 Diamond Insight Report, entitled Millennials and Gen Z: Capturing the Opportunity, which noted that 96% of bridal rings acquired by Chinese women contained

With thousands of weddings delayed by lockdowns across Australia, jewellers may be well-placed to take advantage with white metal offerings designed to cater to these consumers in the future.

In the meantime, the affordability of silver, as well as its resilience and consistency, add to the overall strength of the white metal category.

Mixing it up A notable trend in the white metals market has been an emphasis on alloys and mixed designs in order to manage costs.

“We’ve noticed that a lot more two-tone designs are being made, utilising rose and yellow gold for shanks and accents to lower the cost. However, the setting’s always in a white alloy,” Chemgold’s Darren Sher told Jeweller.

“With respect to this, we’ve also observed a minor trend in mixed carat, such as an 18ct yellow or rose gold shank with a 9ct or 14ct white gold setting, again to reduce the cost for the customer, but keeping a similar effect.”

At Palloys, Botha observes: “The Fabricated Metals division of Palloys has always had a very large assortment of alloys on offer to a typically niche market. However, the introduction of the Alloy Properties pages on the new website, located under the Resources tab, have stirred up great interest in these ‘old-but-new-again’ alloys like palladium silver.”

Botha also notes an increase in demand for Argentium Pro 935, which combines 93,5% silver with germanium to produce a lowmaintenance, non-tarnish silver alloy that does not display firescale during production.

At Chemgold, the 18ct white gold 18W132 alloy “continues to be very popular”, given higher palladium prices.

“With 13,2% platinum group metals, it’s a very good alloy and, on average, 10% less expensive than the traditional 18ct white gold with 15% palladium,” Sher explains. “The metal is still premium white, hard-wearing and great for polishing.”

– Republished with permission from Jeweller, Australia and New Zealand’s leading businessto-business jewellery and watch magazine

platinum, while just 4% contained gold.

Worldwide, white metals still dominate the bridal market. In the USA, white gold remained the most popular choice for engagement rings

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SAJN | JEWELLERY DESIGN

PlatAfrica 2021: the winners of Metamorphosis Winners of the 22nd PlatAfrica Jewellery Design and Manufacturing Competition have been announced.

PlatAfrica, sponsored annually by Anglo American Platinum in partnership with Metal Concentrators and Platinum Guild International (PGI) India, promotes innovation and technical expertise in the design and manufacture of platinum jewellery.

First-place winner (Student & Apprentice category), Patricia Ntombizodwa Tshabalala from J Hind Jewellers.

THE WINNERS OF THIS YEAR’S PLATAFRICA, South Africa’s premier platinum jewellery design and manufacturing competition, were announced on 29 October during a virtual showcase event.

Now in its 22nd year, this year’s theme – Metamorphosis – was developed in consultation with PGI India and was inspired by the transformation phases that a caterpillar undergoes to morph into a butterfly.

Second-place winner (Professional category), Lené Swartz from David Bolding.

First-place winner (Professional category), Chris and Jannie Janse van Rensburg from Studio C.

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SA JEWELLERY NEWS - NOVEMBER 2021

JEWELLERY DESIGN | SAJN Natascha Viljoen, CEO of Anglo American Platinum, said: “Platinum has been a highly sought-after jewellery metal for consumers for decades and we’re proud of the part we continue to play to promote platinum as a precious metal of choice for discerning jewellers and consumers. PlatAfrica is a highlight on our calendar and we were again very impressed by the quality and creativity of the pieces.

We trust that initiatives such as PlatAfrica will continue to inspire and introduce this versatile precious metal to a wider audience of jewellers and consumers, while also creating space for emerging creative talent.”

The winners in both the professional and student and apprentice categories are: Chris and Jannie Janse van Rensburg from Studio C won first place in the professional category with their neckpiece titled “Imagine”.

Lené Swartz from David Bolding with her ring titled “Inside-Out” took second place while Johann Claasens from Piccolo Fine Designer Jewellery with his neckpiece, also titled “InsideOut”, took third place. Fourth place was awarded to Christina Toros from Prins and Prins Diamonds with her neckpiece, “Oceanic Flourishment”.

Patricia Ntombizodwa Tshabalala from J Hind Jewellers won first place in the student/apprentice category with her neckpiece “Blossoms”.

(Below from left): Second-place winner (Student & Lebogang Ledwaba from the Limpopo JewApprentice category), Lebogang Ledwaba from Limpopo Jewellery Business Incubator and third-place winner ellery Business Incubator with her neckpiece (Student & Apprentice category), Tokelo Mphomane from titled “World of Mask” took second place, Stellenbosch University. while Tokelo Mphomane from Pneuma Jewellers with his neckpiece “Enlightenment” took third place. Fourth place was awarded to Tor Kaplan from Stellenbosch University for his ring titled, “Morphed Protractor”.

Underpinned by extensive research, a creative design brief is developed in collaboration with PGI India each year. Students, apprentices and professional jewellers are invited to submit statement pieces to be judged by an esteemed panel of local and international jewellery experts on a holistic range of criteria, including interpretation of the brief and technical expertise. The metal required to produce each handcrafted piece is loaned to each participant, provided by Anglo American Platinum and distributed by Metal Concentrators.

The winners receive a cash prize, national media exposure and the opportunity to participate in an allexpenses-paid design workshop at PGI India (subject to Covid-19 travel regulations) to learn more about the design and manufacturing of platinum jewellery in the world’s fastest-growing market for this product. Candidates are also eligible to participate in the design sourcing process for the prestigious PGI India brand, Evara.

All the one-of-a-kind jewellery pieces entered for PlatAfrica are available for sale online. The pieces are being Third-place winner (Professional hosted on the House of Nala AFI online category), Johann Claasens from store for a limited period and went live Piccolo Fine Designer Jewellery. after the show on 29 October.

SA JEWELLERY NEWS - NOVEMBER 2021

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Round Faceted

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Round Faceted

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Round Faceted

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Round Faceted

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1015

Round Faceted

2,20

1 carat (25 pieces)

R 1 100,00

R 44,00

1016

Round Faceted

2,30

1 carat (22 pieces)

R 1 100,00

R 50,00

1017

Round Faceted

2,40

1 carat (20 pieces)

R 1 100,00

R 55,00

1018

Round Faceted

2,50

1 carat (17 pieces)

R 1 100,00

R 64,71

1019

Round Faceted

2,60

1 carat (16 pieces)

R 1 100,00

R 68,75

1020

Round Faceted

2,70

1 carat (15 pieces)

R 1 100,00

R 73,33

1021

Round Faceted

2,80

1 carat (13 pieces)

R 1 100,00

R 84,62

1022

Round Faceted

2,90

1 carat (11 pieces)

R 1 100,00

R 100,00

Product Number

Shape/Cut

Size in MM

Price/Piece colourless

Price/Piece near colourless

Appr. CT weight

1023

Round Faceted

3,00

R 200,00

R 170,00

0,09

1024

Round Faceted

3,25

R 225,00

R 191,25

0,12

1025

Round Faceted

3,50

R 250,00

R 212,50

0,14

1026

Round Faceted

4,00

R 350,00

R 297,50

0,22

1027

Round Faceted

4,50

R 450,00

R 382,50

0,29

1028

Round Faceted

5,00

R 550,00

R 467,50

0,41

1029

Round Faceted

5,50

R 700,00

R 595,00

0,54

1030

Round Faceted

6,00

R 850,00

R 722,50

0,68

1031

Round Faceted

6,50

R 1 300,00

R 1 105,00

0,88

1032

Round Faceted

7,00

R 1 850,00

R 1 572,50

1,10

1033

Round Faceted

7,50

R 2 200,00

R 1 870,00

1,35

1034

Round Faceted

8,00

R 3 000,00

R 2 550,00

1,60

1035

Round Faceted

8,50

R 3 700,00

R 3 145,00

1,90

1036

Round Faceted

9,00

R 4 500,00

R 3 825,00

2,26

1037

Round Faceted

9,50

R 5 200,00

R 4 420,00

2,75

1038

Round Faceted

10,00

R 6 250,00

R 5 312,50

3,08

1039

Round Faceted

10,50

R 7 100,00

R 6 035,00

3,57

1040

Round Faceted

11,00

R 8 400,00

R 7 140,00

4,11

1041

Round Faceted

11,50

R 9 500,00

R 8 075,00

4,72

1042

Round Faceted

12,00

R 11 000,00

R 9 350,00

5,32

CONTACT US DIRECTLY FOR ANY INQUIRIES AND AVAILABILITY

A variety of shapes and colours available

Mizane Jewellery • Ken (076 049 9457 / 011 485 3784) or Jarred (083 320 4832) • www.mizanejewellery.co.za

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

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

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

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

ISSUE ISSUE 23 24

TYPICAL INCLUSIONS IN POLISHED DIAMONDS, PHOTOS: EGL

External graining.

Diamond octahedron in diamond.

Typical fracture in diamond (S1-2).

The same inclusion being reflected three times.

Pinpoint inclusion.

Zig-zag inclusions.

Octahedral ghost cloud.

String-like imperfections.

Hair-like inclusions.

PLOTTING SYMBOLS AND ABBREVIATIONS The grading report will indicate the type and position of imperfections that can be seen under 10x magnification.

These symbols are of great help in identifying a diamond and a jeweller should know how to read a diamond plot.

External characteristics Bearded girdle (Brg) Bruise (Br) Cavity (Cv) Chip (Ch) Cleavage (Clv) Cloud (Cld) Crystal (Cr) Feather (F) Grain centre (Grncnt) Natural indent (Nind) Internal graining (Intgr) Knot (K) Laser drill hole (Ldh) Needle (Ndl) Pinpoint (Pp) Twinning (Tw)

Internal characteristics Abrasions (Abr) Extra facet (Ef) Natural (N) Nick (Nic) Pit (Pit) Polish line (Pl) Polish swirls (Psw) Scratch (Scr) Surface graining (Sgr)

•

Naturals and extra facets are always plotted, as they are of great help in identifying a diamond.

•

If the diamond is mounted, the metalwork is indicated by dashed black lines.

AN INTRODUCTION DIAMOND-CUTTING TO GEMSTONES

7. CUT The modern round brilliant cut has 58 facets, named and arranged as shown herewith. We know that the cut, ie, the proportions of a diamond, influences its sparkle. For many years, diamond-cutters have argued about which set of proportions provide the best sparkle. With the advent of branding, these arguments got worse because brands normally claim that their proportions are superior.

Table Star, 8 facets Bezel, 8 facets

These systems also take into account aspects such as the weight and durability of a diamond (ie, overweight stones and those with extremely thin girdles), as well as the quality of the finish (ie, the polish and symmetry of the facets).

It is now known that every facet of a diamond contributes to its overall “look”. Also, that the historically accepted set of propor tions used for “ideal cuts” are just one of many sets of propor tions that can produce maximum sparkle.

Upper girdle, 16 Crown - top view Lower girdle, 16 Pavilion main, 8 facets Culet, not always facetted Girdle

Pavilion - bottom view

In recent years independent gemmological laboratories conducted extensive research on how effective diamonds of different propor tions reflect and refract incoming light.

Various aspects such as brilliance, fire and scintillation were analysed through computer modelling and observation testing. These laboratories each devised their own proprietary system by which they grade the cut of a polished diamond.

Furthermore, the type of light source, the angle of incidence of light and the reflection of large objects play significant roles in the overall appearance of the stone.

EVALUATING THE CUT OF A DIAMOND IMPORTANCE OF PROPORTIONS

MEASUREMENT OF PROPORTIONS

The following sketches explain the importance of a diamond’s proportions. Although this is an extreme simplification of the way in which a diamond handles light, it allows the client to quickly grasp the importance of a diamond’s proportions.

Most jewellers use a manual reticule (microgauge) and/or an electronic millimetre gauge to measure and then calculate the proportions of a diamond. These proportions can also be easily measured with a calibrated eyepiece that fits most microscopes or with the proportion scope.

S OUTH A FRICAN I DEAL C UT ™

The proportions of a polished diamond are described below.

TOO D EEP

Modern grading laboratories employ a computerised optical instrument to measure the proportions and to assign a cut grade to polished diamonds.

S OUTH A FRICAN I DEAL C UT ™

S OUTH A FRICAN I DEAL UT ™ Ideal propor tions.

TooCdeep.

TOO D EEP

With practice, a jeweller can estimate a diamond’s proporT OO S HALLOW tions and evaluate its cut by using a variety of visual observaToo shallow. tions, as described below.

gird le diam eter

TOO D EEP

crown heig ht girdle thickness pavilion depth

ASSESSING PROPORTIONS

table T% OO S HALLOW crown an gle pavilion an gle

TOO S HALLOW

cu let size

total depth

While most grading laboratories prefer to use their own terminology in describing and evaluating the quality of a diamond’s cut, they do, however, base their assessment on the same parameters, which are: I. The visual appearance of the stone, II. Value aspects, and III. The cutter’s craft

ISSUE 24

• Crown angle and height

I. VISUAL APPEARANCE This is due to a combination of three optical effects, namely: 1. Brightness, ie, the total reflection of white light.

2. Fire, ie, flashes of colour.

3. Scintillation, ie, the twinkling of areas of light and dark.

1. Brightness This is mainly determined by the stone’s depth percentage, table percentage its crown angle and its pavilion angle. The latter two proportions, with its girdle thickness, determine the stone’s depth percentage These parameters are measured or estimated as follows:

The higher the crown, the greater the crown angle. Most diamonds have crown angles between 30-35 degrees.

Diamonds with crown angles less than 30 degrees can be quite brilliant, but normally have extremely thin girdles which are susceptible to damage.

Crown angles are estimated by looking at the profile of the table and bezel facets and estimating the angle. See sketches below.

The crown height is measured by a calibrated microgauge and is expressed as a percentage of the diameter.

ESTIMATING CROWN ANGLES

• Depth percentage A

This is calculated by dividing the average diameter of a round stone by its depth, or the width of a fancy shaped diamond by its depth. This percentage normally varies from 58-60%.

A x 100 = depth percentage B

B 900 450

• Table diameter percentage This parameter is measured with a calibrated microgauge under magnification. The largest table measurement is divided by the average diameter. Opinion differs as to the ideal table percentages, but 56-62% is normally acceptable.

Hand-held micrometer Using the microscope to measure table diameter (in mm) with a hand-held micrometer Table diameter = 2,8 mm

A quicker method is by observing the bowing of the line running from the point of one star facet, along the table edge and to the point of another star facet. See below.

300 250

• Pavilion depth percentage This is expressed as a percentage of average girdle diameter and can be judged visually, or measured and calculated as in the sketches on the following page. Pavilion depth normally varies between 41-45%. In stones with a pavilion depth of 40% and less (a shallow pavilion), an unattractive, greyish reflection of the girdle can be seen under the table. This is called a fish-eye effect. It renders the stone lifeless and dull.

When the pavilion is too deep, the diamond will be dark in the centre. This is called a nailhead.

58%

53%

60%

340

63%

67%

Estimating the table percentage by using the bow method

Fish eye: Grey reflections of the girdle just inside the table, due to incorrect girdle thickness, table percentage and pavilion angle. Gut grade poor to fair.

Nailhead - a dark area in the centre, resulting from too-steep pavilion angles.

DIAMOND-CUTTING

DETERMINING PAVILION DEPTH BY IDENTIFYING THE TABLE REFLECTION Look for small “bow-ties” and their position in the table

2. Fire The flashes of colour you see in a diamond are called its fire and are the result of white light being dispersed into its various spectral colours. Fire is difficult to assess, especially in small stones, and is best seen under a spotlight. The more colour flashes, the better.

3. Scintillation

1 4

1 3

3 4 Pavilion depth

43%

2 3

45,5%

44,5%

3 4

1 3 Pavilion depth

The flashes of light and the contrasting areas of darkness that constantly change (sparkle) as the light source, the observer or the diamond is moved, is called its scintillation. The quality of scintillation is determined by a combination of the stone’s sparkle and the pattern which the contrasting dark and light areas form. The dark areas are normally areas of light leakage (loss) or reflections of dark objects near the stone.

2 3

1 4

The pattern of flashes should be spread evenly and balanced over the face of the stone and the contrast between dark areas and bright flashes should be crisp.

Scintillation is best seen under fluorescent light.

47%

Diamond with good symmetrical scintillation (above left). Good scintillation with “fine” sparkle (above right).

49%

Pavilion depth

50% or more

An incorrect pavilion depth also negatively affects the fire of a diamond.

Brightness under fluorescent light. Left: Excellent.

Right: With many dark areas, poor brightness.

Please note: The brightness, fire and scintillation are individually assessed and each described as either “Excellent”, “Very Good”, “Good”, “Fair” or “Poor”.

II. VALUE ASPECTS 1. Weight ratio A diamond’s physical dimensions in relation to its weight are an indication of whether it was made “heavier” by fashioning a too-thick girdle, a very large culet or incorrect crown and pavilion angles. “Heavy” stones thus look lumpy and face up smaller than those with the correct weight ratio. On the other hand, a “spread” stone looks bigger than it should and normally has a very thin girdle that makes it vulnerable to damage. The prices of spread or lumpy stones are thus adjusted downwards.

ISSUE 24

Ideal proportions

“Spread” stone with extremely thin girdle.

“Lumpy” stone with very thick girdle.

Obvious polish lines on several facets will result in a fair grade, while the presence of only faint polish lines in an inconspicuous place will give a good grade. An abraded culet, bearded girdle, pits on the surface and a very rough girdle are other aspects that could influence the clarity or polish grade of a diamond.

2. Girdle thickness extremely thin

This is expressed as a percentage of the depth measurements and is normally described as “Extremely” or “Very Thin”, “Thin”, “Medium”, “Slightly Thick” or “Extremely Thick”.

very thin thin medium slightly thick thick very thick extremely thick

Polishing scratch marks.

Burn marks on a polished diamond.

Small percussion marks on pavilion facet edge.

Culet and pavilion facet abrasion.

A very thin girdle can break, affecting durability, while a very thick girdle will make the stone look smaller than it should and could create fuzzy, grey reflections in it.

3. Culet size Most fancy cuts have culets, while round brilliants may not.

The purpose of the culet is to protect the bottom of the stone against abrasion. It is visually estimated and normally described as “None”, “Small”, “Medium”, “Large”, “Very Large” or “Abraded”.

CULET DESCRIPTION None

No polished surface visible

Small

Barely visible under 10x magnification.

Medium

Octagonal outline is visible under magnification.

Large

Just visible to the naked eye.

2. The symmetry The symmetry is also graded as “ Excellent”, “ Very Good”, “Good”, “ Fair ” or “ Poor ”. This gives an indication of how symmetrically the facets are aligned in the cut stone.

Aspects such as an off-centre culet or table, a wavy girdle or a large difference between minimum and maximum diameters will influence the symmetry.

SYMMETRY CHARACTERISTICS IN ROUND BRILLIANT CUTS

Very large Octagonal outline is clearly visible to the naked eye.

Irregular table

Culet off-centre

Girdle outline not a perfect circle

III. THE CUTTER’S CRAFT This parameter comprises two factors - polish and symmetry - and gives an indication of the care and skill with which the cutter manufactured the final product.

Wavy girdle

1. The polish The polish is described and graded as “Excellent”, “Very Good”, “Good”, “Fair” or “Poor”.

Crown and pavilion not aligned

Naturals on crown and pavilion

Table and girdle not parallel

Facets do not meet in point

DIAMOND GRADING

ASSIGNING AN OVERALL CUT GRADE In the table below, a range is proposed within which each proportion parameter should fall in order for it to be considered either excellent, very good, good, fair or poor.

These ranges are rounded off to the nearest percentage point. If more than 70% of the various proportions of a diamond fall within a certain grade, that grade may be assigned as an overall cut grade. It is possible that the individual proportions of a diamond fall into three or more different grade categories. In such a case, average out the different grade categories to arrive at an overall cut grade.

For instance: if among the eight different proportions there are two x excellent / three x very good / three x

good grades, the overall grade should be very good. If the diamond has one x very good / two x good / three x fair / and two x poor proportion parameters, the overall cut grade should be fair. Gemmological laboratories may differ slightly in their opinion of these ranges and how to “average” an overall cut grade.

COMMENTS Any other impor tant characteristic which the grader has noted will be indicated in the “comments” section of the grading repor t. Typically, slight girdle bearding, graining or minor finish blemishes are noted here. These characteristics are useful in identifying a diamond and, if severe, will significantly influence its clarity grade.

Cut grade

Poor

Fair

Good

Very good

Excellent

Very good

Good

Fair

Poor

Total depth %

<52

52-54

54-56

56-58

58-65

65-67

67-69

69-71

>71

Table %

<44

44-49

49-51

51-53

53- 62

62-65

65-68

68-72

>72

Crown angle

<26

26-28

28-31

31-32

32-36

36-37

37-38

38-42

>42

Crown height %

<7

7-9

9-11

11-13

13-15

15-17

17-19

19-21

>21

Pavilion depth %

<39

39-40

40-41

41-42

42-45

45-47

47-48

48-49

>49

Pavilion angle

<38

38-39

39-40

40-42

42-43

43-44

44-45

45-46

>46

Girdle thickness %

0,5-2,0

2-2,4

2,5-3,5

3,5-4,5

4,6-5

5,5-6,5

6,5-9

>9

Girdle description

very thin

thin

thin-med

slightly thick

thick

very thick

extremely thin

extra thick

very large

large

none-med

none-small

none-med

med

very large

extra large

Culet size

extra large

Please note: •

For a diamond to receive an overall excellent cut grade, its brightness and fire should be high and the pattern of its face-up reflections must be even, with strong contrasts between bright and dark areas.

•

Its symmetry and polish must also be of an excellent grade.

•

A software program called Facetware is available at www.diamondcut.gia.edu that allows users to estimate the overall cut grade once the stone’s proportions have been measured.

FANCY CUT DIAMONDS The rules for grading fancy cut diamonds are similar to those of round brilliants, except for the following differences: 1.

2.

Inclusions are easier to see in step cuts than in fancy brilliants.

Colour is often concentrated in the tips of marquise, pear and oval. If it looks darker face-up than in the table-down position, the colour is lowered to that of the face-up position.

3. Table width percentage is calculated as:

B A

table width B ------------stone width A

x 100 = table percentage

ISSUE 24

4. Crown angle is estimated as with round brilliant cuts, but by looking at the stone’s lengthwise profile.

7. The length to width ratio This is measured as shown below, and calculated as follows:

5. Total depth percentage and pavilion depth percentage First measure and calculate the stone’s total depth as:

B Length

stone depth (measured) ------------x 100 = total depth % stone width (measured)

length ------- = ratio width

Width

This ratio is expressed as, for example 1.52 : 1 (note: this ratio means that the length of the stone is 1,52 times longer than its width).

Width = 5,46 mm

Depth = 8,55 mm

Total depth % = 5,46 8,55

The length to width ratio is described as “slightly noticeable”,“obviously long” or “obviously short”, using the table below.

x 100 = 64%

PREFERRED LENGTH TO WIDTH RATIO FOR VARIOUS FANCY SHAPES Shape Emerald Heart Triangle Marquise Oval Pear

Crown 13% (est) Girdle 3% (est) Pavilion depth = 64 - (13+3) = 48%

View the stone in profile and estimate the crown height and girdle thickness. Then calculate as follows: Total depth % - (estimated crown height % + estimated girdle thickness %) = pavilion depth % Describe the total depth percentage and the pavilion depth percentage as “Acceptable”, “Slightly shallow”, “Very shallow”, “Slightly deep” or “Very deep”.

Preferred 1,50-1,75 : 1 1,00: 1 1,00 : 1 1,75 - 2,25 : 1 1,33-1,66 : 1 1,50-1,75 : 1

Too long >2,00 : 1 >1,25 : 1 >2,50 : 1 >2,50 : 1 >1,75 : 1 >2,00+ : 1

Too short 1,25-1,10 : 1 <1,00 : 1 <1,00 : 1 <1,50 : 1 1,25-1,10 : 1 <1,50 : 1

8. Culet size and position Fancies often have an elongated culet. Observe only the width of the culet and assess the same as with rounds.

6. Bow ties and bulges Culet

For step cuts, describe their bulge factor: Culet too low The bulge of the pavilion of a fancy cut diamond.

Obvious bulges will detract from the value.

For fancy brilliants, describe the bow-tie: Bow-tie effect

Culet Culet correct

Culet too high

9. Symmetry aspects Because of the many shape variations possible with fancy cuts, there are a few extra symmetry issues that need to be judged under x10 magnification, such as: • • • •

the position of the culet; uneven wings and shoulders; non-parallel edges; and uneven bulges.

Please note: Trust your instinct. If you like what you see when observing a fancy cut diamond face-up, believe your eyes. What you like, others will like too.

SAJN | JEWELLERY DESIGN

Discovering Fumana Metal Concentrators (MetCon) and the SA Diamond and Precious Metals Regulator (SADPMR) have officially launched the Fumana Jewellers Collective, an online marketplace that connects inspired artists to an eager market. SAJN spoke to the six visionary jewellers who were selected to be featured on the platform.

30

SA JEWELLERY NEWS - NOVEMBER 2021

JEWELLERY DESIGN | SAJN SOUTH AFRICAN JEWELLERS ARE BURSTING with talent, but access to the consumer market is often expensive and difficult. The barriers causing this are not lack of craftsmanship or quality of product, but rather resources, platforms and visibility.

MetCon and the SADPMR have seen this as an opportunity to support the industry and independent jewellers and have therefore launched the Fumana Jewellers Collective.

Derived from the isiXhosa word “fumanisa”, meaning “to find or discover”, Fumana discovers and showcases local, talented jewellers who deserve a platform. Artisans of excellence and creations of note are carefully curated and all jewellery is subjected to a meticulous quality assurance process, guaranteeing superior craftsmanship and longevity. More than just a repository of beauty, Fumana aims to explore who each of its jewellers are as creators and individuals, offering a glimpse into the artisan’s mind.

“It’s about sparking careers and creating what we want to see: the future brought to light today,” say MetCon and the SADPMR about their exciting new venture. “It’s about the collective. It’s about the jeweller. It’s about quality, service and creative fulfilment.”

The official launch took place at MetCon’s new flagship refinery, MetCon SEZ in Kempton Park, Johannesburg, where attendees had the opportunity to meet the six designers and view their pieces. These are available for purchase at: http://fumana.africa.

“When we first worked together with the regulator on this idea, we absolutely loved the concept,” said Grant Crosse of MetCon during the launch ceremony. “The idea of creating an online marketplace for Africaninspired jewellery, together with the regulator’s connections, was an opportunity we simply couldn’t pass up.

“We know through much of the work that we do in the jewellery space that there’s amazing talent in SA. However, we also always know that the challenge we face is finding a channel to market. Stores in highstreet shopping malls are a barrier to entry for upcoming jewellers that cuts them off at the knees. In order to build the next generation of jewellers, we need to create sales channels that bring money into their pockets so that they can earn more.

“That’s why we’re really excited about Fumana: it’s online (COVID-19 has led to a significant shift towards online purchases among consumers), it’s African-inspired and it’s a marketplace – a collective with multiple jewellers and multiple items in the same store.”

SA JEWELLERY NEWS - NOVEMBER 2021

The six jewellers who were chosen to be featured, together with their pieces, on the Fumana Jewellers Collective platform during this first phase are Siphokazi Tchalieu, Ntando Masondo, Helen Viljoen, Nonhlanhla Mtshali, Texan Mashilane and Nqobile Nkosi. SAJN got to know them a little better.

Siphokazi Tchalieu

Ntando Masondo

Siphokazi Tchalieu Tchalieu completed her jewellery design course in 2001 at the Technikon of Natal (now the Durban University of Technology). She worked in retail for several years before starting Tchalieu Jewellery in 2008. Her one-woman operation is based in Edenvale, Johannesburg.

How did she first realise she wanted to pursue a career as a jewellery designer? “By chance!” she says. “While I’ve always considered myself as having a creative streak and enjoyed sketching and making things, jewellery design was never something I thought I’d do as a career.”

Start-up costs were the biggest challenge she faced initially. “Holding stock and one’s jewellery line is limited to what resources you have available. However, custom commissions do offer the opportunity to work with materials you wouldn’t otherwise use.

“Seeing a conceived idea translated into wearable art that will be appreciated for years to come always makes me happy and is one of the things I love most about being a jeweller,” she says.

“The jewellery industry is tough to break into and talent alone isn’t enough. Passion for your craft and a can-do attitude will take you that much further.”

Every opportunity she gets to make jewellery for someone remains a highlight for her.

Why do you believe a platform like Fumana is important?

“Exposure and visibility are essentially what every business needs. An initiative like Fumana, backed by voices of authority in the industry giving the platform a stamp of approval, is a step in the right direction.”

Ntando Masondo Masondo was born and raised in the little town of Dundee in northern KwaZulu-Natal. During the 1980s, at a very young age, he enjoyed working with his hands and making his own toys using wire, clay, wood and anything else he could recycle and bring to life. At high school he did not study art, but drew inspiration from other local artists he admired, who introduced him to different genres.

It was when he saw someone making a ring from an old water tap using just one

31

SAJN | JEWELLERY DESIGN file and sandpaper that he realised jewellery was not only made overseas – and not only with sophisticated tools. After matriculating, Masondo enrolled for a course in jewellery design and manufacturing at the Durban University of Technology in 2001, where he duly received his diploma.

The challenges he experienced as a jeweller entering the industry included the high cost of the latest tools. However, this did not prevent him from producing superb jewellery pieces and establishing himself as a top-notch designer.

Masondo loves creating memories through his pieces and seeing the delight of a client with a finished item. “That’s what inspires me to be even more creative,” he says.

He started his own business/workshop in 2010 and it was officially registered in 2014.

This, he says, is an achievement of which he is extremely proud.

Helen Viljoen Viljoen has a somewhat unconventional background for a jeweller, since she had no real technical training. “I hold a degree in genetics and law and practised as an attorney for three years before leaving it for a more flexible corporate advisory job that allowed me the freedom to pursue my entrepreneurial passion. That was where Nebü was ultimately born,” she says.

She had been intrigued by gold jewellery from a young age, but her interest in creating it was always intertwined with the desire to contribute to a greater cause, enhancing its value further.

During a business trip to Singapore in 2019, Viljoen saw a jewellery industry vastly different from that of SA: it is focused on the purity, content and weight of gold, which are paramount to the Asian market and make gold items sources of wealth accumulation,

Why do you believe a platform like Fumana is important?

“Fumana’s very important because it gives us a platform to showcase our work in a global space. We’re seeing challenges and changes now in our country, with big businesses closing down. Fumana offers an alternative space for making sales and marketing our work. I’m honoured to be part of it.”

over and above their beauty. In contrast to the East, the Western jewellery market has largely eroded and diluted the intrinsic, objective value of its jewellery through large mark-ups and subjectively valued stones.

She brought her learnings back with her and married them with her passion for conservation and the preservation of the African wilderness.

Viljoen set out to craft jewellery from pure precious metals, creating items that were truly worth their weight, capable of being objectively valued internationally and becoming wearable investments. All her jewellery is made from pure 24ct silver, gold and platinum – firsts of their kind in Africa.

She then combined this commitment to intrinsic value with designs inspired by and for the need to conserve endangered natural habitats and species in Africa, to which Nebü donates 10% of all its sales.

She loves the process of capturing an emotion and creating something which makes a client’s face light up when they try it on. In this way, the item becomes a part of their story and legacy.

Nebü has gained worldwide recognition and has been featured in international publications such as Vogue and Condé Nast. “It’s a real honour, but the highlight by far has been the growth curve. That’s the holy grail for any young entrepreneur,” says Viljoen.

Helen Viljoen

Why do you believe a platform like Fumana is important?

Fumana’s an incredible initiative that creates a marketplace for designers who would otherwise not gain any exposure, due to a saturated market and the expensive marketing

32

Nonhlanhla (Noni) Mtshali

required. Through Fumana, talent can have a platform and a chance to stand out in the noise – and that’s really wonderful.”

Nonhlanhla (Noni) Mtshali Mtshali studied jewellery manufacturing at the Tshwane University of Technology and obtained her national diploma in 2005.

Her “aha!” moment was when a family friend mentioned the process of making jewellery.

She says she was “hooked” from then on.

“It’s always difficult to balance designing for art and designing for sales,” she says, when asked about the biggest challenge she has faced as a jewellery designer. “I’ve had to make peace with the fact that most of what I make isn’t to illustrate how creative I can be, but to stay relevant in the market.”

She loves the creative process, particularly coming up with a design and watching it come to life. “I love including clients in this process as well,” she says.

Mtshali’s career highlight was the opportunity of working with the MetCon team and producing some interesting and inspiring pieces.

What advice can she offer aspiring jewellers?

“Don’t ever stop creating and make sure you have a mentor or someone you can confide in.

Be intentional about your aspirations: there’s a lot to learn and gain, but you need to know what you want from this space. And remember, anything’s possible!”

SA JEWELLERY NEWS - NOVEMBER 2021

JEWELLERY DESIGN | SAJN Why do you believe a platform like Fumana is important?

“It exposes jewellers to a whole new world of clients and opportunities.”

Nqobile Nkosi

Texan (Flex) Mashilane Mashilane was born and raised in Mapulaneng (formerly Bushbuckridge) in Mpumalanga.

He moved to Johannesburg in 1999 and matriculated at a school in Reiger Park on the East Rand. He then did some studies in electrical engineering and qualified as an electrician. “I’d always wanted to have my own business and in 2015, I was inspired by the high influx of tourists visiting our country. That was when I identified my opportunity,” he recalls.

Mashilane says he has always been an entrepreneur and a perfectionist at heart. “I have the ability to turn any product or service into a business. I could turn my favourite dish into a business without being a chef!” he laughs. “When I first established Beadz by Flex in 2015, I had no idea how jewellery was made. I worked on perfecting my bead designs until 2018, when I discovered the Ekurhuleni Jewellery Project’s incubation centre.”

Texan Mashilane

There he was exposed to different techniques and gradually introduced metals to his bead bracelet designs. His passion is working on spherical objects. “I took it a step further and designed my own spheres, which I call Bopilwe, a Sesotho term referring to anything that’s been well crafted with the highest level of creativity. I’m driven by the need to remain original in my designs, while ensuring quality in the finished products,” he explains.

Mashilane says his career highlight was acquiring an export client during a sponsored trade exhibition trip to the USA in 2020. It was the first international collaboration between Lovedot and Beadz by Flex.

Why do you believe a platform like Fumana is important?

“It eliminates a lot of administrative and marketing stress, especially for start-up brands, while providing excellent local and international exposure – not only to one designer, but to many under the same roof.”

Nqobile Nkosi Nkosi was raised by his mother and grandmother, who both instilled discipline, focus and determination in him. “My grandmother owned a shebeen when I was young. I never understood why the army used to come in and take away her stock,” he recalls of the raids on her establishment. “However, she prevailed and helped my mother raise me and my siblings.

My mom worked for the Methodist Church in Braamfontein, Johannesburg, as a secretary.”

During his school years, he participated in various sports, but, he decided to pursue a career in jewellery design when he realised, he could imagine, draw and manufacture. That discovery excited him – and still does today.

“However, finding access to a market is a great challenge for all small enterprises and being in an industry that has very little transformation makes it difficult for upcoming local brands to thrive,” says Nkosi.

Designing keeps him focused and ready for new challenges, while knowing that his creations are being worn by people around the world deeply gratifies him.

His career highlight was making corporate gifts for Tsogo Sun hotels and Rand Refinery and distributing his designs through international stores with Tourvest. Another highlight, he says, was designing jewellery for South African First Lady Dr Tshepo Motsepe Ramaphosa.

Why do you believe a platform like Fumana is important?

“Any platform that supports transformation and the development of young entrepreneurs must be celebrated. Fumana introduces entrepreneurs to business opportunities, advertising and promotion and gives them access to new markets. It’s a great initiative.”

Artisans of excellence and creations of note are carefully curated and all jewellery is subjected to a meticulous quality assurance process, guaranteeing superior craftsmanship and longevity.

SA JEWELLERY NEWS - NOVEMBER 2021

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SAJN | ALTERNATIVE METALS

Jewellery-lovers occasionally turn to alternative materials when purchasing jewellery – and South African jewellery artists have been rising to the challenge with stunning contemporary pieces using metals outside conventional and expected forms.

“ALTERNATIVE MATERIALS” CAN BE DEFINED as non-precious or semi-precious components such as rough gems, differentiated stones and mixed metals. These enable unique compositions and shapes which are enhancing the creativity of contemporary jewellery. And with the spotlight firmly on sustainability, consumers are taking a closer look at the production processes of the jewellery they buy and are rethinking the materials used to fashion their rings, earrings, necklaces and bracelets.

People used to only consider the number of precious gemstones and weight of metals in jewellery items in order to judge their monetary value. They also often perceived precious items as good financial investments or status symbols, rather than embellishments.

They overlooked the fact that jewellery is also a self-contained art form. Over the past 20 years, its meaning and value have shifted, with many people valuing a piece – whatever it may be made of – for its conceptual,

Beyond precious m sentimental and symbolic worth, rather than its price. The originality and execution of a design are also highly valued.

Prices in the precious metal market have, at times, resembled a roller-coaster. As a result of the higher cost of precious metals typically used in fine jewellery, a few alternative metals have begun to take centre stage, especially among jewellery designers who are entering the industry and are unable to afford more expensive metals – or who do not have a jeweller’s permit (obtainable from the SA Diamond & Precious Metals Regulator) and are therefore unable to buy or sell gold in this country.

Here are some of them: Silver Silver is the most commonly used metal after gold and platinum in the jewellery industry. It is a beautiful white metal which is extremely malleable. Because it is so soft, jewellery manufacturers use silver which is 92,5% silver and 7,5% other metals. Silver-plated pieces are also popular. These items feature a very thin layer of silver on the surface of the piece, which is easily damaged. Silver-filled items are more durable, since they have a thicker layer of silver.

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ALTERNATIVE METALS | SAJN

Prices in the precious metal market have, at times, resembled a roller-coaster. As a result of the higher cost of precious metals typically used in fine jewellery, a few alternative metals have begun to take centre stage.

terms of heft. Those who are unaccustomed to wearing jewellery often prefer this material. It is a very popular alternative for men’s jewellery and considerably cheaper than gold and platinum.

metals Brass Made of copper and zinc, brass is widely found in costume and vintage jewellery. When it is polished, it bears a striking resemblance to yellow gold. Brass is ideal for casting, which is creating jewellery from moulds. Many costume pieces are created this way. It is also a very strong material, which means costume jewellery products made from it are durable.

Additionally, brass is extremely affordable.

Copper Known outside jewellery for its beautiful green patinas which develop over time, copper has a warm, reddish glow which makes it a great choice for artisanal jewellery. It also has several properties that make it practical. In addition, it is extremely easy to work with and was the first metal worked by jewellers in ancient civilisations. Copper is affordable, compared with gold and silver, but is costlier than alloys like brass and bronze.

Niobium Niobium is an element on the periodic table and is silver-coloured. It accepts anodisation, so niobium jewellery components come in a huge array of colours, such as blue, red,

SA JEWELLERY NEWS - NOVEMBER 2021

pink and many others. Niobium is corrosionresistant, which makes this type of jewellery a practical choice. It is also hypo-allergenic, so it is a good choice for those with metal allergies and sensitive skins. Niobium is strong and is a component of alloys used in jet engines, oil rigs and other industrial applications. It is also commonly used in smaller jewellery pieces such as rings and earrings.

Tungsten Tungsten (when alloyed with carbide) is also lightweight and is often marketed as being hard to scratch. It is also a popular alternative for men’s jewellery and many designers are using tungsten (and titanium) specifically for the male wedding ring market.

These alternative metals have opened up the world of jewellery to many different styles, preferences and price demographics, as designers explore their effect in their creations.

Stainless steel Stainless steel is an affordable choice for people who love silver-toned jewellery. Widely used for its sleek appearance, this metal lends itself to contemporary designs and is commonly found in men’s jewellery. It is an alloy of chromium, nickel, titanium, copper and other materials. Stainless steel resists corrosion, which means it is a suitable choice for those who regularly expose their jewellery to chemicals and daily wear. It also maintains its sleek polish and is difficult to scratch.

Titanium Titanium is extremely lightweight and feels like an aluminium washer in

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INTERNATIONAL FAIR REVIEW | SAJN

Molto bene [well done], Vicenzaoro!

One of our jewellery industry’s most respected shows made a magnificent return, writes Jason Aarons

WHEN THE VICENZAORO SEPTEMBER 2021 show ended, it reported a staggering increase of more than 80% of the number who attended the pre-COVID 2019 edition! SAJN was fortunate to chat to Marco Carniello, Global Exhibition Director: Jewellery & Fashion for Vicenzaoro organiser, Italian Exhibition Group (IEG) about the show’s return and success.

What do you think contributed to the success of this edition?

IEG is a private company with a wealth of business tools which enabled it to market, promote and expand the show more aggressively and effectively worldwide. Along with a more sustainable investment, a more efficient cost base and a fresh look and feel, the overall offering presented exhibitors and visitors with a whole new way of interacting. Moreover, we embrace and don’t shy away from change.

What are some examples of the new/ updated ‘offerings’: We realised that traditional ways of working from the past needed to change. And many people don’t like change! This meant we had to adapt to new ideas, strategies and requests

SA JEWELLERY NEWS - NOVEMBER 2021

to come up with the best mix possible. So we invested a lot of time interacting with exhibitors to develop new digital formats, protocols and innovative opportunities for visibility and networking for the sector.

We created new virtual formats such as the fully digital event WE ARE Jewellery and the hybrid event VOICE. These provided new ways of exhibiting. The “Golden Cloud” digital platform allowed exhibitors to expand their business opportunities. On The Jewellery Golden Cloud you can search for your ideal supplier, discover all the new collections and new products, contact the companies and create your appointment agenda during the fair or via video call after the event. Finally, you can follow the main Vicenzaoro talks and events live.

And “safety first”?

The #SAFEBUSINESS IEG protocol and the GBAC STAR accreditation of our IEG exhibition centre offered a guarantee of a safe and efficient visiting experience. [SAJN readers: GBAC STAR accreditation is the global certification programme that certifies international standards of cleanliness, disinfection and in-

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SAJN | INTERNATIONAL FAIR REVIEW

fectious disease prevention for facilities and staff promoted by the Global Biorisk Advisory Council (GBAC). IEG is the first trade show and congress organiser in Italy to have obtained this for all its premises.]

The “Golden Cloud” digital platform allowed exhibitors to expand their business opportunities.

Tell us more about the sensory and tactile aspect of the show which is such an important aspect.

Vicenzaoro provides sector platforms where you can see, touch and experience the products.

The incorporation of T.Gold (the international exhibition for machinery and advanced technologies for jewellery design and production processes which traditionally takes place in January), as well as the second edition of VO Vintage, dedicated to the collector’s segment with some of the most sought-after, unique and rare pieces of vintage timepieces and jewellery. I also attribute VO Vintage’s incredible success and popularity to lessons learnt from Baselworld and how to engage with the show’s participants and audiences.

What were the attendances like?

The results exceeded our expectations! In

this edition, we welcomed visitors from 108 countries in total, with 77% coming from Europe (Spain, Germany and France primarily), 7% from the Middle East and top buyers coming from the USA, Russia and North Africa.

The international attendance of buyers and visitors from abroad exceeded 40%, while the show came to a close with more than 80% of the number who attended the 2019 edition.

Moving forward into 2022, what can you tell us?

Vicenzaoro will be the first international show of 2022 for the gold and jewellery industry, taking place in Vicenza from 21-26 January 2022 together with T.Gold. It will provide the professional community a with unique business hub to improve their competitiveness, thanks to networking opportunities across the supply chain. And we remain committed to adapting, listening and embracing change to the overall benefit and success of the show.

The IEG Group is notable in the organisation of events in six categories: Food & Beverages; Jewellery and Fashion; Tourism and Hospitality; Wellness, Sports and Leisure; Lifestyle and Innovation; Green and Technology. In the past few years, IEG started a significant expansion process abroad, also by means of joint ventures with global or local organisers (for example, in the USA, the Arab Emirates, Mexico, China and India).

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SA JEWELLERY NEWS - NOVEMBER 2021

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SAJN | THE NOVEMBER BIRTHSTONE: TOPAZ

The primary birthstone for the month of November is topaz (the secondary being citrine).

Topaz has an exceptionally wide colour range which, besides brown, includes various tones and saturations of blue, green, yellow, orange, red, pink and purple. Colourless topaz is also plentiful and is often treated to give it a blue colour.

Meet the gemstone: topaz TOPAZ OBTAINS MUCH OF ITS POPULARITY from its beautiful colours and its status as the November birthstone. Blue topaz is also the designated gemstone for the fourth anniversary and imperial topaz designates the 23rd one.

Topaz is appreciated in jewellery not only for its hardness, but also for its great variety of colours. However, due to those diverse shades, it is also sometimes mistaken for other precious stones, especially diamonds. The most common natural colours of topaz are neutral, pale yellow and brown. While these are not used much for jewellery in their natural state, they can be treated in a variety of ways to produce colours which are much more desirable, particularly reds and pinks. Imperial topaz is especially prized, because it is reddish-orange to orangey-red, with both often occurring in the same crystal.

Topaz with a natural blue colour is also very rare and valuable.

The majority of topaz can be found in Brazil.

Other notable locations for this beautiful gemstone include Russia, Germany, Zimbabwe

and Nigeria. It can usually be mined in streams, gravel deposits and various rivers. An important ingredient in locating and mining topaz is the presence of fluorine, which provides the correct environment that topaz needs to grow and begin crystallisation.

Thereafter, it will begin to produce columns with square and diamond shapes, as well as multi-surfaced heads. Topaz is also able to grow in cracks and cavities where fluorine and silica are abundant. Hot temperatures are needed to ensure the gems form correctly, while chromium oxide must be present for the stone to obtain beautiful, intense colours.

There are two theories about where the name “topaz” originated.

One is that it came from a small island in the Red Sea called Topazios. The island never actually produced any topaz gemstones, but did produce peridots – stones which were frequently confused with topaz before the invention of modern mineral detection methods. The other theory about the origin of its name comes from the Sanskrit word “tapas”, which means “fire”.

Topaz has a rating of eight out of 10 on the Mohs hardness scale, making it a durable gemstone that can be worn daily without much risk of damage.

One of the best-known topaz gemstones is a 1 680ct colourless topaz which is set in the Portuguese crown. It was originally thought to be the largest diamond ever found until its true identity was discovered.

One of the best-known topaz gemstones is a 1 680ct colourless topaz which is set in the Portuguese crown. It was originally thought to be the largest diamond ever found until its true identity was discovered.

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N°112

SAJN | LITTLE GEMS

The colours of gold 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.

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SA JEWELLERY NEWS - NOVEMBER 2021

LITTLE GEMS | SAJN GOLD JEWELLERY IS NOT PURE GOLD. IT can be different colours, depending on the addition of alloys like silver or copper in various proportions, usually divided into three groups.

These processes produce white, yellow, green or red gold. Other colours achieved by the addition of these components are blue and purple, while a surface treatment can produce black gold. The different colours are generally used for jewellery or watchmaking.

A type of gold used in ancient times was electrum, which is a naturally occurring alloy of gold and 20% silver with a greenish hue. It was used in the Kingdom of Egypt in the third millennium BC. Gold found in ruins from that period was sometimes used as an exterior coating for the pyramids. The greenish colour of green gold, as used today, is due to a mixture of 73% gold and 27% silver.

Pure gold used in early coins was considered suitable because it was harder and more durable.

Theoretically, these coins would have the same value as the newly mined ones today.

The forms used in our current industry are simply variations of the pure metal, which takes on different colours from being mixed with other metals. The alloys used in the current jewellery industry are gold-palladium-silver and gold-nickel-copperzinc. Palladium and nickel act as primary bleaching agents for gold, while zinc acts as a secondary bleaching agent.

To take on a white colour, gold must be mixed with a white metal like silver or nickel, manganese or palladium. Standard white gold is usually 14% gold of a specified purity, with the balance including 21% copper, 7,8% zinc and 12,3% nickel. White gold is often rhodiumplated to give it a shinier appearance.

Pink, rose and red gold assume these colours when mixed with copper. The more alloy used, the darker the tone of red that will result. For example, a composition of 18ct rose gold – formerly known as Russian gold, which was popular at the beginning of the 19th century – would be 75% gold with 25% copper, whereas a 50/50 mix would result in what we know as red gold, which has the highest copper content. The highest colour of rose gold is also known as crown gold, which is 22ct. Pink gold is an alloy of 76% gold, 18% copper and 6% aluminium.

Green gold is a naturally-forming alloy which combines gold and silver, its greenish colour depending on the exact mixture of 73% gold and 27% silver. Blue gold, on the other hand,

SA JEWELLERY NEWS - NOVEMBER 2021

is 46% gold and 54% indium.

It uses iridium, but can be achieved as a surface plating of carat gold or sterling silver on the surface. Purple gold is 80% gold and 20% aluminium.

Grey gold can be made from gold and palladium, but a cheaper alternative replaces palladium with silver, manganese and copper in specific ratios to the gold.

This precious metal in its raw form is unrefined and appears in different shapes, one of which is nuggets. These can be quite large and have a purity ranging from 20-23ct. Unrefined gold can also be used in the form of gold dust, whereas gold scrap refers to an item which has more value for its gold content than for any of its other components. Typical examples are electroplated household appliances.

The gold content in jewellery is normally reflected in its carat content. The gradings are 9ct, 10ct, 14ct carat and 22ct, with 24ct usually considered pure gold. (The carat is an ancient form of weight used to determine the purity of an object.)

Gold assumes different forms. Gold bullion, used by investors, refers to gold that achieves

To take on a white colour, gold must be mixed with a white metal like silver or nickel, manganese or palladium.

its value from its purity and weight. In antiques, be they jewellery or other forms, gold – along with factors such as colour, design and history – determines price. Gold bars which come in different shapes and sizes can be cast, with thicker ones called ingots and thinner, flatter ones which are stamped called biscuits or wafers. There are 55 different categories of gold. Gold coins work similarly to gold bars, but are obviously much smaller. Coins are produced by many countries, with SA’s Kruger Rand being a famous and popular example.

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

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

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DAVID BOLDING GOLDSMITH Tel no: 021 418 1049/1612 E-mail: david@dbgold.co.za; marele@dbgold.co.za

CAPE DIAMONDS Tel no: 021 421 5364 E-mail: joelgraham@capediamonds.co.za Website: www.capediamonds.co.za CAPE PENINSULA UNIVERSITY OF TECHNOLOGY Tel no: 021 460 3632 E-mail: konstandakellisv@cput.ac.za; camerondowl@cput.ac.za Website: www.cput.ac.za CARESS JEWELLERS UITENHAGE CC Tel no: 041 992 4421 E-mail: eben-caress@mweb.co.za CAROMBA MANUFACTURING JEWELLERS Tel no: 036 631 4565 E-mail: frank@caromba.co.za Website: http://www.caromba.co.za CENTRAL UNIVERSITY OF TECHNOLOGY FREE STATE – WELKOM Tel no: 051 507 4044 E-mail: eholmes@cut.ac.za; nmphore@cut.ac.za Website: www.cut.ac.za CHANDLER’S MANUFACTURING JEWELLERS (PTY) LTD Tel no: 011 781 0303 E-mail: mcjewel@netactive.co.za CHARL DE BEER Tel no: 012 440 7693

DC JEWELLERS Tel no: 044 691 3692 E-mail: dcjewel@mweb.co.za DEGLON JEWELLERY STUDIO Tel no: 021 851 3182 E-mail: waynedeglon@telkomsa.net Website: www.waynedeglondesign.withtank.com DESIGN @ 50 Tel no: 010 442 9201 E-mail: edna@design50.co.za Website: http://www.gidz.co.za/projects/design50.html DESIGNER GOLD BUSINESS TRUST Tel no: 043 726 2291 E-mail: info@designergold.co.za Website: https://www.designergold-el.co.za/ DIA-KIM DIAMONDS T/A CHRISTOPHER REID Tel no: 021 418 4484 E-mail: nick@christopherreid.co.za Website: http://www.christopherreid.co.za/ DIAMONDS4EVER Tel no: 082 786 7677 E-mail: info@diamonds4ever.co.za Website: www.diamonds4ever.co.za DIDIDESIGN Tel no: 011 784 0369 E-mail: didi@dididesign.co.za Website: www.dididesign.co.za

JEWELLERY MANUFACTURERS' ASSOCIATION OF SOUTH AFRICA

DR ESME SPICER Tel no: 073 239 9983 E-mail: esme.spicer@gmail.com

GATTOO JEWELLERY DESIGN STUDIO Tel no: 011 852 2046 E-mail: gattoosdesign@gmail.com

DUDLEY’S JEWELLERS Tel no: 082 319 3226 E-mail: dudleysjewellers@gmail.com

GAUTA REFINERIES (PTY) LTD Tel no: 012 753 3304 E-mail: rudi@gautarefinery.com Website: https://www.gautarefinery.com/

DURBAN UNIVERSITY OF TECHNOLOGY Tel no: 031 373 6673/6 E-mail: chrisdb@dut.ac.za; samanthav@dut.ac.za Website: www.dut.ac.za

GC MANUFACTURING JEWELLERY Tel no: 011 326 7919 E-mail: admin@thediamondring.co.za

ECO CHIC JEWELLERY Tel no: 021 553 0332 E-mail: e.m.duplooy@gmail.com

GEM AFRIQUE Tel no: 062 050 6479 E-mail: soni2.goldsmith@gmail.com

EDEL DESIGNER JEWELLERY Tel no: 072 636 0213 E-mail: edeldesignerjewellery@gmail.com

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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/

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