SA Jewellery News (SAJN) • November 2022

jewellerynews

Isabella Jewellers & Refiners A mother and daughter jewellery manufacturing team.

We’ve been working on supporting emerging jewellery design talent in our partner countries for more than 20 years.

Responsibly sourced Zambian emeralds and Mozambican rubies.

Simplicity is the Ultimate Sophistication

contents

10. NEWS

• Christie’s to present largest pear-shaped fancy vivid pink diamond offered at auction

• ShopJewellex 2022 to be held over Black Friday weekend

• SSEF celebrates 50-year anniversary with gathering of key industry leaders and opinion-makers in Basel

• HB Antwerp first to guarantee lineage of diamonds with launch of IoT device

• More brands sign up to sustainability effort

• GIA scientists unlock secrets within earth using diamonds

14. COVER FEATURE

Established in 2008 by Johann Claassens and his wife Suvette, Piccolo Fine Designer Jewellery is a caster, manufacturer and designer of high-quality, elegant jewellery serving both private clients and the trade.

18. GPHG 2022 NOMINATED WATCHES IN AFRICA FOR FIRST TIME

Impelled by a unifying spirit that salutes creativity as well as the quest for excellence, the Grand Prix d’Horlogerie de Genève aims to highlight and reward the most remarkable creations yearly in order to nurture the advancement of the art of horology worldwide.

21. MONTHLY EDUCATIONAL INSERT

An SA Jewellery News and Jewellery Council of SA initiative –extracts from Gems and Jewellery: The South African Handbook.

30. IN CONVERSATION WITH FOUR LOCAL CREATIVE MINDS

SAJN talks to Anne Schultz, Andile Makaula, Terri Lynne Stone and Adjani Schoeman, four local designers whose varied and diverse work is inspiring.

35. BEATING LOAD-SHEDDING

Load-shedding tends to rear its ugly head when we least expect it. Business-owners need to prepare and find ways to work around it when it does occur. South African-born international virtual jeweller and cofounder of Promake Jason Laing recently shared a few ideas with SAJN

41. CHOPARD’S UNCONDITIONAL PASSION FOR RACING

Driven by its unconditional passion for racing, Chopard beats to the rhythm of its prestigious partnerships with legendary competitions. From 26-28 August the Maison was alongside the crews of two rallies organised in Switzerland: firstly, as world sponsor and official timekeeper of the Gstaad Palace Challenge and secondly, as the official partner of Passione Engadina.

43. THE YELLOW TO ORANGE BIRTHSTONE OF NOVEMBER

Those with November birthdays have two birthstones to choose from: topaz and citrine. Both are known to bring fortune and warmth to the wearer. Most topaz and citrine stones are affordably priced and, as good-quality gems, are not as rare as many of their counterparts. In this issue we learn more about citrine.

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

Editor's note

I’M JUST GOING TO GO AHEAD AND SAY this, anyway – I cannot believe it’s November! With the busy season rapidly approaching, businesses – and retailers in particular – need to start making preparations to be ready for the most wonderful time of the year. Holiday shopping accounts for 20% of annual sales for most retail businesses. The objective may be a simple "stay on the ball" but actually managing that is anything but. Not everything will go as planned. However, if you’re organised and prepared, you can react and pivot as needed when the holiday rush starts.

Continuing with our themed issues for 2022, we have dedicated November to ‘Design and Technical Excellence’.

We were thrilled that the 90 timepieces nominated for this year’s Grand Prix d’Horlogerie de Genève (GPHP) – or the Geneva Watchmaking Grand Prix – were showcased on the African continent for the first time, although sadly in Morocco and not South Africa. Awarded in Geneva in November of each year since 2001, it has become the most important and prestigious awards in the world of watches. It aims to acknowledge and highlight the remarkable creations released during the year in order to nurture the advancement of the art of horology worldwide. One can certainly

compare it with the Academy Awards (Oscars). This year’s finalists are featured on pages 18-20. Keep an eye on our social media pages where we will be announcing the winners on 10 November.

South Africa certainly has a wealth of exceptionally talented jewellery designers. In this issue, we speak to four of them: Anne Schultz, Andile Makaula, Terri Lynne Stone and Adjani Schoeman, about what they love most about designing jewellery, what inspires their creativity and what some of the biggest challenges are that they face in their careers. It is always inspiring speaking to creatives about where their journey began and the progress they’ve made through hard work and determination because breaking into the world of jewellery design and making a name for yourself is no easy task.

Inspiration comes and goes, but the best thing you can do is press on. In the words of Pablo Picasso, “Inspiration exists, but it has to find you working.” We hope this issue gives you an added boost to keep creating.

Happy reading.

Adri Viviers

Piccolo Fine Designer Jewellery is a caster, manufacturer and designer of high-quality, elegant jewellery serving both private clients and the trade. Established in 2008 by Johann Claassens and his wife Suvette, it is a business built on passion and dedication to creating the unforgettable. Piccolo does it all – or anything and everything in between, from CAD designs using the latest technology to 3D wax models for which it has a number of machines that it updates regularly. Piccolo casts in platinum and all kinds of gold alloys – especially high palladium, white gold alloys and silver. It also does semi-finishes (finishing pieces to a certain point), as well as total finishes (where jewellers can collect the finished pieces from it). In addition, Piccolo does stone setting for the trade. For more information, contact Piccolo on e-mail: info@piccolo-jewellery.co.za or tel: 083-396-6178.

Publishing Director/Editor-In-Chief: Jason Aarons

Cell: 074-400-6677

E-mail: jason@isikhova.co.za

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

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

Advertising Sales: Tel: +27 (0)11 883-4627 Cell: 083-450-6052

Copy Editor: Anne Phillips

Design Intern: Zian Cornelissen

Distribution: Ruth Dlamini

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

ShopJewellex 2022 to be held over Black Friday weekend

ShopJewellex is an exciting retail-consumer jewellery initiative by the Jewellery Council of South Africa (JCSA) to be held over the Black Friday weekend on Saturday, 26 and Sunday 27 November in the Ballroom at Montecasino, a prime consumer location.

It is a golden opportunity for retailers to boost their bottom line in two days, get faceto-face with a huge retail market and sell their collections directly to the public. It is scheduled to take place only once a year.

“It's a perfect opportunity to get face-toface with a huge retail market and sell their collections directly to the public,” says Lorna Lloyd, JCSA CEO. “It's set to become the consumer shopping experience of the year and retail participation is open to both members and non-members. Consumer drawcards will include lucky draw prizes from retailers and

sponsors, diamond giveaways sponsored by the Jewellery Council, hotel and restaurant prizes and many more.”

“The ongoing festive season, which comes after two years of COVID-19, has made jewellers optimistic, enthusiastic and excited,” says Jason Aarons, Publishing Director of Isikhova Media, which was awarded the ShopJewellex market ing, PR and brand development campaign.

“ShopJewellex – being held over the Black Friday weekend – is a superb choice for industry participants to up their marketing activities and reach out to more consumers who're becoming far more buoyant – and many of whom have been able to save – after a period of wobbly consumer confidence.

“Consumers are still out spending and despite inflation and the higher cost of living, they're now planning and budgeting for

jewellery purchases – especially as the yearend holiday season approaches. ShopJewellex will thus resonate with consumers – the timing is perfect!”

Aarons believes that year-on-year, the retail jewellery market will see an upward trend in sales which will be noticeably boosted by the ShopJewellex experience. He ascribes this to consumers’ desire to “humanise” and socialise again after a period of isolation.

“A real-time consumer collective at an event like ShopJewellex will have the power to boost retailers’ bottom line tremendously.”

For inquiries or an exhibitor application form, e-mail elsad@jewellery.org.za or contact: Elsa da Silva – 082-214-0028

Kirsten Lenton – 061-078-2381

Lorna Lloyd – 082-456-5558

Darryl van der Linde - 083-233-5831 (accounts)

Christie’s to present largest pear-shaped fancy vivid pink diamond offered at auction

The Fortune Pink, an 18,18ct pear-shaped fancy vivid pink diamond, will lead the Geneva Magnificent Jewels on 8 November as part of Christie’s Luxury Week. This exceptionally rare gemstone (estimated at US$25 000 000-35 000 000) is the largest pear-shaped fancy vivid pink diamond ever to be offered for sale at auction. The diamond’s weight literally translates to definite prosperity in Asia and is sure to garner interest from collectors across the globe.

“After The Rock, a 228ct diamond sold this May in Geneva, Christie’s is proud to

present The Fortune Pink,” says Rahul Kadakia, Christie’s International Head of Jewellery. “With its auspicious weight, this exceptional pink diamond of phenomenal colour will certainly bring good fortune to its new owner.”

The Fortune Pink was revealed at Christie’s New York on 3 October, before touring to Shanghai, Taiwan and Singapore. This rare diamond will be on display to the public during Christie’s Luxury Week at the Four Seasons Hotel des Bergues in Geneva from 2-8 November.

HB Antwerp first to guarantee lineage of diamonds with launch of IoT device

HB Antwerp unveiled the “HB Capsule”, a proprietary Internet of Things (IoT) device that uses blockchain technology and data analytics to track every stage of a natural diamond’s journey – down to the most minute interaction – bringing clarity never seen before in the diamond industry. The HB Capsule captures thousands of data points along its journey. All this data is immutable and stored on a stateof-the-art HB Ledger created in partnership with Microsoft.

“The HB Capsule is the definitive solution for diamond provenance,” said Shai de Toledo, cofounder of HB Antwerp. “Replacing the centuryold parcel paper with an IoT device enables us not only to store the actual diamonds, but also all the data created during their transformation process from rough to polished.”

Acting as a physical vault, the capsule can only be opened by authorised persons who are next in line to interact with the diamond. Every

unlocking and process is registered on the blockchain. In total, the capsule registers more than 3 000 verification points, including origin, scans of the rough diamond, growth lines and inclusions.

HB Antwerp will use this proprietary IoT device within its end-to-end-closed loop ecosystem. By doing so, HB Antwerp is the first in the industry to guarantee provenance without disclaimer.

The HB Capsule advances HB Antwerp’s mission to offer complete transparency of a diamond’s life-cycle, promote ethical production and pay tribute to the communities who own these rare minerals.

HB Antwerp partnered with Microsoft, Comate, a Belgian engineering and design company and Rompa, a Dutch production company, to realise the HB Capsule.

The capsule is the alpha in a family of smart devices to be revealed later this year.

As one of the largest and most technologically advanced diamond manufacturing ecosystems in Europe, HB Antwerp envisages a quantum shift in how diamonds are mined, transformed and sold. HB established its infrastructure in Africa and Europe to bring this vision to fruition.

SSEF celebrates 50-year anniversary with gathering of key industry leaders and opinion-makers in Basel

For 50 years, the Swiss Gemmological Institute SSEF has been at the forefront of scientific gemmological research and testing to support a thriving gemstone and jewellery trade. In tribute to both its mission and accomplishments, some 150 industry leaders and opinion-makers from around the world gathered in Basel on 1 and 2 September to celebrate the golden anniversary.

Founded by Swiss trade organisations in August 1972, from its earliest days the independent Swiss Foundation for the Research of Gemstones SSEF and its lab, the Swiss Gemmological Institute, has sought to enhance knowledge, scientific research and transparency in the gemstone and jewellery trades. It did so through the efforts of expert staff and ongoing collaboration with academic institutes and technology developers in Switzerland and elsewhere.

Events organised during the anniversary celebration included behind-the-scenes tours of the SSEF lab and a beautiful gala dinner that rounded out the festivities. However, the centrepiece of the gathering was a symposium in the Hans-Huber Saal of the Stadt Casino in downtown Basel. Entitled “Linking Past and Future: Visions for a Thriving Gem & Jewellery

Trade”, its roster of speakers included representatives from major brands and auction houses such as Anna Hu Haute Joaillerie, Christie’s, De Beers, Gellner Pearls, Sotheby’s, The Muzo Companies and Van Cleef & Arpels. Renowned jewellery historian Joanna Hardy, vintage dealer Marianne Fisher and SSEF’s Director Dr Michael S Krzemnicki also shared their insights and expertise.

A wide range of themes were addressed, including the role of auction houses, emerald mining in Colombia, provenance in the diamond industry, the state of the pearl sector, the power of gems throughout history, the rough-to-jewel journey of the iconic Lesotho Legend diamond, the role of digital in the vintage market, valuation concepts for jadeite,

the past and future of gem testing, the process of designing bespoke jewellery and sourcing of rare gems.

Response to this event has been so positive that SSEF has decided to organise another symposium in 2026 in Basel, as a forum for fostering discussions and the exchange of knowledge and opinion within the trade.

“For our industry, it's indispensable that we have widely respected and solidly independent institutions, dedicated to scientific research and excellence, and the pursuit of knowledge such as SSEF,” said Dr Gaetano Cavalieri, President of CIBJO, the World Jewellery Confederation, who travelled from Italy to attend the event. “Through tireless work and a readiness to build and share gemmological expertise, it's a cornerstone of the absolutely critical effort to maintain consumer confidence in the jewellery industry.”

“We're thrilled that so many industry leaders have joined us in celebrating this very special milestone in Basel,” said Dr Michael S Krzemnicki, Director of SSEF. “50 years of scientific excellence have only been made possible through the dedication of past and present SSEF team members and a strong focus on scientific research.”

Image courtesy SSEF

MetCon welcomes guests at its SEZ refinery

On 6 October, leading local refinery Metal Concentrators (MetCon) invited guests to its world-class SEZ refinery in Johannesburg. Managing Director Grant Crosse welcomed guests and introduced MetCon’s Sales and Jeweller Services team members, whereafter they enjoyed a guided tour of the Jeweller Services division led by Production Manager, Jacques Tarrant. MetCon’s wax injection, printing facilities and casting capabilities were showcased and a demonstration of its laser engraving machine was on display.

Guests also had the opportunity to talk to representatives from the South African Diamond and Precious Metal Regulator’s office. MetCon’s in-house Domestic Reverse Charges (DRC) guru was on hand to entertain any DRC queries and a demonstration of its new MC portal was given.

A fun competition was also in play, with guests being asked to guess the weight of some silver in a vial in order to win that weight in silver for themselves. Hilary Steinfeld from L&H Manufacturing was announced the winner.

GIA scientists unlock secrets within earth using diamonds

A team of researchers from the Gemological Institute of America (GIA) and other institutions were able to gain incredible insight into earth’s deep mantle – 660 km below the surface – by examining a diamond that in fact did ride a volcanic eruption to the surface.

Led by Dr Tingting Gu, a GIA post-doctoral research fellow at the time of the research and now at Purdue University, the researchers, including GIA’s Vice-President of Research and Development Dr Wuyi Wang, examined an exceptionally rare type IaB diamond from the Karowe mine in Botswana. The 1,5ct, D-colour diamond’s inclusions, examined using advanced, non-destructive methods including FTIR, Raman spectroscopy and x-ray diffraction, revealed that water can be found at least across the earth transition zone (410670 km deep) and into the lower mantle (more than 670 km deep).

When the diamond was submitted to GIA for evaluation – the institute sees millions

of diamonds every year – researchers were intrigued by its unusual inclusions. These turned out to be very rare hydrous (water-bearing) minerals, suggesting the presence of water far deeper in the earth than previously believed.

Speaking about the research, Wang said: “Mineral inclusions in diamonds are the only materials from the earth’s interior that we can analyse directly. The study of these minerals offers unique opportunities to understand the chemistry of the earth’s interior. GIA has been actively contributing to this fundamental research.”

The Richard T Liddicoat Post-Doctoral Research Fellowship programme, created in 2014 in honour of GIA’s former President, who was widely considered the “Father of Modern Gemmology”, gives researchers who study mineralogy, geology, physics, materials science and other fields related to gemmology access to GIA’s gemmological data, equipment and

the rare, unusual and large gems that come into the laboratories.

The paper was published in late September in the scientific journal Nature Geoscience

In addition to Gu and Wang, a large team from GIA contributed to the research, including research scientists and technicians, photomicrographers, executives and GIA board members.

“When the diamond was submitted to GIA for evaluation – the institute sees millions of diamonds every year –researchers were intrigued by its unusual inclusions.”

14 years of design excellence

PICCOLO FINE DESIGNER JEWELLERY IS A business built on passion and dedication to creating the unforgettable. It designs and manufactures to suit its clientele’s requirements and budget, while guiding them through all the various steps of selection and decision-making. “We absolutely love what we do because the world of art, combined with modern technology, brings new and exciting challenges every day which are truly satisfying and rewarding,” says Johann.

Piccolo comprises a small, but hardworking and passionate team. Johann does all the custom designs using modern computer-aided design (CAD) programs. Suvette, who holds a BTech and taught jewellery design and manufacturing for five years, does all Piccolo’s benchwork and finishing. Christian also does design work and helps out when Johann is engaged in too much work. In addition, Christian does all the technical work, such as 3D wax printing up to and including metal preparation and casting. Each has a very fine eye for detail and between them, the team have more than 28 years of industry experience.

Services to the trade include CAD designs using the latest technology, as well as 3D wax models, for which Piccolo has a number of machines that are updated regularly. The business casts in platinum, as well as all kinds of gold alloys – especially high palladium and white gold ones – and silver. It offers semi-finishes (finishing pieces to a certain point) and total finishes (where jewellers can collect the finished pieces from them). In addition, it does stone-setting for the trade. “We can do it all – or anything and everything in between,” says Johann.

The business’s clients within the trade speak extremely highly of its service and quality of their work. One such client is Durban-based retail jewellery manufacturer Shikant Shah of Shikant Jewellers. “As we’re situated in a mall, it’s impossible for us to do extracting, which is why we use Piccolo’s services for castings, moulding and design

Established in 2008 by Johann Claassens and his wife Suvette, joined by Christian Oldewage, a new Director to the team in 2020, Piccolo Fine Designer Jewellery is a caster, manufacturer and designer of high-quality, elegant jewellery serving both private clients and the trade.

COVER

work,” says Shah. “Its bespoke pieces, in particular – those once-off pieces with a creative flair – are truly exceptional. I always admire Johann’s extraordinary work because while I think in positive space, Johann is exceptional at thinking in negative space – and one can’t put a price on that kind of experience.”

Shikant Jewellers has worked with Piccolo for over six years now. “It has a very niche workshop in our trade and delivers superb quality consistently. Its level of dedication is really remarkable.”

Pretoria-based manufacturing jeweller Mandi Malherbe shares Shah’s sentiments. “I’ve known Suvette for many years, as I was one of her lecturers at the Tshwane University of Technology,” says Malherbe. “I kept in contact with her after she completed her studies and it was wonderful seeing their business grow. I’ve also become a client and use Piccolo to do my castings. The quality of its work is outstanding, particularly its platinum castings. There have been numerous occasions when I’ve had urgent orders and

it’s always delivered on time. The team’s communication is incomparable and it’s always a joy working with them.”

Whether it is a private client, design work for large jewellery collection or just a few cast ings, Piccolo takes the same care to ensure that everything is supplied to the same high standard. It is also open and operating as usual during load-shedding to continue giving its clients excel lent service and products without any delay.

With a client base of private customers, designers, makers, retailers and manufacturers, Piccolo fiercely upholds its standards of excellence and attention to detail.

“Over the past 10 years, we’ve done a lot of research and development of platinum castings because of the huge demand for it. Most people in our industry source it out to casting houses and struggle to find someone who can do it well. We’re very proud of the work we do and have complete confidence in the platinum castings which we supply to more than 50 jewellers all over the country,” says Johann.

PICCOLO’S PLATAFRICA 2022 ENTRY, AMAHLE

For its entry collection into this year’s PlatAfrica Jewellery Design Completion, Piccolo chose Amahle as its inspiration. Amahle is a software engineer who works with CipherWave and has a keen interest in sustainable technology. During the COVID-19 pandemic, she started online classes to teach children coding and is now preparing to set up her own edutech enterprise.

When it comes to shopping, online is her choice for most products and looking for purposeful brands or those making a positive impact on society. She has a passion for nature, with regular treks and trail explorations with friends a highlight.

Her role models in life are Zozibini Tunzi and Elon Musk, whom she admires for their tenacity and achievements and how they remain grounded despite all

they have accomplished.

She prefers timeless designs which can be worn and stand out with various attires, rather than those which are “flash-in-thepan” iterations.

“We decided to focus on the programing aspect of Amahle’s life and, as such, used black and white diamonds in binary computer language to spell out the word ‘hope’,” says Johann of its entry collection. “Binary language uses ones and zeros in a sequence to form letters or numbers. In our case, we used the black spinel to represent the zero and white moissanites to represent the one. Moissanite was used as opposed to diamonds, echoing Amahle’s avid interest in sustainable technology. We also focused on the nature aspect of her life by using Fibonacci’s sequence (curls),

often found in nature, and linked it closely to the programming part of her life. With today’s technology, one can truly push the boundaries of progressive jewellery manufacturing – this is why we chose Amahle as our client. Her tremendous love for nature, combined with her background in computer science and advanced technology, gave rise to this utterly beautiful and nature-inspired collection.

“Each of us designed our own pieces, but we worked as a team to make the three come together and work as one.”

This was the second year that Johann entered himself. In past years, he has helped several entrants with the designs and creation of their pieces for PlatAfrica and was last year awarded third place in the Professional category for his extraordinary neckpiece Inside Out

Whether it is a private client, design work for large jewellery collection or just a few castings, Piccolo takes the same care to ensure that everything is supplied to the same high standard.

GPHG 2022 nominated watches in Africa for first time

Impelled by a unifying spirit that salutes creativity as well as the quest for excellence, the Grand Prix d’Horlogerie de Genève aims to highlight and reward the most remarkable creations yearly in order to nurture the advancement of the art of horology worldwide. This year, for the first time, the 90 nominated timepieces were exhibited on the African continent.

THE 650 MEMBERS OF THE GRAND PRIX d’Horlogerie de Genève (GPHG) Academy, representing the various sectors of the profession, selected 90 timepieces out of the 254 entered in this year’s competition, including 84 watches and six clocks. The academy members are significant stakeholders in the main sectors related to watchmaking, in addition to personalities whose activity supports the influence and dynamism of watchmaking.

Divided into 15 categories, these timepieces are in the running to win one of the 20 prizes of this 22nd edition of the GPHG, including the prestigious “Aiguille d’Or” Grand Prix best-inshow award.

The nominated watches were exhibited in New Delhi on 8 and 9 October, in partnership with Ethos Watches, within the prestigious setting of the Leela Palace hotel.

After New Delhi, the watches were flown to Morocco where they were exhibited from 20-23 October in Casablanca. Organised in partnership with the Bank of Africa, it was a first for the GPHG on the African continent. The public was able to take part in free guided tours during the exhibition.

Back in Geneva, the timepieces are now on display until 20 November at the Musée Rath, in partnership with the Musée d’Art et d’Histoire (MAH). The presentation of the six timepieces competing in the new “Mechanical Clock” category will give rise to an original dialogue with a matching number of heritage works exceptionally selected from the watchmaking collections of the MAH and the Musée International d’Horlogerie in La Chauxde-Fonds (MIH).

WATCHES:

▶ Arnold & Son Perpetual Moon Eclipse I

▶ Hermès Arceau Le Temps Voyageur

WATCHES:

Last month the Foundation of the Grand Prix d’Horlogerie de Genève announced the composition of the jury for the 22nd edition of the GPHG. Historian, author and journalist Nick Foulkes will chair the next jury that will unite the expertise of 30 personalities from the world of watchmaking and the arts to determine the 2022 prize list.

“It's a tremendous honour to serve as President of the jury of the GPHG. As in previous years, this jury brings together a wide range of opinions and expertise, from across the watch industry as well as the wider cultural landscape. I believe that the GPHG is increasingly important as a focus for international attention on the watch industry, both within the borders of Switzerland and beyond, while reaffirming Geneva’s position as the global capital of horology in the 21st century,” says Foulkes.

The jury, with its rich variety of skills and perspectives, is half composed of GPHG academicians drawn by lot and half of members chosen by mutual agreement between the jury President and the GPHG.

The jury will meet behind closed doors in Geneva a few days before the ceremony to physically evaluate the nominated timepieces and proceed to a secret ballot under notarial supervision. The entire academy will also take part in selecting the award-winners via a vote on the dedicated digital platform.

The winners will be announced on Thursday, 10 November during the 2022 awards ceremony, which will take place at the Théâtre du Léman in Geneva. This unifying and strategic event dedicated to the promotion of contemporary watchmaking creations will be broadcast live on Gphg.org and Euronews.com, as well as in deferred transmission mode by

the Léman Bleu and Hantang Culture channels.

After the ceremony, the winning watches of the 2022 edition will travel to Zurich at the end of November for a private presentation in collaboration with FGP Swiss & Alps, main partner of the GPHG for the past three years. They will finally be exhibited for the first time in New York, from 1-4 December, in partnership with Watches of Switzerland.

The nominated timepieces are:

Category: Ladies

Arnold & Son Perpetual Moon Eclipse I

Other nominees for the GPHG Ladies’ watch prize:

Chaumet Déferlante Secret Timepiece

Chopard Alpine Eagle 33 Konstantin Chaykin Harley Quinn Parmigiani Fleurier Tonda PF Automatic Van Cleef & Arpels Perlée Watch, 23 mm

Category: Ladies’ Complication

Chopard Imperiale Flying Tourbillon

Other nominees for the GPHG Ladies’ Complication watch prize:

Andersen Tempus Terrae Baguettes Aquamarines

Audemars Piguet Royal Oak Self-Winding Flying Tourbillon Ultra-Thin "RD#3" Chaumet Sous Le Soleil Creative Complication Timepiece

Hermès Arceau Le Temps Voyageur Van Cleef & Arpels Lady Arpels Heures Florales Cerisier Watch

Category: Men’s Bulgari Octo Finissimo Skeleton 8 Days

Other nominees for the GPHG Men’s watch prize:

Zenith Calibre 135-Observatoire

Atelier Akrivia Chronomètre Contemporain II

Parmigiani Fleurier Tonda PF Micro Rotor Steel

Sylvain Pinaud Origine

Trilobe Une Folle Journée Black Edition

Category: Men’s Complication

Hermès Arceau Le Temps Voyageur

Other nominees for the GPHG Men’s Complication watch prize:

Armin Strom Orbit Manufacture Edition

Audemars Piguet Code 11.59 by Audemars

Piguet Tourbillon Open-Worked Bovet 1822 Virtuoso V

Parmigiani Fleurier Tonda PF GMT Rattrapante Singer Reimagined Barista

The GPHG is increasingly important as a focus for international attention on the watch industry, both within the borders of Switzerland and beyond.

▶ Chopard Imperiale Flying Tourbillon

◀

Bulgari

Octo Finissimo Skeleton 8 Days

WATCHES: TECHNICAL AND DESIGN EXCELLENCE

Category: Iconic

TAG Heuer Monaco X Gulf

Other nominees for the GPHG Iconic watch prize:

Breitling Navitimer B01 Chronograph 43

Audemars Piguet Royal Oak “Jumbo” ExtraThin Open-Worked Girard-Perregaux Casquette 2.0

IWC Schaffhausen Big Pilot's Watch 43 Zenith Defy Revival A3642

Category: Tourbillon

Grand Seiko Kodo Constant-Force Tourbillon

Other nominees for the GPHG Tourbillon watch prize:

Audemars Piguet Royal Oak Self-Winding Flying Tourbillon Open-Worked Greubel Forsey Tourbillon 24 Secondes Architecture

H Moser & Cie Pioneer Cylindrical Tourbillon Skeleton Parmigiani Fleurier Tonda PF Flying Tourbillon Theo Auffret Tourbillon Grand Sport

Category: Calendar and Astronomy

Arnold & Son Luna Magna Platinum

DRT Tempus Fugit

H Moser & Cie Streamliner Perpetual Calendar

HYT Moon Runner Supernova Blue Krayon Anywhere Sarpaneva Watches Nocturne

Category: Mechanical Exception

Ulysse Nardin Freak S

Other nominees for the GPHG Mechanical Exception watch prize:

Armin Strom Mirrored Force Resonance First Edition

Bovet 1822 Récital 20 Astérium Bulgari Octo Finissimo Ultra 10th Anniversary Chopard LUC Full Strike Tourbillon Ferdinand Berthoud FB 2RSM.2-1

◀ TAG Heuer Monaco X Gulf

Ulysse Nardin Freak S

WATCHES: TECHNICAL AND DESIGN EXCELLENCE

Category: Chronograph

Breitling Navitimer Cosmonaute Limited Edition

Other nominees for the GPHG Chronograph watch prize: Czapek Rattrapante Ice Blue Grönefeld 1941 Grönograaf Tantalum Louis Moinet Time to Race

MB&F Legacy Machine Sequential Evo Parmigiani Fleurier Tonda PF Chronographe Steel

Category: Diver’s

ArtyA Depth Gauge

Breitling Superocean Automatic 42 Doxa Army Limited Edition

Grand Seiko Spring Drive 5 Days Calibre 9RA5

TAG Heuer Aquaracer Professional 1000 Superdiver Tudor Pelagos FXD

Category: Jewellery

Jacob & Co Astronomia Metaverso NFT Venus

Other nominees for the GPHG Jewellery watch prize:

Bulgari Serpenti Misteriosi High Jewellery Chopard Animal World Peacock Watch Piaget Extravagant Touch Watch

TAG-Heuer Carrera Plasma Diamant d'AvantGarde

Van Cleef & Arpels Perles de Glace Rose watch

Category: Artistic Crafts

Audemars Piguet Code 11.59 by Audemars

Piguet Grande Sonnerie Carillon Supersonnerie

Bovet 1822 Amadeo Amadeo Skeleton Tourbillon

Hermès Arceau Hermès Story

Hublot Classic Fusion Takashi Murakami Sapphire Rainbow

Van Cleef & Arpels Charms Coccinelle Féerique Watch

Voutilainen Ji-Ku

Category: “Petite Aiguille”

Breitling Top Time Triumph Gelfman IN-16 Nixie

Grand Seiko Spring Drive GMT 9R66

Louis Erard Le Régulateur Louis Erard X

Massena Lab Gold

Trilobe Nuit Fantastique Dune Edition Zenith Defy Skyline

Category: Challenge Tudor Ranger

Other nominees for the GPHG Challenge watch prize: Kurono Tokyo Calendrier Type 1 Louis Erard Le Régulateur Louis Erard X

Seconde

MAD. Editions MAD1 Red Massena Lab Uni-Racer, Safari

TAG-Heuer Aquaracer Professional 200 Solargraph

Category: Mechanical Clock

Van Cleef & Arpels Fontaine Aux Oiseaux Automaton

Other nominees for the GPHG Mechanical Clock prize:

BCHH Celestial Infinity

L'Epée 1839 Time Fast II

Matthias Naeschke NT 8 GT Table Clock

Miki Eleta The Passage of Time

Utinam Lebru x Silberstein KB2

After the ceremony, the winning watches of the 2022 edition will travel to Zurich at the end of November for a private presentation in collaboration with FGP Swiss & Alps, main partner of the GPHG for the past three years.

◀

Tudor Ranger

▼

Jacob & Co Astronomia Metaverso NFT Venus

▶ Van Cleef & Arpels Fontaine Aux Oiseaux Automaton

Monthly educational insert

Written by Dr Petré Prins, Gems and Jewellery:

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

An SA Jewellery News and Jewellery Council of South Africa initiative

ISSUE 35

AN INTRODUCTION TO GEMSTONES

II. THE NATURE GEMSTONES

We know that since the dawn of civilisation - 4 000 years ago - man adorned himself with beads and necklaces made up of material which he regarded as special.

The Egyptians were using minerals such as carnelian, lapis lazuli and turquoise, whose colour and lustre must have attracted them. Items such as shells, bones and hair are still being used in jewellery, but do not qualify as gems.

1. PRECIOUS VERSUS SEMI-PRECIOUS

In the past, the term “precious” has been reserved for diamond, ruby, sapphire and emerald, while gems of lesser value, such as tourmaline, garnet, etc, were called “semiprecious”. But can you describe a tsavorite (garnet) or tanzanite (zoisite), which may cost thousands of dollars, as semi-precious? Of course not. When gemstones are of such inferior quality that the only way of enhancing their beauty is by tumbling them, one can use the term “semiprecious”. The beautifully polished “pebbles” that are sold by gem shops qualify as semi-precious.

To be called a precious gem, a mineral must have three characteristics, ie, beauty, rarity and durability

• BEAUTY

A thing of beauty must have visual appeal. A beautiful gem is one that has qualities which delight the senses or stimulate the mind. Normally these qualities are colour, symmetry and surface appearance.

1. Colour - this is the most important aspect of a gem’s visual appeal.

2. Symmetry - means balance and harmony of cut. For instance, an elongated (narrow) pear-shape cut is not as appealing as one whose length is 1,5 times its width.

3. The surface appearance - or lustre - of a gem also influences its appeal. Pearls with a high lustre are more sought-after than those with a dull surface.

• RARITY

Some gems are rarer than others. Benitoite and red beryl are extremely rare and thus not readily available for jewellery. They are normally considered collectors’ items.

However, rarity alone does not make a gem valuable. There should be general awareness and a reasonable demand for a gem before it will become valuable.

As fashion changes, the demand for certain gems has waned. In Victorian times, jet - a black organic gem - was in fashion and quite pricey; today, very few jewellers encounter this gemstone.

Demand can also be created by clever advertising. Tanzanite is a good example of a gemstone that was unheard of 20 years ago, but that is in high demand today due to a worldwide awareness campaign.

• DURABILITY

Durability is a combination of three factors:

1. Hardness - the ability to resist scratches and abrasion;

2. Toughness - the ability to withstand breaking, chipping and cracking; and

3. Stability - this indicates how a gem resists the influence of light, heat and chemicals. For instance, cleaning solutions that bring back the sparkle in sapphire may damage peridot, while sunlight may fade the pink colour of kunzite.

Please note:

Hardness and toughness are not the same. While a diamond is the hardest gem (no tool can scratch it), it is not the toughest because it may split along a cleavage direction under a hard blow. On the other hand, jade, which is very tough, will not break or crack easily, but is softer than topaz.

2. SPECIES AND VARIETIES

In order to simplify the study of minerals and gems, they are grouped into categories. These categories are based

on their chemical composition and crystal structure as follows:

• Mineral classes (based on their chemistry)

For example:

a. Native elements such as copper metal (Cu).

b. Oxides such as corundum (Al2O3).

c. Carbonates such as calcite (CaCO3).

d. Silicates such as quartz (SiO2) or olivine (Mg 2SiO 4).

• Mineral species (based on their crystal structure)

For example:

The mineral species corundum and quartz (both trigonal struc ture) and garnet (isometric structure) are sub-divided into:

• Mineral varieties (based on the different colours which the specie exhibits)

For example:

a. Specie corundum - if the mineral variety contains trace elements of chromium (Cr), its colour is red and is called ruby. If it contains iron (Fe) and titanium (Ti), it is a blue sapphire.

b. Specie quartz - citrine (yellow) and amethyst (purple) are varieties of the specie quartz.

Transparency may also determine the name. For instance, a variety of quartz called chalcedony can be opaque and is called jasper, but when it allows some light to pass through it, it is called carnelian.

Other optical features, such as asterism, result in a name like star-ruby.

3. DID YOU KNOW?

What’s in a name?

• Our word “glass” comes from the old Germanic word “glaes”, which was used to describe amber’s glazed, goldlike quality.

• Middle Age manuscripts which described the medicinal or healing powers of gems were called “lapidaria”, hence the origin of the word “lapidary”.

• Opal comes from the Sanskrit word “upala,” meaning “gem” or “precious stone”.

• Colourless beryls were used in Europe to make spectacles or reading glasses. The current German word

for eyeglasses is “ brille”, obviously derived from the word “beryl”.

• The Greek word for pearl is “margarites”. The Romans started to use this word as a name for girls and today names such as Greta, Madge, Maggie, Meg, Peg, Peggy, Margot, Marjorie, Marguerite, Gretchen, Margarete, Margherita and Margaret have one thing in common - they all mean “pearl”.

• The surname Bernstein derives from the old German name for amber, meaning “stone that burns”. Amber is fossilised tree gum that burns with an acrid smell.

• Turquoise means “stone from Turkey” - although turquoise is not found there. Because the ancient turquoise trade from Persia went through Constantinople, Europeans started to call it “the stone from Turkey”.

From JCK, September 1981

THE “MAGIC” OF GEMSTONES

Most ancient cultures attached either a symbolic, healing and/or religious meaning to gemstones. Today, there are a large number of people and some religions who believe that minerals - especially when they exhibit crystal faces - radiate energy or vibrations that influence the human body. Schools of crystal therapy, astrologers and occult practitioners all believe in the “magic” that gemstones possess. None of these beliefs are based on true scientific principles and the professional jeweller should regard these practices as of interest only. Although the modern symbolic use of gemstones as birthstones and to celebrate wedding anniversaries has its roots in such ancient practices, we no longer attach mystical and healing properties to gemstones.

III. THE PROPERTIES OF GEMSTONES

COLOUR - CLARITY - CUT - CARAT WEIGHT

1. COLOUR AND COLOUR PHENOMENA

In order to value the colour of a gemstone, we first need to understand what causes it. Colour is created through an interaction between light (from the sun, lamp, etc), an object (the gem) and the optic nerve cells in your retina.

White light is a mixture of many colours such as red, orange, yellow, green, blue and violet - the colours of the rainbow. Each colour represents light waves of a different energy and wave length. In fact, light waves to which our eyes are sensitive form only a fraction of the total electromagnetic spectrum. (See diagram on the right.)

WHAT CAUSES COLOUR?

i) Absorption

When white light falls on an object, some of the wavelengths (colours) are absorbed while the rest are returned to the viewer. A red ruby absorbs mostly blue, green and yellow light and returns the red component. Our eye thus sees the gem as red. The causes of light absorption are complex, but are generally caused by:

THE ELECTROMAGNETIC SPECTRUM Frequency cycles per second Wavelength in millimicrons

a) the presence of certain elements in the crystal structure For instance, chromium (Cr) causes the intense red in rubies and the brilliant greens in emerald and demantoid garnet, while iron (Fe) causes the more subtle reds, blues, greens and yellows in garnet, spinels, sapphires and peridots.

b) damage and irregularities in the crystal structure. These are called colour centres.

Short waves (blue light) are absorbed by mineral

Long waves (red light) not absorbed, mineral appears red gem

ii) Dispersion

When white light travels through a mineral, the different wavelengths travel at different speeds and are refracted at different angles, causing the light to be dispersed (spread out) into a colour spectrum.

wavelengths: red = long violet = short reflected ray white light gem refracted ray red violet

air i r*

When light hits a transparent gem it is reflected and/or retracted.

Different refraction for different wavelengths of light

A rainbow in the sky or the colour spectrum produced by a glass prism is caused by the bending and splitting of white light into its different components. This phenomenon is called dispersion. When a gemstone has a large dispersion, such as a diamond, it shows flashes of different colours (red, blue and yellow) which is also called the “fire” of the gem.

gem air red orange yellow green blue violet

White light passing through a colourless prism is dispersed into a colour spectrum.

iii) Interference

When light falls on a thin transparent layer of material, it is reflected from the upper and lower surfaces. When some of the wavelengths of these two reflected beams are in step (in phase) when they exit, the colour is enhanced. But when the wavelengths are not synchronised on exit, little or no colour is seen. The rainbow colours often seen on a floating soap bubble are due to this process.

blue light red light

red wavelengths cancel each other –no red light is seen

blue light waves are superposed – blue light is intensified

v) Colour zoning

Very often, the body colour of a gem is not distributed evenly. When the concentration of those elements that cause the colour fluctuates in the melt or fluid during the crystal’s growth, different amounts of these elements will be incorporated in the crystal structure and will result in a gem displaying different colour bands.

This effect is called colour zoning and may be useful in identifying the natural origin of the gem. In other cases, it may subtract from the value of a gem.

iv) Pleochroism

Some gems have a different body colour when viewed from different directions. This is called pleochroism (from the Greek for “having many colours”). Green tourmaline can look very dark green when viewed from the end, but a much lighter green is seen from the side of the crystal. Tanzanite is another gem with strong pleochroism. Its colour ranges from violet-blue to medium purple, depending along which crystallographic direction the gem is seen. As mentioned before, the crystal structure determines colour. Isometric gems, whose atomic structure is uniform in all directions, do not exhibit pleochroism.

Amethyst crystal showing colour banding on a macro scale.

Typical colour zoning in natural sapphire on a microscopic scale.

vi) Different light; different colour

The colour of an object also depends on the type of light under which it is observed. In general, blue or green gems look their best under fluorescent light found in most offices - because fluorescent light contains more blue and green wavelengths than normal daylight. On the other hand, red and orange gems look better under incandescent light which emanates from candles or your normal electric light bulb. This is important to realise when you display gemstones.

vii) Fluorescence

Iolite cabochon showing strong pleochroism.

the eye sees blue

the eye sees violet

the eye sees greyish-blue

white light enters white light enters

The eye sees different colours when white light passes in different crystallographic directions through a tanzanite crystal.

When some gems are exposed to ultraviolet (UV) radiation, they show a distinct colour glow that is visible to the naked eye. Sunlight contains UV light and the normal fluorescent tube light emits some UV light. Diamonds normally glow blue or yellowish under a UV light. This phenomenon is often used in gem identification. Very strong blue fluorescence in a diamond can make the stone look “milky” and thus of lesser value.

Ultraviolet source (could also be the sun)

Longer, visible wavelengths seen as fluorescence

Ultraviolet light excites an electron into a higher energy level (path). When it drops back to its original energy level, it sheds energy in the form of visible wavelengths that the eye sees as a colour.

HOW TO DESCRIBE THE COLOUR OF GEMSTONES

The description of colour in diamonds is dealt with in Chapter 7. For other gemstones, unfortunately, there is no universally accepted system to describe their colour. Although various laboratories have developed their own colour notation, most of them use the terms hue, tone and saturation to describe the multitude of subtle differences in colour as displayed by gemstones.

i) Hue – This term describes the first colour impression noted by the eyes, such as yellowish-green or greenishblue. Although the human eye is capable of identifying 150 different colour hues, a user-friendly notation system using only eight well-known colours (hues) and 16 inbetween colours is presented in the colour wheel on the following page.

Most jewellers should be able to differentiate between these hues and, by using the proposed terminology, describe the colour of any gemstone. The last term indicates the most prominent colour of the gem. For in-between colours, the most prominent colour is modified by terms such as “slight” and “moderate”, which indicates the amount of secondary colour which the gem exhibits in a face-up position.

ii) Tone - This term describes the degree of darkness or lightness of the colour. Most jewellers should be able to identify and describe the tone of a gemstone by using the following scale:

DESCRIBING COLOUR TONE

Those with very high saturation look dark, even black, and are of lesser value. Gems with a colour saturation of be tween 4 and 6 exhibit more pure and vivid colours and are the most valuable.

Greens, blues and violets with low saturation look greyish, while reds, oranges and yellows with low saturation look brownish. Certain purple and red gems with low saturation look distinctly pink. The terms “grey”, “brown” and “pink” can also be used to describe the colour of such lowsaturation gems.

iii) Saturation - This term describes the intensity (weakness or strength) of the primary colour which the gemstone exhibits, in a face-up position. The amount (strength) of the primary colour that is seen can be described as follows: very light (1) - light (2) - moderate (3) strong (4) - very strong (5) - vivid (6)

The colour of a gem could thus be described as, for example: “A light orange-yellow sapphire with a moderate saturation.”

DESCRIBING COLOUR SATURATION FOR RED OR ORANGE GEMSTONES

The low saturation of these blue sapphires imparts a greyish appearance to them.

Spinel and topaz with low saturation appear brownish.

DESCRIBING COLOUR SATURATION FOR BLUE GEMSTONES

slightly

blue

DESCRIBING SPECIAL COLOUR PHENOMENA

Some gemstones glow and sparkle with subtle hues and effects that are not easy to describe. These are called phenomenal gems and their striking optical features are unique and usually the reason for their value.

Opal - unique play of colours

Opal’s shifting flashes of different colours result from the interference of white light when it passes through an array of even-sized silica spheres.

Colour flashes in opal.

Red flashes are the most desirable, especially if the body colour is black. Less valuable opals can also be white or colourless with different colour flashes. Larger, evenly-spaced and more vivid colour flashes make an opal more valuable.

BASIC COLOUR WHEEL TO DESCRIBE THE HUE OF COLOURED GEMSTONES

BLUE

violet-blue

bluish-violet

VIOLET

violet-red reddish-violet

RED

orangy-red

reddish-orange

ORANGE

slight greenishblue moderate greenish-blue BLUE-GREEN moderate bluish-green slight bluish-green

GREEN slight yellowish-green moderate yellowish-green YELLOW-GREEN

YELLOW

yellowishorange

THE MANY COLOURS OF OPAL

orangyyellow

Precious opal, which consists of a network of small equalsized silica spheres, displays a range of colours. These colours are caused by interference as white light is scattered through the voids between the spheres. Large spheres normally produce red colours as the gem is tilted, while smaller spheres generate only blue and green colours. In white opal, the spheres are of different sizes and the voids between them are quite irregular. In this case, interference cannot occur and white light is reflected back to the eyethe opal thus looks white.

white light

light flashes

blue light flashes

white light

Gemstones with higher saturation normally also have a higher tone, as illustrated by these amethysts. The stone second from the right has the highest value.

GREY PINK BROWN

Moonstone - unique whitish glow called adularescence

Moonstone belongs to the feldspar group of minerals whose internal structure is very complex and often “twinned” or duplicated in thin bands. White light interacts with these bands to produce a soft glow that seems to play above the surface of the gem. Those that display blue adularescence are prized more than those with a white, grey or brown glow.

A special type of feldspar, called labradorite, shows a phenomenon called “labradorescence” where a blue flash is normally seen at a certain angle.

Alexandrite - colour change under different light

Good-quality alexandrite looks purplish-red under standard lamp or candlelight, but when viewed under fluorescent or sunlight, its colour changes to green or bluish-green. Other gems such as sapphire and garnet can also display this phenomenon, but are not valued as much as an alexandrite with saturated colours that change dramatically.

Chrysoberyl - chatoyancy or cat’s-eye effect

Cabochon-cut gemstones that contain vast numbers of extremely thin parallel, needle-like inclusions often show a reflective band that glides across their surface as you move your head. The way in which these parallel inclusions reflect light causes this effect, also known as chatoyancy. Chrysoberyl is the best-known gemstone showing this phenomenon. Others such as tourmaline and tiger’s eye also produce a similar effect.

Star ruby and sapphire - asterism

Sometimes needle-like inclusions are orientated in two or three different directions in a gemstone. Reflections of light from such an array of needles result in a four- or six-arm star called asterism. Ruby, sapphire, quartz and tourmaline can display such star reflections if polished in a cabochon shape. The black star rubies from India are plentiful and quite inexpensive.

Iridescence and orient

Similar to the colour flashes on an oil slick or a soap bubble, gems such as fire agate show rainbow colours called

iridescence. When a similar subtle play of rainbow colours can be seen on pearls, it is called “orient”.

Goldstone and sunstone - an effect called aventurescence

Certain feldspar and quartz varieties contain small, shiny flat inclusions that reflect light from within the stone. These gems are called sunstone and aventurine quartz.

Goldstone glass, a man-made material used in lower-end fashion jewellery, has a similar glittering look due to the reflection of light from minute copper platelets in the glass.

Trade names

Jewellers often use trade names to describe the colour of a gemstone. For instance, a reddish rhodolite garnet may be called “raspberry rhodolite” or “grape rhodolite” when the colour approaches purple. Orange topaz is called “sherry topaz” when its colour looks like sherry. The name “Imperial topaz” is reserved for a specific pinkishorange topaz that comes from Minas Gerais in Brazil.

Deceptive names

Unfortunately, wrong or deceptive names are still used by some jewellers. Using the following terms is not only un ethical, but could result in major problems, especially if used on valuation certificates:

• “Black diamond” for hematite

• “Water sapphire” for iolite

• “Herkimer diamond” for rock crystal (quartz)

• “Korean jade” for serpentine

• “Cape ruby” for pyrope garnet

• “Balas ruby” for red spinel

• “Evening emerald” for peridot

Adularescent “sheen” in moonstone, set in pendant.

Colour change in alexandrite.

Synthetic goldstone bead.

Six-sided star in blue cabochon sapphire.

Quartz crystal with black inclusions - incorrectly called “Herkimer diamond”.

In conversation with four local creative minds

SAJN talks to Adjani Schoeman, Andile Makaula, Terri Lynne Stone and Anne Schultz, four local designers whose varied and diverse work is inspiring.

MANY SOUTH AFRICAN SMALL BUSINESSES have been struggling to stay afloat after two challenging years. It is therefore crucial, now more than ever, that consumers support and buy local. Fortunately, consumers need not look further than South Africa’s local talent, boasting some of the most talented and spectacular jewellery designs – from classic, everyday pieces to statement pieces that give eveningwear that major pop.

While Schoeman was studying for an interior design degree, she was captivated by the art of glass-blowing being taught in the fine arts department. Fascinated by glass with its widespread practical and decorative usage and frustrated at not having full access to that world of glass-blowing, she started looking into other glass-making techniques that could be practised on a smaller scale and discovered the art of flameworking. This technique, where a gas-fuelled torch is used to melt glass into a molten state and then shaped into a desired form using tools, gravity and movement, was the perfect solution for her since a workstation could be set up from home. She started creating jewellery pieces from the glass beads that she made. Schoeman initially only made jewellery

for herself and her friends as a hobby, but when other people started showing interest and after selling items at small shows, her attention shifted from interior design to jewellery design and her hobby gradually turned into her business.

What has been the single most important jewellery-making skill you have learnt? To be adaptable. This applies not only to designing jewellery, but to all aspects of running my own small business.

What are your favourite materials to use and where do you source them from? Glass, obviously! I like the fact that this is not a very common material used for creating jewellery. The glass we use is made in a small factory on the island of Murano in Italy and we import the different coloured glass rods from there.

What are some of the biggest challenges you have faced in your career? A shrinking client base. This is the unfortunate reality we face in South Africa at the moment. Many of my clients have emigrated in the past few years.

What do you love most about designing jewellery? The fact that I can play with colours and shapes and make people happy when they wear my jewellery.

What is your favourite piece of jewellery that you have made? Oh, I can’t say, it keeps changing!

What has been your career highlight so far? Showcasing my designs in Paris and the USA at international jewellery exhibitions representing the Jewellery Council of South Africa. I had the privilege of meeting designers from other parts of the world and realised that South African designers are of a very high standard.

What advice do you have for aspiring jewellery designers? To be adaptable and open to learning new information and skills.

ADJANI SCHOEMAN – Adjani

JEWELLERY DESIGN

Born and raised in Gqeberha, 24-year-old fashion and jewellery designer Makaula fell in love with the energy and the communities of creatives in Cape Town and in 2017, a day after finishing his matric exam, moved to the Mother City. Although his application to study fashion at the Cape Peninsula University of Cape Town (CPUT) was unsuccessful, he did not let that hold him back. He bookmarked design studios around the city on Google Maps and walked into the studios with no experience, just his matric certificate and sketch books filled with designs he had been drawing since grade eight. He received a call from Gillian Lawrence, a local jewellery designer and owner of Lorne Jewellery, and started an internship with her. After only three weeks of learning jewellery-making skills, she offered him a permanent position. He started as a jewellery manufacturer and was later promoted to Assistant Designer. Makaula reapplied to study fashion at CPUT and after his application was successful, had no choice but to leave Lorne Jewellery due to demanding academics. He started Ayi Jewellery in November 2019 while operating from the jewellery department on campus.

What has been the single most important jewellery-making skill you have learnt?

Just as I value the garment construction process in fashion, metal-shaping is the most important skill I've learnt in jewellery. I love witnessing a work of art taking form and coming into existence. It's exhilarating.

What are your favourite materials to use and where do you source them from?

Currently, my favourite material to work with is brass, which I source from an industrial metal supplier. I mostly recycle my old jewellery pieces by melting them and making new pieces.

Brass is a tough metal from which to make jewellery, but I love it because it doesn’t limit my creative capabilities and I can go as big as

I want. It isn’t like working with silver or gold on a small budget.

How do you approach designing a new piece or creating a new collection? What inspires your creativity? My main source of inspiration has always been music, art, natural surroundings and different cultures. When designing a new piece, I keep a journal with images. I also keep little objects that I collect. By doing this, I'm able to always look at my old ideas and merge them with the new ones.

What are some of the biggest challenges you have faced in your career? The biggest challenge I'm currently facing as a small business-owner is looking for funding to make all my design ideas a reality. The experience of running a business comes with highs and lows, which is what makes it exciting. I view every experience as an opportunity to learn.

What do you love most about designing jewellery? Jewellery always puts a smile on someone’s face. With our endless search for beauty and meaning, it brings much joy when we find it. That’s what jewellery does – it's transformative, uplifting and empowering. I believe every piece of jewellery tells a

story, stories about art, our experiences and cultures around the world.

What is your favourite piece of jewellery that you have made? I started Ayi Jewellery by focusing mainly on earrings. I recently made two big pieces for the first time – a bangle and a neckpiece. These pieces are a build-up to my first-ever collection, Unathi It's named after a client I met at a dinner party who requested a custom neckpiece that she wanted to suit her personality and personal style. I took on the challenge and am delighted that she really likes it, which is why I decided to design and make a bangle that resembles that neckpiece.

What has been your career highlight so far? Interviews like these where I'm given the opportunity to introduce myself and talk about my work.

What advice do you have for aspiring jewellery designers? The best advice I ever received was not to overthink it and just do it. I had to learn to accept that I can’t get everything perfect the first time and that it’s okay to make as many mistakes and prototypes as I need. In the end, it only makes you better at your craft.

ANDILE MAKAULA – AYI Jewellery

After finishing matric, it was Stone’s father who suggested that she apply to study jewellery design. “It was a very random suggestion at the time because no-one in my family was a jeweller and I'd never been involved in anything remotely related to jewellery before,” she recalls. Stone has always been creative and good at using her hands, which is why her father knew that jewellery design would be the perfect fit. She applied to study jewellery design and manufacture at the Durban University of Technology (DUT) and has never looked back. She started her own brand during her second year of studying selling jewellery at the I Heart Market in Durban once a month. It has been amazing for her to see how her brand has grown and become much more than she could have imagined.

What has been the single most important jewellery-making skill you have learnt? I can't say that there's been one skill that’s stood out to me. There are so many aspects to jewellery that you need to know or at least have a good understanding of. However, I do think that 3D printed jewellery is something that’s only going to get bigger, so that’s definitely a skill I’m trying to learn more about.

What are your favourite materials to use and where do you source them from? I absolutely love working with gemstones, especially stones that aren't so mainstream. Salt and pepper diamonds, watermelon tourmalines, rutilated quartz and Ethiopian opals are a few.

I have a few suppliers throughout Johannesburg, Durban and Cape Town who have the most amazing selection of stones that come from all over the world.

How do you approach designing a new piece or creating a new collection? What

inspires your creativity? When designing a new range, I find that I'm mostly inspired by current and forecasted trends. I try to work these into other sources of inspiration (such as Art Deco architecture) to give trends my own personal touch. Basically, when I see something that I absolutely love, it inspires me to design something new and it just snowballs from there. I’m currently working on a range based on flowers and colour, which I’m very excited about.

What are some of the biggest challenges you have faced in your career? Between COVID-19, looting and the Durban floods, I

haven’t been short of challenges! It’s been a volatile time these past few years and I'm glad things are finally calming down.

What do you love most about designing jewellery? I love the possibility of it, knowing that I can literally make anything that comes into my head. I love knowing that a piece of my jewellery only exists because I put in the time and effort to create it. It’s quite an empowering thought.

What is your favourite piece of jewellery that you have made? That would have to be the ring I made myself for my 30th birthday. My grandmother passed away in 2020 and left me some of her old gold jewellery, which I used to make a ring. It has a pale green tourmaline at the centre, with diamonds down the shank on either side. Technically it was a gift from my husband, so when it was finished, I just sent him the bill! It was fantastic.

What has been your career highlight so far? A real highlight for me was the first time someone trusted me enough to make their engagement ring and to re-design a precious piece of heirloom jewellery. I felt very honoured to be entrusted with such an important piece of jewellery that someone would wear for the rest of their life.

What advice do you have for aspiring jewellery designers? Just go for it. Don’t wait until you feel ready to do whatever it is you have been dreaming about. Just start and watch as you learn along the way.

JEWELLERY

I absolutely love working with gemstones, especially stones that aren't so mainstream.

TERRI LYNNE STONE – Maiden Stone

Schultz is a local potter who is known for her beautiful bowls, plates and more. She received a National Diploma in Ceramic Design after studying at Durban Tech and opened her first pottery studio in 1974. Some years ago, she started to feel more creative and began making porcelain and stoneware beads. As there were always small spaces in the reduction fired gas kiln which needed filling, everything fell into place and she started to learn more. Schultz just kept going and so Annwin Hand-Crafted Ceramic Beads was born.

What has been the single most important jewellery-making skill you have learnt? How does one completely glaze a spherical bead without it sticking to other pieces?

That was my biggest challenge and led me to make a clay stand to individually fire each piece. The bead is threaded onto a piece of kanthal wire suspended across the stand. I think figuring that out was the most important thing in the process.

What are your favourite materials to use and where do you source them from?

Porcelain and stoneware clay made at the studio using my own recipe. I also like using glass and wooden beads, silk ribbon, leather and coloured cords. I source the silver findings I use from Cape Precious Metals.

How do you approach designing a new piece or creating a new collection? What inspires your creativity? I decide on a theme, like plants, and then use different items that I find to press textures into the clay.

JEWELLERY DESIGN

What are some of the biggest challenges you have faced in your career? The biggest challenge for me is not being able to charge what the jewellery pieces are really worth, but to keep retail pricing to acceptable levels. What do you love most about designing jewellery? I love the creative process and enjoy creating delicate porcelain shapes, textured and coloured either with slips or glazes to attach to silver, leather and cords.

What is your favourite piece of jewellery that you have made? My personal favourites are moon-shaped pendants, earrings and bracelets that I’ve made.

What has been your career highlight so far? It's always wonderful seeing the end product being admired and bought. I think the greatest highlight will always be seeing people wearing my creations.

What advice do you have for aspiring jewellery designers? Learn the basics and use only the best-quality materials. Use your unique out-of-the-box ideas and always stay true to yourself.

ANNE SCHULTZ – Studio 3

Learn the basics and use only the bestquality materials.

Beating load-shedding

Load-shedding tends to rear its ugly head when we least expect it. Businessowners need to prepare and find ways to work around it when it does occur. South African-born international virtual jeweller and co-founder of Promake Jason Laing recently shared a few ideas with SAJN.

SEARCHING FOR THE LIGHT AT THE END OF the tunnel is something we all seem to be doing – both literally and figuratively – given the impact load-shedding is having on our production and delivery to clients.

How can you beat this problem without huge expenditure on production system changes and finding the space for additional machinery, especially if you are already facing reduced sales because of the possibility of not being able to deliver product on time due to unreliable power?

After investigating, physically testing and putting something together for myself to avoid being completely dependent on the electric grid, I have found a solution that works very well for me and costs very little. What is more, it does not take up much space and has actually helped speed up my production process to a degree.

I thought I would share with you what I have done and the step-by-step process to go through in order to achieve the same results that I am getting.

Many jewellers who do CAD designs have already linked their computers to UPS back-up supplies, which helps protect the computers and 3D printing machines from power surges, so they can at least get their 3D printed models out while the power is off. But it is in the next steps that the delays of production start to come into play.

Here are my suggestions: take your 3D printed model or metal model that you may already have on hand and sprue it in a cold mould silicone frame so that you are ready to pour your liquid silicone into the frame. Many will say that this is no help, as you will need electricity to vacuum the air out of the silicone. Normally, this would be true, but I have found the following solution to the problem:

Step 1

You will need a pressure chamber to remove all the bubbles from the translucent silicone, so here is a step-by-step guide for building yourself a cheap, but effective pressure chamber to help you achieve great results.

you find on the outside of houses. Ensure you buy pipes with fairly thick walls that can hold the pressure. Once you have all the screw on pipe ends and the pipe itself, get some PVC welding glue and two part epoxy glue.

You will also need a pressure gauge, a release valve so that you can release the air from the chamber and a car tyre valve so that you can set up the chamber with pressure.

BUSINESS

Step 2

Cut the chamber length to the size you desire and, using the PVC welding glue parts together to form an air tight chamber. Don’t hesitate to use more glue normally require when joining PVC pipes. Make sure that the hole you drill end cap is a tight fit Seal the join between the pressure gauge, the screw cap valve and the car tyre valve with the two part epoxy glue, as this area will take strain from the pressure inside the chamber.

cap is a tight fit. Seal the join between the pressure gauge, the screw cap, the release valve and the car tyre valve with the two-part epoxy glue, as this area will take most of the strain

Step 3

Step 3

Once all the glue has set, take a standing bicycle pump and pump the chamber one or two 2 bars of pressure Check to ensure that there are no leaks and that the chamber remains stable. Once you are satisfied that there is no pressure chamber you have just created, you are ready to start the next phase of production.

Once all the glue has set, take a standing bicycle pump and pump the chamber up to roughly one or two bars of pressure. Check to ensure that there are no leaks and that the pressure in the chamber remains stable. Once you are satisfied that there is no pressure loss from the chamber you have just created, you are ready to start the next phase of production.

Visit the plumbing section of a hardware store and look for the large PVC downpiping that you find on the outside of houses. Ensure you buy pipes with fairly thick walls that can hold the pressure. Once you have all the screw-on pipe ends and the pipe itself, get some PVC welding glue and two-part epoxy glue.

Step 2

release valve so that you can release the air from the chamber and a car tyre valve so that you can set up the chamber with pressure.

Step 2

Step 2

Step 4

Cut the chamber length to the size you desire and using the PVC welding tight . Don’t hesitate to use more normally require when joining PVC pipes. the hole end cap is a tight fit. Seal the join between the pressure gauge, the valve and the car tyre valve with the two as this area strain from the pressure inside the chamber.

Step 4

You will also need a pressure gauge, a

Cut the chamber length to the size you desire and, using the PVC welding glue, join all the parts together to form an airtight chamber. Do not hesitate to use more glue than you would normally require when joining PVC pipes. Make sure that the hole you drill into the screw end

Take the mould frame which you set up earlier, as well as the model of which you want to make a mould and the two-part silicone liquid you use for jewellery mould manufacture. Pour the liquid into the mould frame. It will be full of bubbles, but do not worry about this. Put the mould frame inside the pressure chamber and stand the chamber vertically, with the pressure gauge at the top.

Cut the chamber length to the size you desire and, using the PVC welding glue, join all the parts together to form an air tight chamber. Don’t hesitate to use more glue than you would normally require when joining PVC pipes. Make sure that the hole you drill into the screw end cap is a tight fit. Seal the join between the pressure gauge, the screw cap, the release valve and the car tyre valve with the two part epoxy glue, as this area will take most of the strain from the pressure inside the chamber.

Take the mould frame which you set up earlier, as well as the model of which make mould and the two part silicone liquid you use for jewellery mould manufacture the liquid into the mould frame. It will be full of bubbles, but do not worry about mould frame inside the pressure chamber and stand the chamber vertically, with gauge at the top.

Cut the chamber length to the size you desire and, using the PVC welding parts together to form an air tight chamber. Don’t hesitate to use more normally require when joining PVC pipes. Make sure that the hole you end cap is a tight fit. Seal the join between the pressure gauge, the screw valve and the car tyre valve with the two part epoxy glue, as this area strain from the pressure inside the chamber.

part silicone liquid you use for jewellery mould manufacture

the liquid into the mould frame. It will be full of bubbles, but do not worry about this. Put the mould frame inside the pressure chamber and stand the chamber vertically, with the pressure gauge at the top.

Step 9

furnace when your electricity comes back on again. So you need to get yourself some dental investment powder, which comes with a catalyst in order to cure solidly.

When your electricity comes back on, mix the dental investment powder flask over your wax resin model. Then quickly place it in your pressure up to roughly two bars of pressure to eliminate any bubbles and give flask.

Step 9

Step 5

Step 5

Step 10

Using the bicycle pump, pump the pressure chamber up to roughly two bars of pressure and let it remain like that for about an hour, until all the bubbles have imploded in the liquid silicone. This will leave you with a clear, translucent silicone mould inside which you can see the model clearly.

Step 6

After the mould has been in the chamber for an hour, remove it using the pressure release valve and let the mould cure completely. Then follow the normal jewellery mould-cutting process route to remove the model from the mould.

You may be thinking that this is no use, as you would normally need a wax pot to inject wax into the mould – and that would require electricity in order to heat the wax. However, you will not be using wax to inject into the mould. Instead, you will use the 3D printing casting UV curing resin that you use in your 3D printer, which is called bluecast or resin and is obtained from ProMake International. Put this resin into a normal syringe with the needle on the end and gently inject it into the mould. The translucent silicone will allow you to see that there are many bubbles and areas where it has not filled correctly.

Now place the mould into the pressure chamber and pump up the chamber to roughly one bar of pressure. This will eliminate the bubbles and give you a perfect fill inside the

mould. Let it remain inside the chamber for about 15 minutes, then release the pressure and remove the mould from the chamber. If you have an old mould you would prefer to use instead of a new, translucent one, you can do so and you should achieve the same results.

When your electricity comes back on, mix the dental investment powder and pour it into your flask over your wax resin model. Then quickly place it in your pressure chamber and pump it up to roughly two bars of pressure to eliminate any bubbles and give you a solid ceramic flask.

Using the bicycle pump, pump the pressure chamber up to roughly two bars of pressure and let it remain like that for about an hour, until all the bubbles have imploded in the liquid

Step 7

Step 10

The beauty of dental investment material is that because it cures with super hot, which allows you to put it directly into your furnace at around then ramp the furnace directly up to 900 ºC. Let it remain like that for reducing it to casting temperature, so that the total burn out cycle is less This not only helps you make up for lost time due to load shedding, but electricity, labour and consumables.

Many of us use UPS power back-up units for our computers and 3D printers. They will now come in handy, as you will need to post-cure the resin inside the silicone with a UV light. so this is also why we are using a translucent silicone as we need the UV light to penetrate the silicone to cure the resin. If you do not have access to sunlight, which works perfectly for this process, you can get yourself a cheap UV curing light that is used for UV curing acrylic nails by simply putting the UV light box over the silicone mould and letting it sit there for about 40 minutes until cured fully. You may need to check and see if it is cured. If it is not, you may need to keep curing it for longer.

Step 8

Step 11

Once you have done your burn out and are ready for casting, use the centrifugal swing arm to cast the flask, as you will not require electricity. cooled down, gently hammer it to break out the cast model inside and up on the bench.

The beauty of dental investment material is that because it cures with a catalyst, it becomes super-hot, which allows you to put it directly into your furnace at around 450 ºC. You can then ramp the furnace directly up to 900 ºC. Let it remain like that for about an hour before reducing it to casting temperature, so that the total burn-out cycle is less than three hours. This not only helps you make up for lost time due to load-shedding, but saves you expense on electricity, labour and consumables.

This process has worked exceptionally well for me and has really helped making me less dependent on the electricity grid network. I hope it also platform to get back on track during the darkest times!

Step 11

PULL QUOTE:

Once the model has cured completely, you will be able to remove the model from the mould and get it ready for building your casting flask. The difference is that you will now not use the normal investment powder, as this process will take too long and you will not be able to do a sufficiently fast burn-out cycle with your

Once you have done your burn-out and are ready for casting, use the spring-loaded centrifugal swing arm to cast the flask, as you will not require electricity. When the flask has cooled down, gently hammer it to break out the cast model inside and prepare it for cleaning up on the bench.

This process has worked exceptionally well for me and has really helped me stay on track by making me less dependent on the electricity grid network. I hope it also gives you the platform to get back on track during the darkest times!

to know...

Tru-Gold Jewellery Manufacturers

Established in 1987 by Paul Gazet du Chattelier, Tru-Gold Jewellery Manufacturers is a proudly South African manufacturer of fi ne and mass production jewellery.

The company specialises in manufacturing precious metal jewellery, in silver and 9ct gold, with its most popular lines being gypsy earrings and hollow- and hinged sleepers. Tru-Gold also offers a variety of metal works such as alloying, melting down and rolling of metals to precise specifications.

By volume of metal used, bangles and wedding bands have become its biggest lines.

“We’re grateful to our loyal customers, who’re the core of our business for their continuous support and we look forward to what the future holds,” says Luke Gazet Du Chatellier.

Metal works and services: highly trained, highly effective Tru-Gold offers a variety of metal works which include, but are not limited to the following: • Melting • Rolling • Forming • Polishing • Cleaning • Alloying • Soldering

JEWELLERY MANUFACTURERS

Gypsy earrings, bangles, wedding bands, hinge sleepers, panel rings, baby bangles and brooches.

FOR

Cell: 061 470

Email: gazetluke@yahoo.com

Interesting facts

 The most expensive piece of jewellery ever to feature in a film was the necklace which Nicole Kidman's character wore in Moulin Rouge This incredible statement necklace is made of platinum and diamonds and is estimated to be worth over $1 million.

 Customisable jewellery is pre-made stock items created by a wholesaler. The business makes small alterations to make the item a unique one for the customer. For example, it may use different gems or settings instead of the standard ones.

In Japan, plique-àjour is known as shotaijippo. This technique suspends translucent enamel in fine metal wires, similar to stained glass, where there is no backing.

 Egypt and Mesopotamia were the first two ancient civilisations which started organised production of jewellery. Their accomplishments in advancement of metallurgy and gem-collecting played an important role in the development of jewellery in every successive civilisation.

 Gold leaf is gold that has been hammered into thin sheets by gold-beating and is often used for gilding. Gold leaf is available in a wide variety of karats and shades. The most commonly used gold is 22ct yellow gold.

 Augmented reality (AR) has created a successful virtual shopping space with the “try-before-you-buy” feature. It has reshaped the traditional jewellery industry to be more fascinating for newgen buyers. Through AR-powered virtual try-on, customers can engage with the brand and its products in a hassle-free and convenient way.

 There is a jewellery myth known as the ''breath test'' or ''fog test''. Supposedly, because real diamonds have high thermal conductivity, if you breathe on it, the fog will almost immediately disappear. The problem with this test is that other gems like moissanite and sapphire also have high thermal conductivity and would register as diamonds.



Many people believe that determining the gender of a baby can be done by using a wedding ring. To do this, a pregnant woman should lie on her back and have her wedding ring dangle above her stomach by a string. If it swings side to side, the foetus is a girl, but if it swings in a circle, it is a boy.

Images courtesy Walters Art Museum (Wikimedia Commons)

Navigating the new normal in style

Style Rich

TECHNICAL

Chopard’s unconditional passion for racing

THE GSTAAD PALACE CHALLENGE WAS HELD near the eponymous village from 26-28 August. Created on the initiative of Gstaad Palace Hotel owner Andrea Scherz, this rally for “am bitious bon vivants” saw 30 crews compete at the wheel of classic cars built between 1950 and 1990. It combined regularity exercises, navigation tests and closed-circuit course with picturesque landscapes, as well as a unique gourmet experience amid an atmosphere of camaraderie and shared passion. Chopard was proud to be the world sponsor and official timekeeper of this exclusive event and reward ed the winning crew with two special stainless steel editions of its iconic Mille Miglia chrono graph – combining aesthetic references to the automobile world with technical virtuosity.

The same competitive spirit united Chopard with participants in the 11th edition of Passione Engadina, organised in St Moritz and the Engadine valley. This gathering of classic Italian automobiles saw a succession of events, including the Chopard Ladies’ Cup, featuring 20 female crews competing in a speed race on a track at the S-Chanf military camp. The winning team was presented with two pendants from the Happy Hearts collection, in ethical 18ct rose gold and mother-of-pearl with an iconic dancing diamond. Chopard also featured on the

Driven by its unconditional passion for racing, Chopard beats to the rhythm of its prestigious partnerships with legendary competitions. From 26-28 August the Maison was alongside the crews of two rallies organised in Switzerland: firstly as world sponsor and official timekeeper of the Gstaad Palace Challenge and secondly, as official partner of Passione Engadina.

podium for the weekend's main race, where the first prize was a pair of Alpine Eagle watches in Lucent Steel A223 with “Bernina Blue” dials, inspired by nature and fitted with chronometercertified Chopard movements.

Behind Chopard’s deep-rooted ties with motor racing lie the values of the Maison: loyalty to a distinctive vision of elegance; transmission of a passion from generation to generation; the desire to be at the heart of major events; and, above all, a fascination for high-quality mechanical engineering whose reliability endures over time. Thanks to the involvement of the Maison’s Co-President, Karl-Friedrich Scheufele, Chopard has become one of the first watchmakers to have this level of involvement with motorsport.

Among its partnerships with the most prestigious circuits, since 1988 it has been the world sponsor and loyal official timekeeper to the 1000 Miglia: a historical car race that criss-crosses the roads of Italy along a now legendary route and which has inspired the Maison to create an eponymous watch collection.

Chopard is a Swiss manufacturer and retailer of luxury watches, jewellery and accessories. Founded in 1860 by Louis-Ulysse Chopard in Sonviller, Switzerland, Chopard

has been owned by the Scheufele family of Germany since 1963.

Chopard’s clients have included Tsar Nicholas II of Russia. The company is headquartered in Geneva and has a site in Fleurier, Canton of Neuchâtel, which manufactures watch movements. The company produces around 75 000 timepieces and 75 000 jewellery items each year.

(Above): Winners of the Chopard Ladies' Cup Charlotte Magaraggia and Elvira Mubarakshina.

CITRINE: THE NOVEMBER BIRTHSTONE

The yellow to orange birthstone of November

Those with November birthdays have two birthstones to choose from: topaz and citrine. Both are known to bring fortune and warmth to the wearer. Most topaz and citrine stones are affordably priced and, as good-quality gems, are not as rare as many of their counterparts. In this issue we learn more about citrine.

CITRINE IS THE TRANSPARENT YELLOW TO brownish orange variety of quartz, which has been used in jewellery for thousands of years. This November birthstone has been a popular gemstone since ancient times and has shared a history of mistaken identities with the other November birthstone, topaz. As a result, people thought citrine had the same powers as topaz. They believed the citrine birthstone could soothe tempers and calm the wearer.

The ancient Greeks carved rock crystal ornaments that glistened like permafrost. Roman pontiffs wore rings set with massive purple amethysts and citrine has been reported in Roman jewellery. It was particularly popular in colourful Scottish jewellery from the Victorian era. Citrine, believed to derive from the French word for “lemon” (citron), is also given for the 13th wedding anniversary.

Today, most of the citrine in the marketplace results from the heat treatment of amethyst. With its ready availability in a

broad range of sizes, citrine is one of the most affordable and desired yellow gemstones.

The top sources for citrine are Bolivia, Spain, Madagascar, Mexico and Uruguay. Amethyst that is typically heat-treated to a citrine colour is mined mostly in Brazil.

Deep in the world’s largest freshwater wetland lies Bolivia’s Anahí mine, an important source of natural, unheated citrine. Fields of wildflowers, brightly plumed birds, kaleidoscopes of butterflies, Howler monkeys and jaguars are some of the actors on this vast stage. The story of the mine is worthy of the setting. Discovered by a Spanish conquistador in the 1600s, it was given to him as a dowry when he married Anahí, a princess from the Ayoreos tribe of Paraguay. The mine was lost for three centuries until it was rediscovered in the 1960s.

The Anahí mine produces a unique combination of amethyst and citrine in the same crystal; when the two colours appear together in a fashioned gem, it is known as ametrine. The citrine birthstones produced at the Anahí mine typically range from orange-

Today, most of the citrine in the marketplace results from the heat treatment of amethyst. With its ready availability in a broad range of sizes, citrine is one of the most affordable and desired yellow gemstones.

yellow to brownish/greenish yellow.

At 7 on the Mohs scale of hardness with good toughness, citrine is usually durable enough for normal wear and care. It can be safely cleaned with warm, soapy water. While it is usually safe to clean citrine in an ultrasonic machine, steam-cleaning is risky since high heat could cause the stone to crack.

Information

gem-

of

through research,

(GIA).

in

GIA is an independent non-profit that protects

laboratory services. For further information, visit: www.gia.edu.

Image courtesy Mauro Cateb (Wikimedia Commons)

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 TRADE BEADS JEWELLERY COLLECTION

Tel no: 082 905 1736 / 011 726 7643

E-mail: tamiko@zazenconsulting.com Website: https://www.atbjc.com/about-us/

AFROGEM

Tel no: 021 424 0848

E-mail: info@afrogem.co.za

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

ALLOY JEWELLERY GALLERY (PTY) LTD

Tel no: 073 92 45254

E-mail: edna@alloygallery.co.za Website: www.alloygallery.co.za

ALTIN JEWELLERS

Tel no: 012 998 0141

E-mail: info@altin.co.za Website: www.altin.co.za

AMBER & FORGE (PTY) LTD T/A SCHERMANS

Tel: 072 928 0385

E-mail: info@schermans.co.za

AMBIGO JEWELLERS

Tel: 062 282 6924

E-mail: ntobekobasil@gmail.com

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

ANNA ROSHOLT JEWELLERY DESIGN

Tel: 061 080 6481

Email: anna@annarosholt.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

ASHOK JEWELLERS DESIGNERS & MANUFACTURERS

Tel: 031 566 5046

E-mail: info@ashokjewellers.co.za; 5665046@gmail.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

AUGENTA JEWELLERS

Tel: 021 883 8288

E-mail: dylan@augenta.com

AURUM DESIGN

Tel no: 021 423 6590

E-mail: aurum@worldonline.co.za; adela@aurumdesign.co.za Website: www.aurumdesign.co.za

AURUM MANUFACTURING (PTY) LTD

Tel: 083 475 7891

E-mail: info@aurummanufacturing.co.za; oliver@aurummanufacturing.co.za; karina@aurummanufacturing.co.za

AUTHOR BY KATHLYN ALLAN

Tel no: 084 247 0358

E-mail: mail@worldofauthor.com

AZTEC MANUFACTURING JEWELLERSRIVERSIDE LIFESTYLE CENTRE

Tel: 013 757 0827

E-mail: ron@aztecjewellers.com; kyle@aztecjewellers.com Website: www.aztecjewellers.com

AZTEC MANUFACTURING JEWELLERSVALLEY HYPER

Tel: 013 757 0827

E-mail: Ron@aztecjewellers.com Website: www.aztecjewellers.com

BEADZ BY FLEX

Tel no: 083 967 3264

E-mail: info@beadzbyflex.co.za Website: www.beadzbyflex.co.za

BEAUDELL DESIGNS (PTY) LTD

Tel no: 082 885 8303

E-mail: esther@beaudell.co.za Website: www.beaudell.co.za

BEAUTIFUL SELECTION (PTY) LTD

Tel no: 072 658 0166

E-mail: admin@beautifulselection.co.za

BEN & CO DESIGNS (PTY) LTD

Tel no: 072 056 2156

E-mail: bheki@ben-codesigns.com; info@ben-codesigns.com Website: www.ben-codesigns.com

BERNARD’S JEWELLERY DESIGN & MANUFACTURE

Tel no: 032 586 0889

E-mail: bernard@bernardsjewellery.co.za Website: https://watchesforsale.co.za/

BIJOU EXQUISITE JEWELLERS

Tel no: 041 450 4320

E-mail: marnic@bijoujewellery.international Website: https://www.bijoujewellery.international/

BO KOOK HANDMADE JEWELLERY

Tel: 079 560 5064

E-mail: info@bokook.co.za

BRAND ATHENA A

Tel: 072 272 3089

E-mail: info@brandathenaa.co.za

BRETTLAND POULSEN DESIGNER GOLDSMITH

Tel no: 031 562 8009

E-mail: bretland@iafrica.com Website: www.brettlands.co.za

BRIAN BOSMAN GOLDSMITH STUDIO

Tel no: 011 616 5328

E-mail: divagoldsmith@yahoo.com

BRONSKI JEWELLERS

Tel no: 021 852 7891

E-mail: seanscrase@hotmail.com

BROWNS THE DIAMOND STORE – WORKSHOP

Tel no: 011 438 7920

E-mail: albert@brownsjewellers.com Website: www.brownsjewellers.com

BULLION STAR (PTY) LTD

Tel: 011 202 5021

E-mail: bullionstr@gmail.com

CADTOCRAFT (PTY) LTD

Tel no: 011 781 0303

E-mail: johanwessels12@gmail.com

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

CAPE PRECIOUS METALS – CAPE TOWN

Tel no: 021 551 2066

E-mail: sharon@cpmct.co.za Website: www.capepreciousmetals.co.za

CAPE PRECIOUS METALS – DURBAN

Tel no: 031 303 5402

E-mail: malcolm@cpmdbn.co.za Website: www.capepreciousmetals.co.za

CAPE PRECIOUS METALS – JOHANNESBURG

Tel no: 011 334 6263

E-mail: tom@cpmjhb.co.za Website: www.capepreciousmetals.co.za

CAPE PRECIOUS METALS – PORT ELIZABETH

Tel no: 041 365 1890

E-mail: renee@capepreciousmetals.co.za Website: www.capepreciousmetals.co.za

CARESS JEWELLERS UITENHAGE CC

Tel no: 041 992 4421

E-mail: eben-caress@mweb.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

CHARL DE BEER

Tel no: 012 440 7693

E-mail: leatherw@mweb.co.za; charldebeer@hotmail.com

CHARLES NORMAN DIAMONDS (PTY) LTD

Tel: 083 557 3252

E-mail: rishan@charlesnormandiamonds.com

CHARLENE NEL T/A BELLA COSA

Tel no: 021 975 5097

E-mail: charlene@bellacosa.co.za

CHATEAU D’OR CC

Tel no: 011 728 3741/3723

E-mail: denlincoln@mweb.co.za Website: www.chateaudorjewellers.com

CORNERSTONE MANUFACTURING (PTY) LTD

Tel no: 082 599 5919

E-mail: cornerstonelof@gmail.com

CREATIVE DESIGN MANUFACTURERS (PTY) LTD

Tel no: 031 563 3987

E-mail: goldlink@iafrica.com

D FABRIK (PTY) LTD

Tel: 011 327 7926

E-mail: deon.denysschen@gmail.com

DABERON MANUFACTURING (PTY) LTD

Tel no: 011 334 8841

E-mail: daberon1@gmail.com

DALEEN BRUWER JEWELLERY DESIGN & GOLDSMITH

Tel no: 023 342 7808

E-mail: db@xsinet.co.za

DANIEL JACOBS JEWELLERY DESIGN CC

Tel no: 021 880 1026

E-mail: djjd@mweb.co.za

DAVID BOLDING GOLDSMITH

Tel no: 021 418 1049/1612

E-mail: david@dbgold.co.za; marele@dbgold.co.za

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

DEON SMITH JEWELLERY

Tel: 083 454 2161

E-mail: deonsmithjewellery@gmail.com; drdwsmith63@gmail.com; deon@deonsmithjewellery.com

DESIGNER GOLD BUSINESS TRUST

Tel no: 043 726 2291

E-mail: info@designergold.co.za Website: www.designergold-el.co.za

DIA-KIM DIAMONDS

T/A CHRISTOPHER REID

Tel no: 021 418 4484

E-mail: nick@christopherreid.co.za Website: www.christopherreid.co.za

DIAMANTE ANTWERP

Tel: 072 830 5656

E-mail: info@diamanteantwerp.com

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

DLR JEWELLERS

Tel: 057 101 0359

E-mail: carol@dlracc.co.za

DR ESME SPICER

Tel no: 073 239 9983

E-mail: esme.spicer@gmail.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

ECO CHIC JEWELLERY

Tel no: 021 553 0332

E-mail: e.m.duplooy@gmail.com

EDEL DESIGNER JEWELLERY

Tel no: 072 636 0213

E-mail: edeldesignerjewellery@gmail.com

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 STRAUSS DESIGNER JEWELLERY STUDIO

Tel no: 021 851 8120

E-mail: artwear@telkomsa.net

ETERNITY ENTERPRISE (PTY) LTD

Tel no: 018 290 5722/3

E-mail: info@eternityenterprise.com; daleen@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

FACET JEWELLERY

Tel no: 073 397 8820

E-mail: catherine@facetjewellery.co.za

FARIED JEWELLERY DESIGN

Tel: 021 671 5529

E-mail: insaaf.achmat@gmail.com; fachmat@gmail.com

FEMKE KLEISEN DESIGNS (PTY) LTD

Tel no: 083 787 6120

E-mail: femkekleisen@webafrica.org.za Website: www.femkekleisen.co.za

FERROS JEWELLERS

Tel no: 041 363 1881

E-mail: alex@ferrosjewellers.com Website: www.ferrosjewellers.com

FINEGOLD LABORATORY SERVICES

Tel no: 021 511 6237

E-mail: admin@finegold.co.za Website: www.finegold.co.za

FOREVER JEWELLERY MANUFACTURERS

Tel no: 031 564 9006

E-mail: fj@3i.co.za

FRANKLI WILD

Tel no: 011 483 2620

E-mail: kgf@frankliwild.com Website: www.frankliwild.com

G HARRIS DESIGN STUDIOS CC

Tel no: 021 555 1437

E-mail: harrisjewellers@telkomsa.net; gharris@telkomsa.net Website: www.harrisjewellers.net

GATTOO JEWELLERY DESIGN STUDIO

Tel no: 011 852 2046

E-mail: gattoosdesign@gmail.com

GAUTA REFINERIES (PTY) LTD

Tel no: 012 753 3304

E-mail: rudi@gautarefinery.com Website: https://www.gautarefinery.com/

GEM AFRIQUE

Tel no: 062 050 6479

E-mail: soni2.goldsmith@gmail.com

GERHARD MOOLMAN FINE JEWELLERY

Tel: 021 914 0838

E-mail: gerhard@gmfinejewellery.co.za

GLOBAL JEWELLERY ACADEMY

Tel no: 082 337 6428

E-mail: robertb@globaljewelleryacademy.co.za Website: www.globaljewelleryacademy.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

GRYPHON MOSS

Tel: 082 049 2488

E-mail: kate@gryphonmoss.co.za

HAUPT JUWELEN (PTY) LTD

Tel: 072 587 0055

E-mail: info@hauptjuwelen.co.za

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

HELEN MICHALETOS

Tel: 082 342 1577

E-mail: helen.michaletos@gmail.com

HESTI PRINSLOO T/A FETTER-AND-THREE

Tel: 082 855 9088

E-mail: hesti@fetter-and-three.co.za

HOLLY CROSS JEWELLERY

Tel: 079 477 2729

E-mail: vhaswayouth@gmail.com

ICKINGER JEWELLERS

Tel no: 015 307 4448

E-mail: jacques@ickinger.co.za Website: www.ickinger.co.za

iKE YKE

Tel: 083 225 0425

E-mail: michael@eqimpact.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

INGE SCHOLTZ JEWELLERYDESIGNER & MANUFACTURER

Tel no: 073 271 3789

E-mail: admin@csvaluers.co.za

ISA B JEWELLERY DESIGNS

E-mail: bothmaisabel09@gmail.com

ISABELLA JEWELLERS & REFINERS CC

Tel no: 011 334 5919

E-mail: isabella@isabella-refiners.co.za Website: www.isabella-refiners.co.za

J HIND JEWELLERS

Tel no: 031 306 1330

E-mail: jhindrajesh@gmail.com Website: https://www.jhindjewellers.co.za/

JAGGATH JEWELLERS

Tel no: 031 307 7790

E-mail: navinjagath372@gmail.com

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

JEWELLERY CONSULTANCY

Tel no: 083 581 1513

E-mail: md.jewelleryconsultancy@gmail.com Website: www.jewelleryconsultancy.co.za

JOHANNA VAN ZYL

Tel no: 082 778 5846

E-mail: jo@johannavanzyl.co.za Website: www.johannavanzyl.co.za

JOHN 3 JEWELLERY

Tel no: 076 822 8783

E-mail: john3jewellery@gmail.com

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 (PTY) LTD Tel no: 012 662 2861

E-mail: joy@joymassyn.co.za Website: http://www.joymassyn.com/

JUPITER'S JUNGLE (PTY) LTD

Tel no: 061 503 6561

E-mail: admin@jupitersjungle.com Website: www.jupitersjungle.com/www.ginawhite.com

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

JEWELLERY MANUFACTURERS'

OF

AFRICA

KATANNUTA DIAMONDS CC

Tel: 082 451 9429

E-mail: clare@katannutadiamonds.co.za; info@katannutadiamonds.co.za

KAYRO JEWELLERS

Tel no: 041 585 4842

E-mail: slaide.kayro@mweb.co.za

KEA-NTHABI’S AFRICAN DESIGN

Tel: 083 350 2737

E-mail: keanthabi1@gmail.com

KHONJE DESIGNS

Tel: 012 460 1569

E-mail: info@khonjedesigns.com

KIM CLOETE JEWELLERY DESIGN

Tel no: 021 531 9082

E-mail: kim@kimcloetedesign.co.za Website: http://www.kimcloetedesign.co.za/

KINKEL JEWELLERY

Tel no: 021 786 1549

E-mail: info@kinkeljewellery.co.za Website: www.kinkeljewellery.co.za

KNIGHT OF GREY T/A ELEGANTE

Tel: 011 825 5822

E-mail: elegantemagnificent@gmail.com

KRISTEN MALAN CC

Tel no: 011 880 1866

E-mail: kristen@merindol.com; john@merindol.com

KUSASA REFINING (PTY) LTD

Tel: 010 001 6284

E-mail: greg.magid@kusasarefining.co.za; info@kusasarefining.co.za

LADY PECULIAR

Tel no: 021 886 8868

E-mail: info@ladypeculiar.co.za Website: www.ladypeculiar.co.za

L’AUTRICHE FINE JEWELLERY

Tel no: 011 883 4021

E-mail: ernst@lebijoux.co.za Website: www.lautrichefj.co.za

LEOPOLDINE DESIGNS

Tel no: 076 586 3820

E-mail: info@leopoldinedesigns.co.za

LILLY FRIEDLAENDER CC

Tel no: 021 887 1655

E-mail: lilly.f@wol.co.za

LIMPOPO JEWELLERY BUSINESS INCUBATOR

Tel no: 015 293 0214

E-mail: tessa@ljbi.org.za; mabatho@ljbi.org.za; siphelele@ljbi.org.za; admin@ljbi.org.za; shokky@ljbi.org.za

LORIEN MANUFACTURING JEWELLERS

Tel no: 011 967 1700

E-mail: heather@allanybrink.co.za

LOTTI JEWELLERY

Tel no: 079 386 1079

E-mail: info@lottijewellery.co.za

LOVI JEWELLERY DESIGN

Tel no: 011 882 3272

E-mail: lovijewellery@gmail.com

LYNDA MARION JEWELLERY

Tel no: 082 651 8145

E-mail: silver@lyndamarion.com

M2 JEWELLERS CC

Tel no: 012 460 6793

E-mail: maryna@m2jewellery.com Website: www.m2jewellery.com

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: www.madelinestemptations.co.za

MAGGIE AFRICA

Tel no: 072 882 2586

E-mail: maggieroodt@telkomsa.net

MAGMA METAL RECOVERIES

Tel no: 031 702 4422

E-mail: edwards@astronet.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/

MARTIN MILLS GOLDFIELDS

Tel: 0727167632

E-mail: mmillsgoldfields@gmail.com

MASELESELE JEWELLERS

Tel no: 012 734 0245

E-mail: imfundiso@mweb.co.za; imfundisojewellers@mweb.co.za Website: www.imfundiso.com

MEDITERRANEAN JEWELLERS

Tel no: 082 689 0630

E-mail: panayiotis@mmjewellers.co.za Website: http://www.mmjewellers.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

METAL CONCENTRATORS SA (PTY) LTD – CENTURION

Tel no: 012 000 4440

E-mail: info@metcon.co.za Website: www.metcon.co.za

METAL CONCENTRATORS SA (PTY) LTD – DURBAN

E-mail: info@metcon.co.za Website: www.metcon.co.za

METAL IMAGE

Tel no: 021 447 6600

E-mail: mi_greg@iafrica.com; mi_accounts@iafrica.com Website: www.metalimage.co.za

MG IVORY

Tel no: 011 788 1018

E-mail: mgivory@netactive.co.za

MICHAEL J SOLOMON

MANUFACTURING JEWELLERS (MJS)

Tel no: 011 792 5292

E-mail: ms@absamail.co.za

MICHL CONTEMPORARY FINE JEWELLERY

Tel no: 021 913 3944

E-mail: michelleliaosa@gmail.com Website: www.michljewellery.com

MINITZA

Tel: 082 77 29812

E-mail: info@minitza.co.za

MIRKO JEWELLERY

Tel no: 021 886 8296

E-mail: mirinda@mirkojewels.co.za Website: http://mirkojewels.co.za/

MOON INVESTMENTS

Tel: 021 551 2066

E-mail: invest@mooninvest.co.za

MUGA MUGA HANDMADES

Tel no: 072 299 7148

E-mail: info@mugamuga.co.za Website: www.mugamuga.co.za

MZANTSI DIAMOND MERCHANTS (PTY) LTD

Tel: 041 379 1162

E-mail: mzantsidiamonds@gmail.com

N.N JEWELLERS

Tel: 082 081 8179

E-mail: nico.nieuwoudt.nn@gmail.com

NEWMAN JEWELLERY DESIGN

Tel no: 012 329 9600

E-mail: nina@newmandesign.co.za; dave@newmandesign.co.za

NILU ENGRAVING & JEWELLERY (PTY) LTD

Tel no: 083 384 7792

E-mail: laser@nilu.co.za Website: www.nilu.co.za/

NINA BOSCH PORCELAIN

Tel: 079 891 7240

E-mail: info@ninabosch.co.za

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

OSMOND’S

Tel no: 021 559 8277

E-mail: osmond@telkomsa.net

PAUL GALLIAS

Tel no: 073 194 2415

E-mail: pgallias@hotmail.com

PEARL AND DIAMOND STUDIO

Tel no: 011 678 0595/6

E-mail: pearldiamond@mweb.co.za Website: https://www.pearlanddiamond.co.za/ PETRA JEWELLERY DESIGN

Tel: 021 789 0312

E-mail: info@petrajewellery.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/

PIYUVE JEWELLERS CC

Tel no: 031 301 3963

E-mail: aroon@piyuvejewelers.co.za; shashi@piyuvejewelers.co.za Website: www.piyuvejewelers.co.za

PNEUMA JEWELLERS CC

Tel no: 011 702 1462

E-mail: admin@pneumajewellers.com Website: www.pneumajewellers.co.za

POPULAR DIAMOND JEWELLERY MANUFACTURING CC

Tel no: 011 484 7044

E-mail: pop@tiscali.co.za

PRECIOUS ONE JEWELLERY

Tel no: 056 212 1229

E-mail: antonjewels@yahoo.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

PREVIDA & CO

Tel no: 011 701 5074

E-mail: previda@previdaandco.com

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

RAMSDEN DIAMONDS

T/A OLYMPIA AVENUE MANUFACTURING JEWELLERS

Tel: 011 404 5010

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

REC SET & ENGRAVE (PTY) LTD

Tel no: 011 326 1727

E-mail: neil@rarearth.co.za; noloyiso@rarearth.co.za

RICHLINE SA (PTY) LTD

Tel no: 011 418 1600

E-mail: johan@richlinesa.co.za; marco@richlinesa.co.za Website: www.richlinegroup.co.za

RITCO MANUFACTURING JEWELLERS

Tel no: 041 374 2101

E-mail: sales@ritco.co.za Website: www.ritco.co.za

RODNEY CHANDLER JEWELLERS (PTY) LTD

Tel no: 082 606 0493

E-mail: mcjewel@netactive.co.za

ROHAN CHERRY DESIGNS

Tel no: 082 974 4566

E-mail: info@rcdesigns.co.za Website: www.rcdesign.co.za

ROK ORIGINALS

Tel no: 072 203 3288

E-mail: info@rokoriginals.com Website: https://www.rokoriginals.com/

ROMANELLI DESIGNS (PTY) LTD

Tel no: 011 794 1666

E-mail: bling@romanellidesigns.co.za Website: https://romanellidesigns.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

SANDHAVON DIAMOND CUTTING WORKS

Tel no: 083 233 0910

E-mail: kevin@lutrin.co.za

SAVAGE JEWELLERY

Tel no: 082 902 2302

E-mail: nicola@savagejewellery.com

SCANT DESIGN

Tel: 072 339 1885

E-mail: as@scant.co.za

SCARAB JEWELLERY STUDIO CC

Tel no: 021 683 4646

E-mail: janine@scarabjewellery.co.za; tanya@scarabjewellery.co.za Website: www.scarabjewellery.co.za

SEA & SHORE

Tel: 082 742 5343

E-mail: seashore.resin@gmail.com

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

SHANI D JEWELLERY DESIGN (PTY) LTD

Tel no: 082 308 2111

E-mail: diamondshani@gmail.com Website: http://www.shanidjewellery.co.za/

SIBAHLE JEWELLERY (PTY) LTD

Tel no: 011 049 3933

E-mail: nthabiseng@sibahlejewellery.co.za Website: www.sibahlejewellery.co.za

SILK ROUTE GOLD (PTY) LTD

Tel no: 011 450 3192

E-mail: info@silkroutegold.com Website: www.silkroutegold.com

SIMON EFUNE MANUFACTURING JEWELLERS

Tel no: 011 334 4529

E-mail: simon.efune@mweb.co.za

SIRKEL JEWELLERY

Tel no: 011 726 2365

E-mail: sirkeldesign@gmail.com Website: www.sirkeljewellery.co.za

SL HERMAN MANUFACTURING JEWELLERS

Tel no: 012 460 6771

E-mail: slhj@telkomsa.net Website: www.hermanmanufacturingjewellers.co.za

SMITH JEWELLERY

Tel no: 071 313 8649

E-mail: info@smith-jewellery.com Website: www.smith-jewellery.com

STARBRIGHT JEWELLERY

Tel no: 083 775 9995

E-mail: megan@starbrightgirl.com Website: https://www.starbrightgirl.com/

STUDIO 1980 (PTY) LTD

Tel no: 083 379 0171

E-mail: info@studio1980za.com Website: https://studio1980za.com/

STUDIO 39 JEWELLERY DESIGN

Tel no: 031 764 3000

E-mail: studio39@telkomsa.net Website: www.studio39.co.za

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

SURITA DU TOIT FINE JEWELLERY (PTY) LTD

Tel: 082 779 7084

E-mail: info@suritadutoit.com

TASHA SWART CREATIONS

Tel: 082 523 9982

E-mail: tashaswart.creations@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/

THE JABULANI CHARITABLE TRUST

Tel: 031 303 2396

E-mail: paula@jabulanijewellery.co.za; colleen@jabulanijewellery.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

THE MAKERY

Tel no: 082 600 7142

E-mail: info@themakerycollection.com Website: www.themakerycollection.com

THE PLATINUM INCUBATOR

Tel no: 014 597 0736

E-mail: sibongile@tpi.org.za Website: www.tpi.org.za

TINSEL GALLERY

Tel no: 011 782 4051

E-mail: geraldine@tinsel.co.za Website: https://tinselgallery.com/

TIP TOP JEWELLERS

Tel no: 044 873 3048

E-mail: tiptop@lantic.net

TRIMALCHIO

Tel no: 012 346 6874

E-mail: casanra@mweb.co.za

TRISLO (PTY) LTD

Tel no: 012 259 0100

E-mail: info@trislo.co.za Website: www.trislo.co.za

TSHWANE UNIVERSITY OF TECHNOLOGY

Tel no: 012 382 6007

E-mail: newmand@tut.ac.za Website: www.tut.ac.za

UNCUT JEWELLERS

Tel no: 083 225 8221

E-mail: mark@uncutjewellers.co.za Website: www.uncutjewellers.co.za

UNIVERSITY OF JOHANNESBURG

Tel no: 011 559 1129/1125

E-mail: fnazier@uj.ac.za Website: www.uj.ac.za

UNIVERSITY OF STELLENBOSCH

Tel no: 021 808 3047

E-mail: ct@sun.ac.za; Joani@sun.ac.za Website: www.sun.ac.za/english/faculty/arts/visual-arts/

VAN DEIJL MANUFACTURING JEWELLERS

Tel no: 021 914 2192

E-mail: info@vdmj.co.za

VAWDA GOLD GEM JEWELLERS

Tel no: 031 208 9142/3

E-mail: info@vawdagoldgem.co.za Website: www.vawdagoldgem.co.za

VICTORIA ORPEN JEWELLERS

Tel no: 011 615 4758

E-mail: victoriaorpensa@gmail.com; roxanne.campbell07@gmail.com

VIJAY SHAH CONCEPTS

Tel no: 031 564 2948

E-mail: vijayshah@telkomsa.net; nihalshah23@gmail.com Website: www.vijayshahjewellers.co.za

VK JEWELLERY

Tel no: 082 789 4498

E-mail: vivek@vkjewellery.co.za Website: www.vkjewellery.co.za

WAINWRIGHT JEWELLERS

Tel no: 021 554 1169

E-mail: info@wainwrightjewel.co.za Website: www.wainwrightjewel.co.za

WOOSH DESIGNS JEWELLERY STUDIO

Tel no: 011 318 1340

E-mail: wooshen@wooshjewellery.co.za Website: www.wooshjewellery.co.za

YOL NOMADIC JEWELLERY

Tel no: 074 136 3633

E-mail: yol_lu@yahoo.fr

ZION PRECIOUS METALS (PTY) LTD

Tel: 010 109 2057

E-mail: compliance@zionpreciousmetals.com; depot@zionpreciousmetals.com

ZULU MIEN

Tel: 0823344426

E-mail: zulumien@gmail.com

ZUREL BROTHERS SA (PTY) LTD

Tel no: 015 293 2306/58

E-mail: zurelpolokwane@telkomsa.net; zurelqms@gmail.com Website: www.zurel.co.za

BRAND SUPPORTERS

From The World’s Foremost Authority in Gemology™

AFRASIAN DIAMONDS www.afrasiandiamonds.com info@afrasiandiamonds.com (011) 268-6980

JEWELLERY COUNCIL OF SOUTH AFRICA (JCSA) Jewellex365 ShopJewellex www.jewellery.org.za lornal@jewelleyr.org.za (011) 484-5528

DE BEERS www.debeersgroup.com Jackie.Mapiloko@debeersgroup.com (011) 374-7173

RICHLINE SA www.richlinegroup.com jacqueline.legrange@richlinegroup.com (011) 418-1600 SM WATCH www.smwatch.co.za smwatch.iafrica.com (012) 326-5996

GEMFIELDS www.gemfields.com janet.silk@gemfields.co.uk 083-266-7517

JZA – YOUR JEWELLERY MAGAZINE Brand card Latest issue jza@isikhova.co.za (011) 883-4627

GIA is the globally recognized source of knowledge, standards, education and analysis for diamonds, colored stones and pearls. Contact us today. GIA.edu

GEMOLOGICAL INSTITUTE OF AMERICA (GIA) www.gia.edu gia ed/contact us +1-760-603-4000 – global hq

ISIKHOVA MARKETING www.isikhova.co.za lamees@isikhova.co.za (011) 883-4627

METAL CONCENTRATORS www.metcon.co.za tania.pelser@metcon.co.za

(012) 000-2442

SOLITAIRE www.solitairemagazine.com subscription@media-group.com +65-6446-6888

TRU-GOLD JEWELLERY MANUFACTURERS gazetluke@yahoo.com (061) 470-7552

NAMAQUA MOISSANITE www.namaquamoissanite.com sales@nammoissanite.com 081-873-6456

UNGAR BROTHERS www.ungarbros.co.za ungarbros@worldonline.co.za (011) 642-2018

J.P.P.E MANUFACTURING JEWELLERS www.jppe.co.za info@jppe.co.za (021) 424-7764

PICCOLO FINE DESIGNER JEWELLERY www.piccolo-jewellery.co.za info@piccolo-jewellery.co.za 083-396-6178