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

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• From trash to treasure • Digital presentations of new watches in a locked-down world • Driving beneﬁciation through enterprise development • A grassroots story that blooms beyond our borders

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SAJN | CONTENTS

contents Editor: Adri Viviers Tel: +27 (0)11 883-4627 Cell: 084-261-1805 E-mail: adri@isikhova.co.za Managing Director: Imraan Mahomed E-mail: imraanm@isikhova.co.za Publishing Director: Jason Aarons Cell: 074-400-6677 E-mail: jason@isikhova.co.za Director Brand Strategy: Jenny Justus Cell: 083-450-6052 E-mail: jenny@isikhova.co.za Creative Director: Joanne Brook E-mail: joanne@isikhova.co.za Operations Director: Thuli Majola Tel: +27 (0)11 883-4627 E-mail: thuli@isikhova.co.za

10. NEWS • MetCon and SADPMR to launch Fumana Jewellers Collective • Industry mourns death of Sita Kassanjee • Diamond Dealers’ Club of SA elects new Executive Committee • New Chairperson for IDI • Lucara uncovers Botswana’s largest-ever fancy pink diamond • Scientists launch programme to track diamond origin • Members encouraged to use JCSA logo in online marketing

14. FROM TRASH TO TREASURE AuTerra Jewellery breathes new life into old electronics, with simple gold studs crafted in gold recycled from circuit boards.

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

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

18. A GRASSROOTS STORY THAT BLOOMS BEYOND OUR BORDERS “To wear a piece of Zulu Mien is to wear a piece of Africa” is Zulu Mien’s brand statement. And this grassroots social enterprise dedicated to supporting women artisans/crafters in South Africa is making these words felt – and, indeed, its creations adorned – far and wide, writes Jason Aarons.

SA JEWELLERY NEWS - SEPTEMBER 2021

CONTENTS | SAJN

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

Down to the Wire strives to raise awareness of a critical topic – poaching – through its unique and carefully handcrafted jewellery. Snaring, one of the primary methods of poaching, is a big threat to precious wildlife. The Down to the Wire team has found a way of turning what was once destructive into hope.

38. DIGITAL PRESENTATIONS OF NEW WATCHES IN A LOCKED-DOWN WORLD The Swiss industry was already in disarray, related to uncontained costs of the regular Swiss trade fairs. More than two years have now passed since the watch industry last assembled en masse. Today, re-ordering that disarray is not helped by the fractious unpredictability of the global pandemic, writes Martin Foster.

29. THE BLUE GEMSTONE OF ROYALTY

42. GEMS FROM DOWN UNDER

Sapphire is the birthstone for September. Traditionally symbolising nobility, truth, sincerity and faithfulness, it has decorated the robes of royalty and clergy members for centuries. Its extraordinary colour is the standard against which other blue gems – from topaz to tanzanite – are measured.

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

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The De Beers Group aims to assist with the growth and transformation of the diamond industry in South Africa and is also extending its contribution to include jewellery manufacturers, thereby demonstrating its support for beneficiation throughout the value chain, Kagiso Fredericks, Beneficiation Manager at De Beers in South Africa, tells SAJN.

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30. DRIVING BENEFICIATION THROUGH ENTERPRISE DEVELOPMENT

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On the cover 20 Years of Creativity Isikhova Media’s greatest strength and passion is magazine publishing – custom, trade, business and retail – graphic design and advertising sales. As such Isikhova Media crafts strategies to illuminate your brand and give meaningful substance to it. We provide clients with personalised solutions from concept and development through to finished project. In doing so we bring to life bespoke ideas, brand stories and products. And, we drive these to be compelling, results-driven and visually powerful. Contact Isikhova Media on tel: 011 883 4627 or e-mail: joanne@isikhova.co.za.

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

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THE MEDIA CAN OFTEN MAKE US FEEL AS IF we are on the losing side of a long battle, with stories of hate and crime filling newspapers, TV programmes and our social media pages daily. When we look around at the current media landscape, it seems most journalists still believe that it is negative, not positive news, that sells and follow the old adage: “If it bleeds, it leads.” But those stories are only one side of the South African coin. In reality, we have many things to celebrate. Just as we started to lose hope during the recent riots and looting, stories of people and communities – from taxi-drivers to unemployed youth, uniting to form human chains to protect businesses and shopping centres in their areas – began emerging. And as the flames of the looting died down, the vast majority of South Africans across racial, gender, ethnic and class lines immediately got to work mopping up and helping those at the coalface of the devastation. As a nation, we have an abundance of resilience. We know that where there is bad, there is also good and, one way or another, most of us find a way of turning something negative into something positive. This issue of SAJN is full of articles about exactly that: South Africans being proactive and creative by using their jewellery-making talents as a means of effecting positive change. Down to the Wire, founded by brotherand-sister duo Troy and Lilly Otto, strives to raise awareness of a critical topic – poaching (specifically snaring) – through its unique and carefully handcrafted wire jewellery. “A wire snare can go from the hands of a poacher, intended to kill its victim, to the hands of somebody able to turn that negative into a

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positive,” says Lilly. Down to the Wire’s aim is to convert these snares into something inspiring, useful and beautiful that symbolises hope. Ashley Heather, founder of Cape Townbased AuTerra Jewellery, found a way of combining her passion for sustainability and the environment with her creativity by handcrafting beautiful, minimalist jewellery in precious metals reclaimed from e-waste, particularly circuit boards. Currently only 1520% of e-waste is recycled and the balance of these unwanted products ends up in landfills. Aside from the obvious waste of resources (including gold and silver), the amount of e-waste ending up in our landfills takes a serious environmental and human toll. In their solid state, electronic devices are not considered toxic to consumers, but the lead, cadmium and mercury they contain is released as they begin to degrade. “While AuTerra’s dream of a fully solar-powered operation may still be years away, that doesn’t stop us from making considered decisions today and every other day,” says Heather. Zulu Mien, the first-ever winners of Isikhova Media (publisher of SAJN) and CoNNect Agency’s mentorship programme for a South African jewellery designer, is also doing its part to create positive social change. Its founder, Nikki Robertson, trained as a product developer in rural KwaZulu-Natal and watched women artisans going from strength to strength. In order to provide them with access to sustainable funding for product development and marketing, she established Zulu Mien, a social enterprise to support rural women artisans. This issue also features an article on the official launch of the Fumana Jewellers Collective, which will take place on 16 September. South African jewellers have abundant talent, but access to the consumer market is often difficult due to a lack of resources, platforms and visibility. Local refinery Metal Concentrators and the SA Diamond and Precious Metals Regulator have therefore launched Fumana, an online marketplace that connects inspired artists with an eager market. I loved putting together this issue. It made me realise yet again that we all have the power to create positive change and make our beautiful country a better place for ourselves and our children. Let us use that power today and every day!

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SAJN | NEWS

DIAMOND DEALERS’ CLUB OF SA ELECTS NEW EXECUTIVE COMMITTEE

NEW CHAIRPERSON FOR IDI

The Diamond Dealers’ Club of SA (DDCSA) held its annual general meeting at the end of July, where a new Executive Committee was elected. M Letsiki will serve as Chairperson for the DDCSA, while R Ramsden will serve as Vice-Chairperson. The following committee members were elected for the ensuing year:

The Israel Diamond Institute (IDI) has elected Arnon Juwal as its new Chairperson for a three-year term. He succeeds Yoram Dvash, who resigned from the position last month after being in the role since late 2020. Juwal is a second-generation diamantaire and partner in diamond manufacturing firm S Juwal & Co. He is a member of the Israel Diamond Exchange (IDE)’s board and chairs its Insurance and Taxation Committee. “It’s a great honour to serve as Chairperson of the IDI, as well as a major responsibility,” he says. “We’re emerging from a very difficult time and although the Israeli diamond industry has rebounded, there are still many issues we must deal with. The IDI is responsible for several functions which are essential to the success of the Israeli diamond industry. I hope that my expertise as a diamantaire will enable me to contribute to the success of the IDI and I look forward to leading the institute in these crucial times.” Founded in 1967, the IDI is a non-profit organisation that represents the Israeli diamond industry and promotes it through marketing, public relations and trade events.

L Noach, T Temkin, D Woolf, A Blom, N Henderson, A Yeung, L Sitton, C Prinsloo, M Taylor, O Levi and D Etkind. A new Arbitration/Disciplinary Committee was also elected. M Zollmann, C Kramer, G Katz, D Nathan, J Gaddie and M Ellis will serve as committee members.

SCIENTISTS LAUNCH PROGRAMME TO TRACK DIAMOND ORIGIN Two specialists in source verification have teamed up to provide consumers with precise origin information for natural and laboratory-grown diamonds. Australian science organisation Source Certain International will provide the technology for SCS Global Services’ Certification Standard for Sustainable Diamonds, it said. That technology will enable SCS to state the mine of origin on the document – or, in the case of synthetics, the laboratory that grew it. Source Certain’s technology analyses the naturally occurring chemical and trace metal markers present in natural and labora-

tory-grown diamonds, which enables the company to pinpoint a diamond’s origin, whether from a mine or a laboratory. “We study the unique relationship between selected trace and ultra-trace elements to establish a ‘fingerprint’ used to identify the trace elemental signature unique to [where] the diamond was formed,” says Source Certain’s Chief Scientist John Watling. SCS first introduced its sustainability certification for laboratory-grown diamonds in 2019 in an effort to assure consumers that their stones met rigorous environmental and social standards. – Rapaport

JEWELLERY

METCON AND SADPMR TO LAUNCH FUMANA JEWELLERS COLLECTIVE South African jewellers are bursting with talent, but access to the consumer market is often expensive and difficult. The barriers causing this are not lack of talent, craftsmanship or quality of product, but rather resources, platforms and visibility. Metal Concentrators (MetCon) and the SA Diamond and Precious Metals Regulator (SADPMR) have seen this as an opportunity to support the industry and independent jewellers by launching Fumana Jewellers Collective. Derived from the isiXhosa word “fumanisa”, meaning “to find or discover”, Fumana is an online marketplace that connects inspired artists to an eager market. Fumana discovers and showcases local, talented jewellers who deserve a platform and

sales channel. Artisans of excellence and creations of note are carefully curated and all jewellery is subject to a meticulous quality assurance process, guaranteeing superior craftsmanship and longevity. More than just a storer of beauty, Fumana is for the jeweller. The goal is to highlight every Fumana jeweller and explore who they are as creators and individuals, offering a glimpse into the artisan’s mind. “It’s about sparking careers and creating what we want to see: the future brought to light today,” say MetCon and the SADPMR about their exciting new venture. “It’s about the collective. It’s about the jeweller. It’s about quality, service, beauty and finding your piece.” The official launch of Fumana will take on 16 September.

MEMBERS ENCOURAGED TO USE JCSA LOGO IN ONLINE MARKETING With the COVID-19 pandemic accelerating the shift towards a more digital world and triggering a dramatic move towards online shopping channels among consumers, the JCSA is encouraging its members to continue utilising its logo in all their online marketing. “It’s extremely important to ensure consumer confidence in our dealings with the public,” says JCSA CEO Lorna Lloyd. “The message to your customer is that as a JCSA member, you abide by a code of ethics and conduct.” According to a recent survey, approximately

79% of South Africans have tried shopping online during the pandemic and most consumers intend continuing using these channels beyond the crisis. Members who do not have the logo can contact Elsa da Silva on tel: 081-214-0028 or e-mail: elsad@jewellery.org.za. The JCSA is also able to help members create a selling platform, should they not have an e-commerce website, from as little as R2 080 (excl VAT). This will include 12 months’ hosting.

INDUSTRY MOURNS DEATH OF SITA KASSANJEE It was with great sadness that the industry learnt of the passing of Sita Kassanjee. She started working for the Diamond Grading Laboratory of the Jewellery Council of SA (JCSA) in January 1981 as a Client Service Representative, breaking service for six months to visit her beloved homeland, India. When the JCSA’s laboratory closed in October 2007, its remaining staff joined the Gemological Institute of America (GIA) when it opened a laboratory in SA in February 2008. “During her time at both the JCSA and the GIA, Sita was highly respected by her colleagues and clients,” says Les Milner, former Director of GIA’s SA laboratory. “She always

SA JEWELLERY NEWS - SEPTEMBER 2021

had a beautiful and warm smile and went the extra mile for every client. The outpouring of sadness when she passed away is testament to the love and respect she’d earned. “I had the honour of being her colleague, manager and, above all, her friend for over 40 years. She’ll be fondly remembered by all who had the privilege of working with her. Four staff members from the JCSA were still working with Sita when she passed away – Elsie Govender, Avril Naidoo, Paula Lundberg and Dorcas Nkosi. Words alone cannot express the grief they feel.” Kassanjee is survived by her husband, son, family and friends.

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SAJN | ETHICAL JEWELLERY ADD ONE PART SILVER NUGGETS TO ONE PART roaring flame and what results is a lifelong obsession. It all started with a single crucible of shimmering, glowing metal. In 2010, armed with a fine arts degree and no clue about her next move, founder of AuTerra Ashley Heather signed up for a part-time jewellery course for no real reason. Twenty minutes in, she was filling out the paperwork to study jewellery design and manufacture full-time. This impulsiveness was completely out of character and, looking back, an even clearer sign that she had found, quite by chance, the craft she wanted to spend her life perfecting. Now for the problem; she had always been a passionate advocate for sustainability, having grown up with – and been involved in – amazing NGOs working towards social and environmental justice. She had seen first-hand what unchecked mining does to communities and landscapes. It seemed that the only way to combine her passion for sustainability and her newly discovered obsession with the craft of jewellery-making was by forging her own path. So she took a leap of faith and started making jewellery, using silver recycled from photographic waste in the unused half of her grandparents’ garage. The rest of AuTerra’s story is about years of hard work, late-night research and serendipitous connections.

From trash to treasure AuTerra Jewellery breathes new life into old electronics with its timeless jewellery handmade in Cape Town using silver and gold reclaimed from old circuit boards. It partnered with its e-waste refiner in 2015 and made its very first ring out of gold recycled from e-waste in the summer of that year – a world first at that time. Since those early days, AuTerra has grown into a small team of passionate hands specialising in minimalist jewellery crafted in precious metals reclaimed from circuit boards by a small refinery right here in SA. The refining process begins by manually dismantling the waste electronic products. All the components are then sent their separate ways for recycling. The circuit boards are run through a shredder before being fed into the furnace. This results in two materials: the slag, which is a by-product (it gets a second life in the construction of roads) and a mixed metal mass. This mass is a combination of copper,

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ETHICAL JEWELLERY | SAJN

gold, silver and – depending on the type of e-waste – a few other metals. Next comes the most technically challenging aspect of the recycling process. The precious metals are separated into solutions before being melted again in the final stage to ensure a pure, high-quality material. The recycled gold and silver begins its new life in AuTerra’s Cape Town studio, where it is alloyed and meticulously crafted into easywearing jewellery. The team believes in slow fashion, mindful consumption and style that transcends trends. Its contemporary designs are pared down to their essential elements, with simplicity and quality craftsmanship as indispensable as the materials themselves. “Every day provides a fresh opportunity to interrogate what it really means to run a green company and while our dream of a fully solar-powered operation may still be years away, that doesn’t stop us from making considered decisions today and every other day,” says Heather. “We have a holistic view of resources and strive to make all the supporting processes around our e-waste recycling and jewellery manufacturing as eco-friendly as the material itself.

“Our refinery works tirelessly to manage, capture and neutralise the emissions from the recycling process. The controlled laboratory environment, operated by skilled chemical engineers, means that environmental and personal health and safety are at the forefront of every process.” All AuTerra’s gold and silver dust and offcuts are carefully saved and recycled, keeping the circular economy loop tightly closed. All its non-jewellery waste is sorted and recycled. “We source as many of our supplies and tools as we can locally, to keep our carbon footprint as small as possible,” says Heather. “Our jewellery arrives in recycled and biodegradable packaging (we’re still working

The circuit boards are run through a shredder before being fed into the furnace. This results in two materials: the slag, which is a by-product (it gets a second life in the construction of roads) and a mixed metal mass. This mass is a combination of copper, gold, silver and – depending on the type of e-waste – a few other metals. SA JEWELLERY NEWS - SEPTEMBER 2021

SAJN | ETHICAL JEWELLERY on the plastic courier bags issue). The handsewn hemp bag is designed to last and can be used for storing and protecting the jewellery (or other little bits and bobs). Hemp grows prolifically, with little water and no pesticides. “Both our studio and refinery aim to cultivate friendly, safe and respectful environments with fair wages and no discrimination. We’d be nothing without our passionate team and we’re committed to their well-being before anything else. We work with a network of reputable and trusted e-waste collectors, many of whom are small, family-run businesses. We pay a fair price for the e-waste we purchase (of course, we value donations as well!) and regularly visit our e-waste aggregators at their sites for a cup of coffee and a check-in. “Our hope is to return to a view of jewellery as an heirloom worthy of passing down – a view not just of the object itself, but also of a more just world for future generations to wear,” says Heather. What is e-waste and why does it matter? E-waste (electronic waste) is a collective term for electronic devices (from aeroplane cockpit consoles to the cellphone on which you may be reading this) that are broken, unwanted or reaching the end of their “useful life”, explains Heather. “E-waste isn’t a new phenomenon: we’ve been discarding electronic products since Thomas Edison patented the electric lightbulb,” she says. “In recent years, however, e-waste has been getting more attention not only for its novelty, but for the dizzying speed at which the mounds of it are piling up. “With more and more people worldwide joining the digital revolution and the speed of technological advances (as well as the subsequent obsolescence of ‘old’ models) showing no sign of slowing down, e-waste has become the fastest-growing municipal waste stream in the world. “Just think of the evolution from VCR to DVD to the streaming services on which we

now consume most of our media. The VCR, invented in 1956, was a technology that was with us for 40 years before the DVD replaced it in 1996. A mere 14 years later, streaming services hit the market and 24 short years after its invention, the DVD was all but obsolete. There’s always a newer model or service hitting the market, with features that just seem too enticing to resist, requiring greater and greater amounts of resources to satisfy demand and ramping up the amount of e-waste generated,” says Heather. “Currently only 15-20% of e-waste is recycled and the balance of these unwanted products ends up in landfills. Aside from the obvious waste of resources (including gold and silver), the amount of e-waste ending up in our landfills takes a serious environmental and human toll. In their solid state, electronic devices aren’t considered toxic to consumers, but the lead, cadmium and mercury they contain is released as they begin to degrade. This leaches into the soil and groundwater, posing serious health risks to both people and wildlife. “By recycling the precious metals we already have above ground, we’re not only minimising hazardous e-waste, but also reducing the need for the mining of virgin ore – which, of course, has its own adverse social and ecological impact,” says Heather. “Urban mining, a circular approach to materials that views cities’ waste resources as a ‘mine’, can actually yield more value than mining virgin ore. One ton of circuit boards is estimated to contain 40 times more gold than one ton of ore.” E-waste recycling is on the rise, creating many jobs at a time when increased automation and mine closures have seen a drastic decrease in employment in that sector. Thinking of resources as part of the circular economy, rather than as materials to be extracted and then discarded, is a win for job creation, ecosystems, wildlife and the economy.

Currently only 15-20% of e-waste is recycled and the balance of these unwanted products ends up in landfills. Aside from the obvious waste of resources (including gold and silver), the amount of e-waste ending up in our landfills takes a serious environmental and human toll. In their solid state, electronic devices aren’t considered toxic to consumers, but the lead, cadmium and mercury they contain is released as they begin to degrade. 16

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SAJN | SOCIAL ENTREPRENEURSHIP ZULU MIEN’S MOST RECENT GLOBAL presence was as a participant in the New York Now Digital Market being held until December 2021 and featured as one of UKbased CoNNect Agency’s designer portfolios, including a digital experience/presence – via CoNNect Agency – at Paris Fashion Week from the end of September to early October. The latter is a result of being selected as the firstever winner of Isikhova Media and CoNNect Agency’s mentorship programme for a South African jewellery designer. SAJN talked to Zulu Mien founder Nikki Robertson about the brand and its vision. How did Zulu Mien start? Years ago, I was invited to train as a product developer in rural KwaZulu-Natal and to work alongside rural women artisans. I loved my work in these communities and enjoyed watching the women we worked with go from strength to strength. Our job was to develop and refine these handmade products and connect the artisans with wholesalers and retailers who could market and sell their beautifully made wares. However, there was an ongoing problem. When funding for product development and market access programmes was depleted, the support for artisans ceased. Suddenly the

Zulu Mien – a grassroots that blooms beyond our

“To wear a piece of Zulu Mien is to wear a piece of Africa” is Zulu Mien’s brand statement. And this grassroots social enterprise dedicated to supporting women artisans/crafters in SA is making these words felt – and, indeed, its creations adorned – far and wide, writes Jason Aarons. 18

women, who’re both socially and geographically removed from the market for their wares, were left with no orders for their products and a loss of important income. My frustration with this problem led me to university and I explored the problem in a research report on the South African craft sector. One of the results of my research was a vision of a sustainable social enterprise to support rural women artisans. This could then bridge the gap between them and the market for their craft and offer ongoing support and consistent orders for products. The idea led me to the Gordon Institute of Business Science, where I explored a potential social enterprise while participating in the institute’s social entrepreneurship programme, where I learnt about successful models in India such as the Industree Foundation. It works on

SA JEWELLERY NEWS - SEPTEMBER 2021

SOCIAL ENTREPRENEURSHIP | SAJN participatory processes, to create livelihoods for the underserved, in creative manufacturing vocations through formal work that keeps them as secure as possible, mentally and physically. The model was ideal for what I wanted to do and that was the beginning of Zulu Mien. What other experience did you gain in this area? I’ve been a participant in the South African Creative Industries Incubator, Impact Makers and Creators with the Social Enterprise Academy and British Council, and an export incubator with the Johannesburg Chamber of Commerce and Industry.

ots story ur borders

SA JEWELLERY NEWS - SEPTEMBER 2021

How do you create market access and support? As a social enterprise, we exist to serve our target population/clients – rural women artisans – by helping them access markets. We operate as a “market intermediary model” assisting craft production groups to access markets for their products. Zulu Mien adds value to them and offers product development services, production and marketing assistance. We also assist with money for transport, pay for the development of sample products and never expect the women we work with to carry business costs. Orders are paid for upfront – meaning the women needn’t wait for sales to be made before they’re compensated for their material and labour. We then sell the products in highend markets at a mark-up. Supporting rural women to access markets is largely to preserve rural sustainable livelihood strategies. Women in rural regions are among the busiest females in the world and undertake numerous activities to support their families, such as growing and selling vegetables, providing cooking services for local crèches, sewing and selling garments for traditional ceremonies, rearing and selling chickens, etc. But one of the most important methods of earning an income is making and selling crafts. One of the great aspects of crafting is that it can be completed in between other incomegenerating activities and childcare. Working from home and as a group of women, the craft group members can support one another and manage childcare while completing orders for their products. Our aim in founding Zulu Mien was to support this system by ensuring that the women have consistent orders for their products and a continual stream of income

The meaning of the name The Zulus are the best-known Nguni tribe of SA. “While our jewellery’s comprised of all the styles and techniques used by the Nguni tribes, we’ve chosen to name ourselves after the Zulu, who are known around the globe. ‘Mien’ (pronounced ‘meen’) refers to the way you present yourself and the impression you make. It’s best to keep a low profile, but a dignified mien. A person’s mien is a look or quality that says a lot about their personality or temperament. A person with a cheerful mien probably radiates happiness and energy, while someone with a serious mien may have an air of being lost in thought,” explains Robertson.

The creations Each Zulu Mien piece is designed and handcrafted from start to finish using traditional beading styles and techniques and the original patterns employed by the Nguni tribes of southern Africa. Each glass bead is individually hand-sewn into the pattern, completed with sterling silver finishes and branded with a handstamped logo. Beadwork is produced by hand without the use of a loom or any other tools. The highest-quality glass beads and thread are used in the production process. Precious metals are ethically sourced from a precious metal refinery which is a member of the Responsible Jewellery Council.

from craft. The women are both socially and geographically removed from the market for crafts, so we provide the bridge to market. We also remove the burden of marketing and selling the crafts because the women can’t be expected to do it all themselves. We strive to grow the number of craft production groups we support through the provision of ongoing orders for their products. By doing so, we hope to support rural sustainable livelihood strategies throughout SA. What accolades has Zulu Mien received? The Innibos National Craft Award for Best Corporate Gifts in 2020 and being selected as part of the Design Indaba Emerging Creatives Class of 2021.

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

www.ajantaafrika.com

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

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

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

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

ISSUE 17 22

ISSUE 22 DIAMONDS IN THE DESERT – THE WORLD’S RICHEST GEM DEPOSITS For 1 300 km along the Namibian coast stretches the Namib Desert, scorched by day and bitterly cold at night. Along this inhospitable coast lies the world’s richest diamond deposit. Geologists believe that these diamonds originated inland, in volcanic pipes formed 60-100 million years ago. Rain and erosion released them from the top of these extinct volcanoes and they were swept down to the sea by ancient floods and rivers. The action of the sea then threw the diamonds back into what were then the beaches. Over many centuries, the sea level fluctuated so that these old diamond-bearing beaches are today raised above the high tide mark, known as marine terraces, where they became covered by desert sand. The first discovery of diamonds along the Namibian coast was made by a railway worker, Zacharius Lewala, in 1908 at Kolmanskop, 7 km inland from Lüderitz. The discovery led to a diamond rush. Hundreds of claims were pegged and, within a few months, the German administration had proclaimed the "Sperrgebie"t – the forbidden territory – a mining area. No prospecting was permitted to anyone except the German Diamond Company whose marketing arm, Diamond Régie of SWA, sold its production in

Diamond “mining” in SWA 1908-10.

Abandoned homes at Kolmanskop, Namibia.

Antwerp, Belgium. So rich were the first diamond finds in South West Africa that it was unnecessary to actually dig for them. African labourers were employed to explore an area systematically by crawling on their hands and knees in line to search for the crystals. At the time, diamond prices were low and the discovery

of these deposits once again threatened the stability of the diamond market. By 1914, De Beers controlled 40% of diamond production and, at the company’s request, the Union of South Africa sponsored a meeting of all diamond producers. At this meeting, quotas were agreed upon to avoid over-production in the future. The First World War broke out shortly afterwards and the agreement was temporarily suspended. The stability of the diamond market, which Cecil Rhodes worked hard for, was once again under threat. For the international diamond market to be stable and truly organised, a man of great capacity – another Rhodes, perhaps – was required. That man was at hand: his name was Ernest Oppenheimer.

MARINE AND ALLUVIAL DIAMONDS ALONG THE ATLANTIC COAST WHERE NATURE DID THE MINING In 1920, Sir Ernest Oppenheimer formed Consolidated Diamond Mines (CDM) and acquired control of the numerous diamond companies that were operating in the area stretching from Lüderitz to Bogenfels in the south. In 1926, marine diamonds were discovered by Ernst Reuning and Hans Merensky at Port Nolloth and, two years later, at Alexander Bay. Soon thereafter, diamonds were found in Namibia along the coast immediately to the north of the Orange River, associated with raised (exposed) beach terraces that are continuous for almost 100 km northwards to Affenrucken, near Chameis Bay. CDM controlled these deposits and by 1930, about 11 million carats had been mined from South West Africa soil. Diamond production along the CDM-controlled “Sperrgebiet” reached its peak in 1977, when more than two million carats of gemquality diamonds were produced. This figure subsequently declined to about a million carats per year. In 1994, CDM was reconstituted as Namdeb Diamond Corporation and is now jointly owned by the Namibian government and De Beers. In 1928, diamonds were found at Kleinzee in Namaqualand, but the outbreak of World War II halted mining activities. In 1943, mining commenced at Kleinzee and Dreyer’s Pan, and in 1978, the deposits at Koingnaas (60 km to the south) were included in the operational area controlled by De Beers. It is estimated that to date, about 100 million carats of diamonds have been produced from the onshore marine terraces of the west coast of southern Africa.

ORIGIN OF THE DIAMOND GRAVELS The origin of the coastal diamonds has been controversial for many years. Some geologists believed that they had been washed ashore from great kimberlitic eruptions in the Atlantic Ocean.

AN INTRODUCTION THE DIAMOND TOSTORY GEMSTONES

Today, most believe their origin is the kimberlites of Lesotho, Botswana and South Africa. The weathering of the inland diamond-bearing volcanic pipes released their diamonds and, together with huge quantities of soil, were transported over millions of years down to the sea by rivers such as the Vaal, the Orange and the Buffels.

Raised beach gravels on the Atlantic coast.

The action of wind and ocean currents distributed the diamonds up and down the coast. Constant pounding of waves eventually caused the poor-quality stones to disintegrate, leaving the better diamonds to be lodged in the crevices of the bedrock along the shore. Fluctuations in the sea level, caused by the various Ice Ages, resulted in the formation of diamondiferous gravels that are now found on the sea floor many kilometres from the shore, up to 25 m above sea level and as far as 3 km inland. The Buffels and Orange Rivers have changed their courses dramatically over the past millions of years and, as rivers do, left behind gravel deposits containing diamonds. These

diamond deposits are, today, located far from the rivers’ present positions. Such alluvial gravels as at Ochta and elsewhere have produced some of the finest gem-quality diamonds ever to come from South African soil.

DIVING FOR DIAMONDS Along the Atlantic coast of South Africa, divers go down to 40 m in search of diamond riches. This must be one of the toughest ways to mine diamonds. The strong and icy nature of the Benguela Current and conditions of near-zero visibility make it very difficult for a diver to use the heavy tubes of a suction system with which he sucks sand and gravel (which, hopefully, contain some diamonds) to the small boat hovering above. Some of these diamond divers retire early and wealthy; others with broken bones and collapsed lungs. They are normally contracted to a concession-holder, who supplies the infrastructure and gives the diver a percentage of his production.

DIAMONDS FROM THE DEEP In 1962, an enterprising Texan called Sammy Collins announced that he had recovered 50 000 ct of diamonds worth US$1,5 million from the seabed, off the treacherous Diamond Coast of South West Africa. Collins figured that since diamonds had been found in abundant amounts along the coast, they also ought to be found under the ocean. For a few years, Collins used huge vacuum-sweepers to suck some 400 000 ct of diamonds from the seabed. His adventures set off a mini-rush by others to try this new type of exploration, but terrible working conditions and uncertain deposits sent most into early obscurity.

ORIGIN OF WEST COAST DIAMONDS Finsch Mine

Kimberley Mines

Orange River

Eruptions of kimberlitic volcanoes (120 million years ago) bring diamonds from as deep as 150 km to the surface. Erosion and rivers wash diamonds to the Atlantic Ocean, where wave action concentrates them and the Benguela Current carries them nor thwards.

ISSUE 22

Province in 1911. Since then, kimberlitic pipe deposits were found and Angola became a major supplier of gem diamonds until civil war stopped most legal mining activities in the late 1970s. After hostilities ceased, renewed exploration revealed the presence of vast deposits of diamonds which soon attracted investors and speculators. Today, Angola is one of the world’s richest sources of gem-quality diamonds.

SIERRA LEONE A deep-sea mining ship with helipad.

Today, many years later, De Beers and other enterprises are recovering diamonds at enormous depths (600-700 m) from the seabed, up to 200 km from the coast between Oranjemund and Lüderitz. How did the diamonds get this far out to sea? During the last Ice Age, the sea level was much lower than it is today and the coastline up to 200 km further west. When earth temperatures increased, the ice melted and the sea level rose, pushing back the coastline to its modern-day position. More than a million carats of gem-quality diamonds are recovered annually. New technologies such as underwater television, robotics and computer simulations have created a space-age mining operation, unthinkable a few years ago. Two methods of mining are used. The one employs an underwater drill fitted with an enormous disc that cuts away the seabed, while the other uses a remote-controlled caterpillar-type machine that crawls over the seafloor in order to scoop and collect diamond-bearing material. This is then pumped to the mother ship, where it is further crushed and sieved and the diamonds removed.

OTHER AFRICAN DIAMOND SOURCES ZAÏRE Few people know that Zaïre (previously Congo) has, since the early 20th century, been one of the world’s largest diamond producers. This is because 80% of its production is of an industrial nature. During the later part of the 20th century, the country’s political instability resulted in illegal diamond dealings which financed the drawn-out rebel wars. This – and a similar situation in Sierra Leone and Angola – prompted activists to campaign against the sale of “conflict” diamonds (also called blood diamonds). This finally resulted in the establishment of the Kimberley Accord.

ANGOLA

Alluvial diamond deposits were first discovered in Lunda

In 1930, vast deposits of alluvial diamonds were discovered in Sierra Leone. These were mined on an organised scale for decades, until political chaos turned most of the mines into clandestine and illegal operations. Sierra Leone was banned from the Kimberley Process until the government, in 2005, could guarantee that no conflict diamonds were – and are – exported from the country.

ZIMBABWE In 2006, diamonds were discovered on the Marange communal area, about 380 km east of Harare. This sparked a modern-day diamond rush, as thousands of diggers started to dig illegally for diamonds. These diamonds are peculiar – a scientific curiosity and mostly of industrial quality. Some gem qualities – often with a greenish tint or a dark skin – are also produced. They occur in 1 700 million-year-old alluvial gravels that have been weathered and rewashed by modern rivers. In order to normalise the situation, the government had to send in the army to force diggers to sell their production to the Zimbabwian Mining Authority, so that the country could maintain its Kimberley status.

DIAMONDS FROM OTHER CONTINENTS RUSSIA Since the middle of the 20th century, many hundreds of kimberlites have been discovered in Siberia in north central Asia. The geological history and structures in this area are similar to those of the Kaap-Vaal carton in southern Africa and it was not surprising when vast amounts of diamonds were found in kimberlites, as well as in old river gravels. Many of these deposits lie within the Artic Circle and mining conditions are of the most extreme in the world – so much so that the vast potential of these diamond fields may never be developed to their full potential. For decades, De Beers bought most of the Siberian production from Alrosa (its Russian counterpart), until

pressure from the European Community and other antimonopoly groups put an end to their relationship at the beginning of the 21st century.

The Mirny diamond mine, Siberia.

to re-evaluate their theories on the origin of primary diamond deposits. Up to 2004, Argyle produced nearly 30 million carats annually, of which more than 50% were of industrial quality. The rest of the production is quite brown in colour. The availability of these large volumes of brown diamonds of semi-gem quality prompted marketers to successfully promote brown (called champagne) diamond jewellery, often used in combination with white stones. Among the vast quantities of brown gems, a handful of intensely pink diamonds were produced. These are highly sought-after and fetched outlandish prices at closed-bid auctions held annually by Argyle. The life of Argyle is limited.

AUSTRALIA

GUYANA AND INDONESIA

Diamonds were first discovered in Australia in the middle of the 19th century during gold mining operations. In 1979, large quantities of diamonds were discovered at Argyle in the coincidentally named Kimberley area of Western Australia. These diamonds occur in a volcanic rock type called lamproite. The discovery of diamonds in a rock type other than kimberlite forced scientists

These countries produce small volumes of mainly gemquality diamonds.

Argyle mine

CANADA Canada’s nor th-west territories have emerged as a major diamond-producing region due to the initial effor ts of one man, Charles Fipke. As a lone prospector, he searched for diamonds under extreme conditions. Through bug-infested lakes and in freezing temperatures, he searched for nearly a decade before discovering the first economic diamond-bearing pipe in 1991. From this discovery came the Ekati mine, which opened in 1998 and is today the world’s fifth-largest producing mine. More discoveries followed and a number of new mines are in operation. Canada will soon be the world’s thirdlargest producer of gem diamonds.

AUSTRALIA

FAMOUS FACES BARNEY BARNATO From funny man and supersalesman to psychopath and suicide When the ringmaster at Payne’s Circus, in 1870 in London, announced: “Ladies and gentlemen, please welcome the world-famous comedians, the Barnato

Brothers”, little did the audience know that these brothers would indeed be world-famous within 10 years. They became millionaires on the South African diamond fields. Barney Barnato arrived in Kimberley in 1873 at the age of 20 to join his brother, Harry. In London, they were not a success, either as comedians or salesmen of notebooks and pencils. What they really wanted to do was to deal in diamonds. With £30 in savings, 40 boxes of cigars and £60 from Lou Cohen, Barney Barnato star ted his first par tnership in South Africa. He bought an ageing horse from one

ISSUE 22

of Kimberley’s most successful dealers hoping that the animal would know the roads which its former master had taken to reach the outlying diggings. Barnato was lucky: the horse led them to distant diggings where he bought diamonds and sold then for high profits in Kimberley. He soon replaced his par tner with his brother, Harry, and his cousin, David Harris, to form Barnato Brothers (from their stage name in London). Their diamond-buying flourished. In 1876, diggers at the Kimberley mine were reaching the hard blue ground and believed there were no more diamonds to be mined. However, Barnato believed the geologists’ theory that diamonds were brought to the surface via a volcanic pipe and that the real riches lay in the blue ground. He bought a number of claims in the Kimberley mine and started to mine the hard blue ground, ie, the unweathered volcanic rock. Soon diamonds were coming up at the rate of £3 000 every week.

On 1 September 1870, Rhodes landed at Durban to discover that his brother had left for the diamond fields. A year later, he followed and rented one-quarter of a claim in the De Beers mine, which he worked with the aid of a few Zulus. Success eluded him and in order to make a living, he decided – in partnership with Charles Rudd – to sell drinking water and import an ice-making machine. They did reasonably well with the ice, but Rhodes suffered a slight heart attack and, leaving Rudd in charge, travelled north with his brother. It was probably during this trip that he first had visions of an African continent under British rule. On his return to Kimberley, he realised that water of another kind could be his fortune. Flooding had become a major problem in the diggings and he and Rudd bought a large steamdriven pump which they rented out. They also acquired the exclusive rights to supply explosives. These ventures became the foundation of their fortune.

Like Cecil Rhodes, Barnato bought out his competitors and soon vied for total control of the Kimberley Mine. However, Rhodes realised that the competition between the De Beers Mine and Barnato’s Kimberley Mine was against the interest of both companies. With the financial help of Alfred Beit, Rhodes bought out Barnato. When Rhodes, at the age of 39, became prime minister of South Africa in 1890, Barnato, too, turned to politics. He became a member of the Cape Assembly and went on to build a gold and property empire on the Rand.

Again, Rhodes entrusted his business affairs to Rudd and returned to England to study law at Oxford (he graduated in 1881). He returned to the diamond fields in 1874 and, with more money behind him, gradually acquired claims in the De Beers mine.

He supported Rhodes’ struggle against the Transvalers and left most of the day-to-day running of the Barnato Brothers’ businesses to his nephews, Woolf and Solly. Unfortunately, signs of mental instability appeared and Barnato developed a persecution complex. During a voyage on the SS Scott in June 1897 to attend Queen Victoria’s Diamond Jubilee in London, he suddenly leapt up from his deckchair and flung himself over the ship’s side. He was 44.

The small-scale workers faced increasing difficulties as their claims sunk deeper and deeper. They were forced to exchange their claims for shares in the larger organisations whose technological advantage ensured a higher profitability.

CECIL JOHN RHODES Diamantaire extraordinaire Cecil John Rhodes was born in Bishops Stortford in Hertfordshire, England, in 1853, one of five children of an Anglican minister. He suffered a pulmonary infection in his teens and at the age of 17, decided to visit his brother, Herbert, who had settled in Natal.

By 1880, he was one of the largest owners and in that year, he joined with two major claimholders to form the De Beers Mining Company, with a capital of £200 000 under his control.

Rhodes managed to increase his company’s capital to £2,5 million in five years. He realised the need to control the supply of rough diamonds to the fluctuating demand on the world market. Such control could only be achieved by incorporating the other major producers – especially the impor tant Kimberley Mine, where another financial mogul, Barney Barnato, was playing much the same game. In order to control the Kimberley Mine, Rhodes had to buy out Barnato’s empire. Backed by the Rothschilds, Rhodes launched a devastating financial attack and succeeded in combining his De Beers Mining Company with the powerful Kimberley Central. On 13 March 1888, the now famous De Beers Consolidated Mines Ltd was created. Combining the two richest mines was only a stepping stone for Rhodes. His next venture was to amalgamate all

THE DIAMOND STORY

diamond production units. In 1890, he managed to gain a controlling interest in the newly-discovered Wesselton and Jagersfontein mines. Finally, in 1899, he gained control of the Du Toitspan and Bultfontein mines. De Beers also owned most of the shares in the Griqualand West Company, which specialised in alluvial deposits. At the end of the 19th century, it controlled 90% of the world’s production of rough diamonds – a true monopoly.

JOHN T WILLIAMSON The doctor who made a dream come true

At that time, industrial diamonds were needed for the war effort and soon Williamson had a profitable mine. Its low operating costs enabled him to finance the growth of the mine out of its own profits. A township for several thousand employees was built, complete with schools, clubs and shops. In 1956, an 8 mW power station and a 3 000 tons-per-day processing plant came into operation, which made it one of the world’s largest diamond mines at the time. Sadly, Williamson fell seriously ill and died in 1958. His heirs sold the mine jointly to De Beers and the Tanganyikan government. After independence, the mine was nationalised.

What could be more exciting than to discover an important diamond mine and own it? One man, Dr John Thorburn Williamson, discovered the now famous Mwadui Diamond Mine in Tanzania and become the role model for most geologists.

Today, most of its riches have been unearthed, but it will remain a symbol of a dream that came true.

“Jack” Williamson, born in Quebec, Canada, in 1907, was in his third year studying law at McGill University when he joined a weekend excursion organised by geology students. This trip changed his life. He transferred from law to natural sciences and, in his final exams, received the highest marks that have ever been given in geology at McGill. He completed a Master’s degree and in 1933, a doctorate in geology.

Ernest, the fifth son and eighth child of Eduard and Nanny Oppenheimer, was born on 22 May 1880 in Freiberg, Germany. At 16, he started to work for A Dunkelsbuhler & Co, a leading diamond firm in London. He soon became an expert in sorting diamonds and, in 1902, was sent to Kimberley, where he graded diamonds for 15 years. He also enjoyed an active social and political life (he was Mayor of Kimberley from 1912-1915). Oppenheimer watched as major new discoveries of diamonds (on the South West African coast and elsewhere in Africa), as well as World War I, shook the diamond trade. He correctly believed that the coastal diamond fields were no “flash in the sand” and that controlling them was the key to stability in the diamond market. However, his vision would require money.

He was an excellent sportsman: he boxed and was an expert marksman and a fencing champion. He became interested in the mineral wealth of Africa and joined Anglo American. In 1938, his employers decided to abandon their search for diamonds and Williamson took over their concessions. Two years later, he was bankrupt and ready to join the army. Then, in March 1940, Williamson’s right-hand man, Bundalla, brought him a soil sample from an abandoned trench that contained ilmenite, one of the minerals that often indicate the presence of diamonds. The next morning, the two of them recovered several diamonds from the trench and Williamson immediately obtained an exclusive prospecting licence for the area. By systematically digging more trenches and using a magnetometer to detect magnetic fields, Williamson outlined a massive kimberlite pipe that had been hidden under African soil for millions of years. He teamed up with an Indian lawyer, Iqbal Chand Chopra (who practised in Mwanze) and set up Williamson Diamonds Ltd.

SIR ERNEST OPPENHEIMER From diamond-sorter to empire-builder

This he found from JP Morgan, the famed New York financier, with whom he set up the Anglo-American Corporation in 1917. Through Anglo, Oppenheimer bought his own place in the syndicate and formed Consolidated Diamond Mines Ltd to buy a mining concession at the newly-captured (from Germany) beaches of South West Africa. In order to hedge his diamond interests (diamond prices, despite De Beers’ control, were still fluctuating dramatically), he also invested heavily in the gold mines of the Transvaal. The gold price, at least, was fixed at $20/ounce.

ISSUE 22

Through Anglo, Oppenheimer’s control over the syndicate grew tighter as the world roared through the prosperous 1920s. Major new diamond discoveries in 1926 (in Namaqualand and Lichtenburg) again caused a glut of diamonds on the world market and prices fell sharply. To aggravate the situation, the 1929 stock market crash on Wall Street triggered a world recession and diamonds had little value. This was when Oppenheimer – now firmly in control of the rich coastal diamonds and backed by Anglo’s gold – moved to include De Beers into his empire. Ernest Oppenheimer became Chairman of De Beers in 1929. He merged his own diamond interests and those of the syndicate into De Beers and kept Anglo-American to specialise in gold. He created the Diamond Trading Company, based in London, to oversee the distribution of diamonds worldwide. This was the vision of Ernest Oppenheimer: to form partnerships with diamond producers and to control the distribution of their products. The wisdom of his foresight became apparent during the world depression in the 1930s. Polished diamond prices fell well below the asking price of comparable rough. But, in keeping with a vow to maintain price stability, Oppenheimer decided to stockpile diamonds, rather than lowering prices. Once again, Anglo came to De Beers’ rescue by financing the ever-increasing stock of unsold diamonds. By 1937, the depression had eased; diamond sales rose to nearly US$44 million and De Beers resumed its mining operations. By then, a new star in the Oppenheimer empire started to shine. Harry, son of Ernest, was ready to explore a new direction for De Beers.

SIR HARRY OPPENHEIMER Visionary, statesman business leader

and

When Harry Oppenheimer joined his father’s firm in the early 1930s, their diamond sales had stabilised at about US$40 million per year. The young Oppenheimer had a

controversial idea – to advertise. This was a revolutionary concept for any producer of raw materials who does not have contact with the final consumer. The young Oppenheimer employed the services of the leading US advertising agency, NW Ayer. The beginning was modest – a campaign built around diamond engagement rings (the famous phrase, “A diamond is forever”, was only coined nine years later). Demand for diamonds took off immediately thereafter, but not for engagement rings. Most of the demand was for industrial diamonds, as war had broken out in Europe and industrial diamonds were crucial for the production of war material. De Beers’ headquarters fell victim to a direct hit by the Luftwaffe in 1941. As fire raged through the bombed buildings, one could hear the huge safes crashing through the floors. The safes – containing millions of dollars’ worth of diamonds stockpiled since the depression – were too hot to touch and had to be left in the streets for days to cool. The diamonds were not damaged and were taken to temporary headquarters at Maidenhead, outside the city. The war, however, nearly wrecked the industry. The diamond-cutting centres in Antwerp were closed as Jewish diamantaires fled Europe or fell victim to the Holocaust. The 1950s brought “normality” back to the diamond industry. Diamond sales began a steady increase and De Beers sold the last of its stockpile. They were now able to restart their mines. But the greatest challenges to their control of the diamond market were still to come. The old colonial regimes in Africa yielded to African nationalism and the new governments quickly nationalised the European-owned mines. Furthermore, the Soviets discovered massive diamond-bearing kimberlite in Siberia. Upon the death of his father in 1957, the younger Oppenheimer became Chairman of De Beers and realised that the survival of his company would depend more on his role as a statesman than as a businessman. His diplomatic acumen (opposing SA’s apartheid laws) placed him in good stead with the African states and the Soviet leaders. Sir Harry Oppenheimer guided De Beers for nearly 40 years, until he handed the reins over to his son, Nicky.

THE SEPTEMBER BIRTHSTONE: SAPPHIRE | SAJN

The blue gemstone of royalty Sapphire is the birthstone for September. Traditionally symbolising nobility, truth, sincerity and faithfulness, it has decorated the robes of royalty and clergy members for centuries. Its extraordinary colour is the standard against which other blue gems – from topaz to tanzanite – are measured. AS ONE OF THE FOUR MOST PRECIOUS JEWELS, sapphire has some amazing properties and a rich history. Its name is derived from the Latin word “saphirus” and the Greek word “sapheiros”, both meaning “blue”. Before the properties of the stone were discovered in the Middle Ages, the name “sapphire” was given to various blue stones, such as what is now called lapis lazuli. Sapphires are referenced several times in the Bible, as decorations on God’s throne, as the material upon which the 10 Commandments were engraved, as a stone on Aaron’s breastplate and as one of the gemstones set in the foundations of Jerusalem. They have also been mentioned in ancient Greek, Persian and Sanskrit writings. Ancient Greeks thought sapphires could protect their wearers from harm and Ancient Persians claimed the sky’s blue colour was a reflection of a giant sapphire. When sapphires are mentioned, people tend to think of a rich blue colour, but they actually come in almost every colour of the rainbow – including pink, peach, orange, yellow, green, teal and purple. In about the 1800s, it was recognised that sapphire and ruby were gem varieties of the same mineral – corundum, a rock-forming mineral which is the hardest one after diamond. Classic blue sapphires contain iron and titanium. Trace elements of chromium can turn corundum pink, while more chromium turns it into a ruby. Blue sapphires are simply

called “sapphires”, while the other colours (besides ruby red) usually need a colour prefix, for example “pink sapphires” or “yellow sapphires”. Padparadscha sapphire is a blend of a pink and orange-coloured sapphire, resulting in a peach- or salmon-coloured stone which is named after a delicately-coloured lotus flower. Padparadscha sapphires are possibly the rarest of all and are very highly desired (and equally highly priced), but demand for them is such that they do not often come onto the open market. Both blue and fancy sapphires come from a variety of exotic sources, including Madagascar, Tanzania, Sri Lanka, Myanmar and Australia. The main sapphire-bearing rocks are marble, basalt or pegmatite. The most desired sapphires used to come from Kashmir, India, where the deposits were situated at a height of 5 029 m in the Zaskar region. The stones were a deep cornflower blue with a silky sheen. Almost all coloured gemstones are valued on their colour, a combination of hue, tone and saturation. A nice, even colour throughout the gemstone, which is not too dark to obscure its beauty, is very much desired. Sapphires are no different, but it is the blues which are valued more than other colours, with cornflower blue or Kashmir blue being the most highly prized. Sapphire has a rating of 9 on the Mohs hardness scale, along with its sister gem, ruby. Sapphires’ hardness means that they can be

used for any type of jewellery and can be worn every day without any worries about chipping, scratching or cracking. With their striking beauty and great value, they make a perfect rival to diamonds, which are just above them on the Mohs scale, with a rating of 10. Because of its hardness, sapphire also has industrial uses. The Apple Watch Series 3 features laboratory-created sapphire crystal in its screen to make it more scratch-resistant, as do several Swiss watch companies. Historically, sapphires symbolised wisdom and prophecy, as well as divine support, and were believed to ward off black magic and psychic attacks. They were also thought to safeguard honour and chastity, expose fraud and betrayal and protect their wearers against poison, plague and other diseases. One of the most famous sapphires in the world has 12 carats and belongs to the British royal family. The late Princess Diana chose an oval sapphire ring when she became engaged to Prince Charles. The blue sapphire was her favourite gemstone and she was known to wear a lot of blue to complement her blue eyes. Her magnificent engagement ring was used again by her son, Prince William, when he proposed to Kate Middleton (now the Duchess of Cambridge) in November 2010.

Sapphires’ hardness means that they can be used for any type of jewellery and can be worn every day without any worries about chipping, scratching or cracking. SA JEWELLERY NEWS - SEPTEMBER 2021

SAJN | DIAMOND BENEFICIATION TRANSFORMATION

Driving beneficiation through enterprise development The De Beers Group considers sustainability and transformation keystone drivers upon which its business is built and is committed to assisting with the growth and transformation of the diamond industry in South Africa. It has extended its contribution to include jewellery manufacturers and refineries, thereby demonstrating its support for beneficiation throughout the value chain.

SA JEWELLERY NEWS - SEPTEMBER 2021

LAUNCHED BY DE BEERS IN 2016, THE Enterprise Development Project for Diamond Beneficiators (in partnership with the South African government and diamond-cutting industry) aims to facilitate the growth and transformation of diamond beneficiation in SA and has already achieved considerable success. In 2019, five black South African diamond-cutting and polishing companies graduated from the first phase of the project for entrepreneurs. The three-year programme was facilitated by De Beers Sightholder Sales SA in partnership with business incubation expert Raizcorp. It covered formal, curriculum-based learning in parallel with mentorship in business strategy, finance, sales, marketing and personal development. All five owners have subsequently seen significant turnover growth and new jobs have been created. The five participants were Thoko Zwane and Zipho Dlamini, owners of Thoko’s Diamonds; Munirah Desai, owner of Diamonds Africa; Kealeboga Pule, owner of Nungu Diamonds; Musibudi Jo Mathole and Khomotso Ramodipa, owners of Kwame Diamonds; and Molefi Letsiki, owner of Molefi Letsiki Diamond Holdings. After the first phase, De Beers reviewed the project with the aim of developing it into an industry-wide project in SA. At the end of last year, De Beers welcomed five new HDSA companies to its project. The five companies, which specialise in the cutting and polishing of diamonds, precious metal refining and jewellery-making, are B&H Mining, Irresistible Rough Diamonds, Isabella Jewellers, Outclass Crystallized Gems and Sunrise Gemstone. “Our aim is to assist with the growth and transformation of the diamond industry in SA. We’ve extended our contribution to include jewellery manufacturers, thereby demonstrating our support for beneficiation throughout the value chain,” says De Beers Sightholder Sales SA Senior VP Peter Phemelo Moet. De Beers has fully committed itself to bringing greater transformation to the country, particularly those who have traditionally not been exposed to business opportunities in

the past. SAJN talked to Kagiso Fredericks, Beneficiation Manager at De Beers Sightholder Sales SA, about the project and the company’s continued aspiration to optimise all aspects of the diamond pipeline, from rough diamond purchasing and state-of-the-art manufacturing of diamonds and jewellery to marketing and distribution. The Enterprise Development Project for Diamond Beneficiators was first launched by De Beers in 2016. How has the project evolved over the past five years? In the first iteration of the project, we focused on the development of cutters and polishers within the beneficiation space. Beneficiation refers to the transformation of a mineral, or a combination of minerals, into a highervalue product which can either be consumed locally or exported. Beneficiation is a driver for empowerment of historically disadvantaged South Africans and enables the development (Above): Kagiso Fredericks, Beneficiation Manager at De Beers Sightholder Sales SA.

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of new entrepreneurs in downstream and sidestream industries. We’ve extended the types of entities which subscribe to the project to include jewellery manufacturers and refineries. This allows project members, particularly cutters and polishers, to better understand the downstream activities, including jewellery manufacturing, which affords them the opportunity to present a comprehensive product offering – ie moving from selling polished diamonds to diamond jewellery. What are the main inhibitors that prevent local businesses from being successful within the diamond market? What support does the project offer selected companies to grow their businesses? The objective of the project is the sustainable development of local (South African) diamond beneficiators. We conducted a feasibility study on the barriers that inhibit SMMEs from competing successfully in the diamond-cutting and polishing industry. The outcome of the study indicated that the challenges faced by the small beneficiators included entrepreneurial ability, access to finance, access to local and international consumer markets and access to rough diamonds. This is how we’ve endeavoured to respond to these challenges: • Entrepreneurial ability. Through our enterprise development partner, Raizcorp, the entrepreneurs go through a rigorous three-year business development programme. There are five learning trails that make up the entrepreneurial journey, namely strategy, entrepreneurship, sales, marketing and personal development. • Access to finance. De Beers in SA, through its enterprise funding and development initiative Zimele, has facilitated access to funding through bank loans and surety for overdraft facilities to the beneficiators on the programme. • Access to local and international consumer markets. We’ve facilitated networking sessions at various international

trade shows, where our beneficiators have the opportunity to network with international buyers, wholesalers and jewellery houses. Furthermore, we’ve worked with De Beers brands such as Forevermark to pilot a proposition that would see our local cutters and polishers having access to Forevermark partners. • Access to rough diamonds. We’re allocating rough diamonds to our beneficiation project members during our selling periods. This is aimed at assisting local beneficiators to manage sustainable businesses where they’re able to provide employment for the local workforce. De Beers is required to sell at least 40% of its total gross sales to local beneficiators in order to promote local beneficiation. Who are the local beneficiators to whom De Beers sells? De Beers sells to its clients categorised as sightholders. These are large diamond-cutters and polishers who’re empowered, have established businesses and – in most cases – international business links. The company also sells to members of the Enterprise Development Project for Diamond Beneficiators. Our local sales enable all our clients to have access to a consistent and reliable supply of rough diamonds to enable them to sustainably operate their businesses. Our clients employ a significant percentage of local diamond polishers and cutters in their factories. One of the innovative opportunities that De Beers created in line with its drive for transformation was the Shining Light Awards. How does the programme help aspiring designers? The Shining Light Awards were developed to provide aspiring jewellery designers with a

SA JEWELLERY NEWS - SEPTEMBER 2021

DIAMOND BENEFICIATION TRANSFORMATION | SAJN platform to showcase their design talent to the world. The winning pieces from the competition were given global exposure through De Beers and industry-led events and publications in the international trade press. The winning designers were awarded prize money and were also afforded the opportunity to travel to these events as networking opportunities with the relevant stakeholders. The programme has since been launched in Botswana, Namibia and Canada and augmented to one that seeks to develop the winners by awarding them a 12-month postgraduate scholarship at Polytechnic di Milano in Milan Italy (first prize), a three-month internship scholarship at the Forevermark Design and Innovation Centre in Milan, Italy (first runner-up) and a one-year jewellery skills development scholarship at a regional jewellery design institution (second runnerup). We believe this change is instrumental in ensuring local designers design to the same level and expertise as their international

counterparts within the design space. Today, some of our previous winners own jewellery stores and others are designers in leading local and international jewellery manufacturing houses. What other beneficiation avenues does De Beers support? To ensure sustainable local beneficiation, there’s a need to ensure that we continue developing and nurturing local talent. To this effect, De

Beers has funded the development of the Kimberley International Diamond Jewellery Academy (KIDJA), working in partnership with the Northern Cape Provincial government. Through KIDJA, young students from the Northern Cape are trained in diamond-cutting and polishing, with De Beers providing bursaries to disadvantaged students on an annual basis. The institution also offers support to small diamond beneficiators through the business incubator at KIDJA.

The outcome of the study indicated that some of the challenges faced by the small beneficiators included entrepreneurial ability, access to finance, access to local and international consumer markets and access to rough diamonds.

2020-2023 Enterprise Development Project programme participants The second cohort of the Enterprise Development Project are B&H Mining, Irresistible Rough Diamonds, Isabella Jewellers, Outclass Crystallized Gems and Sunrise Gemstone. Of these companies, four have beneficiation licences, one has a jeweller’s permit and precious metals refining licence and two are wholly-owned by black women. The balance are majority-owned by women. The five companies specialise in the cutting and polishing of diamonds, precious metal refining and jewellery-making. “The project has helped me alter my thinking process and reposition my brand,” says Claudia Bompani of Irresistible Rough Diamonds. “Through talks with Raizcorp and De Beers, I’ve discovered my entity’s value proposition, leading my company away from a price focus to an intangible value focus. Through this process, I’ve learnt the importance of telling my story and to be confident and comfortable doing so. It’s helped me become more competent in

SA JEWELLERY NEWS - SEPTEMBER 2021

presentations and slightly more comfortable speaking publicly, even in front of highranking executives. It’s made me realise that irrespective of who we are and where we come from, we all have our own story to tell. It’s this story (everyone’s story) that connects us and forms part of our brand.” “The programme has provided us with tools and techniques to structure processes and systems to generate sustainable growth, by setting targets and strategies to archive the outcomes of being a sustainable business, especially in today’s volatile times,” says Isabella Kobela of Isabella Jewellers. “It’s also helped us identify hidden opportunities by utilising the capacity of resources we have in place to be innovative and to continuously generate approaches that will keep us sustainable. It’s taught us the importance of networking with other entities and, to date, has opened possibilities to effectively form collaborations in order to reach greater markets.

“For us, it’s about making sure that the companies we’ve appointed succeed in primarily having the competitive and very important entrepreneurial skills and those skills are provided by us,” says Allon Raiz, CEO of business incubating company Raizcorp. He notes that De Beers is unique in its approach to enterprise development. “It’s very involved, with a hands-on approach that allows us to give the best possible entrepreneurial development. If you look at the last cohort, those are big shoes to fill. “The journey of entrepreneurs is that they go down and then they go up. The reason is that we remodel their mindset, their language and their thought patterns, in the same way they remodel diamonds. There’s a huge amount of investment from the De Beers Group and Raizcorp in shaping them to become role models.” (Above, from left:): B&H Mining (1 & 2), Irresistible Rough Diamonds (3), Isabella Jewellers (4), Outclass Crystallized Gems (5 & 6) and Sunrise Gemstone (7).

SAJN | SOCIAL RESPONSIBILITY

Changing brutality to beauty Down to the Wire strives to raise awareness of a critical topic – poaching – through its unique and carefully handcrafted jewellery. Snaring, one of the primary methods of poaching, is a big threat to precious wildlife. The Down to the Wire team has found a way to turn what was once destructive into hope. SURVEYS INDICATE THAT THERE HAS BEEN A SHIFT FROM interest in the mass-produced to the curated, and younger customers (millennials and Gen-Z) often want to know the story behind what they are purchasing. Down to the Wire’s story is unique and one that inspires. It tells the story of a piece of wire in the hands of a poacher, set along an animal path, intended to kill. However, the animal was saved through the compassion of a wise field ranger and the wire was turned into a symbol of hope. Snaring is a widespread and serious problem, killing millions of animals across the world each year. It is a highly effective method that involves low cost and little effort from the poacher. Wildlife that manage to escape seldom survive without human intervention and often succumb to their injuries, dying a slow and painful death. Anti-poaching teams are working tirelessly to remove these death traps from our wildlife areas. Once removed, these snares serve no other purpose. Down to the Wire’s quest is to rework

SA JEWELLERY NEWS - SEPTEMBER 2021

SOCIAL RESPONSIBILITY | SAJN

them into unique and beautiful handcrafted bangles, earrings, necklaces and rings as a symbol of life. The project was founded in November 2019 by brother-and-sister duo Troy and Lilly Otto and was inspired by the lack of awareness of snaring in general and the effects it has on wildlife. SAJN talked to Lilly about Down to the Wire. What sparked the idea of Down to the Wire? The project stemmed from doing a snare sweep one day and finding a warthog trapped in a wire snare. It had been left for days without food or water, with wire cutting deeper and deeper into its flesh. When you or I hold a piece of wire in our hands, it’s simply a strand of wire with a loop here and a knot there – but in the hands of a poacher, it becomes deadly. I thought: “This is something the world needs to see.” I remember thinking that people need to be educated about the negative effect snaring has on all wildlife and why it’s so cruel and undesirable from a conservation perspective. I realised in that moment that this wire snare had a story to tell. Its story takes it from the hands of a poacher, intent on capturing his victim, to the hands of somebody who was able to turn that negative into a positive. Down to the Wire aims to convert these snares into something inspiring, useful and beautiful that symbolises hope for our wildlife, as well as raising awareness of the critical issue of snaring.

by Down to the Wire are made available to a select group of wildlife veterinarians who’ve dedicated their lives to making a difference within wildlife conservation, to cover the costs of treatment and rehabilitation. Have you always been passionate about nature and conservation? My brother and I grew up in a wildlife setting and our love for animals and conservation stemmed from that. From a very young age, we were exposed to the devastation of poaching and snaring. I believe that was why I chose this path. How did you get your idea off the ground? Neither of us had any experience in jewellerymaking or working with wire and cable, but through dedication and hard work, we were able to overcome all obstacles and get the project off the ground.

How does Down to the Wire help wildlife? No animal injured by snaring should be left unaided, regardless of its size or endangered status, because of the immense physical and mental suffering it will endure. Funds raised

SA JEWELLERY NEWS - SEPTEMBER 2021

SAJN | SOCIAL RESPONSIBILITY

Our quest is to rework these snares into beautiful bangles, earrings, necklaces and rings as a symbol of life. Each piece of jewellery is handcrafted with the utmost care. A lot of time and energy go into the production, making each piece a unique story to wear. Not all snares are the same, so each one goes through a different production process. Where are your jewellery pieces available and where can people learn more about the project? All our information is on our website and our online store (www.down2thewire.org). We also keep our followers updated on new and upcoming projects on our social media platforms Instagram, Facebook and Tiktok: @down2the_wire.

We’ve had a lot of support from family and friends, as well as great advice from our dad. How big is the Down to the Wire team? Our team consists of six devoted, hard-working and talented individuals who all play a vital role in this project. Who designs and produces the jewellery pieces? My brother Troy is our master designer. He’s extremely creative.

Once a design has been tested and approved, I spend time teaching the rest of the team to successfully produce each item. Each piece of jewellery is handcrafted with the utmost care. A lot of time and energy go into the production, making each bangle a unique story to wear. What does the creation process look like? Each snare goes through a vigorous process of cleaning, bending and hammering to create the individual products which are available for purchase.

What is the most rewarding part of being part of Down to the Wire? Seeing the small differences the project’s able to make, giving animals which have suffered so much a second chance and having them recover after treatment. Equally rewarding are uplifting and educating the community, as well as job creation, which plays a vital role in the success of our project. What is next for Down to the Wire? We’d like to host volunteers in the future so that we can share the opportunities and experiences Down to the Wire can provide.

SA JEWELLERY NEWS - SEPTEMBER 2021

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SAJN | SWISS FAIR REVIEWS 2021

(Below): Svend Andersen produced the Quotidiana, a watch with a continuous day display at 12 o’clock and the date opposite at 6 o’clock. Framed by the chapter ring, the day disc is made of 21ct blue gold, with the Edward Sexton needle logo pointing to the current day. The seven days are expressed in seven languages, reflecting Andersen’s crosscultural approach to watchmaking. He was the first to create a perpetual calendar showing the Hebrew calendar in 1996. Bids are expected at about £60 000.

Digital presentations of new watches in a locked-down world The Swiss industry was already in disarray, related to uncontained costs of the regular Swiss trade fairs. More than two years have now passed since the watch industry last assembled en masse. Today, re-ordering that disarray is not helped by the fractious unpredictability of the global pandemic, writes Martin Foster.

SA JEWELLERY NEWS - SEPTEMBER 2021

SWISS FAIR REVIEWS 2021 | SAJN THE SUCCESSFUL WATCHES AND WONDERS (W&W) Geneva online edition earlier this year was the first event promising a return to regular annual releases from the major watch brands. But “normal” was already under considerable stress before COVID-19 focused the attention of the world on hot-spot trade fairs. Accordingly, even our concept of “normal” must change, just as the current coronavirus has disrupted our personal lives. The World Health Organisation has stated that the world remains largely susceptible to the virus, including new variants of it, citing the inappropriate relaxation of social safety policies, together with the political failure of health measures which we know prevent infections. This is not helped by the uneven and hugely inequitable distribution of vaccines. Just as the industry announces prospective new exhibition dates, new COVID-19 variants

(Above): Audemars Piguet’s Royal Oak “Jumbo” Extra-Thin is the last unique 15202 and the last unique piece powered by Calibre 2121, the thinnest automatic movement with central rotor and date indication introduced on the Royal Oak in 1972. The case and bracelet combine sandblasted titanium with polished bulk metallic glass. When cooled rapidly, this palladium-based alloy shares several characteristics with other glasses, including amorphicity, transparency and high strength, making it highly resistant to wear and corrosion. Its non-crystalline nature results in a unique play of light. The value is estimated at up to £240 000 and based on an original idea by Francis Ford Coppola. “Invenit” and “Fecit”, the timepiece’s origin, was described by FP Journe as follows: “This watch was born in 2012 while having dinner at Francis Ford Coppola’s house in the Napa Valley. He asked me if it was possible to tell the time with a hand in a watch. I replied that the idea was interesting, but that I needed to think about it. How to display 12 hours with five fingers? It wasn’t an easy matter and this complex challenge inspired and motivated me. Once I figured it out, Francis immediately sent the sketches for the fingers’ positions. After more than two years, I could finally focus on ‘Fecit’. And today, after seven years of development, I’m proud to present the FFC prototype.” Bids are expected at about £320 000.

SA JEWELLERY NEWS - SEPTEMBER 2021

pop up, old political rivalries resurface and corporate avarice re-emerges as a powerful negative force. For example, when W&W projected its dates for a physical show in 2022, Geneva’s most prestigious hotels immediately doubled the price for available bookings. Will they never understand the history lessons of Baselworld? The next major event on the schedule, the Hong Kong Watch & Clock Fair (HKW&CF), includes a special online edition from 8-19 September and a physical edition from 8-12 September. However, as we go to press, there has been little or no development of plans beyond the announcement of dates. The HKW&CF was the biggest of the watch and clock fairs and although not prone to the “Swiss disease”, it has been shadowed by dark political clouds emanating from mainland China and compounded by global travel insecurities. It is almost certain that the special online edition will proceed in one form or another, but the future of the physical edition is probably in doubt. Most of the political estimates of the return to freedom of the skies for international travel have turned out to be dreams. Furthermore, travellers face the possibility that rapid COVID-19 variants may suddenly result in flight suspensions, marooning them far from home for unpredictable periods. There is also the added expense of flying with restricted seating arrangements. For example, the current Sydney-London airfare is now about £6 000 – approximately five times more than it cost in pre-COVID-19 times. In terms of value, Hong Kong was the world’s largest importer of complete watches, the second-largest exporter of completed watches and the third-largest exporter of complete clocks in 2018. In 2020 total exports of watches and clocks from Hong Kong declined by 28%.

Thus, for the HKW&CF, we must settle for this scant summary, await further announcements and follow up with new releases as they become available. The latest trade show to announce its return for 2021 is Geneva Watch Days, which has laid out a schedule for a “phygital” hybrid event taking place across Geneva and worldwide via digital presentations from 30 August3 September 2021. This edition will include the earlier founding brands such as Bvlgari, Breitling, De Bethune, Gérald Genta, GirardPerregaux, H Moser & Cie, MB&F, Ulysse Nar(Below. from left): Memorigin is a strong advocate for Chinese culture, bringing together fine Chinese craftsmanship and precise Western tourbillon techniques to create “The Harmony of Dragon and Phoenix” series. With the background of heaven and earth on the dial, the dragon sails over the blue ocean. The immortal phoenix takes off under the sunset, forming a harmonious scene. The 18ct gold dragon is created with reference to an ancient palace sculpture in the late Ming and early Qing Dynasties. Its eyes are made of Burmese rubies and its body under the water, as well as the surrounding ripples, are sophisticated sculptures. The watch has a selfwinding (bi-directional) function, a 72-hour power reserve and twin mainspring barrels. It is a truly beautiful piece with an expected price tag of about £6 500; Montblanc celebrates the 200th anniversary of the inking chronograph created by Nicolas Rieussec with the creation of the Montblanc Star Legacy Nicolas Rieussec Chronograph, which will be auctioned together with a wooden replica of the historical chronograph from 1821. This timepiece comes in a 43 mm 18ct yellow gold case shaped like a pebble, offering ultimate comfort and elegance on the wrist. As a tribute to the charity auction, the case-back features a special engraving: “Only Watch Unique Piece”. The movement’s oscillating weight is decorated with a guilloché grain d’orge pattern. There is a cartridge where a further engraving can be added – either Only Watch 2021 or the name of the future owner, making this unique timekeeper a true collector’s item. Expect bids up to £40 000; Breguet’s Type XX Only Watch 2021 flyback chronograph is notable for its specific architecture, meticulously reproducing the codes of the first generation of civilian Type XX timepieces. The bronze colour of its dial is a nod to the extremely rare original models with dials coloured in this way. It features a small seconds subdial at 9 o’clock and a 30-minute totaliser at 3 o’clock, with an increased diameter, luminous markers and the teardrop-shaped hand. The bidirectional steel bezel comes fitted with a 12-hour scale, along with a luminous triangular marker. Expect bids at around the £40 000 mark.

SAJN | SWISS FAIR REVIEWS 2021 din and Urwerk. The associated brands include Arnold & Son, Czapek & Cie, Doxa, Ferdinand Berthoud, the Frédérique Constant Group, Maurice Lacroix, Oris and Reuge. While many brand customers and media will not be able to visit this fair due to travel restrictions in certain countries, its availability online will ensure that no-one misses out on the new releases. Historically, the strongly preferred annual dates for watch industry releases of new products are March and April. Complicating the issue for potential exhibitors and media coverage is news that a third exhibition called Time to Watches is being launched in 2022, set to run concurrently from 30 March5 April, just a few minutes away from the W&W Palexpo Geneva venue. The organiser

appears determined to provide a berth for watch brands that cannot get into the main W&W exhibition (30 March-5 April), but feels that Baselworld (31 March-4 April) is unlikely to have the pulling power to attract trade (Above): Bell & Ross has taken clear lustre and elegant transparency to their fullest potential. The watch’s case is machined from three blocks of sapphire and the skull dial from six blocks. Each element of the case, crown, skull and crossbones is structured within the many faces that sculpt the surfaces, creating volumes and a three-dimensional image. The skull dial is metallised in orange on the back, providing the ultra-legible colour for aeronautical instrumentation and essential information stand out. The watch’s estimated value is £70 000-£90 000. (Left): Tudor has created a unique Black Bay GMT with a remarkable case and bracelet finish that is the result of a secret stainless-steel ageing technique. The MT5652 Tudor Calibre powering this unique watch, capable of keeping track of time in three time zones simultaneously, also received an aesthetic treatment to match the case in a style that required the bridges and mainplate to be coated in black before being aged by barrel-tumbling. The Black Bay GMT One is a Master Chronometer, one of the industry’s most demanding certified standards, guaranteeing Swiss manufacturing and precision of fi ve seconds (0 +5). The estimated price is £3 000-£6 000.

and press visitors away from Geneva. Certainly, Baselworld will need to confront this issue, given that the new shorter fair dates available for media coverage of new releases occur at the opposite ends of Switzerland. It is clear that the industry is trying to reestablish footfall fairs. WatchPro’s Robin Swithinbank expressed it beautifully: “Not having a watch fair has highlighted just how valuable watch fairs can be. After a year of staring at wishy-washy watches on Zoom, noone truly believes digital tools are a like-forlike replacement for the real thing.” COVID-19 chaos notwithstanding, the annual highly regarded Only Watch auction is going from strength to strength and at a time of uncertain exposure for the big brands, it provides a useful distraction. Only Watch is a biennial charity auction of luxury one-off timepieces made for the event by the finest brands, the proceeds of which go to research into Duchenne muscular dystrophy. Founded by Luc Pettavino, it is an event organised by Association Monégasque contre les Myopathies and generously supported by watchmakers, donors, partners and international press coverage. This fantastic, altruistic collaboration has raised more than €70 million to date and has come a long way since the first Only Watch auction in 2005. Each of the big 54 watch brands dedicates a one-off special for the auction, with the possible exception of Rolex (although very well represented by Tudor). In the weeks preceding the Only Watch auction, the watches will be presented to the public, media and horological aficionados during a promotional tour that begins on 22 September 2021 in Monaco at the Monaco Yacht Show. The tour will then move to Dubai, Tokyo, Singapore and Hong Kong, ending in Geneva on auction day on 6 November. Presented here are a few examples of the very fine entrants to the Only Watch auction. Value indications are included, but are entirely speculative and the outcomes could be very different on the day. Many more brands can be researched online. (Left): Patek Philippe has offered this complicated desk clock Ref 27001M-001 for the Only Watch 2021 charity auction. Inspired by a desk clock delivered to James Ward Packard in 1923, the original model is now preserved in the Patek Philippe Museum. This unique piece is equipped with the new calibre 86-135 PEND IRM Q SE. It features a perpetual calendar, moon phases, a week-number display and a powerreserve indication (31 days). It is adjusted to a precision rate of -1/+1 second per day. This exceptional grande complication is housed in a sterling silver cabinet with vermeil decorative elements and American walnut inlays. Expect vigorous bidding up to about £320 000.

SA JEWELLERY NEWS - SEPTEMBER 2021

N°112

SAJN | LITTLE GEMS

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

SA JEWELLERY NEWS - SEPTEMBER 2021

LITTLE GEMS | SAJN DESPITE BEING A ROUGH AND READY wasteland, Australia has yielded some of the world’s most valuable and beautiful gems. Opal is a colourful stone in which the play of iridescent colour flashes change with the angle at which the stone is viewed – a phenomenon known as opalescence. This may consist of large, individual flashes of colour or constitute tiny, dense sparkles. The distribution and intensity of these are determining factors in the value of the opal. The play of colour surpasses that of most gemstones and includes shades of white, purple, grey and even black. There are a variety of forms of this colourful gem and it is available as precious opal and common opal. Precious opal is identified by the internal display of colours, as created by the play of light. The smooth surface of the stone can be pearly or waxy. Peruvian opal – often known as blue opal – is semi-opaque, opaque or blue-green and does not display a play of colour, while fire opal has a warm body of colours of yellow to orange, sometimes displaying bright green flashes. Peruvian opal is generally associated with the small town of Coober Peddy, a major source of the gem in southern Australia. In 1956 the world’s largest and most valuable stone was found in the “Eight M field”, weighing 17 000ct. About 250 km west of Coober Peddy, large quantities of crystal opal have also been found, as well as the rarer black opal, matrix opal and crystal opal. Black opal contains a predominantly dark background play of colour. In western Queensland in northern Australia, boulder opal has been found, a variation which consists of fracture fillings in a dark ironstone mat. Australia also has opalised fossil remains, including dinosaur bones, in New South Wales. Until the opening up of the Australian fields in the 19th century, opal was considered very rare and valuable. Its primary known source until then had been the Roman frontier of Slovakia. There were some other sources too, but the stones there occurred in very thin layers. Many varieties have been synthesised commercially since the discovery in 1974 of the ordered sphere structure of precious opal. Varieties of opal have been synthesised in experiments and commercially, but they can be distinguished under a microscope from the natural gems. The Argyle Diamond Mine in western Australia is responsible for more than 90% of

SA JEWELLERY NEWS - SEPTEMBER 2021

The Argyle Diamond Mine in western Australia is responsible for more than 90% of the world’s high-quality pink diamonds.

the world’s high-quality pink diamonds. Fewer than 1% of these diamonds are graded this colour by the Gemological Institute of America (GIA). These diamonds achieve high prices at auctions. An impressive collection in 2013 featured stones ranging from 0,203,92ct, as well as three fancy red stones which sold well above initial predictions. The Argyle Phoenix, a 1,56ct graded fancy red, fetched the highest price ever for a gem from the Argyle mine. The Argyle mine, located in Kimberley, about 550 km south-west of Darwin, is about 50 ha wide and about 600 m deep. Except for alluvial operations, it is the largest

successful commercial diamond mine located in the Kimberley volcanic pipe, in which the diamonds found were the result of volcanic eruptions. They have been traced back about 150 billion years. Argyle is the fourth-largest mine in the world by volume average production since operations began in 1983. Recently, however, its estimated One Reserves decreased. This may have given rise to the speculation that the flow of these special stones will end, particularly if prices of the more commercial gems do not improve. The majority of Argyle’s production is of lower-quality stones of under 0,15ct, which are reportedly used in promotional jewellery – bracelets and pendants, the prices of which have declined in the past few years. Looking ahead, the company officially targeted 2020 for its closing, but it seems that current prices have persuaded the owners to keep the mine open and ultimately develop it into an underground operation. The mine is famous for its fancy pink, red and other colour diamonds, such as champagne and brown, which were graded by the GIA. In 1994, 42 million carats were produced when operations peaked. The average annual was 8 million carats. The open-pit mine has produced over 750ct of rough diamonds. An underground block cave has been under development and is likely to extend production until 2018. However, in the late 1990s, the north-west wall of the open pit began to collapse and it was decided to cut back part of it to free up the southern part. So the next time someone dismisses Australia as just a huge backwater, stop them: it is the source of many of the world’s most valuable and beautiful cultural and natural wonders – including gemstones.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

JEWELLERY MANUFACTURERS' ASSOCIATION OF SOUTH AFRICA

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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