Jeweller g&j (nov 2013) by Zest Europe

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Nov/Dec 2013

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The Voice of The Industry

Incorporating

Gems&Jewellery

Nov/Dec 2013 / Volum e 22 / No. 8

Gem-A Co nference report Munich Sh ow round -up Sarine Lig ht™ system

The value of coloured gems Shop fitting and display — top tips and advice The Jeweller Picks... Gifts

Jeweller

Contents & Contacts |

the

The Voice of The Industry

C O N T E N T S

www.thejewellermagazine.com

N O V / D E C

Loughborough Conference

In part two of our report on the recent IRV Conference,

Editor’s Letter

Rawlinson Speaks Out

Industry News

International News

NAG News

Member of the Month

Education & Training

Business Support: Insurance

Business Support: Security

Opinion: Mike Taylor

Show Reviews

Feature: Small Business Saturday

Antique Jewellery

Notebook

Display Cabinet

Last Word

four delegates highlight some of the key workshops

Stand (out) and deliver

Louise Hoffman speaks to industry experts for advice on creating the most effective shop and window displays

The Jeweller Picks… Gifts

Silverware and writing instruments are still a relevant sector of our industry – we select a few of our favourite pieces

Infinite variety

Coloured gemstones are not only beautifully alluring but provide a very important point of difference for retailers, as Belinda Morris discovers

Nov/De c 2013 / Volume

Gems&Jewellery

22 / No. 8

The Jeweller is published by the National Association of Goldsmiths for circulation to members. For more information about The Jeweller visit: www.thejewellermagazine.com

Highlights from the Gem-A Conference, investigating the new Sarine Light™ system, winners and runners-up in our photography competition, Munich Show review and more…

Gem-A Conferen ce report Munich Show rou nd-up Sarine Lig ht™ sys tem

The magazine is printed on paper and board that has met acceptable environmental accreditation standards. The National Association of Goldsmiths 78a Luke Street, London EC2A 4XG

Jeweller the

Nov/Dec 2013

£7.50

Tel: 020 7613 4445 www.jewellers-online.org

The Voice of The Industry

CEO: Michael Rawlinson

Incorporating

Gems&Jewellery

November

2013 / Volume 22 / No. 8

Gem-A Conference Munich Show

report roundup

Sarine Light

system

™

The value of coloured gems Shop fitting and display — top tips and advice The Jeweller Picks... Gifts

Cover Image In conjunction with Hallmark Design and Shopfitting Ltd 266 Kings Road, Kingstanding, Birmingham, West Midlands B44 0SA Tel: 0121 355 3333 Fax 0121 355 5017 Email: info@hallmarkdesign.co.uk www.hallmarkdesign.co.uk

michaelr@jewellers-online.org Editor: Belinda Morris bmorris@colony.co.uk Art Director: Ben Page ben@jewellers-online.org

Sales Director: Ian Francis Tel: 020 7613 4445 Fax: 020 7729 0143 ian@jewellers-online.org Publishing Enquiries/ Classified Advertising: Neil Oakford neil@jewellers-online.org Contributors: Robert Bolton, Lee Henderson, Louise Hoffman, Hannah McWhirter, Jackie Sanders, Ewen Taylor, Mike Taylor

The NAG is responsible for producing The Jeweller and, although every effort is made to ensure that the information supplied is accurate, the NAG does not accept liability for any loss, damage or claim whatsoever that may result from opinions expressed by contributors. Information and ideas are for guidance only and members should always consult their own professional advisers. The NAG accepts no responsibility for the content of Gems&Jewellery or any advertiser, advertisement or insert in The Jeweller. Anyone having dealings with any advertiser must rely on their own enquiries.

The Voice of the Industry 3

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Comment |

Editor’s

Letter t’s a double-edged sword attending a contemporary craft and design fair. On one hand

This month: In recent years we have seen more importance placed on customer service… many clients now request a more luxurious consultation area...

it’s unquestionably useful and inspiring – so many talented jewellery designers in one spot,

brains ready for picking; so many fabulous collections to consider for future inclusion in the magazine. On the other hand it’s dangerous. While at the preview for Handmade in Britain 13 (see our review p62), just before going to press, I thought I might find a little something as a Christmas gift; I was not intending to splurge on myself. Oh well… My watertight excuse is that as editor of the jewellery industry magazine supporting the fair, the least I could do was shop. And of course I was setting a valuable example to jewellery retailers who I think would benefit hugely from visiting shows like this – you never know what you’re going to find, who you’re going to meet and what business opportunities might then arise. Apart from temptation at every turn, what I found was that colour is an increasingly

Page 28

important element in jewellery – creating excitement as well as a fashion edge. And, as our feature on coloured stone jewellery on page 46 underlines, emeralds, rubies, sapphires, tourmalines and the whole, glorious panoply of both familiar and more unusual gems out there, can offer a very welcome point of difference for the bricks-and-mortar retailer in particular. They’re not bad at creating an impact in window displays too. Which rather neatly leads me on to the subject of the other major feature in this issue – shop fitting and display (p28). Standing out from the crowd on the High Street and providing a wow-factor shopping experience that can’t be found online (yes, that old chestnut)

Disclose is the biggest issue – treatments have to be conveyed to the customer and to not do so is unethical in my view…

requires some creative consideration. It might entail a window re-think, a refurbishment or even a total refit; at the very least some seasonal refinements are in order for the weeks ahead! Whatever is on your mind, Louise Hoffman has done the groundwork for you, with advice and tips from the experts. Think of it as an early Christmas present! Season’s greetings everyone… and see you next year.

If you would like to comment on any of the issues raised in this edition of The Jeweller or any other trade-related matters please email the editor at: bmorris@colony.co.uk

Page 46

The Voice of the Industry 5

| Comment

Rawlinson

speaks out Michael Rawlinson looks back over his first eight months as the NAG’s chief executive officer and looks forward to a new year of continuing development for the Association. s we approach the end of the year I am reflecting on the very many experiences and challenges I have enjoyed since taking on the post of CEO at the NAG back in April this year. I have really enjoyed making new friends, meeting members and suppliers and starting to learn a whole new jewellery vocabulary. It has been quite a trial by fire to assimilate so much, but I want to thank everyone I have met for your kindness and support. One thing I have learnt from the members and trade at large and will be carrying forward as my mantra into the years ahead is that the NAG is the standard bearer for professional jewellery principles. With our heritage, reputation and our renowned education programme, that ethos has been running for over 60 years; our members and the wider industry expect us to set and raise the standards of the profession both in retailing, business management and leadership. It is the NAG’s coat of arms in a shop’s window that is a sign to consumers that they will receive a professional and

6 The Jeweller Nov/Dec 2013

knowledgeable service and we must ensure that this continues to be the case. I intend to build on the recognition our coat of arms attracts and use it to elevate our members in the eyes of the public so that NAG members are acknowledged as professional jewellers of quality. We are in the process of updating the Association website so that it will be much more consumer facing. One of the big advantages of this will be to make it easier for potential customers to find an NAG member in their area. We also want consumers to be able to search based on a product or service that they are looking for,

I am delighted that your board of directors will be spending a day with the Association’s staff early in January to work on a strategy for the next three years. We will be looking at the mission and objectives for the NAG that will help us to develop new benefits for members across all membership categories and ensure that we are promoting properly all the existing good things we do. It’s a big task but I am confident that you will see a stronger and more focused Association, delivering visible and tangible benefits, for both current and new members in the months and years ahead. We want the NAG to be strong and so we will be actively looking to grow the membership – both retailers and suppliers – particularly over the next 12 months. We will be aiming to build stronger partnerships with key trade suppliers that we hope will

Our members and the wider industry expect us to set and raise the standards of the profession both in retailing, business management and leadership. so we will be asking you via a questionnaire to let us know the products and services you offer. This will provide a real added benefit of being a member of the Association.

benefit our members. As membership applications come in, we will continue to publish details here in The Jeweller, so please continue to give us your feedback if you

Comment | have any concerns over a prospective new member. In the meantime see Mike Taylor’s Opinion piece on eCommerce on page 60 – he raises some important issues regarding the recent, all-inclusive membership policy changes. I will be responding to his queries in the first issue of 2014. Also, to support this new recruitment programme we will be employing a membership development manager. If you think you have the right experience and drive to build our membership then please look out for the recruitment advertisement on page 16 and send me your details. As we find ourselves in the run up to Christmas I want to draw your attention to the SaferGems feature on page 44. The work Lee Henderson and his team do is so valuable because they not only take reports on actual crimes, but also suspected crimes. Your incident may not seem very important or major to you, but when added to the other intelligence received from anywhere in the country it can begin to create a very important picture of repeat offenders, trends and links between criminal gangs. Therefore can I encourage you to report anything, however small, whether successful or an attempt, through to SaferGems. Another use for the information is in our lobbying We all wait, hope and efforts. A member recently see if the predictions of met with his local MP to discuss the influx of Roma uplift in the economy people into his market town and an improvement in from the cities, and the criminal activities they were consumer confidence committing. This meeting and spending are true… resulted in my receiving a call from the MP’s researcher looking for hard facts to back up the claims, and I’m very pleased that I could direct him to Lee. We can now expect to see the Home Secretary being asked questions on the subject, and potentially an improvement in the way this country deals with immigrants’ who are intent on criminal behaviour. The MP is also looking to bring together the police, local councils and other traders to consider local schemes to protect honest business traders. And so finally, your stock has been bought, your windows dressed, staff trained and seasonal promotions and marketing plans have been put in place. Now we all wait, hope and see if the predictions of uplift in the economy and an improvement in consumer confidence and spending are true, and hope for a bumper Christmas! May your tills be ringing constantly over the next few weeks, and I sincerely hope that we have turned the corner and that all our retail members will enjoy the best festive period for several years. On behalf of all of my team may I wish you a very Happy Christmas and a prosperous New Year.

The Voice of the Industry 7

| Industry News

Platinum demand remains high espite a slight fall in the global demand from the jewellery sector, it remains at ‘historically high levels’ according to an interim report for 2013 released this month by Johnson Matthey. A slip of 1.4 per cent takes the demand to 2.74 million oz. Purchases by Chinese jewellery makers will ease slightly this year after a very strong 2012, but higher demand is expected in Europe, North America and India. This increases the platinum market deficit to 605,000 oz in 2013. The report also cites a sharp decline in the gold price as a factor for generating further retail traffic, which in turn has supported

platinum jewellery sales. Added to this, the price difference between platinum and gold remains relatively narrow, enabling retailers to ‘up-sell’ to platinum. Meanwhile the supplies of platinum are forecast to rise by 1.6 per cent to 5.74 million oz, with supplies from South Africa set to rise just marginally. Further strikes and stoppages in the final quarter of this year could hamper any chances of recovery in South Africa’s output. While primary platinum supplies are unlikely to grow in 2014, says the report, the outlook for jewellery demand is robust, with

consumption of platinum jewellery forecast to rise by 7 per cent in regions outside of China. In Europe demand will recover to 2007 levels, driven by the increased use of platinum in watch cases, at the expense of yellow and rose gold. The report also states that palladium jewellery continues to lose its market share in China and has not established a substantial foothold in any other market. Demand for palladium in jewellery manufacturing will fall by 12.4 per cent in 2013 to a 10 year low of 390,000 oz as a result. However, the overall market is still in substantial deficit..

Industry leaders to join IJL advisory board nternational Jewellery London (IJL) has announced that new influential industry leaders are joining its advisory board with immediate effect. Bec Astley Clarke MBE (right), founder of Astley Clarke, and Dax Humberstone, MD of Antwerp Diamonds, join Mark Adlestone, chairman of Beaverbrooks, who also became a boardmember earlier this year. They will all sit on the board in the lead up to the September 2014 show, which is set to be a landmark event as it will be staged at Olympia, London, for the first time. “We are thrilled with the new additions to the IJL advisory board,” stated chairperson and event director Sam Willoughby. “The role of the board is to capture senior level advice and valuable insight from respected members of the industry. It really helps

the show team to deliver an event that is relevant, exciting, profitable and engaging.” Board members act as a voice for themselves, their peers and their colleagues, in order to enhance the visitor experience and add value to exhibitors. Astley Clarke, who was awarded her MBE for services to the jewellery industry, said: “The UK has so much talent and creativity to offer. I am looking forward to contributing to the IJL advisory board so that the industry goes from strength to strength and IJL gains the recognition it deserves on the international stage.” Adlestone commented: “This is an exciting time ahead of the move to Olympia, with luxury and fine jewellery set to be one of the key focusses for 2014. I welcome the

opportunity to be involved in shaping the future of IJL, as it has such an important role for the UK jewellery industry as a whole.”

NAG’s online JET courses shortlisted for award he NAG is delighted to announce that its JET 1 and JET 2 education courses, facilitated by Nelson Croom, have been shortlisted for Best Online Distance Learning Programme Award at the E-Learning Awards. Nelson Croom, a digital facilitator, creates online courses and resources for qualifications like the JET courses and other general professional development. This particular award seeks to recognise distance-learning programmes which have made good use of online media and tools

8 The Jeweller Nov/Dec 2013

to facilitate learning. This award focusses particularly on those programmes that employed a range of methods and media over many weeks of part-time study. Acting head of the NAG’s education department Kate Madelin attended the event with her colleagues Mandy Kelly and Lyn Oliver. “The NAG is extremely pleased with the recognition awarded to the courses. Competition is fierce for this category and it is a great achievement to be a shortlisted nominee,” she remarked.

Alan Nelson, managing director of Nelson Croom, was delighted: “It is a real honour to reach the shortlist of these prestigious awards, and a just reward for all the hard work the JET team have put in. Particular thanks go to all the tutors who helped us to understand and meet the needs of the students enrolled, and to support them in their studies.” For further information on any of our courses, tweet us at: @NAG_UK or send an email to: education@jewellers-online.org

Industry News |

Clogau opens UK flagship store elsh gold jewellery brand Clogau has continued its 2013 international expansion plan with the opening this month of the first UK flagship store at the St David’s Dewi Sant shopping centre in Cardiff. The move follows the opening of Clogau’s Beijing store earlier this year. Located in a prime position, the new 1,500 sq ft store will showcase almost all of Clogau’s jewellery lines, including the soon to be launched 18ct Royal Clogau collection. The store also boasts a bespoke champagne bar and once a month a harpist will be there to play for customers. Ben Roberts, MD of Clogau, says: “Cardiff is the ultimate destination for us to open our first flagship store. We have been looking for three years to find the perfect site and are thoroughly looking forward to bringing our concept and store design to St David’s, which will be our shop window to the world.”

Rapaport visits London Diamond Bourse artin Rapaport, chairman of the Rapaport Group and Ezi Rapaport, director of global trading at Rapaport, paid a surprise visit to the LDB trading floor earlier this month. Martin Rapaport answered questions from members and gave his opinion on current market conditions to an attentive crowd. The visit followed the Rapaports’ meeting with Harry Levy, president of the LDB. Informal debate ensued on the topical subject of synthetic diamonds and the most effective way to proactively monitor diamonds entering into the marketplace. Mr Rapaport had spoken extensively on the same subject at the Gem-A conference at Goldsmiths’ Hall in London on the previous Sunday. “The trading floor debate affirmed that there is agreement that the industry is working hard to protect the reputation of natural diamonds. One way to ensure that the diamonds are as stated, is to source goods from a member of the LDB. All our members are vetted as reputable, subject to various checks and undertakings before being accepted into our Bourse,” said Victoria McKay, operations manager.

Emerald book published ext month sees the launch of Emerald, a lavishly illustrated guide to this precious coloured gemstone. With hundreds of beautiful examples of emerald jewellery, both historic and modern, it tells the story of the stone, which was first discovered over five millennia ago. The book is the work of four authors: gemmologist Joanna Hardy, formerly of De Beers, Phillips and Sotherby’s and a regular on Antiques Road Show, who selects over 200 showcase pieces; fashion, art and design author Hettie Judah who introduces the stone as a symbol of power; writer and emerald fanatic Jonathan Self who uncovers the secrets of the emerald trade and Franca Sozzani, editor of Vogue Italia, who opens with a preface on emerald jewellery and style. (£75, Thames & Hudson in association with Violette Editions)

S N I P P E T S Stephen Webster launches new watch line British jewellery designer Stephen Webster has introduced a second women’s watch collection, made by Swiss firm Tiret. Inspired by his fine jewellery collection of the same name, ‘Fly by Night’ is “unreservedly luxurious, feminine and timeless” while retaining Webster’s distinct identity. Each timepiece in the five-piece collection is embellished with Webster signature pavé diamond thorns and gem-set night flyers.

Award for young silversmith The Goldsmiths’ Company’s 2013 Young Designer Silversmith Award has been given to Kyosun Jung, a silversmithing student at the University for Creative Art at Rochester. The brief to create a drinking set for a particular alcoholic spirit led to Jung, 22, who is from South Korea, to design a saké set, which was based around the shapes and patterns found in bamboo plants. The design was then translated into silver under the guidance of master-silversmith Clive Burr in his Clerkenwell workshop. Big sales boost for Shaun Leane Figures released by the Company of Master Jewellers (CMJ), show that sales of jewellery by Shaun Leane have increased by 276 per cent year-on-year (figures to end of September). Since joining the CMJ in March 2012 the designer has opened over 10 new accounts, with his silver collections ‘Cherry Blossom’ and ‘Tusk’ being best sellers. Other brands showing significant increases through the buying group include Bulova, Guess watches, Hans D Krieger and Sheldon Bloomfield.

The Voice of the Industry 9

| Industry News

Mococo expands Liverpool store ewellery retailer Mococo, with five stores across the North West and North Wales, is expanding its Liverpool store located in Metquarter, more than quadrupling the unit’s current floor space of 352 sq ft creating a space of 1,585 sq ft. The expansion will allow the retailer to stock additional brands, as Mococo sees sales across its five stores trading 40 per cent up on last year. “Liverpool is the home of style, and the expansion of the Metquarter store is testimony to that,” says founder and brand director Maureen Hooson. “We are always looking to bring new and exciting jewellery collections to our customers, and this expansion allows us to do just that. The new store will stock even more brands than ever before, from the likes of Chlobo, Shaun Leane and Thomas Sabo as well as new additions such as Diamonfire and Nomination.” Mococo has plans to expand further across the region forecast over the next 18 months. Mococo offers ‘affordable luxury’ in the jewellery market, securing design-led brands and the ‘more exclusive’ ranges.

Joshua James buys Wave ast Yorkshire jewellery business Joshua James Jewellery has bought the former Wave store in Lancaster, saving it from shut down and protecting jobs. The re-branded store will be given a “completely new look, feel and mentality” according to Joshua James’ MD Shaun Bell, and will open as Joshua James Jewellery this month. “I have been aware of this possibility for some time and believe it to be an excellent acquisition in a great location with many possibilities to take things to a new level,” says Bell. “We are a relatively young company that has quickly become a wellestablished name in the industry. We have a great deal of experience in the retail and online sectors, and we will be utilising every aspect of that experience to bring the required level of growth to this new venture. This project has involved an unprecedented amount of work – around the clock over the last few weeks – but I'm sure shoppers will instantly appreciate the transformation in look and feel.” Wave went into administration and was restructured in a pre-packaged deal this September. Since then the business's co-founder Paul Henderson bought 100 per cent of the business through new company Vault Luxury and says that he has taken on “a good proportion” of the debt left by Wave, and that the sale of the Lancaster store, which had been scheduled for closure, will allow him to fund this further.

Gitanjali plans new company following Alfred Terry collapse he Gitanjali Group which owned Alfred Terry Ltd is considering the option of starting a new company, following the voluntary liquidation of its bridal and fine jewellery brand at the end of October. A creditors' meeting was held by David Rueben & Partners on 8th November; all creditors have been notified and will submit claims to be paid out of Alfred Terry's assets.

10 The Jeweller Nov/Dec 2013

S N I P P E T S Dr Fix seeks new franchisees Scottish entrepreneur Craig Hunt is offering franchise partners the opportunity to join his growing watch and jewellery repair company Dr Fix. Hunt, an ex-Citizen area sales manager set up the kiosk (originally The Watch Medic) in Dunfermline in 2004. Everything needed to get started is provided, from a kiosk or retail fit-out to equipment, business start-up and training package, EPOS systems and operational support. Previous experience in the watch or jewellery repair business is not necessary as technical training is provided. Contact: enquiries@drfix.co.uk Fossil MD moves on After 14 years with the group, Giles Bushby, managing director of Fossil for the past seven years (and previously the financial director) is to leave the company to pursue other interests. Helen Wood has been promoted to replace Bushby. Maker Mends share sell-out Tony Stern, co-chairman and founder of Maker Mends, the jewellery, watch and repair service company to the trade, has sold his 50 per cent shareholding to David Lewis, his partner and co-founder. Los Angeles-based Stern is keeping an interest in the industry by helping a consortium to launch a series of custom jewellery designer lounges – ‘Product Confidential’ – for the retail market. Located mainly in the US there are plans to expand the concept to Europe. New CEO at Trollbeads UK David Riddiford, former global CEO for Links of London and head of Folli Follie in the UK has been named as the chief executive of Trollbeads UK. The appointment follows the Danish brand’s acquisition of a major stake in its UK distributor Fable Trading, with the aim to strengthen Trollbeads’ place in the UK jewellery market. “Trollbeads has an excellent foundation in the UK”, commented Riddiford. “This is an exciting opportunity to lead the brand forward and to focus on the originality and versatility of the collections. There are huge opportunities in the UK market… and I’m looking forward to establishing strong relationships with existing customers.”

Auction of Antique & Modern Jewellery A selection of items featuring in the upcoming Estimates ranging from £400 to £18,000.

Upcoming Fellows auctions in December Vintage Jewellery & Accessories on Monday 2nd Antique & Modern Jewellery on Thursday 5th Silver & Plated Ware on Monday 9th Watches and Jewellery on Thursday 12th Fellows Auctioneers 19 Augusta Street | Birmingham B18 6JA | 0121 212 2131 London Office (Valuations by appointment) 2nd Floor |3 Queen Street | London W1J 5PA | 020 7127 4198

| Industry News

Accurist launches new website ritish independent watch brand Accurist has unveiled its new website – in line with its recent re-branding. Accurist CEO, Jonathan Crocker, says of the launch: “The importance of a strong online retail presence is vital to a brand’s success. As part of our brand update we have created a customer-engaging website which will be consistent with our values and positioning. The new website will bring together our heritage and time pieces with a whole new look and feel aimed at communicating with relevance increasing appeal and ‘shopability’. We have also introduced an exclusive Accurist ‘Club’ where customers register online and allow us to expand on consumer engagement. Head of ecommerce and IT, Neil Humphries adds: “We know many visits to the Accurist site are multi-channel customers researching products they have seen either online or in-store. Our flexible web platform, enhanced with a new visual merchandising tool, allows us to provide quickly the information they expect. Also we’ll have an enhanced store locator with the assurance of the Accurist Authorised Dealer Programme.”

Hallmarking agreement for Allied Gold ritish jewellery manufacturer Allied Gold has become the first company in the 700-year history of the Goldsmiths’ Company Assay Office to sign an agreement for hallmarking to be carried out, on site, in its London-based factory. The British Hallmarking Council has given approval for the new facility to go ahead before the end of 2013. Chris Quayle, Allied’s technical director who will be responsible for the smooth integration of the Assay Office staff and equipment into the newly refurbished production unit, and John Love the Superintendent Assayer at the Goldsmiths’ Company Assay Office, agree that this is an exciting joint venture which can only benefit both companies, and the trade. 2014 sees Allied Gold enter its 30th year of production and the move offers the opportunity to offer the company’s growing client base an added value service and a speedier turnaround for their one-off needs as well as bulk production.

Tivon announces competition winners ivon Fine Jewellery has picked two joint first-place winners of the first Tivon International Design Competition. Abigail Buckingham from North Lincolnshire with her ‘Waterfall Necklace’ (left) shares the limelight with Mara Machado from Brazil. Both designs will be made up by Tivon and shown at several international trade shows. Twenty per cent of the proceeds from the sale of the pieces will go to charities of the designers’ choice. Abigail has selected The Goldsmiths’ Centre where she spent a year training on the pre-apprentice foundation course, which she credits as giving her the skills to produce this design. The competition was launched in August this year and called for amateur or professional designers to submit creations via the company’s Facebook page. The final shortlist of four designs was put up on the page for voting, with thousands responding to the call. “It was seriously difficult to pick a clear winner,” said Ariel Tivon – director of Tivon. “We had all these votes coming in from across the world and had to balance the outcome of voting with the commercial viability of the piece and the technical complexity of actually making it up.”

12 The Jeweller Nov/Dec 2013

S N I P P E T S Designer jewellery in TV ad Rings created by award-winning designer Sophie Harley are causing a stir within social media after appearing in a TV campaign for AXA Insurance. The ad follows the life of a young couple in 1960s Brighton buying matching rings for each other. Cutting to the present day, the wife’s ring is stolen during a house break-in. Harley created the sapphire, garnet and CZ rings especially for the advertisement and the AXA website also features a short film of Harley in her workshop talking about her jewellery. Laing and Parkhouse rebrand Laing the Jeweller Ltd, owner of Laing, Edinburgh, Parkhouse, Hampshire, and Parkhouse, Cardiff, has undertaken a rebrand with a blend of ‘fresh yet classic’ colours, modern lifestyle imagery and a re-styled logo designed ‘to reflect its luxury position, heritage, personality and design expertise’. The revitalised brand and packaging designs, using dark blue and cream and highlights of azure, have been co-ordinated by creative agency Wolffe and ad campaigns have been given an ‘edgier’ creative and photography direction. Flinn in NatWest awards final Sheffield-based designer Jessica Flinn has been named as a finalist in the 2013 NatWest Everywoman Awards. The 24-yearold is a finalist in the category for women running a business who are aged 25 years or under. The Awards recognise women across the UK who are showing ‘the vital contribution that female enterprise makes to the British economy.’ The winners will be announced at a ceremony at London’s Dorchester Hotel on 4th December. New shop for W Hamond The Original Whitby Jet Shop, W Hamond, presented by CW Sellors opened a new boutique last month – in Queen Victoria Street in the historic Victoria Quarter in Leeds city centre. The shop will be close to stores such as Harvey Nichols, Vivienne Westwood and Radley, and “will not only raise the profile our brand but also of the work we do with British gemstones and manufacture,” says MD Chris Sellors.

Your Career Will Sparkle At Princess Cruises Your career in jewelry will shimmer-sparkle-and-shine at Princess Cruises, known worldwide as The Consummate Host®. If you’re an experienced fine jewelry sales professional who truly understands the strength of delivering unparalleled customer service when selling fine jewelry, then consider joining our dynamic onboard sales team. In fact, Princess has the only “in-house” retail jewelry operation at sea, making for a fast-paced environment with a great chance for career advancement. And best of all, our employees have the best base salary in the industry with additional bonus potential. Successful candidates will experience a progressive company that achieves ongoing high standards by focusing on innovation, integrity, accountability, and above all customer service. You must be creative, hard working, and you must embrace retail jewelry sales with a passion. We offer a wide range of exquisite precious and semi-precious jewelry featured exclusively to our discriminating passengers. Positions for Fine Jewelry Sales Associates G][b]¾WUbh YldYf]YbWY ]b ¾bY ^YkY`fm fYhU]` gU`Yg ÙbX cf gYU 9l\]V]h ghfcb[ diV`]W gdYU_]b[ g_]``g CáYf U dfcZYgg]cbU` XYaYUbcf h\Uh XYacbghfUhYg \cbYghm ]bhY[f]hm 5V]`]hm hc giWWYYX ]b U hfiY hYUa Ybj]fcbaYbh =bgh]bWh]jY VY`]YZ h\Uh WighcaYf gYfj]WY ]g ^cV biaVYf cbY See the world… experience great cultures… and grow professionally with one of the most successful cruise lines in the world. Take advantage of the best employee lifestyle at sea, including in-cabin wifi, onboard crew store, healthy dining choices, onboard specialty trainers, and we offer great 6-month contract terms. If you want to take advantage of this once-in-a-lifetime opportunity, please apply at www.princess. com or send your CV to princess.recruitment@princesscruises.co.uk. At Princess, we do it right. LIFE IS TOO SHORT FOR THE WRONG JOB. THAT’S WHY AT PRINCESS WE DO IT RIGHT.

Named “Best Onboard Shopping” by Portholes Magazine for 4 Years Running (2008, 2009, 2010, 2011 Readers’ Choice Awards)

International News |

DuePunti UK launch

S N I P P E T S

diamond fashion jewellery brand with a difference has just arrived in the UK. The Italian company creates fun and vibrant rings and bracelets by combining the preciousness of a diamond (0.02 carat) with an unconventional, non-precious material – silicon. The first collection comprises non allergenic rings in 19 colours and in three sizes, featuring the brilliant cut diamond in a sterling silver setting. Bracelets retail at £70 and rings at £60 and all the products are made in Italy, with a UK office established in Middlesex.

The Board of Governors of the Gemological Institute of America (GIA) has announced the appointment of Susan M. Jacques as CEO and president. Jacques, currently president and CEO of Borsheims Fine Jewelry and Gifts and chair of the GIA board, will take up her new responsibilities on 1st January, 2014. John A Green, CEO of family-owned jewellers Lux Bond & Green, has been appointed chairman, with immediate effect.

De Beers creates new mine acob Zuma, president of the Republic of South Africa, was guest of honour at the announcement of De Beers’ plans to construct a new underground mine beneath its open pit Venetia Mine in the Limpopo province. The US$2 billion investment will extend the life of Venetia beyond 2040 and replace the open pit as South Africa’s largest diamond mine. With underground production expected to commence in 2021, over its life, the mine will treat approximately 130 million tonnes of ore, containing an estimated 96 million carats. The mine will also support over 8,000 jobs directly, and a further 5,000 through the supply chain – benefitting the South African economy as a whole.

Antwerp Diamond Fair expands he fifth Antwerp Diamond Trade Fair (ADTF) will be held from 26th – 28th January 2014 and has been expanded to accommodate a growing number of potential exhibitors. For three days, the Antwerp diamond district's main thoroughfare, the Hoveniersstraat, will be red carpeted. The three trading halls of the Antwerp Diamond Bourse, the Diamond Club of Antwerp and the world's only rough diamond bourse, the Antwerp Diamond Kring, will be converted into three exhibition halls (with re-designed floor plans) housing 80 of Antwerp's major diamond firms. Exclusive, diamond-buying jewellery retailers and manufacturers from around the world are invited to visit the show.

Lotus launches MotoGP line panish watch brand Lotus has celebrated the success of MotoGP rider Marc Marquez with a new collection of sports chronographs bearing the name of the championship leader. A new ad campaign, comprising a TV advert and new artwork, expresses the concept that Marquez, who recently debuted on the world of Moto GP, is rewriting motorcycling history and makes him a paranormal phenomenon. The new chronograph collection, comprising six watches plus a limited edition model, features a stainless steel case with bi-coloured rubber strap. Three of the watches include the finishing flag on the dial; the other three showing Maquez's rider number ‘93’ besides his name. Lotus is part of the Festina Group, available in the UK through Unique.

New head for GIA

Historic strike at Cartier Workers at the French jewellery house Cartier went on strike last month, the first such action in the company’s 160 -year history. Around 70 banner-waving gem polishers gathered outside the flagship Paris store, having started the strike three days previously at the Reims workshop, were demanding a pay rise of €200 a month to take them above the minimum wage. Sapphire shines at Bonhams Bonhams New York Fine Jewelry auction on 17th October totalled nearly $6.3 million, with a 5.85 carat classic Kashmir sapphire ring fetching $461,000. From a private collection, the piece ignited a phone bidding war – the final price realising more than four times the estimate. Sapphires performed well overall with pieces by Tiffany, Grogan, Cartier and Schlumberger creating particular interest among buyers (including a number from the UK). Paul Rowley to succeed Varda Shine at De Beers The De Beers Group of Companies has announced that Varda Shine, executive vice president of Global Sightholder Sales, will be leaving the organisation at the end of January 2014. Paul Rowley, senior vice president of Midstream Operations for Global Sightholder Sales, will succeed Shine in the role following a ‘comprehensive’ handover. Philippe Mellier, CEO of the De Beers Group, said: “Varda’s contribution to De Beers has been immense over three decades with the business and I would like to thank her wholeheartedly for her tireless commitment to the success of De Beers, its partners and the wider diamond industry.”

The Voice of the Industry 15

| NAG News

A round up of the NAG’s year his has certainly been a year of progressive change for the NAG with new websites, new teams, a new CEO and a new membership structure. With the refreshed education website up and running, the NAG Education Department has seen the biggest increase in candidates and subscriptions in years. This is in part owing to the sterling work of the education team together with the addition of Kate Madelin, the education & training manager maternity cover.

Our new communications team has made great waves at the Association in terms of brand presence as well as exposure across events and social media platforms, with almost 1,000 followers for Twitter, double the level of engagement on Facebook, the introduction of Instagram and more to come. The NAG has welcomed the appointment of Michael Rawlinson, who, as the CEO, has instigated the new membership structure, which aims to open up membership further still and will take full effect from January.

Seasonal good wishes to all our members! etting ready for Christmas is an important task for us all but especially for our retail jeweller members with festive displays to plan and execute. All of us at the NAG wish you good fortune over the holiday period and hope that this Christmas will be one of your best yet. If you need any support with training courses or displays please get in touch with us via communications@jewellers-online.org Also please feel free to post your Christmas display photos on Twitter and/or Instagram with the hashtag #NAGChristmas to get a shout out from the NAG team. One NAG member that is already entering into the Christmas spirit is Payne & Sons Jewellers of Tunbridge Wells, or, more specifically, one of its employees Jo Wicker. Together with Sophie Brown of fashion retailer Bod & Ted she has organised an exclusive shopping evening for Thursday 5th December (the pair already run Tunbridge Wells High Street’s Facebook page). The aim is to prove that the High Street is still a great shopping destination and the event will include festive entertainment, special offers and promotions, competitions, fancy dress and a raffle of prizes donated by the town’s shops. The evening will also help to raise money for the Kent/Sussex Air Ambulance and in all around 52 shops and businesses have committed their support. Last year Jo gained her NAG Professional Jewellers Diploma and cites that experience as giving her the confidence to orchestrate this particular project – her biggest to date. We wish her huge success!

Looking ahead to 2014 s 2013 draws to a close the NAG looks ahead for 2014, with the upcoming Jewellery & Watch Show Birmingham at Spring Fair in February, as well as exciting new changes happening across the organisation. In early 2014 the NAG is hoping to finalise the main website’s revamp which will include more details on the new membership structure and will provide members with relevant and easy to read information. In addition the Education Department will be delivering the new GemBasics course with GEM-A. So make sure to keep visiting all our websites and social media platforms to get the latest from the NAG going forward and get in touch with us if you have any queries or feedback at communications@jewellers-online.org

16 The Jeweller Nov/Dec 2013

The NAG has also pledged to work more closely with the BJA and together with Gem-A is pleased to be offering the first GemBasics course. All in all 2013 has been a very busy year for the NAG. With great successes at IJL, the AGM and all our other trade events; numerous new inquisitions and over 50 new members signing up across the year, it has meant that the Association has moved from strength to strength and that it’s onwards and upwards for 2014.

The National Association of Goldsmiths is seeking to recruit a

MEMBERSHIP DEVELOPMENT MANAGER This pivotal new role will: focus on recruiting new members, developing real membership benefits for existing and new members and developing and implementing membership retention programmes.

and require extensive travel throughout the UK as required, together with attendance at industry trade shows and events. Our ideal candidate will be outgoing and a self-starter, with a proven track record of successful results through target driven sales. A knowledge of the jewellery sector would be beneficial but is not essential. The NAG is the leading trade association for retail jewellers and the jewellery industry. Formed in 1894, we have been representing and serving the needs of the jewellery industry for over a century. This new role is central to our strategy to maintain and expand this position as the industry leader. Apply with CV to Michael Rawlinson CEO michaelr@jewellers-online.org Applications will close when a suitable candidate is recruited.

NAG News |

The NAG at recent events

Emma Madden of jewellery brand Shimell and Madden at The Goldsmiths Fair

his Autumn has been an extremely busy time for the NAG Communications Team with a bustling events calendar of fairs and exhibitions including the Goldsmiths’ Fair, the National Pawnbrokers’ Association Annual Conference and the unveiling of the Cheapside Hoard at the Museum of London. First for the team to attend was the the Goldsmiths Fair held at the magnificent Goldsmith’s Hall. The Goldsmiths’ Fair was established in 1983 as the ultimate one-stop destination for those seeking out jewellery and silver by the most exciting independent designer-makers in the UK. This annual selling event, which is open to

James Constantinou from Prestige Pawnbrokers with his Gold Standard certificate.

the public, positively buzzes with talent, passion, creativity, innovative design and superlative craftsmanship. The Goldsmiths’ Fair is all about the bespoke, the original and the one-off. Each piece is hand-made by dedicated craftsmen in small workshops around the country and collectively the Fair represents months of intense skill and artistry. For two weeks only, 180 inspirational makers from around the country, including 10 recent graduates who are given free stands by the Company in order to help them in the early days of their careers, come to Goldsmiths’ Hall to present their latest collections. The Fair presents an opportunity for the makers to talk to the public about their work, explain their techniques and discuss the sources of their inspiration. The two-way interaction adds a vital personal element to the whole process of buying, as well as making it more enlightening and educational. For further details about the designers and about the Fair please read our review on page 63. The NAG team was also pleased to be represented at the NPA Annual Conference where rising interest for the pawnbroking industry has literally leapt off the screen from Channel 4’s Posh Pawn programme and is becoming increasingly popular and rightfully respected within the industry.

The Communications Team was lucky enough to meet many industry leaders, security and insurance companies as well as James Constantinou from Prestige Pawnbrokers who was featured on the programme and was proudly heralding the NAG’s Gold Standard. Finally, as the buzz about jewellery was gathering momentum among consumer the team attended the amazing Cheapside Hoard exhibition. The unveiling of this cache has allowed visitors to learn more about the historical perspective of fine jewellery and what detail and artistry goes into enamel, pearls and cameo pieces. Open until April 2014, the Museum of London’s major new exhibition investigates the secrets of the Hoard; extraordinary and priceless treasures of late 16th and early 17th century jewels and gemstones are being displayed in their entirety for the first time in over a century after being discovered in 1912, buried in a cellar on Cheapside in the City of London. A truly inspirational way to round off 2013 – a visit is a surely a must for all members!

An item from the Cheapside Hoard

New Member Applications To ensure that NAG Members are aware of new applications for NAG Membership within their locality, applicants’ names are published below. Members wishing to comment on any of these applications can call Antonnea Johnson on 020 7613 4445 or email: antonnea@jewellers-online.org within three weeks of receipt of this issue.

Ordinary Applications Crocketts Jewellers, Benfleet, Essex Alumni Fellow Applications Gillian Green, Cheltenham, Gloucestershire

The Voice of the Industry 17

| NAG News

NAG Member of the Month Arafa Kumbuka spoke to Kyron Keogh, the managing director of ROX which he founded with fellow entrepreneur Grant Mitchell in 2002. Their jewellery retail business has been expanding rapidly, recently seeing the opening of its first store in England. Congratulations on opening your new store in Trinity Leeds. How to do you select your new locations and introduce the brand to consumers? We’ve been searching for locations in England for some time now; however location is everything and we didn’t want to rush into opening a new store until we were sure we had found the perfect spot. Trinity Leeds has quickly established itself as the key shopping destination in the city and, when the opportunity came up, we knew this was the ideal location. The combination of strong high street brands and great bars and restaurants makes Trinity Leeds an exciting, vibrant shopping experience.

Scottish stores. We are planning our first range of luxury goods at the moment and hope to launch later next year.

When looking for new locations we take into consideration the overall opportunity; the target market, rents and rates and of course the property itself and its potential for development.

When we first launched in the Argyll Arcade back in 2002, we were surrounded by 30 other well-established jewellers, but we were confident we had something new and exciting to offer.

Your branded jewellery has been pretty successful; will you diversify any further? Absolutely – the Trinity Leeds store is our first concept store and will sell purely ROX diamonds and silver jewellery due to the success of our own collections which have outsold many branded ranges in our

What is your most notable achievement to date and what else would you like to achieve in the future? The re-launch of our first Argyll Arcade store after we invested £1m to quadruple it in size was a very special time for us. We had just launched the Thrill Room complete with

18 The Jeweller Nov/Dec 2013

ROX was established in 2002 and now you have six successful stores and are preparing to open the seventh. What do you consider to be the key factor to your success? I don’t think we can pin it down to one particular factor – it’s a combination of our passion and drive to succeed, the talent of the team we work with, our willingness to take risks in order to stand out from the crowd, our fantastic product range and our commitment to first class customer service.

its own Moët bar and the whole team was buzzing with excitement. We threw a big launch party for over 300 guests and had the phenomenal Emeli Sandé performing – it was a magical moment standing in the store surrounded by close friends, the ROX team and our VIP customers; I remember thinking: “We’re doing something really special here.” We’re currently focussed on launching our Newcastle store [due to open in October at time of writing] but long term we want to continue expanding across the UK and open ROX London. Finally, do you have a memorable customer anecdote to share with us? We’ve had quite a few engagements in the Thrill Room, however one stands out in particular. We had a gentleman in looking at engagement rings with his girlfriend, and he later asked if he could bring his girlfriend’s father back into the Thrill Room to ask for her hand in marriage. He actually proposed in the Thrill Room and then the bride had a reception in the Thrill Room for her bridesmaids before the big day. It was amazing to be part of their journey as a couple and our team went over and above to help make the proposal as special as possible.

If you would like your business to be considered as Member of the Month send an email to: arafa@jewellers-online.org

Authorised and regulated by the Financial Conduct Authority (No. 306522)

| NAG News: Education & Training

Start your career as a gemmologist A new gemmology course launched by the NAG and Gem-A. he NAG has teamed up with The Gemmological Association of Great Britain (Gem-A) to offer you the opportunity to learn the basics of gemmology with Gem-A’s new entry level gemmology course, GemBasics. Originally developed for the US market, GemBasics has found its place among those with a passion for gems looking to take the first steps into a career in studying and

selling gemstones. Written in accessible, easy-to-understand language, the course aims to bring the basics of gemstone identification to a broader audience. GemBasics will provide you with the knowledge to understand and sell gemstones and is an ideal follow-on from the gem chapters included in JET1 and JET2. There are no entry requirements and you can still take the course if you have not yet achieved

JET1 and 2. The entire course is taught and assessed through 12 online lessons, with material sourced and selected by worldrenowned gemmologist, Dr Jack Ogden. As with other courses offered by the NAG, GemBasics fits easily around the student’s working life. However, It should be noted that this course is not a direct replacement for the Gemstone Diploma that the NAG previously offered. GemBasics is a nationally recognised Level 2 qualification and on passing, graduates will receive a certificate for a Level 2 Award in GemBasics which sits alongside GCSE qualifications. James Riley, Gem-A CEO and long-standing former member of the NAG Education Committee said: “We’re really pleased to be working with the NAG on our new GemBasics course. The time-honoured ties between the two associations can never be underplayed, and we hope to strengthen this relationship into the future.” Kate Madelin, manager of the NAG Education Department, spoke about the partnership saying: “The GemBasics course provides a wonderful way for Gem-A and NAG to work collaboratively. Education is at the heart of both our organisations. Together we can provide a complete educational progression pathway for our members and others interested in our industry.” The course will be offered at an introductory price of £395 and includes sealed course notes, a set of online instructional videos, a loose-leaf binder, online assignments,a set of 15 sample gems for examination and a Gem-A gem kit. Find out more about GemBasics and download the application form from the NAG education website: www.nageducation.org Alternatively you can call Kate Madelin on 020 7749 1702.

NAG Centenary Trust he NAG’s Centenary Trust was set up in 1994 as part of the Association’s centenary celebrations. While there were a number of excellent charities with jewellery industry connections in existence, a need was identified for an organisation that would specifically assist people in the retail sector of the jewellery industry.

20 The Jeweller Nov/Dec 2013

One of the principal objectives stated in the Trust Deed is that the Trustees should ‘undertake’ to provide or procure the provision of scholarships, awards and assistance towards training and work experience opportunities for persons who derive their main livelihood from the retail jewellery trade. Are you qualified to apply? There are no formal qualifications required

to apply for an award. However, you need to be currently employed within the jewellery industry or working within the educational sector on programmes directly relevant to employees within the jewellery trade. For further information, application form and full conditions please contact Kate Madelin in the NAG’s education department at: kate@jewellers-online.org

NAG News: Education & Training |

The Bransom Award winner for August The education department would like to offer congratulations to our Bransom Award winner for August – Douglas Santangelo of David M Robinson in Liverpool. ” started working in the jewellery business a calendar year ago as of October,” explains Douglas. “Previously I was working part-time in fashion retail and decided it was time for a change. There was a strong allure to jewellery and the luxury goods industry that it was enshrined in, which led me to successfully apply to David M Robinson. I have always been a passer-by to the showroom, albeit I was mainly interested in the luxury watches. However I now have a firm appreciation for jewellery and the craftsmanship behind each piece.” We asked Douglas how it felt to win the Bransom award: “Honestly, I do not think anyone expects to win an award when they start this course. As I scrolled through my emails and read ‘JET 1’ I thought it was a follow up on my thoughts on the course. It was only when I re-read the email that I realised I had won. I would definitely say that shock – coupled with excitement – was my initial reaction. Now I feel that I have so much more to learn but I have the incentive of my Bransom Award behind me,” he said. “I would have to say that I most enjoyed learning about gemstones and their respective backgrounds within the jewellery industry and retailing. The cornerstone in my research was the Dorling Kindersley handbook. This book was not only useful; it was an interesting read, discussing the historical background to gemstones and the characteristics of gemstones I one day hope to see. After each assignment was set the impetus was established to go out and collect research. Each time, a new chapter into the world of jewellery would unfold and it really motivates you to want to share that knowledge with future customers.” When asked if he would recommend the JET 1 course to others, Douglas said: “Having the JET1 qualification behind me, I have the foundation knowledge required to work

confidently within the retail environment. While I am furthering my knowledge learnt from the diploma each day, I believe the theory, married with the practical knowledge from the showroom floor, will put me in good stead for working on a post-graduate level with organisations such as the Diamond Trading Company.

“I feel that the business degree I am currently taking lies well next to my JET1 qualification and arms me with the skills needed to understand the industry from a retail and commercial stance. So I would say that in the short term I have more confidence with jewellery and convey that

to customers, while in the long term I hope to work with diamond mining companies. I would definitely recommend the JET1 course to others as it helps build a strong understanding of metals and gemstones, while also discussing working examples of jewellery concerns.” Mark Houghton, Douglas tutor, was really pleased with his progress. “Douglas placed a great deal of research into each of his assignments and his reward for that extra effort was an extensive but well-referenced piece of work (gaining additional points). Although not a course requirement, Douglas also managed to include some excellent images into three of his assignments. These images (especially in the hallmarking questions) helped to explain the often complicated symbols and purity values far more easily because of the clear and orderly manner in which they were presented. However, I thought that the real ‘jewel in the crown’ was the final assignment for its sheer quality and quantity of work submitted. Douglas’ five assignments were also completed ahead of timetable.” The course moderator was complimentary about Douglas’ work too. “He produced an original, outstanding, well-presented piece for his JET 1 course assignment. It had been well-researched in all the relevant sections of diamond grading and recognition and thoughts were well-marshalled. The inclusion of various diagrams and illustrations assisted to highlight the fact that had been stated in the text. A review of the earlier assignments confirmed that Douglas had spent a great deal of time and effort in putting together this excellent answer. Other exemplary candidates were considered for the August Bransom Award but the winner just had the edge over the other contestants. Congratulations Douglas on winning the Award.” All of us at the NAG wish Douglas the very best in his promising career.

The Bransom Award In July 2010 the NAG launched an award with the aim of recognising the very best JET 1 projects. Course tutors put forward nominations before the winner is chosen by our chief moderator. The individual who is awarded the highest assignment mark is rewarded with a trip to the historic and prestigious Goldsmiths’ Hall in London for the presentation of their certificate at our annual award ceremony. The award, which is sponsored by Bransom Retail Systems, is made on a monthly basis.

The Voice of the Industry 21

| NAG News: IRV Review

NAG Institute of Registered Valuers R

Loughborough Conference – Part Two As always, the IRV Loughborough Conference, held in September, offered a wealth of top-quality workshops. We asked four delegates to report back on a few highlights.

Silver – to scrap or not to scrap? Thanks to Naomi Wilson’s experience at Fellows she was able to provide an overview of the current trends in the silver market, validated by specific examples from the auction room. The market for 20th century items, she said, remains relatively low and the same is often true of undistinguished Victorian and even Georgian pieces. Driven by collectors, rare silver – like small silver novelties, ‘toys’, models, pre 1760s and provincial pieces – continues to achieve strong prices. Provenance and names remain influential factors with important silversmiths including, but not limited to: Paul de Lamerie, Paul Storr, Matthew Boulton, John Café, Charles Fox, Nathaniel Mills, William Comyns, Ebenezer Coker, Levi & Salaman and George Unite.

Art Nouveau, Arts & Crafts, Art Deco and designer 1940s and 1950s silver are still on the rise as well as quality enamel pieces. 20th century ‘names’ such as Omar Ramsden, Liberty & Co., HG Murphy, Goldsmiths and Silversmiths Co., Asprey, Garrard and Devlin, attract better results. Georg Jensen – particularly the early pieces – is popular and achieving very good prices.

Chinese buyers are repatriating Chinese silver, causing prices to rise significantly. Care should be taken when considering foreign silver with American ‘Sterling’ falling just short of English Sterling prices, and modern European ‘800’ standard lower still. Consideration must be made for differing

Naomi Wilson

22 The Jeweller Nov/Dec 2013

quality – particularly evident in Russian and oriental silver. Chinese buyers are repatriating Chinese silver, causing prices to rise significantly. The Chinese are also interested in formal dining and, as they do not pay tax on items over 100 years old, antique tea services are of particular appeal. Naomi gave examples of items fetching well over scrap at Fellows' auctions – an Art Nouveau silver tray by WG Connell, London 1901, realised £1,500 (£1,000 over the bullion value); a George II silver salver by Ebenezer Coker fetched £1,800 (over £1,000 over scrap) and a silver cigarette case, which normally would have fetched £20 to £30, sold for £1,000, due to a concealed beautifully enamelled erotic panel. Indian silver fetches very high prices (eight times scrap in certain instances). We were given the opportunity to examine a number of items which were auctioned at Fellows – the challenge was to state the auction estimates. Among the highlights were a beautiful William IV silver table snuff box with engine turned decoration. This was hallmarked in Birmingham in 1830, Taylor and Perry. The estimate was £500 to £700 and the hammer price was £2,700. There was also a Viners Art Deco sweet dish with ivory handles (Sheffield 1934) which was estimated at £80 to £120 and sold for £240. Exemplifying the interest in Indian silver was a card case by Oomersi Mawji, Bhuj, Kutch. The estimate was £150 to £200 and it realised a hammer price of £360 (Naomi recommended the resource silverfromindia1850-1920.blogspot.co.uk). In the case of a pair of Elizabeth Cook silver salvers (1760 to 1763), these were estimated at £400 to £600. If they had been sold individually the estimate would have been £100 to £200. Naomi also brought some silver-plated items and these were real eye-openers. A camel design centre piece was estimated at £400 to £600 but failed to sell. The biggest surprise for the delegates was a three-piece silver-plated tea and coffee set by Elkington, the teapot having an ivory finial and insulators. The teapot was made in 1885 and the milk jug and sugar basin in 1893. These were designed by Christopher Dresser and were estimated at £500 to £700. The hammer price was £8,800! Robert Bolton

NAG News: IRV Review |

Claire Mitchell

Colourless with confidence A simulant, Claire Mitchell reminded us, is defined as either a natural or artificial material which imitates the appearance of a gemstone. The most convincing and common simulant is cubic zirconia (CZ), which like diamond is isotropic or singly refractive. CZ is softer than diamond at only 8.5 on the scale of hardness. This may be apparent by observing the material under a 10x lens, which should reveal more rounded facet edges and a rough appearance to the girdle. CZ has twice the density of diamond at 5.5 to 6.0. Thus a brilliant-cut diamond, cut to exact proportions, will weigh less than a CZ of the same dimensions and may even feel lighter to hold. Diamonds are cut to maximise internal reflection and brilliance; there is no possibility of light leaking through the back of the stone unless it has been cut poorly. Therefore a wellproportioned brilliant-cut diamond that is placed table facet down on lined paper will not show the line; however CZ, being more transparent, will. Synthetic moissanite, a more recent diamond simulant, has a similar thermal conductance to diamond and subsequently will read as diamond with a thermal probe. Unlike diamond it is doubly refractive and this optical effect may be visible through the crown facets but not through the table of the stone, which is the direction of single refraction. It also has a higher dispersion than diamond at 0.104, which is apparent to the unaided eye, and a distinctive yellow colouration. It is important to note that HPHT treatment is now being used to make synthetic moissanite more colourless. Claire pointed out that observation is an important means of distinguishing diamond from many of its simulants. Internal features of a diamond may include mineral inclusions

of garnet, rutile, olivine or chrome diopside. Other distinguishing features may include naturals on the girdle. These are areas of rough crystal which may be left to maximise weight and to ascertain polishing directions. The girdle may often reveal bearding which is an indication of excess polishing. Synthetic moissanite may be distinguished by acicular inclusions which are noticeably finer than laser drill holes. There are two types of diamond tester: one which distinguishes diamond from most of its simulants and one which distinguishes diamond from synthetic moissanite. The former measures thermal conductance, the latter is a dual tester, which not only measures thermal but also electrical conductivity. Synthetic moissanite, unlike diamond, is strongly electrically conductive. Claire covered the important checks that need to be

considered when using a diamond probe, for instance: the stone should be clean and dry and a mounted stone should not be tested if it has come straight off the finger. Also, the diamond tester may provide inconclusive results if the metal in a mount restricts access to the stone. There are other forms of gemmological testing which may be used. A polariscope, for example, may be used to identify anomalous strain in diamond; however it should be noted that this may be seen in spinel and garnet. A spectroscope will facilitate identification of a zircon, which typically shows a number of absorption bands across its spectrum. However, a 10x lens is arguably the most important piece of equipment when looking to identify a diamond or a simulant. Diamondâ&#x20AC;&#x2122;s high adamantine lustre makes any of its simulants seem duller in comparison. Hannah McWhirter

Bring on the bling Most valuers who occasionally encounter costume jewellery simply skim over it and give it a nominal value. If the client is lucky, they might be advised to seek specialist advice at a trade fair, or be recommended to a specialist collectorâ&#x20AC;&#x2122;s event. But I imagine that most valuers pay very little attention to it, feeling that it is out of their remit.

Synthetic moissanite may be distinguished by acicular inclusions which are noticeably finer than laser drill holes.

Hilary Conquy

The Voice of the Industry 23

| NAG News: IRV Review So, if you were one of the lucky ones who attended Hilary Conquy’s workshop, you were in for a real awakening. There’s a huge amount of good quality items out there, and some are amazingly valuable and sought after. It is however a complex and interesting subject, and there is so much to learn. Working in twos, we looked at pairs of very similar looking items and were asked to hazard a guess at age, approximate value and, more importantly, whether there was a significant difference between them. Hilary directed us to ascertain the key indicators regarding value and collectability. It was amazing what you could glean from this exercise. Later, when Hilary went through items and revealed the identity and value of each, the key factors to look for were age, provenance and signatures, condition, quality, workmanship, beauty, rarity and repairs. Add all of this to the popularity/ current desirability of the item, plus experience at knowing and understanding the market – it was a real eye opener! Filled with interesting facts, Hilary’s handout was excellent too (and I would recommend it as further reading to any valuer or collector). It includes listings of the stampings and copyright markings to look out for as well as a short synopsis on some of the many manufacturers, designers and design houses. In all an inspiring and entertaining workshop fom a straighttalking expert who is passionate about her subject – thank you Hilary! Jackie Sanders

Picture perfect “What is the use of an appraisal,” said David Wilkins and Michael Norman, “without pictures or dialogue?” Remembering when valuations were typed lists of jewellery, never was it truer to say that it can take a thousand words to paint a picture of an item of jewellery. Thanks to computers and digital cameras, there is now no excuse for an appraisal to leave anyone in doubt as to what the item actually was. Still, not every valuer is a photographer of the David Bailey calibre and improving the quality of some photographs was the aim of Michael Inkpen’s workshop. The main errors of ‘colour cast’ (i.e. heavily coloured backgrounds), focus (blurriness), movement (apparently vibrating images) and depth of focus were all thoroughly covered.

24 The Jeweller Nov/Dec 2013

Michael Inkpen

Colour cast is caused by poor lighting, over or under exposure and a lack of understanding of most cameras’ ‘white balance’ controls. Focus is controlled either by a focussing ring on the outside of some lenses or electronically controlled. The distance between the camera lens and its subject is critical and if the camera is hand held it can lead to ‘movement’ resulting in multiple edged images, rather like having double vision. Michael advised either a tripod or, better still, the Magic Arm support to allow rapid changing between one position and another. This was just one useful piece of equipment on a list of several mentioned. The first, of course, is a camera. Michael categorised cameras into three main types: the moderately simple point and shoot; the middle range with more controls over speeds and apertures, and the professional type with a specialised body and lens. He explained the usefulness and disadvantages of flip-out screens and the majority of controls, which are fairly standard to most cameras.

sensitivity to light). There were also the hints, tips and wheezes for allowing the item to be the sole subject of the photograph, like using transparent holding devices against plain white backgrounds. The end results being items of jewellery ‘suspended’ in air. Once the photograph has been taken, what then? He explained the several software packages offering the subtle changes and corrections needed to finalise any photograph. Some software is expensive – Adobe Photoshop is very expensive and probably more than we need to get the job done. Coral’s Photoimpact (Michael’s favourite) is one of the less expensive photo processors but unfortunately is not optimised for Windows 7/8. Some cameras, when purchased have their own ‘post production’ software on a disk. The workshop was treated to a live demonstration on the improvement of photographs using Photoimpact – cropping the image, improving white balance, backgrounds, removing ‘stands and supports’ using cloning tools and so on. It is important to stress however that it has to be done without radically ‘improving’ or changing the colour of gemstones. Finally Michael finished with three tips to improve photographs: a) Use a simple piece of paper with a hole the size of the lens cut in it: taking a photograph with the lens through the hole removes any reflection of the camera body from the reflective surfaces of jewellery and gemstones. b) Make much more use of ‘timed shutter release’ rather than pressing the button, as even if the camera is on a tripod or Magic Arm it can still be shaken. c) A strip of paper with black stripes across it can add reflections to an image that may otherwise appear ‘flat’.

Not every valuer is a photographer of the David Bailey calibre and improving the quality of some photographs was the aim of Michael Inkpen’s workshop. The elimination of the photography faults was arguably the best part of the whole session and step-by-step Michael clearly explained the relationship between aperture, shutter speed and ISO (the camera’s

An excellent hand-out which summarised all the salient points was full of excellent diagrams and pictures and is well worth obtaining if you did not catch this workshop. Ewen Taylor

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Give ’em the old R AZZLE DAZZLE Is it possible to get excited about a watch and jewellery cleaning product? You wouldn’t think so, but there’s a bit of a buzz about one that’s just hit our shores, as Belinda Morris discovered. Theresa with business partner Angus Young

bout five years ago Theresa Massaro was visiting the United States and chanced upon a product that amazed her… So much so in fact that, in a move that has echoes of those old Victor Kiam ads (he liked Remington shavers so much he bought the company – for those too young to know what I’m talking about), she ended up bringing not just the product, but a whole commercial proposal back home. Her mind was made up after showing Razzle Dazzle® to a friend, property developer Gordon Halton from Yorkshire, who allowed her to give his very expensive Rolex watch a cleansing spritz. “When Theresa cleaned my Rolex with Razzle Dazzle® and the cleaning cloth, I couldn't believe my eyes. It brought my watch back to looking brand new again; all the scratches removed and the shine was unbelievable. A truly unique product… brilliant,” he said.

26 The Jeweller Nov/Dec 2013

Theresa decided to definitely bring Razzle Dazzle® to the UK and selling bottles of the fluid through jewellery retailers was clearly the way to go. She contacted the US-based company with the proposition and landed the sole distribution in the UK, Ireland and the Channel Islands for Clarity Distribution, the company she established with Angus Young in 2000. “I could see Razzle Dazzle® as a fabulous opportunity for jewellers to receive add-on sales. Thanks to the recession [jewellery] has become an aggressive market and this is a perfect point-of-sale item, which we hope will help retailers,” she explains. Still, proof of the pudding is in the eating! “We have had the Razzle Dazzle® cleaning fluid and Miracle Cloth for less than a month and have been very pleased with the sell through,” says David Speed, owner of Rivoli Jewellers in Jersey. “The key has been that

the staff believe in the product because they can see the results on our own products and on the courtesy jobs that we do for our clients. This coupled with the excellent value for money help to make the brand a success.” So, what’s so special about Razzle Dazzle® and what’s the magic ingredient that gives it the X-factor? The fact is, quite simply, that it works. Countless satisfied customers across America (and an ever-growing number on this side of the pond) can testify to its efficacy on everything from diamonds and gold to mirrors and spectacles. They look amazingly more sparkly and stay clean and sparkling for much longer than they otherwise would. As for the formula, well, that’s a secret closely-guarded by Razzle Dazzle®’s president Cristina Davison and her brother who created it some 10 years ago. But what can be said is that the cleaner is ammonia-free, nonabrasive and bio-degradable and is safe to use on all jewellery, even pearls and opals. For the latter two gems they recommend rubbing with fingers – rather than brushing – after spraying. Working alongside the cleaning fluid is the Razzle Dazzle® Miracle Cloth which removes tarnish and surface scratches from everything from fine jewellery to sterling silver flatware, tea sets, car bumpers and even outboard motors. Its application around the store, office and home are equally impressive: scuff marks from tiles (tick), lime deposits from glass (tick), water and heat rings from furniture

I could see Razzle Dazzle as a fabulous opportunity for jewellers to receive add-on sales… this is a perfect point-of-sale item, which we hope will help retailers… (yet another tick). Furthermore, formation of tarnish or rust on metals after being treated with the Miracle Cloth is greatly retarded. Mary at Diana O’Mahony Jewellers in Cork discovered Razzle Dazzle® at its launch at IJL. “We had some antique silver with us which we had purchased earlier that day. The pieces were very tarnished and we thought they would require a polishing motor to buff them out,” she explained. “Theresa used the Razzle Dazzle® Miracle Cloth and it did a superb

job of getting through the black marks and salt stains. We immediately decided to become a stockist, even though we already sell a number of other cleaning products. We felt the results were far superior to any product we've previously encountered.” While the intention is for jewellery retailers to sell the products (Razzle Dazzle® comes in four sizes) the formula is also available in more industrial-sized bottles which can be used in ultrasonic cleaners in jewellers’ stores and workshops. Theresa also envisages that Razzle Dazzle® would be a very suitable free gift for a customer who has made a highvalue purchase. Taking the idea a little further Clarity has created retail display stands for the 59ml bottles and also gift boxes containing the 59ml bottle, a brush and a high quality microfibre polishing cloth and will be taking orders in advance from November onwards. Now that I have tried out the product myself I would also suggest purchasing a bumper bottle to take home. Having spruced up my wardrobe of watches (including a few that haven’t seen the light of day for a few years) and a time-worn cache of vintage costume jewellery, I decided to test the manufacturer’s claims that it works a treat on glass surfaces. Who knew that cleaning could become so addictive? And it’s spookily clever how a Razzle Dazzle®-spritzed bathroom mirror doesn’t fog over when you breathe on it. A week later and it’s still refusing to go misty for me… The products’ effectiveness led to an encouragingly fat order book at IJL. “I would particularly like to thank all the jewellers in Jersey (Aurum’s, Stott & Willgrass, Rivoli’s and H Letto & Son) who we first approached and I would also like to thank Geminera, KC Jewellery and also my friends Kern, Lisa, Louise, Andy and Gordon who worked so hard and gave me tremendous support by

working so hard on the stand,” says Theresa, who also says that her fiancé Toby and business partner Angus were unstinting in their encouragement as she was establishing the new business: “They didn’t just believe in the products – they believed in me.” And it wasn’t just visiting retailers at IJL who were impressed with Razzle Dazzle®’s capabilities – Lewi from specialist opal cutters and suppliers ‘The Opal People’ who were also showing at IJL, was also won over. “Angus from Clarity polished one of my opals that I’d had for five years and it sold the very next day,” he said. “I used the sample he’d left me on another stone I’d had for eight years and that sold the following morning. Amazing. It’s a fantastic product and we will now be using it on all our stones.” Theresa is now aiming for UK-wide distribution and is currently seeking agents across the country. “There will be only so

many shops in a town or city that will carry it,” she explains, “because Razzle Dazzle® is a niche product and we definitely want to keep that sense of exclusivity.” A Razzle Dazzle® website will be up and running early next year. Search engine optimised, it will inform the consumer about the product and also have a ‘Where To Buy’ page listing stockists nationwide. “So we’re definitely looking for enthusiastic retailers who we can work with and drive business their way through the site,” says Angus and Theresa describing Clarity’s ethos of building good customer relationships that will go from strength to strength. “We aim to support and offer retailers a good quality product with the highest level of service.” Clarity Distribution have ample stock and can ship in good time for Christmas. Please call the enquiries team on 01274 800 069 or email: enquiries@claritydistribution.com

How will selling Razzle Dazzle help my business? This is a question we often get asked and the answer is quite simple. The key point with Razzle Dazzle has always been in the demonstration of the product – once it is shown to customers and they see the results there will almost always be a purchase. Not only this, but it is a great talking point and ice breaker to approach browsing customers with. Such a good product will make customers talk and, once word gets round where it can be bought, it will attract customers to your shop where they may also browse over and purchase other products.

Some retailer comments about the product… “I was amazed when first shown this product – its qualities definitely haven’t been exaggerated, it works! We use it extensively in our showroom – on gem set jewellery or to clean the glass display cabinets and it always does a wonderful job. Our customers love it and the fact that it is safe to use on any type of jewellery makes it very easy to market.” Andre’, Aurum Jewellers, Jersey. Owned by Richard Blampied “I had a ‘Razzle Dazzle® day recently and spent a long time cleaning glasses and making customers’ jewellery sparkle. We had comments like: “Oh my god it hasn’t looked like that since I bought it” and “I never realised it was so dirty”. One customer’s very scratched silver Tiffany earrings came up like new with the Miracle Cloth – she was thrilled and bought the cloth and the solution.” Jean Allcock, manager, Charles Alexander, Isle of Man “From the first use Razzle Dazzle® has become an essential item in the store and work shop. Cleaning stones and settings is quick and easy as it removes finger marks and makes jewellery look its finest and ready to be displayed. It can be used on all stones and metals, it requires very little effort to get amazing results. It’s also very good at cleaning watches, especially ones with ceramic cases and bracelets which show every fingerprint and mark.” Andrew Letto, H. Letto & Son Jewellers Ltd

The Voice of the Industry 27

Theo Fennell in Burlington Arcade by gpstudio

Stand (out) and Deliver! To compete successfully in today’s retail marketplace it is essential that your shop stands out from the crowd and encourages customers to enter. Louise Hoffman speaks to experts in shop fitting and display for tips on how this can be achieved. s we are all too aware, the retail landscape has changed dramatically over the past six years, and this change has been accelerated primarily by the growth in ecommerce. Online shopping has created many opportunities for the sector, but it has also initiated the demise of the high street, encouraging consumers to seal the fate of a service that is actually still very valuable to them. For the today’s bricks-and-mortar retailer it is now barely viable to exist without a web presence, but that doesn’t mean that the internet should be submitted to entirely – physical shops are still needed and provide a shopping experience that is simply impos-

28 The Jeweller Nov/Dec 2013

sible to gain from a website. It’s no mean feat to keep those doors open, but thankfully there are many ways in which retailers can stand firm against the worldwide web. Judy Head, who has presented many seminars for the NAG, is just one staunch advocate of good presentation as a key to maintaining footfall, and asserts that “If the retailer does not love or even respect his or her shop, staff and stock, then the consumer won’t respect it either! “Often, the first sight of the store happens long before prospective customers reach the window, and that first impression is crucial to the decision as to where they will spend

their money,” she explains. “If the shop looks run-down and in need of a clean or a coat of paint; if the upstairs windows are full of rubbish, boxes and overflowing trays of paperwork; and if litter is blowing into the arcade and the glass is covered in nose-marks, then it looks as if the retailer doesn’t care. If the retailer doesn’t care for his or her own business, then no-one else will care either.” When asked which jewellers are, in her opinion, flying the flag for superior store design, one particular name springs to mind for Judy: “Harriet Kelsall’s new showroom in Halls Green, Hertfordshire, is a converted barn and combines her workshop with a showroom, all designed by Lumsden Design, which also created her shop interior in Cambridge.

That first impression is crucial to the decision as to where they will spend their money… “The reason this works for me is that they have clearly thought through how the space is to be used and what their customers need from the store. They have a jewellery-themed

Feature | garden; an area for children; a coffee shop; a visible workshop and studio for the goldsmiths and designer; and a gallery-style layout with postcards that relate customers’ stories as the inspiration behind each bespoke commission. I also like the lighting, which spotlights the displays and work areas but leaves quiet, more subdued sitting and wandering space within the gallery. It has all the appearance of a tranquil and creative space, and is very well suited to the rural environment and the customers they wish to attract.” Where window displays are concerned, Judy selects Catherine Jones of Cambridge as a good example of best practice: “The company clearly believes that the window is a 24/7 selling space and a stage upon which a drama takes place. They change their windows every four to six weeks – at the time of this interview, for example, they have a Halloween display, using props and vinyl images of bats together with hanging golden garlands. The objective of the display is to encourage people to come into the store and explore.” Unfortunately, Judy has also witnessed plenty of ill-considered and unsuccessful windows over the years. “There’s a tendency to dress the windows to suit the needs of the store and not those of the consumer, and displays have generally been dedicated to promoting a vast assortment of brands, creating clutter and confusion,” she says.

Catherine Jones autumn window display

Indeed, the role of the brand has also altered hugely in recent years – perhaps especially in the jewellery sector – and as Judy correctly highlights, this has impacted upon store layout and design. Gregor Jackson, managing partner at specialist retail design consultancy gpstudio, believes that jewellery brands are particularly guilty of failing to consider how they’ll translate

CASE STUDY Cadenzza Westfield Stratford London When designing the brand new outlet for Cadenzza – a multi-brand fashion jewellery retail concept that is part of the Swarovski group – it was important to communicate its central message that jewellery is not just for special occasions, but for making every occasion special. “We wanted to create an atmosphere unlike that seen in traditional jewellery stores, where pieces are locked away in cabinets and seem inaccessible,” says Elisabeth Stark, vice president of marketing. “We want our customers to really interact with our brand and so have created an environment that stimulates and inspires. Our displays include backdrops of mood boards, catwalk stills and actual magazine tears to create a fashion editorial look and feel. By grouping products in terms of trends our customers are able to explore their own individual taste, and what relates to them at that particular time. “From classic and timeless designs, to the extraordinary and ornate power pieces, everything is showcased in a way that reflects what the designer was trying to achieve when he or she was inspired to create the collection.” their brand to a 3D retail environment, often relying on the same formulaic designs and product showcases, without considering how to tell a story about their products. In Jackson’s opinion, the key to successful store layout is creating a true customer journey, in order to guide them through the store and the pieces displayed. “Effective retail design really brings the pieces to life for the customer,” he says. “It helps to amplify the brand and product story, educate consumers about the pieces and make the jewellery displayed more desirable as a result. A good example is the boutique store that we designed for Theo Fennell in Burlington Arcade, which is focussed on storytelling and explaining the design process from inspiration to the finished article.” When considering a store refurbishment, Jackson isolates two main considerations on which to base decisions: scale and emotion.

“The pieces displayed are often very intricate and small in size, but incredibly valuable. The design needs to be ‘hero’, otherwise it can get visually lost in the space. Jewellery is also an emotional and personal purchase so the customer really needs to connect with the product and fall in love with it. Good retail design is needed to facilitate this process.” Security is obviously another major consideration, but Jackson advises a cautious and creative approach: “If everything is encased in a glass box it can be a real distraction and stop customers engaging with the pieces – the store can become cold and angular, and the product untouchable. The best jewellery stores make the security features decorative and a part of the design itself; they’re in harmony with the pieces and the rest of the store, and orchestrate the customer journey in such a way that the product is not at risk from the opportunist.”

The Voice of the Industry 29

Feature | Getting down to business

RPS Diamonds in Hatton Garden by Watts Design

Judy Head also offers advice on achieving a punter-pleasing retail environment: “Consider what you are offering your customers – what is the personality of the store and what are your unique selling points? This should govern the colour scheme, the way in which you serve your staff and how you will dress your windows,” she says. “Try small, flexible display areas that your customers can discover, rather than huge cabinets that can only be viewed from the top. Include visual clues such as magazines, images on the wall, or the working drawings of special pieces you have displayed.”

If the retailer does not love or even respect his or her shop, staff and stock, then the consumer won’t respect it either! When it comes to windows, Head suggests experimenting with turntable displays so that you can always dress from the front and the visitors to your shop will always see something fresh and new. You can also advertise shop services – repairs, valuations, bespoke commissions, etc – as well as promoting the aforementioned ‘personality’ or ‘brand’ of the store. “After all, people buy from people, so they are looking for professionalism, knowledge, service and services, and I rarely see this apparent in the window display. The choice

of a retailer – whether online or on the street – is very personal and is not all about the lowest price, the largest range or the latest big brand offer,” she emphasises. In terms of display and design trends for the year ahead, Head believes that themes will continue to reflect optimism that the UK is finally on the road to economic recovery, with brilliant colours such as scarlet, amber and aqua set against neutral grey backgrounds; abstract ’70s patterns influenced by pop and op art and an extension of the exotic floral themes that have dominated this summer. She also cites the four trends identified by the Frankfurt Christmas World show as hot tips for 2014: Silent Dignity – elegant organic shapes and soft pastel shades; Geometric Gravity – big blocks of bold colour and geometric patterns or shapes; Shaded Modesty – natural materials and simple dark colours and Dazzling Beauty – intense colours, floral patterns and symbolic motifs. Gregor Jackson anticipates an abundance of pop-up stores in the year to come, and also emphasis placed on the craftsmanship and process of ‘making’. “Jewellery looks so polished it seems almost untouched by human hands, but increasingly customers care deeply about the provenance of their purchases. To meet this need, I think jewellery brands will follow their luxury fashion counterparts and increase the visibility of the people behind the designs: opening up their workshops, showcasing their head designers and talking about the design process from sketch to finished article.”

Undoubtedly the most significant investment for the retailer (both in terms of finance and time), shopfitting should always be carried out by an expert – of which there are many throughout the country. John and Mike Watts, for example, founded their company Watts Design some 20 years ago. Having honed their skills as craftsmen in the carpentry and cabinet-making arena, they have spent the last 15 years solely carrying out bespoke shopfitting for the jewellery trade. “To date we have carried out a variety shopfits, ranging from simple cabinetry replacement to full shop refurbishment,” they say. “Our aim is to work closely with customers, listening to their requirements and utilising our experience to provide them with a beautiful, bespoke end result. All of our cabinetry is manufactured in-house by our small team of craftsmen, which allows us complete quality control, as well as helping to keep things on schedule. We also have a vast network of tradesmen on site, meaning we can take on the larger projects – offering customers new shop fronts, building works and more.”

Christmas window display ideas Still not decided on a Christmas window display concept? Judy Head offers some last minute ideas for those struggling to find inspiration… • Try a traditional Christmas theme – use small mirrors to look like a frozen lake, with frosted fir cones, fir boughs and berries. You can gather the raw materials and make up the bundles yourself or look at the DZD catalogue – the company’s artificial alternatives are available from its website and London showroom. • Try op art kinetic patterns – covering boxes and blocks with op art gift paper to create risers and using them in conjunction with black and white or silver balls. • Christmas is associated with food and wine. Purchase some miniature Christmas puddings or artificial fruit – especially small oranges – and use them in conjunction with gigantic images of flaming puddings.

The Voice of the Industry 31

| Feature The duo also highlight a key trend in jewellery retail – an interesting consideration: “In recent years we have seen increasing importance placed on customer service – many of our clients now want a more luxurious consultation area, with entertainment units for private buying, promotional and after-hours functions. This seems to be a trend throughout both modern and more traditional shopfits.” David Griffin is another expert in the design and build of jewellery shops, and has 40 years of experience in this field. His Birminghambased company, Hallmark Design and Shopfitting, specialises in the jewellery trade and operates throughout the UK, with occasional projects as far afield as Gibraltar. “In my opinion, a good store design is one that is not very apparent to the customer,” he asserts. “It should firstly stop customers as they pass by, and then almost without them noticing, entice them into a store in which a comfortable environment has been created to allow staff to secure a sale. Shops that look like stage sets rarely achieve these objectives. “It is also important to remember that a shop design will have a shelf life of about 10 years and so we are not designing just for today, but for the future. Having said that, shopping follows trends and fashions and our shops must reflect these changes, therefore we must design with flexibility, particularly with colours and finishes, so that at very little cost the shop can assume a brand new image. Display areas, too, should be as flexible as possible, as these can be expensive to adapt in the future.

Top tips for using point of sale Debra Jamieson of UK Point of Sale Group Ltd gives advice for effective in-store promotion. In an increasingly competitive marketplace where every customer and sale is invaluable to a business, it is argued that point of sale (POS) and effective retail marketing are more important than ever. Retailers need to raise their game to encourage fickle consumers into their stores – not only to browse, but to purchase. This entire process can be maximised by utilising effective POS. Create the right mood It’s vital for jewellers to encourage a desire to buy when the customer walks into the store by creating the right mood, which will set the tone for what could be a very emotional purchase. Whether a customer is looking for the latest watch or something more special like an engagement ring, the atmosphere and décor have to be inviting. Promote your services Many jewellers now offer value-added services to attract and retain customers. Information about services such as interest-free credit, cleaning or battery changing can be displayed using acrylic sign holders and leaflet dispensers to increase awareness. Create window displays Window displays can be created using stylish cable systems to highlight any new and popular brands available instore. Furthermore, store opening times can be displayed using window poster holders, especially in the run-up to Christmas where opening hours may be longer.

In recent years we have seen more importance placed on customer service… many clients now request a more luxurious consultation area…

Owen & Robinson Jewellers in Leeds by Hallmark Design

32 The Jeweller Nov/Dec 2013

Breitling shop-in-shop in the Trafford Centre, created by Giddings

Brands and fashions come and go, so avoid free merchandising unitry where possible. “Brands will often bully you to include their units. Make sure that the design of your store is complemented rather than compromised by someone else’s furniture,” David adds. Design company Giddings has a 25-year relationship with Breitling, which has now, says Mark Giddings, successfully evolved into the creation of the brand’s ‘shop-in-shops’ to selected retailers in the UK. “These brand boutiques have proved immensely popular with customers and our architectural and project management expertise allows the brand identity to synthesise fully with the store in question,” he explains. “Powerful graphics, LED screens and high quality manufacture, combine

Diamonds are forever, how secure are yours? Security is a major concern for jewellery retailers, with these stores being a traditional target for smash-and-grab raids. It is a tough challenge for jewellers to balance the need to use glass that gives customers a clear view of products, whilst maintaining a high level of security. ESG Secure composite panels offer the following key benefits over standard laminate products of the same thickness:

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| Feature The power of visual merchandising Eve Reid of independent retail consultancy Metamorphosis Group explains why good visual merchandising is key to retail performance improvement and how it can be achieved. In today’s retail environment, providing good customer service is not enough. In Europe, we tend to not like talking to people – in fact 76 per cent of customers never speak to a sales assistant when shopping – and therefore good visual merchandising (i.e. silent selling) is now critical to a store’s success. Visual merchandising isn’t just about making things look pretty; it’s about making sure that products sell and, indeed, it can have an amazing impact on sales by: • converting more of your visitors into customers • encouraging customers to shop for longer • increasing the amount that each customer spends It impacts on the way a store is designed; the way it’s laid out; its signage; how the products and services are presented; and even the ‘atmospherics’. When used wisely these visual touch points can cleverly define your style – vital if you want to stand out from the crowd. GIVE

with the latest LED lighting to enhance and maximise sales within a relatively small space.” “Clever marketing people know that the look of your interior displays can entice your customers to buy,” affirms Nicolette Jones of GIVE, a premium packaging company based in New Zealand but supplying to the UK. She encourages retailers to think outside of the box at a time when competition is increasing on a daily basis – and bricks-andmortar shops need to set their service apart from online outlets. For example, her own company seeks to introduce a more tactile experience for retailers’ customers through its beautiful natural wooden ring tray displays and boxes, which can be personalised with etched branding. Other companies such as Southern Gem, Noble Gift Packaging, Potters (London) Limited and Pollards International can all provide advice and product suggestions in this area, as can UK Point of Sale, whose acrylic sign holders and cable poster kits are pictured below.

UK Point of Sale

A few tips for success: Think 24/7 The pace of life is ever increasing and working hours are breaking from traditional norms. People want to shop 24/7, so retailers need to provide something during and after standard trading hours. Inform or connect with customers when nobody is home. There is a huge range of possibilities – touch screens, QR codes, blippAR and digital signage – but don’t underestimate the power of a good window display. Encourage me to stay for longer The longer a customer stays with you, the more they spend. Your mission should be to create a layout that naturally guides them around the store, allowing even a first-time visitor to see clearly what you have to offer and ensuring that the whole shop floor is used. Consider your customers’ journey – make it stimulating and enjoyable. Make it easy for me to shop Designing a store requires a certain skill sets and criteria – an eye for colour; good spacial awareness; balance; points of emphasis; gradation; rhythm and pattern; scale and proportion; harmony and unity. But very often retailers, architects and interior designers forget to think like a customer. Customers move like people – we all walk the same, move the same and turn out heads the same; and in general we have similar behaviour patterns that impact on the way we shop. Spend some time observing how customers move around your store to see if there are any barriers to sales. Know your ‘push and pull’ products There will be products that you are known for – sometimes called ‘destination merchandise’ or ‘pull products’ – and these will sell no matter where you place them. However, if located cleverly, they will ensure customers walk through more of the store, and create places within the store that have high levels of footfall passing them. These ‘hot spots’ can be used to actively ‘push’ products of your choice. Think impulsively I will only buy what I feel I need, unless you show me something I can’t live without. What are you doing to tempt customers into spending impulsively? Till and service points are an ideal place to promote additional purchases.

34 The Jeweller Nov/Dec 2013

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The Voice of the Industry 35

Feature |

Lapponia

Many jewellery brands and suppliers also offer their own display and point of sale materials that stockists can make use of. Lapponia, for instance, has recently designed new stands and imagery as the ideal backdrop for its striking Flame Bronze collection. Integral to any new display and effective visual merchandising is, of course, lighting. “I truly think that lighting is the number one consideration,” Gregor Jackson says. “If you get your lighting right, you give the pieces a chance to shine. The environment should be the backdrop that lets the jewellery take centre stage.” “There has been a noticeable return to experimenting with some of the new fine fabrics, weaves and textures now available, which in turn has led to the demand for better control of the LED lighting,” adds Giddings. “We are at last seeing light outputs that can rival halogen in brilliance, yet with all LED’s advantages. However, many

CASE STUDY John Lewis Oxford St., London John Lewis recently worked with Kolarz to install specially commissioned feature lights, made from fine Austrian crystals, in all of its fine jewellery departments across the UK. The Oxford Street flagship store’s jewellery department features two double-frame designs at varying levels, creating reflections, movement and illusion to attract the eye and make the whole room glow with a glamorous and stylish shimmering effect. “Lights in jewellery shops and departments should be luxurious, beautiful and part of what entices customers,” comments Kristina Griffith, managing director of Kolarz UK. “Lighting can make a dramatic difference to a store’s interior and can add to the image of the brand.”

are still confused by the terminology – Kelvin, colour temperature, lumens, watts, flux CRI, etc.” Display Lighting is one company that can help in this area. Supplying specialist lighting to independent and multiple jewellers both in the UK and overseas since 1999, its wide range of lighting products is designed specifically for the jewellery display industry. To date, it has worked with such names as Links of London, Beaverbrooks, Goldsmiths and Jacobs of Reading, and it has recently been appointed as the only approved lighting supplier to the CMJ. “Our experience in the installation of lighting enables us to assist in the design and installation process,” explains company founder Paul Breedon. “We are most often consulted during the design stage and can offer practical solutions to even the most difficult design applications. Our aim is for our clients to achieve the best possible results that the latest in lighting technology can offer.”

Jewellery brands are particularly guilty of failing to consider how they’ll translate their brand to a 3D retail environment…

Display Lighting (this image and above)

Display Lighting also has over 20 years’ experience in manufacturing spotlights and downlights that are designed to display diamonds at their optimum brilliance. “Our team of product designers has created some of the best luminaires available to ensure that jewellery displays are illuminated at exactly the right colour temperature. Every product is rigorously tested to help clients to achieve the best results and ultimately increase their sales,” Breedon adds.

Parify

The Voice of the Industry 37

| Feature Technological treats Flashy technology will never fail to catch customers’ attention, add to the ‘theatre’ of the purchase, and set your window display or service apart from others. One great example of this is Holition’s augmented retail innovations, such as the ‘Fusion Ring Builder’ that it built for Georg Jensen. This allows users to view the collection by selecting a product with a hand gesture – much like the scene in Minority Report, where Tom Cruise appears to select and interact with virtual images – and select metal colour, number and size of diamond etc, before stacking their own unique mix of rings. Holition

90 per cent less electricity than the old halogen and metal halide lamps, but heat runs a close second. UV damage is also a very significant issue for anyone selling high value leather strapped watches, plastic and rubber goods, as metal halide lamps

Jewellery is also an emotional and personal purchase so the customer really needs to connect with the product and fall in love with it… Parify

Transparent display technology, such as that created by Crystal Display, is another option to add the wow factor to a jewellery display. Allowing products to be hidden from view and then suddenly revealed through clever use of light and moving imagery, this technology has to be seen to be fully appreciated – you can see it in action on YouTube at: www.youtube.com/watch?v=iN0tmvFQPiU

Crystal Display

Parify is a great advocate of LED lighting in jewellery stores. As a spokesman for the company explains: “The most important method of generating business is to attract a potential customer to your window. If your goods are looking as clean, bright and brilliant as possible, with facets shimmering, the customer is likely to enter your store. But if you then sit them down under fluorescent lighting, you may find that the

38 The Jeweller Nov/Dec 2013

diamond that was sparkling away in the window suddenly looks flat. Sale lost! So, general lighting and internal merchandising lighting in a retail environment are as important as the windows.” There are also many commercial benefits to be reaped through conversion to LED lighting, says Parify: “The first is obviously the significantly lower running cost, with LEDs typically consuming between 60 and

will bleach everything in sight. Only last week we were called in by a jewellery business that had been forced to reduce the value of a watch display by £4,000 due to UV and heat damage to straps!” There is no escaping the fact that a shop refit is a huge undertaking, but the experts to help you through the rebirth or evolution of your store are out there, so why not get started straight after the Christmas rush?

Nov/Dec 2013 / Volume 22 / No. 8

Gem-A Conference report Munich Show round-up Sarine Lightâ&#x201E;˘ system

MARCUS MCCALLUM

FGA

PRECIOUS STONES, BEADS & PEARLS

A wide range of precious and semi-precious stones, beads and freshwater pearls, personally selected from around the world. U n u s u a l s t o n e s a s p e c i a l i t y.

ROOM 27-31, NEW HOUSE 67-68 HATTON GARDEN, LONDON EC1N 8 JY TELEPHONE: +44(0)20 7405 2169 FACSIMILE: +44(0)20 7405 9385 email:info@marcusmccallum.com

www.marcusmccallum.com

Gems&Jewellery / Nov/Dec 2013 t

Editorial

Gems&Jewellery

Nov/Dec 13 Contents

Never too busy to care… This is my first proper issue of Gems&Jewellery which finds me as editor. In truth it’s not really my style — we have a number of individuals working on this magazine who have far more input than I do. Let’s just say I sit behind the scenes like one of the press barons of old… It’s been a busy few weeks at Gem-A with shows, conferences, all manner of visitors and new and on-going projects. The thread binding most of these together is integrity. Martin Rapaport very kindly spoke at our conference and presented our awards to graduates – if you didn’t make it you really missed out. He said that he felt the key to our business was integrity and that organizations such as ours should uphold the highest standards of morality and lead the way for the industry.

Gem-A News

Gem-A has been striving to do that for 100 years and following recent biannual inspections from Ofqual and the British Accreditation Council, I am pleased to report that both were complimentary about our systems and procedures. At a recent Board meeting of the Association it was felt that we should always strive to exceed the expectations of such bodies and continually search for improvements. My point is that the status quo is not good enough; we can all improve something in our businesses or lives. It is no coincidence that companies with that ethos are at the very top of their game.

Gem-A Conference Report

Our conference this year was at Goldsmiths’ Hall and we are very grateful to the Wardens for allowing us to use it. Many delegates felt it to be among the best ever… but even here we know we could have made it better. The following day we had the first of our Corporate Social Responsibility seminars — a true eye-opener for delegates and staff alike. The fact is that businesses must engage in this soul-searching and truly look at how they conduct their affairs. Some very large global organizations have embarked on this never-ending process reaping the rewards by improving procedure, cleaning up supply chains, adding extra margin to their products, creating a real point of difference to their competitors and, I suspect, sleeping easier knowing they are doing their utmost to ensure they work in a responsible manner.

5 12 Instruments

The amazing thing is that we have the luxury to worry about these things and do something about them. We welcomed at our conference our longest standing Fellow, Leonard Baker, who became an FGA in 1948. Over the weekend Len met many former customers and friends from his time in the trade here in London. I learnt that he had written a book about his WWll experiences. He sent me a copy and I have been truly humbled reading it. What is so delightful is that Len, after 65 years, together with several other FGAs of more than 50 years’ standing, is as passionate now about gemstones and jewellery as ever. James Riley Cover Picture Gilalite aggregates in rock crystal from Brazil by Michael Hügi FGA. Winner of this year’s Gem-A photography competition (see p19).

Show Report Photographic Competition

We can all be responsible. At the recent CMJ conference I met a group of South American gold miners who were now able to supply Fairtrade gold. A week later the Sudanese minister of mines requested our help and training to exploit newly discovered deposits. Contrary to common belief there is a desire around the world to work in an ethical, sustainable manner whereby the needs of commerce, the local population and the environment can be balanced.

19 Nov/Dec 2013 / Volume 22 / No. 8

Gems and Minerals

Stone Scoop

22 Gem-A Conference report

Published by The Gemmological Association of Great Britain (Gem-A) 21 Ely Place, London EC1N 6TD t: +44 (0)20 7404 3334 f: +44 (0)20 7404 8843 e: editor@gem-a.com w: www.gem-a.com Registered charity no. 1109555 Copyright 2013 ISSN 1746-8043

Editor James Riley Advisory Board Mary Burland, Harry Levy Design and Production Zest Design +44 (0)20 7864 1504 Any opinions expressed in Gems&Jewellery are understood to be the views of the contributors and not necessarily of the publishers.

Munich Show round-up Sarine Light™ system

Advertising For mediapack and advertising rates please contact Ian Francis at the National Association of Goldsmiths on tel: +44 (0)20 7613 4445 or email him at: ian@jewellers-online.org

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Gems&Jewellery / Nov/Dec 2013

Gem-A News and Views

Gem-A news CEO James Riley

FGA

gives a round-up of what’s happening at Gem-A.

Honouring our past… and our future The graduation ceremony on Sunday 3 November was a standing-room-only affair. Graduates from 17 different countries attended and were presented with their Diplomas by Martin Rapaport who gave an inspirational speech. Highlights of the evening were Charlotte LeClerc not only getting the highest marks in both the practical and theory papers of this year’s Gemmology Diploma examinations and thus being the highest overall candidate, but also having papers which were exceptional enough to merit the award of the Tully Medal. Tay Thye Sun, Ronnie Bauer and Brendan Laurs all became FGAs by redemption while Dr Emmanuel Fritsch was awarded an Honorary Fellowship and Martin Rapaport an Honorary Diamond Membership. The real stars were three members who were granted Life Memberships; Leonard Baker was celebrating 65 years as an FGA while Sarah Riley and David Jones, both FGAs, were celebrating the fiftieth anniversary of being awarded the first ever Diamond Diplomas. The spirit of Samuel Barnett, the first person to qualify in the Gemmology Diploma examinations in 1913, was present with his Diploma being on display for the whole weekend.

Maintaining the standard Monday 4 November saw the first Corporate Social Responsibility seminar held at Gem-A. Dr Donald Feaver from Melbourne, Australia, introduced the Branded Trust programme which has been supported and inspired by CIBJO. Enrolment into the programme is inexpensive and aimed at small- and mediumsized companies as well as large corporate bodies. Prices start from around £250 to sign up, with the seminars also £250. One attendee was delighted to see he was already adhering to many UN and OECD guidelines in the way he operated his business.

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Library The Sir James Walton Library is now fully open comprising the two parts of the original collection previously split between the NAG and Gem-A, the South West Trust books of Ron Yeo and Eric Bruton, as well as books belonging to Basil Anderson and G.F. Herbert Smith. Members of Gem-A and the NAG are welcome to use the Library at any time subject to it being available, and students can use it by appointment under supervision. Please note it is not a lending library as we don’t want books to go astray!

New staff A warm welcome to two new members of staff, who have recently joined the team. Helen Mayer (top right) joins as our new membership secretary with a background in membership, fundraising and wholesale gem trading. She is an FGA and DGA, and will be working on improving and expanding our membership services. You will all be hearing from her in the near future when you get your membership renewals!

Cathryn Hillcoat (above) joins us as our receptionist and to deal with education enquiries. She is an FGAA and has experience in teaching gemmology and diamond grading in Australia. A trained radiographer, she will also be assisting with some of the new laboratory equipment.

Gem-A Calendar Gem-A Central and Career Services evenings Monday 2 December, 18:00–19:00 Gem-A’s London headquarters A career in luxury jewellery retailing with Jessica Collins from Garrard. Free for Gem-A students and members £10 non-students and non-members Tuesday 17 December, 18:00–19:30 Gem-A’s London headquarters A Christmas challenge Free for Gem-A students and members £5 non-students and non-members

Show Dates Gem-A will be exhibiting at the following shows:

International Jewellery Tokyo 22 – 25 January 2014

AGTA Show Tucson 4 – 9 February 2014

Gems&Jewellery / Nov/Dec 2013

Recent Events

Gem-A Conference Report The Scottish philosopher Thomas Carlyle once said: “A century of human life is like a dream, and when the body and material substance of it has altogether vanished — the articulate audible voice of the past is all that can be heard.” Of course, Carlyle was referring to the transcendental power of literature and how certain ideas have a lifespan beyond that of one’s own life. For gemmologists, the idea of transcendence exists in the specimens, stones and minerals they study every day — it is nothing new to them. However, the celebration of a qualification that has transcended the lives of its founders, to exist over the course of more than one lifetime, must have something special about it. This must be, as Carlyle said, “the articulate audible voice of the past”, a voice that can still be heard in the principles of learned honest integrity that the Association has held from its inception until this very day. And it was this idea that was the theme for this year’s anniversary conference — a conference celebrating 100 years since the Gemmology Diploma was awarded and 50 years since the Diamond Diploma was introduced. Over the course of six days at the beginning of November, attendees were treated to a varied selection of talks, trips, exhibitions and hands-on workshops from some of the world’s leading voices in the field of gemmology. Officially starting at Gem-A HQ on the morning of Friday 1 November, the conference opened with workshops taking a deeper look at problematic emerald treatments, the origins of the famous Somewhere In The Rainbow® collection and the way to apply Gemworld’s GemGuide to gemstone identification. The first two also formed part of the main event on the Saturday, and Richard Drucker’s GemGuide workshop was an update on one of last year’s workshops.

about the current state of the emerald industry. His candid style and no-nonsense responses to the raft of Joban, Cedarwood oil and ‘resin’ based treatments made him instantly entertaining. Furthermore, his confrontational style questions pre-conceptions of deceptive terms like ‘oiling’ and ‘resin treated’ — as does his practical workshop, where he physically shows the problems caused by certain new types of treatments. Having worked in Bogota for the last 25 years concentrating his efforts almost exclusively on emeralds (specifically emerald treatments), Groom’s experience is wide-ranging and thus his lecture is peppered with examples of both ‘traditional’ and new types of treatment. Firstly he exposes filled

Friday Arthur Groom’s talk on emerald treatments emerged as one of the most controversial of the day. With his work in the Clarity Enhancement Laboratory supplying what is termed the ‘ExCel Process’ — a natural process for the treatment of emeralds — Groom encounters many types of emerald treatments and as a result is indignant

The famous paraíba tourmaline from the Somewhere In The Rainbow® collection was a talking point of the weekend! © Gem-A. Photo Miles Hoare

Gem-A CEO James Riley kicks off the weekend’s proceedings. © Gem-A. Photo Miles Hoare

fissures seeping oil, discolouring the stone and creating fractures, before showing some of the worst examples of glues and resins used to cover table fractures and, in one case, even to reattach a corner that had been broken off. The more startling revelations were his examples of how some of these problems had been caused by emeralds being treated in the rough. Richard Drucker’s lecture on GemWorld’s GemGuide led attendees through the simple steps required to assess a gemstone’s price based on colour and quality. The detailed guide, available for both PC and mobile, gives gemmologists an up-to-date, interactive price list relating to a wide range of different stones. Drucker nailed home his ethos for pricing — ‘colour is key’ — as he believes that one of the most important factors in pricing a gemstone is colour, as it’s one of the main indicators to a gemstone’s quality in the first instance. While Drucker preached the importance of colour, attendees trotted down the yellow-brick-road to gain an insight into the origins of the Somewhere In The Rainbow® collection. The session, taken by Craig Lynch (with the assistance of Shelley

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Recent Events

Sergent and Bruce Bridges) told the story of the development of certain rock formations that allowed for the natural creation of some of the world’s rarest and most beautiful gemstones. Entwined within the history of the collection was the story of the vanadiumbearing grossular garnet, tsavorite, discovered by revered gem expert, the late Campbell Bridges. Father of Bruce Bridges, Campbell’s memory lives on with Bruce’s hard work to maintain the importance of his father’s amazing discoveries, including stones such as the Scorpion King, the largest specimen of tsavorite in existence at 20.20 ct.

The famous 20.20 ct tsavorite ‘The Scorpion King’ discovered by the late Campbell Bridges. © Somewhere In The Rainbow®. Photo by Michelle

Saturday Festivities moved to the magnificent Goldsmiths’ Hall for two days of lectures in the presence of some of the world’s leading gemmologists. The programme began with Chris Sellors discussing the history of Blue John from the fluorite-rich hills of Castleton in north Derbyshire, one of the best examples of fluorite in the world. British Blue John gets its name from the French bleu-jaune, meaning ‘blue-yellow’ as it was reportedly exported to France and used by ormolu workers during the reign of Louis XVI (1774–91). However, Sellors says that this, as well as the idea that it was used in Roman times, are myths, as the earliest recorded treated piece was discussed in 1671 by George III — and the early ormolu ornaments which use Blue John were actually being manufactured by Matthew Boulton of Birmingham in the 1760s, rather than by the French.

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Sellors went on to talk about the works of Boulton and the neoclassical architect and interior designer Robert Adam, who both worked with Blue John from the end of the 1700s. He discussed how the use of Blue John grew into the early nineteenth century when it was widely used for ornaments like knife handles and ornate chalices. However, by that time output was restricted to 20 tons per year and later reduced to only three, resulting in a decrease in the number of fluorite ornaments produced, with the exception of Chinese fluorite and the re-establishment of Blue John as a premium product by Sellors himself. Sellors was joined by Rebecca Tucker who recounted the history of jet and, in particular, Whitby jet. Originating in the Stone Age, jet (formed from the monkey puzzle tree) is one of the oldest gemstones in recorded use and has been ascribed different meanings and uses over the years. A large part of Tucker’s talk was devoted to the Victorian period when jet’s use rose dramatically following the sudden death of Prince Albert and Queen Victoria’s subsequent adornment of jet in her long period of mourning. This grew into a booming industry, which eventually turned some elements of mourning jewellery into a new style of gothic jewellery — in the form of ornate jet brooches and memorial photo lockets. Tucker concluded with the re-opening of the W Hamond Whitby Jet workshop in 1997, which now works with naturally eroded stone (it’s currently illegal to mine jet) from the Whitby coastline, to take a traditional British trade to a modern market. Following Sellors and Tucker, Sonny Pope of Suncrest Diamonds, spoke about its unique HPHT and irradiation treatment for coloured diamonds. Pope discussed how Suncrest used irradiation along with HPHT processes to treat (mainly) brown type IIa diamonds with a process known as ‘annealing’. He explained how enormous amounts of pressure and heat — as high as 2,600°C — replicate the forces that produce diamonds in nature and use the minute amounts of nitrogen contained in brown type Ia diamonds to change the diamond’s colour. Pope discussed how “a stone’s colour grade can jump dramatically

Some great examples of Victorian mourning jewellery from W Hammond/C W Sellors. © Gem-A. Photo Miles Hoare

with the right amount of irradiation” while illustrating brightly coloured blue, green and yellow stones. He went on to explain how certain levels of irradiation on stones with two nitrogen atoms could split the atomic bonds and create diamonds with a distinct pink colouring. Diamond discussions continued with Gary Roskin’s talk on clarity grading in diamonds. He started with an outline of the factors affecting clarity, in relation to Roy Huddlestone’s first system for grading clarity in diamonds. However, there are grey areas in clarity grading, he warned. As is normal with certification, Roskin contests that “Most of us try to get close to GIA standard diamond grading, because that’s the most popular set standard.” However, he added, this could be somewhat limiting when talking about clarity as some clarity gradings given by labs can lack… well, clarity. Roskin showed how many of the clarity gradings could sit on the boundaries between VVS2/VS1 or how an SI2 could also be classified as I1. He admitted that although insurance companies require single grades for pricing purposes, he did raise concerns about some of the standardization of diamond grades and how this affects our knowledge and appreciation of the stones. A buffet lunch followed and a chance to check out exhibitors from Somewhere In The Rainbow®, GemmoRaman, CW Sellors, the ebook Handbook of Gemmology, the Scottish Gemmological Association, Fellows & Sons Auctioneers, the IRV and Gem-A branches, as well as view items from the

Gems&Jewellery / Nov/Dec 2013

Recent Events

Association’s collections and the latest books and instruments from Gem-A Instruments. Then Dr Jack Ogden took us on a journey through the history of the gems from the Cheapside Hoard. Discovered in a basement cellar of a house in London’s Cheapside in 1913, the Hoard is believed to date from between 1640 and 1666, and is suggested to have been buried and abandoned during the Great Fire of London. Ogden’s first clue to the suggested dating is the “interesting new supply of gems that appeared around the 1600s”, when Gengis Khan’s empire building opened up the silk routes from the Ottoman Empire through to Europe. It was around a similar period that a number of gem collections from cathedrals in England started to fall into private hands and these exotic gems made it to private goldsmiths on Cheapside. Origins of the stones also give some clues, with the rubies commonly Burmese, the pearls and amethysts noted in Thomas Nicols’ 1652 book A Lapidary or, the History of Pretious Stones, as from the Persian Gulf, Panama and West Indies (after the discovery by Columbus of the ‘New World’), the opals possibly from Hungary and the turquoise from Iran. Ogden talked about the cut and settings — which were similar to a table cut top, with an uncut bottom, as seen in Ottoman jewellery A collection of the Blue John on show at the Conference, courtesy of W Hammond/Gem-A. Photo Miles Hoare

of the time. However, he noted that although we have clues to the origin and time period of the jewels, it still doesn’t give us a better idea of who actually owned them! The penultimate speaker of the day was current vice-chairman and former president of Gem-A, David Callaghan. His insightful lecture retold the history of the Gem Testing Laboratory through the eyes of its founder, Basil Anderson. He explained how the laboratory was created in response to the challenge of identifying Mikimoto cultured pearls and the problems this produced for the enormous and highly profitable trade in natural pearls in London during the 1920s. Such was the impact of this influx that in 1921 an association of local jewellers and the London Chamber of Commerce established a specialized testing facility in Hatton Garden and employed Anderson as one of the few men equipped to do the job at the time. Armed with a degree in chemistry with mineralogy and the only pearl-testing equipment then available (the ‘lucidoscope’ which he bought back from a brief visit to Paris) Anderson was installed in an L-shaped room at the top of Hatton Garden’s Diamond House. Callaghan’s talk guided us through how the pioneering Anderson developed his technique for testing with the lucidoscope

over a number of years. The history of Anderson’s methods were dispersed with personal tales of his first experiences with calibrating a balance on a slanted floor and an endoscope that, when plugged in, blew all the fuses in the building. Of course, with Anderson’s obvious attention to detail he notes his inventive solution: a rubber mat. Callaghan also pointed out the obvious difference in health and safety aspects — lucidoscope testing required filling drilled pearls with a mercury-based solution… without any of the modern day protections. In all, Callaghan’s speech spoke of a man with a pioneering spirit and a passion for sharing knowledge with others, a sentiment expressed in the fondness with which he writes about C.J. Payne, R. Webster and A. Farn, who joined the laboratory in the years to come. Saturday’s last speaker, Dr John Emmett, presented in-depth study of the issues in testing using a spectroscope — a detailed analysis of how different ways of testing are not independent. He explained the problems with spectra represented with testing with a spectrometer and spectrophotometer — the former doesn’t account for absorption and the latter is often presented in gemmological literature with no vertical scale (or absorptioncoefficient) and doesn’t account for crystallography. “A correct spectrum is independent of one instrument” he asserts and the different ways of cross referencing data still rely on the eyes and the components of the stone. By the use of such advanced equipment, Emmett showed that the absorption combined with the relative concentrations of colouring elements could be used to predict the shade and saturation of any corundum. He examined how the level of colour changed with the concentration of the different elements, showing that in some cases only a few parts per million (ppm) were needed, such as chromium, but others, like iron, needed a few hundred ppm. Each of the different colouring combinations and mechanisms was discussed, before Emmett concluded by showing how the colour of the beautiful Padparadscha sapphire was caused by a combination of orange from trapped ‘holes’

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Recent Events

adjacent to chromium atoms, and red from the chromium itself. With the day’s lectures at a close, delegates attended a drinks reception ahead of the anniversary dinner. Served in the Goldsmiths’ Hall’s famous Livery Room, this celebration drew some of the most influential names from the field of gemmology and the history of Gem-A. Speeches were given by CEO James Riley and president Harry Levy, and the Association was presented with a ceremonial plaque of praisiolite mounted on Australian gumtree sap from Katrina Marchioni, president of the Gemmological Association of Australia.

Two Matthew Boulton chalices from the ormolu workers in the 1700s.

Sunday The day began with a study of the various types of lesser-known Scottish gemstones with Brian Jackson, ex-principal curator of mineralogy at the National Museums of Scotland. His talk focused on the areas where a number of well-known gemstones can be discovered in Scotland, starting with Neolithic jade arrowheads from the fifth and sixth centuries BC, and Bronze Age jet and amber (the oldest form ever found) from around 2000–1600BC. Jackson took us on a tour of regions from Loch Avon and Nevis, the homes of Scottish beryl, Glen Buchat, the only known deposit of Scottish tourmaline, to the Isle of Mull and the deposits of corundum and sapphires found by the British Geological Survey in the mid-1980s. He also discussed the highly desirable

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Scottish pearls, which range from white and silver to lilac and pink in colour and were set in the crown of James IV. Other interesting aspects of Jackson’s talk were the lesserknown Scottish stones like the ‘Wee Willy’ (the largest pearl ever found in Scotland), and the jewellery that resulted from their discovery, such as the Hunterstone Brooch, an eighth-century Celtic design set with Scottish amber and the gem-set pieces of garnet, sapphire, emerald and pearl jewellery from the Medieval period. Some of the more intriguing pieces included MacIver-Campbell of Ballochmyle’s amazing sixteenth-century ring brooch and the odd crystal balls made in the twelfth to sixteenth centuries… simply for healing cattle. Jackson’s talk was followed by a particularly challenging topic — Dr Emmanuel Fritsch’s talk on luminescence. He explained how he believes that the gemmological community needs some standardization for measuring luminescence. Fritsch detailed these issues by outlining the steps to studying photoluminescence and the absorption of photons (from a UV light source) which cause visible radiation of photons from the stone. He discussed how the detection of HPHT treated, near-colourless type IIa diamonds needed the right UV lamps, as brownish synthetic diamonds give a brighter luminescence under strong light, and could easily be mistaken… He stressed the importance of equipment, maintenance, and the need to keep the surrounding areas as dark as possible by not using white diamond grading machines that are commonplace in laboratories. Fritsch’s main point, however, was how in many cases the luminescence of gems is not identified properly as there is little to no standard set of tests or processes to determine a stone’s luminescence. He suggested introducing more descriptive terms such as ‘turbidity’ and ‘chalkiness’ when reporting on a stone’s fluorescence, and the adoption of a standard timeframe, as some materials take longer to ‘charge’ than others before displaying the appropriate degree of luminescence. He suggested a number of areas where a standardized form of luminescence test could limit inaccuracies

The beautiful and rare watermelon cat’s-eye tourmaline — part of the Somewhere In The Rainbow™ collection. © Somewhere In The Rainbow™.

in measurements of luminescence and, as a consequence, could become one of the standard tests when grading stones. Lab tests still a hot topic, Dr James Shigley’s Evolving Challenge of Gem Identification discussed the current issues facing the labs in the processes of gem identification. In a departure from the worries about synthetics that have been expressed in previous years, Shigley, a research fellow at the GIA’s Carlsbad laboratory, warned of the pending problems with the array of treated gemstones, stating “synthetics and simulants are now much less of a problem than treatments”. Comparing the issues in gem testing in the 1970s to those faced today, he pointed to the number of diffusion-treated corundums, glass-filled rubies and filled fissures and fractures in emeralds currently appearing in the lab. His main concern was how rapidly this new problem was growing, with the lab seeing stones that had been badly treated several times. One of the other issues he pointed to was the inclusion of synthetics parcels — many of which have been found to contain a small proportion of synthetics, or classic simulants. Although Shigley seemed cynical about the current state of treatments on the market, he noted some of the steps GIA had taken to test for new ones. Finding cutters and dealers who apply certain treatments to stones, GIA use these as test cases, feeding the information into their knowledge database to help identify similar troublesome treatments in the future.

Gems&Jewellery / Nov/Dec 2013

Recent Events

Within this process they also attempt to verify the origin of the stones allowing them to build up repository knowledge of the component parts of stones from certain regions and to detect treatments that may have affected these stones. The theme running throughout his presentation was Shigley’s continued warning that: “Treatments are the newest problem, more so than synthetics and anyone entering the trade now should be warned that treatments will be the big issue of the future.” Martin Rapaport, who was next to take the stage, concurred that synthetics are not the problem and may, in fact, be the solution. His passionate address poured scorn on some sections of the diamond industry and how they continued to skew the playing field in their favour. Rapaport’s contention is that synthetics show “God has a sense of humour”, as after years of exploitation and monopolization by certain diamond and mining companies, synthetics have completely changed the nature of the industry and may potentially change the major players in years to come. However, Rapaport’s talk was really about ethics in the diamond industry and how “I don’t know” or “not my problem” is the crux of our current issues. Although his pessimistic outlook on the problems created by the intervention of the Indian government (in pushing up the prices of rough) and the Kimberley Process (for failing to produce trusted certification) show Rapaport’s disdain for governmental intervention and nonmarket-based solutions, his passion in identifying the issues was keenly felt by most members of the audience. In fact, the sense of injustice that pervaded his words was encapsulated when he praised Gem-A as the “keeper of the faith, of the values of honesty, transparency and fairness that have kept the Association going for 100 years” before concluding that “our diamonds can only ever be as good as we are”. Shelly Sergeant began her presentation with the opening scenes from the 1939 version of The Wizard of Oz. Sergent, who works as curator of Somewhere In The Rainbow®, led us through some of the collection’s rarest and most sought-after

stones. Starting with beryl, she described some of the 45 types of beryl including emerald, trapiche, aquamarine, morganite, and golden and red beryl contained in the collection, along with various types of chrysoberyl, corundum, fluorite and diamond samples. Obviously, one of the most revered gems in the collection is the Bridges’ tsavorite garnet, donated to the collection by the Bridges family in memory of the late Campbell Bridges. Although this is one of the rarest and most startling stones in the collection, the list doesn’t end there. Sergent went on to discuss the array of gemstones including pearl, peridot, quartz, rhodochrosites, sunstone and tourmaline, with special mention made of certain stones such as the watermelon cat’s-eye tourmaline and the 10 ct bi-colour bleeding heart tourmaline. John Bradshaw continued the study of rare and sought-after stones with his talk on ‘The medium, the medium-rare and the well done’. During this session he discussed some 4,000 mineral species in recorded existence and how only 200 of these have ever been faceted, and just 20 of which are commonly used in jewellery. Bradshaw asked the question: what had happened to the 180 ‘rare’ stones not used in jewellery? To answer he began by discussing the term ‘rare’ and what it might mean in the context of these jewels. Firstly he noted a distinction

Bleeding Heart tourmaline — part of the Somewhere In The Rainbow™ collection. © Somewhere In the Rainbow™.

between the jewellery and the collectors’ markets, discussing how some stones, through their hardness and durability, lend themselves to jewellery making, while the others don’t. He then detailed some of these ‘rare’ stones like benitoite — a stone which has ample properties for jewellery making (as shown in this benitoite butterfly by Robert Weldon. However, as the stone has been found in only one source which has now been closed, it is available in small amounts, once a year, at the beginning of the Tucson show. Similarly, gem-quality sphene (also known as titanate) which can be found in 97 localities (98 if you include the moon) is only generally available in such small quantities that it’s not commonly set within a piece of jewellery. The rare earth manganese carbonate mineral rhodochrosite was next on the list — a beautiful rare red gemstone that is also scarcely used due to its limited supply and high price. The same can be said for sphalerite, little of which is now mined and can only be found from old collections and inventories. However, it’s not all doom and gloom; Bradshaw went on to point out some more ‘rare’ stones that are beginning to see wider use. For example, he notes the growing supplies of blue, green and blue-green apatites from Madagascar and yellow apatites from Mexico — which have seen prices drop dramatically. Similarly, the abundance of Chinese fluorite and the re-establishment of Blue John as a jewellery product have caused a certain revival in these types of low durability, more rarely used stones. Finally, he mused on how the use of certain stones over time always depends on supply, price, popularity and properties for use and thus the story of the rare, medium-rare and well-done will be forever changing. Bradshaw then handed over to James Riley, who closed the conference by praising the sponsors, supporters, speakers and staff for all their hard work. A special thanks went to Gem-A’s Amandine Rongy, who was instrumental in the production of the entire event, including the Friday workshops and the trips to the Pearl exhibition at the V&A Museum, the Cheapside Hoard, the Crown Jewels and the Natural History Museum.

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Gems&Jewellery / Nov/Dec 2013

Recent Events

Gem-A’s 2013 graduates gather on the magnificent staircase at Goldsmiths’ Hall. Photograph © Photoshot.

Graduation ceremony The Conference celebrations continued into the evening with the annual Award Ceremony with graduates from across the globe invited to receive their awards at Goldsmiths’ Hall. Those who attended travelled from Australia, Canada, China, India, Japan, Madagascar, Sri Lanka, Taiwan, Thailand and the U.S.A., as well as from Europe and the UK, coming together to celebrate their achievements with a night of networking in the company of some of the industry’s leading lights. During the course of the evening, students who achieved a particularly high level were recognized with the presentation of Gem-A’s awards. Given to students who go above and beyond the expected level and continually exceed all expectations, Gem-A’s

Our honorary fellows and those granted fellowship by redemption. L – R: Martin Rapaport, Ronnie Bauer, Cally Oldershaw, Emmanuel Fritsch, Brendan Laurs, Tay Thye Sun. © Photoshot.

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Awards are often a signpost for prospective employers looking for the cream of up-andcoming talent in the industry. Winners of this year’s awards include: • Nicole Mouralian took home both the Hirsh Foundation Award and the Anderson Medal for her results in the Gemmology Foundation Certificate. • Stefanus Salomon Weyers, was winner of the Deeks Diamond Prize. • Caroline Marcus who was awarded the Mok Diamond Practical Prize for excellence in the Diamond Practical Examination. • Li Ziyue, who was the best overall candidate in the Diamond Diploma, was awarded the Bruton Medal. • Special mention goes to Charlotte Leclerc, who won not only the Anderson-Bank Prize, the Read Practical Prize and Christie’s Prize for Gemmology for outstanding results in the Gemmology Diploma examinations, but also was awarded the Tully Medal. Given to candidates whose papers are of an exceptionally high standard, the Tully Medal is the true badge of excellence for anyone passing a Gem-A course. Following the presentation of awards and prizes Martin Rapaport took to the stage as the guest speaker, inspiring students to continue on in the industry with the highest ethical and moral code. As well as praising

Leonard Baker (right) who was awarded the Gemmology Diploma in 1948, with Sarah Riley and David Jones who qualified in the first Diamond Diploma examinations in 1963. © Photoshot.

students for their hard work over the course of their qualifications, Rapaport discussed their future role in the industry. He asked them not to rest on the knowledge that they’re good at what they do, but to “strive to be excellent”. He also urged students not only to be the best, but also to retain and remember the ethics and principles promoted by Gem-A in all that they do. With those words students retired to the Drawing Room for a drinks reception in the company of some of the world’s leading gemmologists. This provided a great opportunity for many of the students to meet the famous gemmologists whose books they had studied during their courses and to kick-start discussions about their future careers…

OF APPRAISAL THEORY CAT CERTIFICATE

th gh 15 ou e y or nc nda 4 hb ere Mo 201 ug nf – er h Lo Co 13t emb t ay p rd Se tu Sa

THE NATIONAL ASSOCIATION OF GOLDSMITHS Representing Jewellery Retailers since 1894

It is a modular programme with a self learning approach that teaches the basic theory, methodologies and good working practices needed to become a competent jewellery valuer. Three detailed modules of study support the syllabus on this seven (minimum) to 24 (maximum) month programme. The Certiﬁcate of Appraisal Theory will be awarded to those who complete the seven assignments and who reach the minimum standard required in the theory examination. This programme is suitable for anyone with a desire to learn best valuation practice and is one of the pre-requisites required for entrance into the NAG’s Institute of Registered Valuers.

For more information on CAT please contact our IRV Co-ordinator Sandra Page Tel/fax: 029 2081 3615 Email: irv@jewellers-online.org N.A.G.’s Institute of Registered Valuers, 27 River Glade, Gwaelod-y-garth, Cardiff, CF15 9SP

www.jewelleryvaluers.org Institute of Registered Valuers

Gems&Jewellery / Nov/Dec 2013

Instruments

The Sarine Light™ system Sarine’s Akiva Caspi reports on an alternative approach to diamond performance. The diamond trade accepts that the traditional 4 Cs do not always convey an accurate indication of how a diamond will look in reality. The challenge for any alternative approach has been to develop a scientifically robust way to quantify a diamond’s appearance while providing an overall grade that can be understood by consumers. Gem-A recently witnessed a demonstration of the new Sarine Light™ system which offers just such a way to measure how a diamond looks. To help the industry judge the potential for this light performance system, given here is an explanation of how it works. The concept of the 4 Cs — Carat weight, Colour, Clarity and Cut — is well known and is generally used when evaluating a diamond. However, the 4 Cs and traditional diamond grading are not sufficient to determine the overall beauty of diamonds. As an example, a diamond may have an Excellent cut grade, but a clarity grade of I2. It may be cut perfectly to maximize the light performance, but looks bad because the inclusions obscure the light travelling through it. In the new approach taken by the Sarine Light™ system the factors that

1. A zigzag pattern of black and white zones of equal total areas within a hemispherical chamber.

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determine the beauty of the diamond are measured combined and the diamond is analyzed as one entity. In developing this system, Sarine studied more than 23,000 diamonds from multiple manufacturers and retailers. It became clear that, as any diamond dealer would tell you, diamonds that have identical grades based on their 4 Cs can differ from each other significantly in actual appearance.

The sparkle or scintillation is the contrast of bright and dark reflections from the facets seen when the observer, the illumination or the stone moves. Light symmetry describes how equally light is reflected from the diamonds facets.

Light The way in which light travels through a diamond is based on two attributes, refractive index and dispersion. The refractive index (RI), the relative speed of light in the diamond compared to a vacuum, is 2.417 — higher than most other gems. The dispersion, the difference in RIs between the violet and the red, is 0.044, which is a relatively high value when compared to most well-known natural, transparent gemstones. The most common way to describe the diamond’s beauty or appeal is a combination of four components: brilliance, fire, sparkle and light symmetry. These are determined by many factors such as polish, symmetry and of course clarity. Brilliance is the intensity of light that shines from the diamond and it has two sources, external and internal. The internal influence is caused by the light being refracted upon entering the diamond and then reflected from the pavilion facets. The arrangement of the facets determines the path of light inside the diamond. The external brilliance or lustre is caused by light reflected from the surface of the diamond. The fire in diamonds is a function of its dispersion, the range of spectral colours seen in a polished diamond when it is viewed face-up. This varies according to the illumination conditions and facets arrangement.

2. A typical UV plate where Y is luminance, the perceived brightness in an image, and U and V are the chrominance (colour) components.

Cut and beauty The beauty of a diamond, expressed in terms of its brilliance, fire and scintillation, largely derives from the proportions in which the diamond is cut. It can be regarded as being in the eye of the beholder and different individuals will have differing views. However it is necessary to have a set standard to compare stones. Modern concepts of good cut are largely based on Marcel Tolkowsky’s ‘ideal’ cut, but his calculation is not perfect. For example, Tolkowsky’s model has a girdle thickness of 0 and his calculations were based on a twodimensional representation, thus ignoring multiple reflections. Of course Tolkowsky had no computerized ray tracing or threedimensional virtual models of a diamond and they are huge achievement for his time.

Gems&Jewellery / Nov/Dec 2013

Instruments

3. Brilliance images: the five levels of brilliance in diamonds from (left to right) Very Low brilliance to Ultimate brilliance.

There have been many standard cut proportions published over the years and laboratories and appraisers today may use some of these or have proprietary cut grading systems, such as those used by the GIA and AGS diamond grading laboratories.

Light performance of diamonds The direct approach to determining light performance of diamonds, as used by Sarine Light™, measures light performance in actual diamonds. Included are all the factors that affect the appearance of the diamond, including movement since the appearance of a diamond varies depending on the direction of observation, position of the stone and changes in lighting. To address all the components of light performance Sarine uses (US patent 8,116,552 B2) a zigzag pattern of black and white zones of equal total areas within a hemispherical chamber. The zigzag pattern a

is shown in 1. During measurement, the hemisphere rotates so that light hitting the white portion of the hemisphere is returned as diffused white light to the diamond while the other half of the light is absorbed by the black areas. In this way during any phase of the rotation, some portion of a diamond will get just white light, some no light and the rest partial light. Multiple images of the diamond during rotation are generated. For each pixel in a digital image, the system records three components known as YUV; Y is luminance (perceived brightness in an image) and U and V are the chrominance (colour) components. A typical UV plate is shown in 2.

Brilliance Brilliance is calculated as the average grey level (the luminance or the Y component) of the composed image (from all images) inside the outer edge of the figure. The images in 3 above show five diamonds with five levels of brilliance. b

Symmetry – for round brilliant shapes To calculate symmetry, the system composes all the images into a single grey-level image. For a brilliant-cut diamond, the system then calculates the difference between the grey level (the luminance or the Y component) of eight pixels at 45° intervals around the image and their average grey level. For example, if the eight pixels have Y values of 100, 105, 98, 102, 115, 90, 103 and 96, their average is 101.25 and the differences between this and the individual pixels 1.25, 3.45, etc. The system next sums these differences and repeats the process for the entire image (for every group of symmetrical pixels). These figures are then added and the higher this total value, the lower the overall symmetry. For a Princess cut, symmetry is based on pixel luminance at 90º intervals. With this system, clarity has a direct effect on symmetry and thus poor symmetry may derive from non-symmetrical polished facets, the presence of internal inclusions or a combination of both. Two diamonds with two levels of symmetry are shown in 4a and b.

Fire

4a & b. Two levels of symmetry in diamonds; (a) shows a low level and (b) a high level of symmetry.

The first step in assessing the diamond’s fire is to calculate a ‘fire value’ for each pixel in the multiple images. The fire value is its colour distance (see 5). If it is below a threshold value (based on research and assessment) it is assigned a value of 0; if above, it is a legitimate pixel for assessing ‘fire value’ (6).

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Gems&Jewellery / Nov/Dec 2013

Instruments

5. Brilliance as function of clarity. Note that for a brilliance level of higher than 70, there are 43% of the population with high clarity while in I2 there are only 6% of the population.

To calculate contrast, each pixel is analyzed to see how its grey level (luminance or Y factor) changes under different light conditions, that is at different rotations of the hemisphere. If this change is above a certain threshold, this pixel is marked as having a contrast. The contrast is calculated by dividing the number of pixels showing contrast by the total quantity of pixels in the stone. The higher the result, the greater the contrast. The combination of contrast and dynamic fire determines the sparkle of the diamond.

The second step is to see if each individual pixel belongs to a cluster of similar pixels or if it is an isolated pixel, possibly an artefact in the digital image, which doesn’t actually affect the fire. The system considers only pixels that are within a large enough cluster, if not they get a value of 0. The system considers two aspects of fire called Static Fire and Dynamic Fire. Static fire This is total effect of fire and is represented by the sum of all colour magnitudes from all the images. This total is adjusted relative to the size of the diamond, as measured by the system, so that small stones with small quantities of pixels won’t automatically get low static fire values. Dynamic fire The system calculates how each legitimate pixel belonging to a cluster changes with different illumination as provided by different positions of the hemisphere. If this change is above a certain threshold, each pixel is considered as contributing to the dynamic fire, and the size of the change is recorded. The total sum of these recorded changes is the dynamic fire. The overall fire is calculated from the static and dynamic fire values by the sum of the two.

Sparkle Sparkle, the flashes as the diamond moves, is calculated from contrast, dynamic fire.

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Each diamond was then measured using the Sarine Light™ and DiaMension™ HD systems. This comparative study provided a huge wealth of information. For example, that the clarity of a diamond mainly starts to affect the light performance from SI1 and lower clarity grades; 5 shows the brilliance of diamonds with clarity of IF to VS and I2 and clearly shows a correlation between the brilliance performance and clarity grade. On the other hand although, as expected, the brilliance of Excellent cut diamonds is better in general than those with Good grades, there are some diamonds with Good cut grade that have better brilliance than those with Excellent cut grade for diamonds with high clarity. 6 shows the brilliance performance with cut grade of Excellent vs Good.

Grading the individual parameters

6. Brilliance as function of cut. Note that for a Brilliance level of higher than 70, there are 58% of the population with Excellent cut grade while in Good cut grade there are only 19% of the population.

Method of research A total of 23,652 diamonds were examined from companies in Israel, Belgium, India and Japan. Information from the traditional diamond grading of each diamond was recorded, including symmetry and polish grades, rough origin (if known), along with notes as to the presence of features such as clouds, brown tint or milkiness. Where companies had a number of product lines with different qualities, they shared with us their internal quality systems including pricing schemes in terms of price per carat. The clarities of the stones studied ranged from IF to I3 and most were sized between 0.25 and 1.00 carats, with some above and some below this. Most of the stones had cut grades of Excellent, Very Good or Good, with a handful of Fair and Poor.

Each one of the four light performance parameters has a range of possible values. The range was divided into five sub-ranges from high to low. The borderlines were defined based on examination of all the diamonds, computer analysis and a process of trial and error, plus comparison with traditional grading results to ensure consistency and that a sensible result is achieved.

7. In this chart, 42% of the diamonds with clarity of IF–VS are graded with Ultimate and less than 6% of diamonds with clarity of SI3–I1

The subgrades were named: Ultimate, Very High, High, Standard and Low. To summarize, each diamond has four parameters (brilliance, fire, sparkle and

Gems&Jewellery / Nov/Dec 2013

Instruments

symmetry) and each parameter may have one individual grade (Ultimate, Very High, High, Standard and Low).

Total light performance grading The aim was to develop a single ‘score’ that would summarize the light performance of a diamond and enable trade or consumers to easily compare two or more stones. In cases where two diamonds have a similar overall score, a final distinction could be based on personal preferences for factors such as brilliance or sparkle. The challenge was to convert the four individual grades, each of which might have five levels, into a single overall grade. Sarine’s approach was

8. In this chart, 32% of the diamonds with clarity of SI1 are graded with Ultimate and just 18% of diamonds with clarity of SI2.

to work on the assumption that the best looking diamonds will have the best light performance in all four parameters; when some measured parameters have lower grading, the total grade will be less. The final patented grade is described with the terms Ultimate, Very High, High, Standard and Low, combined with a number of stars. Thus if all four parameters of a diamond are Ultimate it is graded as Ultimate ***; if a diamond has three Ultimate parameters and one Very High it is Ultimate ** (Very High can be any one of the four parameters — they are all considered equal); Ultimate* are for diamonds with three Ultimate grades and one Very High or for diamonds with two Ultimate grades and two Very High grades; and so on all the way down to the Low*

awarded to a diamond with all four parameters Low. There are a total of 70 parameter combinations, giving a total of 12 possible overall grades.

Diamonds and total grading Our research made it clear that, as shown in 7, high clarity diamonds have a better chance of getting a high total score (Ultimate ***) than diamonds with low clarity, although there are exceptions. There is even a clear advantage in SI1 over SI2 as shown in 8. Better colour diamonds in general receive a higher overall grade than diamonds with poorer colour, although the effect is less marked than with clarity (9). With regard to cut grade, diamonds with better cut grade have a better chance of scoring a high overall grade, but there are again exceptions (10). A further test was to compare the diamonds from a manufacture offering high priced diamonds with those from a manufacturer offering a lower quality. Most of the diamonds of the high quality manufacturer were found to have the top total grading scores. Two groups of diamonds from the same manufacturer but at two different price levels, were also tested using the system. In most cases the higher priced diamonds received higher scores than the lower priced stones. The Sarine Light™ can output results in various report formats, including credit card format. Reports can be added to any trade platform or to social media sites such as Facebook. The equipment can be located

anywhere in the world and once the diamond is measured and the optional additional information input, the results are uploaded to the Sarine online server and the information is processed and presented to the user in the desired format. An iPad application allows sellers to show buyers Sarine Light™ diamond reports, a video of the multiple images taken by the Sarine Light™ and to compare two diamonds side by side.

10. In this chart, 59% of the diamond with Excellent cut grade are graded with Ultimate, 24% with Very Good cut grade and 17% of diamonds with Good cut grade have Ultimate. Note that there are diamonds with Good cut grade that have better light performance than diamonds.

Manufacturers use traditional proportion instructions to cut a diamond in an optimal way. With light performance there is no certainty that what is planned is what will be achieved because clarity and to a lesser extent colour, will also affect light performance. However, Sarine can provide guidance to cutters to help them achieve high light performance. So far the system has focused on round brilliant-cut diamonds — a substantial portion of the market — but future development will extend to introducing a grading system for fancy shapes and modified round diamonds, where the concept of light performance and cut grade has received little attention or standardization so far. All images in this feature © Sarine Light™

9. In this chart, 59% of the diamonds with D to I colours are graded with Ultimate and 51% of diamonds with colours J to P.

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The

Jewellers’ Association

Helping you make the right connections UÊ Ê££ääÊ i LiÀÃÊ V Õ` }Ê `iÃ } iÀ > iÀÃ]Ê > Õv>VÌÕÀiÀÃ]Ê ÀiÌ> iÀÃÊ> `Ê`i> iÀÃ UÊ / À Û }Ê}i ÃÌ iÊÃiVÌ UÊ Ê >Ì > Ê> `Ê ÌiÀ >Ì > Ê i LiÀÃ « UÊ -ÌÀ }Ê >À iÌ }Ê «« ÀÌÕ Ì iÃ UÊ ÝVi i ÌÊÃiÀÛ ViÃÊ> `ÊLi iwÌÃ

www.bja.org.uk 0121 237 1110

Gems&Jewellery / Nov/Dec 2013

Shows and Exhibitions

The Munich Show Andrew Fellows

FGA

reports on Munich’s gold-themed 50th anniversary show.

As the world famous Munich Mineral Show enters its 50th year, its reputation for being Europe’s premier show appears well-founded. With over 1,250 exhibitors catering for all tastes from rough to faceted stones and from minerals to fossils, it seems there is something for everyone, all under one roof. The theme for the 50th anniversary show was gold and, as might be expected, this was in evidence on a wide range of levels. Gold jewellery was, as usual, on show, but this gold-themed year bought together some of the premier specimens from around the world, both from public museums and private collections. The Corsage, an extraordinary specimen of crystallized gold. © Gem-A. Photo by Paveet Amrit.

Amongst the more noted and famous pieces in the ‘gold pavilion’ was the Latrobe Nugget. Originally found in Australia but now resident in London’s Natural History Museum, the Latrobe weighs in at an amazing 717 g. Alongside the Latrobe was ‘The Corsage’, one of the most famous and best specimens of crystallized gold in the world, known for having a tree-root trapped within it which cannot be removed without damaging the gold (above). On the more frivolous side, Elvis Presley’s gold telephone and keys were also on view, as were many golden dinosaurs (right).

As usual, a vast range of gems and minerals was available, but most noticeable for this year were the specimens of larimar, lapis lazuli and (mineral wise) crocoite, which could be found in abundance in most halls. Rare gemstones such as benitoite and hauyne also had their place, becoming more widely recognized by their increased supply and availability, and by their saturated colours. Treatments were also wellrepresented, with quantities of ‘highlighter’ coloured crystals and coated stones. This year also saw the launch of the New Design Forum, showcasing a selection of up-and-coming designers, giving them an opportunity to exhibit and market their creations. Many unique and creative pieces were on show ranging from architect-turned-designer Katerina Pimenidou’s structural pieces, to art student Kat Chrysou’s whimsical and playful items. Rough gemstones were the main feature of Isabelle Keller’s collection, which combined simple elegance with easy to wear designs (top right). Friday is reserved for traders and collectors, and it is on this day that some of the more exclusive stands can determine whether the show will be a success or not. Hundreds of thousands of euros are handed over in exchange for some of the rarest specimens, which we were lucky enough to be able to handle, and we discussed why they were highly sought after by collectors.

Golden dinosaurs. © Gem-A. Photo by Andrew Fellows.

Rough opal on matrix ring by Isabelle Keller. © Gem-A. Photo by Paveet Amrit.

Many small gold nuggets were also widely available, ranging from €140 upwards, with high quality native samples on matrix reaching over €30,000. Saturday and Sunday are the days when the show opens to the public with the crowds forming well before opening time, everyone trying to be the first to find that special or unique stone. The event is geared to cater for all ages and it was interesting to see how family-friendly the show was, with an array of interactive workshops such as geode splitting and gold panning. Young, enthusiastic potential gemmologists were visibly wowed by some of the hands-on experiences and the many beautiful minerals on display. It was refreshing to see how the show catered for those young and old — allowing a wider appreciation of the specimens on show and opening up the worlds of mineralogy and gemmology to a completely new audience. Such was the enjoyment of all these activities that, when the show finally closed on Sunday, it was with a mixture of relief and dismay that we headed for the airport. Munich is one of the largest shows but also the longest, with each day starting at 9 am and going on until 7 pm. However, that said, it’s also one of the most enjoyable — so we’re really looking forward to a return trip next year!

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Gems&Jewellery / Nov/Dec 2013

Photographic Competition

The Winners 2013 Each year Gem-A invites members to submit their best gemmological photography in four categories — natural, treated, synthetic and melange. Since this year’s competition opened, we’ve been inundated with entries ranging from still life images of gemstones to photomicrographs of interesting inclusions, fillings and fragments. From the many entries received, the following are this year’s competition winners.

Winner: Melange category John Harris FGA — ‘Energy’ The background is the fluorescence spectrum from a natural ruby. The disc is a ground glass diffusion filter showing the e-ray transmission from an orangey-pink sapphire. Winner: Natural category and overall winner Michael Hügi FGA — Gilalite aggregates in rock crystal from Brazil. Gilalite is a rare hydrous copper silicate (Medusa quartz).

Winner: Treated category Edward Ferder FGA DGA — Almandine garnet seen under crossed-polars. The photo shows vivid interference colours from two doubly refractive crystals.

Winner: Synthetic category John Harris FGA — ‘Twilight’ A photomicrograph of a polished section of Australian variscite in oblique incident light. In the centre, an inclusion of gold contributed to the impression of a moonlit landscape.

Honourable mention Conny Forsberg FGA — Hematite rose in quartz from Brazil.

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Gems&Jewellery / Nov/Dec 2013

Gems and Minerals

Trumpeting the type IIa Why, all of a sudden, are we seeing the words ‘type IIa’ in descriptions of important diamonds at auction? Gary Roskin FGA explains all. Simply put, type IIa diamonds are the most pure form of crystallized carbon of all diamonds as they do not contain readily identifiable trace elements of colouring elements like nitrogen or boron. So when we see that a large, natural, untreated diamond is type IIa, like the most recent auction of a 118.28 ct D colour oval brilliant (1), we make a mental note that this diamond is of the purest kind. In addition the diamond is flawless

(no blemishes can be seen on the surface or inclusions inside the diamond at 10x magnification), and is of excellent polish and symmetry. We can therefore, by definition and the U.S. Federal Trade Commission regulations, call this diamond ‘perfect’. Now, you might think that with a diamond grading report stating D colour and flawless, one would not need to go any further. But noting that the diamond is type IIa just catapults it into a whole new category.

The first awareness I remember it well. It was early in 1999, and the venerable diamond manufacturing company Lazare Kaplan International had announced that its Pegasus Overseas Limited division, working with General Electric, had processed top light brown coloured diamonds, removing the brown colour and creating colourless diamonds. According to Kaplan, these diamonds were virtually unidentifiable as having been treated. The professional diamond grading labs had missed identifying their high pressure high temperature (HPHT) treatment. The gasp was heard around the gemmological world, and it marked the beginning of professional laboratory diamond typing.

What is diamond typing?

An exceptional pear-shaped diamond weighing 74.79 ct, D Colour, VVS1 clarity, potentially internally flawless, type IIa. Property of a private collector. Est. $9/12 million, sold for $14,165,000 at Sotheby’s New York, Magnificent Jewels Auction, 17 April 2013. Image courtesy of Sotheby’s, New York.

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In an overly simplified description of diamond typing, there are basically four diamond types (Ia, Ib, IIa, IIb) with variable subcategories of each, sorted by how nitrogen or other colouring trace elements are found within the diamond structure. Type I diamonds have variable combinations of nitrogen atoms and are defined as those diamonds containing enough nitrogen to be measurable by infrared (IR) spectroscopy. Type I diamonds are divided into two major categories, type Ia and type Ib, and then each one of these also has subdivisions. All of this ’typing’

1. A magnificent oval diamond 118.28 ct, D Colour, Flawless, type IIa stone of Excellent Polish and Excellent Symmetry. Est. $28/35 million (HK$220/280 million), sold for $30.6 million (HK$238.68 million). Sotheby’s Hong Kong, Magnificent Jewels and Jadeite Auction, 7 October 2013. Image courtesy of Sotheby’s, New York.

is merely trying to describe just how the nitrogen atoms are distributed throughout the diamond crystal, giving rise to the common yellow body colour. Type II diamonds, on the other hand, have either so few nitrogen atoms that they are not easily identified (type IIa), have no nitrogen at all (also type IIa) or have trace amounts of boron — creating grey and blue diamond (type IIb).

The type IIa exception The brown in brown diamonds is created by vacancies and not a colouring element. So as it doesn’t have a colouring element, it too can be a type IIa diamond. According to Dr Wuyi Wang at GIA’s Gem Lab, the brown colour is attributed to a defect of vacancy clusters. And the reason

Gems&Jewellery / Nov/Dec 2013

Gems and Minerals

HPHT works so well with type IIa top light brown diamonds is that it can destroy that vacancy cluster. That explains the colour change after annealing. If you had previously thought that the brown colour was attributed to plastic deformation (i.e. strain), research has proven otherwise. While a vacancy cluster is closely linked to plastic deformation, plastic deformation is not the cause of brown colour. To prove the point, if plastic deformation were the cause, then HPHT annealing would not only remove the vacancy cluster, it would also remove the plastic deformation. But it does not. And that explains why we still see plastic deformation (i.e. Tatami graining) after HPHT annealing (2).

Notes from Sotheby’s The following notes were made by Sotheby’s: “Accompanied by GIA report numbered 2155581489 dated 21 August 2013, stating that the 118.28 ct diamond is D colour, Flawless clarity with Excellent Polish and Symmetry; also accompanied by diamond type classification report stating that the diamond is determined to be a type IIa diamond. Type IIa diamonds are the most chemically pure type of diamond and often have exceptional optical transparency. 2. Type IIa Tatami graining/extinction preliminary identification of type IIa diamonds can be seen when using a polarizing microscope, and finding what has been described as Tatami graining/Tatami extinction, the visible strain or plastic deformation typical of type IIa diamonds. Seeing Tatami graining is not proof, but a strong indication. Further testing using IR spectroscopy is necessary. Image by Gary Roskin.

From the Sotheby’s auction catalogue The four largest D colour Perfect diamonds ever sold at auction: The Mouawad Splendour 101.84 ct Modified pear shape, D colour, Internally Flawless Sold for US$12.8 million Sotheby’s Geneva, 1990

The Star of the Season 100.10 ct Pear shape, D colour, Internally Flawless Sold for US$16.4 million Sotheby’s Geneva, 1995

The Star of Happiness 100.36 ct Rectangular shape, D colour, Internally Flawless Sold for US$11.9 million Sotheby’s Geneva, 1993

The Winston Legacy 101.73 ct Pear shape, D colour, Flawless Sold for US$26.7 million Christie’s Geneva, 2013

“Also accompanied by a letter from GIA stating that the 118.28 ct diamond ‘is the largest Oval Shaped D colour, Flawless or Internally Flawless diamond we have graded as of the date of this letter and the report issued’.”

Add to that ‘Golconda’ As stated on its Diamond Type Classification Report, GIA notes: “Type IIa diamonds are the most chemically pure type of diamond and often have exceptional optical transparency.

Type IIa diamonds were first identified as originating from India (particularly from the Golconda region) but have since been recovered in all major diamond producing regions of the world. “Among famous gem diamonds, the 530.20 ct Cullinan I and the Koh-i-Noor are examples of type IIa.” For gems of this importance, the Gübelin Gem Laboratory (GGL) also provides diamond type classification information on its grading reports. For type IIa colourless diamonds cut in antique styles, the GGL states: “In addition, this diamond is classified as type IIa (a chemically very pure type of natural diamond). It displays a colour and degree of transparency particular to these unique gemstones. Diamonds of this type, exhibiting an antique cutting style as well as a fine quality, are very rare and will certainly evoke references to the historic term of ‘Golconda’.”

Final point Just to make it perfectly clear (pun intended), type IIa D colour diamonds are not ’white‘ diamonds. ’White‘ diamonds are actually snow white, milk white. This is a true colourless diamond. GR Special thanks to Gary Schuler, senior vice president, director of jewellery, Sotheby’s New York, and to Shannon Demers, Sotheby’s press office, New York.

Page 21

Gems&Jewellery / Nov/Dec 2013

Stone Scoop

Mountain and molehills The Koh-i-Nur — the Mountain of Light — is one of the best-known gems in the English Crown Jewels, but it is fun to strip away some of the fawning admiration and see what was actually said about it by the humorous magazine Punch when it went on exhibition in 1851. This little light of mine

Size matters

In addition to criticism, then as now, that recutting the great Moghul gem into a shallow brilliant was a travesty of sense and taste, public reaction when the gem was exhibited in a large, gilded cage at the Great Exhibition in Hyde Park, London, in 1851 was generally one of disappointment. It was smaller than expected and didn't sparkle much. Punch asked: “If you are a diamond, why don’t you behave as such?” The press had noted the presence of fire extinguishers in the Great Exhibition, leading Punch to quip that this would “account for there being so little fire in the Koh-i-Noor [sic]”. In the same vein we have a Frenchman noting that the Koh-i-Nur shines with as much brightness as the sun in England, and mirth generated by the fact that the diamond “disdains to shine” unless lit by gas and thus “There is something touching in the fact of a sick diamond calling in the assistance of one of its poor relations.” (Gas was generated from coal, which, like diamond, is carbon.) This undercurrent of political radicalism is also seen in the suggestion that Queen Victoria might be best advised to sell the Koh-i-Nur and the money be invested in education — making it a more useful Mountain of Light.

The longest piece was an imagined dialogue between two policemen guarding the diamond while on exhibit. They noted that women visitors clustered around the diamond like moths around a candle, but most of them expressed their disappointment in the size of the diamond. Retorts by the policemen included: “Well, yes ma’am; Primrose Hill is bigger. But, you see, it’s one o’ those mountains that people make out of molehills.” And “Come again next week, and it may be bigger.”

Molehills of lustre Punch’s coverage ranges from a poetic dialogue between the Koh-i-Nur and a piece of coal (complimenting a cartoon that suggests that coal might actually be a better provider of light for the general population) to a suggestion, in a satirical piece about England becoming a Republic, that this great Mountain-of-Light, “should be broken up into little Molehills-of-lustre”.

Page 22

Blood diamond The policemen also discussed its history: Policeman 1: “Well it can’t brag of its company afore it came to us; that is — as I’ve read. It was found in Golconda and sent to the Great Mogul; stole from him that stole it; the next thief being killed by the next thief; who was again robbed of the Mountain; that was stolen again and again until —” Policeman 2: “Yes — go on.” Policeman 1 (with emotion): “Until it became the lawful property of the British Crown.” Policeman 2: “Hallo. What, did we buy and pay for it?” Policeman 1: “Bought it with the brave blood of armies, and the gold of the soldier’s pay! Paid I don’t know how much in blood, and gold, and gunpowder, and bayonet cold iron.” Policeman 2 (scratching his head): “Well, I dare say it’s alright… But I say if there was only a sort of upper Police force big enough to tackle ’em, what a lot of kings, and conq’rors, and generals, with their green laurels, would have found themselves in the station-house.”

Crowd around the gilded cage containing the Koh-i-Nur diamond at the Great Exhibition, 1851. From Punch, vol. 21, 1851.

The gem replies There was a rumour, of course, that the stone exhibited was not the true Koh-i-Nur, but an imitation. So Punch published a letter from the Koh-i-Nur insisting on its genuineness: ”After having passed from throne to throne, dynasty to dynasty, unsullied for a moment by the breath of suspicion, to have my pretentions called in question by the populace in Hyde Park is too much.“ I’m not sure just how much of the original diversity of opinion you might pick up today in a visit to the Jewel House at the Tower of London, or in many books on the Crown Jewels, but it is always useful to remember that, like a diamond, healthy scepticism and satire are for ever. J.O.

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Argentium is available in sheet, grain and wire form and is fully supported with a range of findings, chains and solders to enhance all scales of manufacture, from production runs to the one-off designer item. Early converts to this material have ranged from internationally-renowned silversmith Jocelyn Burton who has created some magnificent items using Argentium (left) to luxury watch brand Bell and Ross which created stunning Argentium cases for its WW1 watch collection (above). In addition to these names, Allied Gold – the exclusive UK distributor for the oday’s Argentium silver, which is available in two grades of alloy – 935 and 960 – is the culmination of over a decade’s research and development resulting in a range of worldwide patented materials suitable for use across every aspect of silver jewellery, watch and giftware production. With a list of unique properties, which will appeal not just to the manufacturer but also to the wearer, the demand for this modern alloy is growing. The benefits of using Argentium silver over traditional 925 are substantial for the manufacturer. These include fire-scale elimination,

which has the added environmental benefit of eliminating harsh chemicals used in traditional stripping processes; increased ductility; a range of alloys specifically developed for casting, stamping and spinning and a whiter appearance than standard silver. The latter is arguably its most widely appreciated benefit to manufacturer, retail and consumer alike, especially when coupled with its low maintenance aspect, which removes the need to either flash plate or rhodium plate finished articles to sustain their beauty. In keeping with the fact that it is finer than standard 925 silver, Argentium silver has a distinctive flying unicorn mark, a symbol of purity throughout history. Together with the Argentium® trade mark, this creates added value and a unique branding to a material which has its foundations firmly rooted in history, but is today a modern solution and far more environmentally friendly option than even recycled 925 silver, as it requires far less processing and treatment by the manufacturer.

material – has shown its commitment to the alloy by developing a core collection of wedding bands in Argentium 960, along with a wonderful collection of Argentium and coloured gold rings (above) which will be featured at the Jewellery & Watch Show at the Spring Fair in February 2014. For further information, technical support and sales on Argentium silver and to find out more about what it can do for your production, contact sales@alliedgoldltd.com or call 020 7249 4422.

The Voice of the Industry 39

Jeweller picks... Gifts the

Is there a corner of your shop set aside for items other than jewellery and watches? OK, so maybe there are fewer canteens of cutlery and silver chargers than a few years back, but how about those little (or not-so-little) gifts that traditionally were found in the jeweller’s window? Given the ubiquity of mobile phones and the immediacy of texting and emailing, it’s gratifying to discover that beautiful writing instruments are still in demand (some so gorgeous it’s probably not even important to know how to hold one – you can just gaze at it). And, despite the proliferation of tablets, Chip&Pin and Instagram, there’s still a place in this world for bookmarks, money clips and photo frames. Looks like the tooth fairy is also safe… for the time being.

TREGAWNE

Following on from the popular versions for tomato ketchup, Marmite and marmalade, Tregawne has introduced a sterling silver lid for HP Sauce. Also introduced for 2014 is a range of ‘baby feet’ silver items including a keyring, tooth box and bookmark as well as nickel-plated trinket box and cupcake money box. Also in sterling silver are the new pens by Waldmann, available through Tregawne.

Italian writing instrument company Montegrappa has signed an agreement with the Mandela family and the Long Walk to Freedom for the rights to produce sets of pens, watches and cufflinks using the Nelson Mandela name. The collection consists of customised NeroUno pens, watches and cufflinks, distinguished by a motif of triangles in a tribal pattern in rose gold plated trim on the pen cap’s band, the surround of the cufflinks and the watch’s case. The top of the pen’s cap is engraved with the map of South Africa, while its side features a metal plaque engraved with the Mandela signature.

PORSCHE DESIGN

MONTEGRAPPA

Luxury brand Porsche Design has launched the latest writing tool in its accessories collection in the form of the fountain pen P‘3135 Solid. The name suggests the special feature of the pen: the Solid is milled out of a single piece of solid titanium. It is rounded off by the integral 18 carat gold nib which has a rhodium coating and the pen’s shaft is finished with a scratchproof PVD coating.

MARTYN PUGH

Creating “beautiful objects for people to use” is how silversmith Martyn Pugh describes his design philosophy, with “function and mechanics being of equal importance” in his work. New additions to the Orbit Tea Set collection, with its jaunty, hemispherical teapot, are these futuristically elegant sterling silver napkin rings.

JACK ROW

Based in Birmingham’s Jewellery Quarter, award-winning artisan goldsmith Jack Row specialises in the creation of beautiful and luxurious writing instruments and accessories such as paper knives and cufflinks. His inspiration is largely drawn from engineering, architecture and Islamic art. Hand-made to order is this limited edition, rhodium-plated, solid sterling silver and brilliant-cut blue sapphire pen (rollerball and fountain pen available), presented in a solid oak box and supplied with bespoke leather travel pouch, ink refills and cleaning cloth.

PELIKAN

In 1929 Pelikan was the first company in the world to introduce the differentiated piston mechanism. This technique causes the spindle inside the fountain pen to turn quicker than the end piece of the barrel, with the help of two different threads. This fountain pen exists in many variations, and though it has been developed in design and technical details over time the basic mechanism remains the same as in the Souveran M405 shown here.

GTO LONDON

A spin-off of the family-run business GTO Engineering (responsible for the restoration, reconditioning and rebuilding of classic Ferraris) GTO London is a newly-launched range of men’s accessories made from Real Ferrari Metal, or inspired by heritage designs of classic models and their interiors. Included in the line are money clips, leather goods, tie-slides and cuff-links. Each item is checked by GTO’s engineers for absolute precision and accuracy.

CARRS SILVER

GRAF VON FABER-CASTELL

Designed to appeal to fashionistas as well as pen connoisseurs, the new Initio range from Graf von Faber-Castell is available in subtle rose, taupe or black matte look, lacquered metal. The range includes fountain pen, rollerball, twist ballpoint pen and twist pencil.

COLIBRI

Carrs’ new men’s gift range includes the subtly engraved Sunrise Collection comprising cufflinks, a money clip, business card holder and bookmark – all with spaces for personalised engraving. Also launched for 2014 is a range of children’s gifts – a frame, napkin ring and keepsake box – featuring pink or blue ‘ribbon’ enamelling. Mindful of rising silver costs, Carrs continues to research and develop innovative engineering and manufacturing processes in order to maintain its high product quality, while keeping prices competitive.

Building on its range of sports-inspired men’s accessories, Colibri – the international men’s brand – has launched its most technical pen range yet, the Ascari. “Colibri has a history of sponsoring British motor racing and we wanted to embody that spirit in our most recent range of writing instruments,” says Laurence Lassalle, Colibri’s creative director. Made with a variety of robust materials and finishes, including rose gold, chrome and rubber, with matte and anodised finishes, each pen sports a durable steel spring clip and compatible German refill system.

MONT BLANC

Montblanc’s new writing instrument lauds the inventions of Italian Renaissance artist da Vinci with its Great Characters Limited Edition ‘Leonardo’. This pen brings to life his fascination with the idea of human flight, each detail taken from the numerous studies he produced for each of his elaborate flying devices. The cap and barrel are crafted from anodised aluminium and handcrafted in solid 750 gold and rhodium plate, the nib is engraved with one of da Vinci s drawings of a bat whose wings he studied to develop his flying machine, while the forefront of the pen is etched with his sketch of a mechanical wing.

ROYAL SELANGOR

Favourite fairy tales continue to provide inspiration for Royal Selangor’s collection of gifts and keepsakes sculpted in pewter. With more than a nod towards Hans Christian Andersen’s The Steadfast Toy Soldier, this new tooth box depicts the scene of the toy soldier sailing in a boat while on a search for his beloved ballerina. Also in the line is a Rapunzel mug and a Gingerbread Man photo frame. This year also sees additions to the men’s accessories line including checkered pattern memory sticks and textural, hammered belt buckles.

Business Support: Insurance |

Securing your display might help save the day It’s a given that displays should look beautiful, elegant and eye-catching, but not everyone gazing at them will be a potential shopper, warns Neil McFarlane of insurance brokers TH March. aturally you hope that people will be drawn towards your window or display cabinet, excited by what they see there and filled with the desire to own the exquisite items you have on show. But it’s a doubleedged sword – not everyone who is looking will actually be intending to buy! Secure displays are a must – as your stock is both precious and vulnerable it must be protected while in the shop window or cabinets. Due to new Health and Safety guidelines all counters, wall and display cases as well as window backs should be glazed with laminated safety glass, not plate or toughened glass. If at all possible laminated security glass should be used, with a minimum thickness of at least 7.5mm. High-risk areas such as the main window backs to high value stock should be further upgraded where possible.

Window back security Most of your value is in the display windows so you probably have good smash and grab protection – but what are the window backs like? In many armed robberies window backs are forced or smashed. In a large number of cases jewellers have lightweight locks that don’t resist any force, lightweight frames to window backs and simple plate glass. • Irrespective of whether you are able to improve your interior glass, it is highly recommended that you install some decent locks (ask your broker for advice) in a good frame; this will at least slow the criminals. • With traditional-type locks it is preferable for one key to operate all locks, which should be carried on the person of members of staff. It is also recommended that the locks are of the ‘slam-shut’ type for easier locking. • Hidden electronic locks with a key fob to open are also useful. Make sure that

•

sliding doors cannot be lifted or jemmied out of their rails and, if they are unframed sliding glass, the locking system should not simply allow one sheet of glass to be forced past another. Locks should also be fitted to all display cabinets in order to prevent unauthorised access while the attention of staff is elsewhere. The use of two locks on each cabinet is a very good move.

Be alarmed – be very alarmed! Consider alarming your display cabinets. The financial outlay for this is money well spent as it will significantly reduce the risk of locks being picked or forced while staff are occupied elsewhere (perhaps by the would-be offender’s partner in crime). Where possible always try to divide high value goods among a number of cabinets, rather than putting them together as a single high-value display. Spreading the value of goods around the premises hampers criminals who are targeting high value items; to save time they’d much rather concentrate their efforts in one place! Other measures you can take include: • Ensuring that your visible shop floor is always well staffed.

• • • •

Ensuring that your staff can easily activate alarms. Thinking about a locked door policy. Installing a fogging system. Installation of an index DNA spray such as Smartwater or SelectaDNA.

Increased effort, reduced reward – but can it stop all robberies? No, but it will reduce the odds. Spreading your stock will mean a longer time for robbers to be in your premises, which is opposite to what they usually want. A locked door will act as a barrier to all but the most determined attackers and a good level of staffing means that it is harder for the robbers to assert total control over the situation. Having plenty of fixed personal alarms or portable ones carried by staff at all times, means that safer activation is easier. A look at emerging trends over the period 2010 – September 2013 During a recent security symposium, we revealed some emerging crime trends. Top of the list is the rising number of attacks on top-end watch retailers, with £7m stolen in the last 12 months. Other developments include a rise in numbers of eastern European gangs, increasing attacks on Asian jewellers, a rise in ‘lower ticket’ burglaries and attacks on pawnbrokers. All jewellers should know the exact type of glass in their windows and wherever possible install a polycarbonate glass laminate. The chart below shows the number of blows with a fire axe it takes to create a hand-sized hole. Finally, something you should definitely display to deter criminals; a Safergems window sticker – priceless!

Glass Types Old British Standard

Thickness mm

Interlayer

Interlayer thickness mm

No. of blows with a fire axe resisted*

Safety Glass BS5606

6.4 8.8 10.8

PvB PvB PvB

0.76 0.76 0.76

0 0 ?

Security Glass BS5606

7.5 9.5 11.5

PvB PvB PvB

1.5 1.5 1.5

1? 2? 3

P6B

18 / 23 14

PvB PolyC

30-50

P7B

28 16

PvB PolyC

51-70

P8B

36 18

PvB PolyC

Over 70

Light handgun resistance

European Standard EN356

P4A

* before a hand-sized hole is created

The Voice of the Industry 43

| Business Support: Security

SaferGems

– the continuing story With 2013 drawing to a close, Lee Henderson offers a round-up of SaferGems’ activity over the past ten months. s we go to press SaferGems has circulated 167 alerts. The number of incidents recorded is down – perhaps an indication that the information provided by both police and industry is of improved quality and consistency. To date we have recorded 151 thefts and 165 suspicious incidents – compared to 238 and 127 respectively during the same period in 2012. However, the number of crimes against the industry is up. We have recorded 137 robberies/smash and grab raids across the UK compared to 119 for 2012, with about £13m worth of goods stolen. Watches (approx. £8m) and Asian gold remain the most sought-after items in both robberies and smash and grab sledgehammer raids, with the latter across the South East/Eastern regions continuing to be linked to gangs originating from North London.

but there appears to be an increase in mainland Europe, which may indicate a displacement of offenders from the UK. On 4th October £1m worth of watches was stolen from a Parisian luxury Swiss watch dealer. Two well-dressed men entered the store before about 15 men stormed in brandishing sledgehammers and axes. Five persons of Eastern European origin were arrested the following day. The distinctive hat/smart dress MO was used by the Eastern European organised crime groups who were committing robberies on Asian jewellery stores in London in 2012/13. The ‘Pink Panthers’ continue to be linked to nearly all high profile jewellery robberies in Europe. My view is these international jewel thief networks are, and will remain, a serious threat to the UK jewellery industry; it’s more a question of ‘when’ rather than ‘if’.

We have recorded 137 robberies/smash and grab raids across the UK compared to 119 for 2012, with approximately £13m worth of goods stolen. On 7th October a high-end jeweller in Ipswich was the subject of a failed moped smash and grab raid. Four offenders on two Vespas attempted to smash the Rolex display window with axes and hammers but failed. The mopeds were later recovered and checks revealed that they had been stolen from London. On 5th September an intelligence-led operation by the Metropolitan Police prevented a high value watch raid at a Breitling store in the Westfield Shopping Centre. The five persons arrested have links to Islington, North London. Following the arrest and convictions of a team of Eastern European criminals by the Met, we have seen a decrease in robberies against Asian jewellers,

44 The Jeweller Nov/Dec 2013

During the first week of October we recorded numerous reports of suspicious behaviour by people who were seen to be observing multiple high-end jewellers in central London. Some were also seen using a digital camera to photograph routes/junctions in and out of the area. In August we recorded a robbery on a diamond dealer in Hatton Garden and the following month a robbery on a jeweller at Paddington Station after he left the IJL. As a direct result of SaferGems and British Transport Police collaboration, both offences have been linked to the same South American team – now charged and remanded. Men purporting to be from Colombia have been reported in suspicious circumstances

at jewellery stores and manufacturers in Birmingham, though there have been no reports of robberies. In September two Hong Kong jewellery reps were robbed of a high value amount of goods outside a hotel near Preston, Lancashire. Last month a jewellery sales rep was robbed on his driveway in Solihull. As he got out of his car he was approached by two men who made threats before removing a suitcase containing diamonds from the boot. Five days later a jewellery/antiques dealer returned home in Altrincham after attending an antique sales event. While removing two bags from the car boot (one containing a substantial amount of jewellery), he was approached by an Afro-Caribbean man who struck him to the side of the head with an unknown weapon. The offender grabbed the bag containing the jewellery and fled. £2m worth of goods was stolen during the sales rep robberies alone. Violent attacks aside, reports of ‘customer not present’ frauds continue. During October we heard from numerous members who said that they had been approached via email by persons claiming to live in Singapore. The suspects ‘wanted to purchase diamond goods’ and provided copies of passport and bank account details as proof of identification. Credit card transactions were declined when processed. The suspects were then insistent on receiving the declined PDQ receipt. This is believed to be an attempt to obtain the merchant account number, which is shown on the top of the receipt. It is known that fraudsters will contact a store’s merchant helpdesk claiming to be from the store and quoting the merchant account number in order to find out more about the security/verification questions. This is done to bypass the system in the future or to improve the quality of the cards used if a card fault was noted. Recently there have been a number of staged calls to jewellery outlets from individuals claiming to be from the store’s merchant helpline attempting to force transactions through with dummy authorisation codes. The need for vigilance – and signing up to SaferGems – is as vital as ever.

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The Voice of the Industry 45

here are many persuasive arguments for keeping a comprehensive inventory of colourful gemstone jewellery, but the most topical (and contemporary) factor in this reasoning is, arguably, the internet. If you want to drag consumers away from their screens and through the door of your bricksand-mortar business, you need something a little different as bait. Colour provides that USP. Moreover, gemstones could offer some beleaguered retailers a very tangible lifeline as they face the online challenges. “We have preached this sermon for years,” says Ariel Tivon at Tivon Fine Jewellery. “Diamonds are a competitive commodity for many retailers. The end-consumer has almost lost their passion for shopping for diamonds and it’s all about getting the rock-bottom price (pardon the pun).” Ed Adams of EW Adams agrees that gems create an important point of difference. “We have seen a real increase in interest in

Polly Wales

Tessa Packard

Undoubtedly arresting, beautiful and fashionable, coloured gemstones also create a point of difference that is becoming increasingly important, as Belinda Morris discovers.

46 The Jeweller Nov/Dec 2013

coloured stones, especially in high quality and unusual gems. Quality independent jewellers are always keen to set themselves apart from multiples, and stocking fine and rare gem stones really helps them achieve this,” he explains. “With margins so tight on all diamond pieces, coloured stones offer the retailer a far better margin as they are much harder for the consumer to price compare and not nearly so prevalent online.” “Although most retailers continue to sell a large amount of diamond stock their margins are squeezed, particularly on single stones, by competition from the internet,”

Feature |

Aijade

Vivian Watson of PJ Watson concurs. “Coloured stones allow a better retail mark up and are less open to comparison in competitor’s windows. And a good selection of colour makes any window more attractive.” “The interesting phenomenon is the new thought process that the customer goes through once white diamond is out of the equation,” says Zoe Benyon, director of Robinson Pelham. “Diamond is so intricately graded that customers are often asking for a particular size and quality, and it is an objective request. Coloured stones are far more subjective – are they a good colour? Do they suit the wearer? Are they easy to wear with the customer’s wardrobe?

Tateossian

And all of the answers to these questions are unencumbered by the tyranny of the diamond certificate.” Vivek Khandelwal, one of the owners of family-run Emdico, which imports and exports loose diamonds, coloured stones and jewellery, explains that the demand for large gemstones has increased. “I think that coupled with increased wealth and awareness, coloured stones are good precious alternatives to diamonds – they’re seen as an investment for the long term as the fine stones are rarer than diamonds.” It’s not all about comparison with diamonds of course. “Coloured gemstones still allow designers and retailers the freedom to be creative with their designs and offer their customers value,” adds Tivon. “This is not to say coloured gemstones are a cheaper alternative – with the price of fine coloured stones having rocketed in the last two years many gemstones are anything but cheap.”

Ornella Ianuzzi

Which is what it should all distil down to in the finish – aesthetics and individuality. “I think people are [increasingly] enjoying unique jewellery; statement pieces that are rare and unusual say more about the wearer

Quality independent jewellers are always keen to set themselves apart... stocking fine and rare gemstones really helps them achieve this… The price of rubies, sapphires and emeralds is “going through the roof at the moment – mainly for higher quality stones and being fuelled by the Chinese market,” confirms Richard Haruni of International Gemstones (thegembank.com) “Fine quality coloured stones, especially in larger sizes, are increasing dramatically in price right now,” adds Adams. “Demand on supply from the emerging markets of China and India, along with genuine shortage of supply are creating price rises of up to 30 per cent a year. I am sure fine coloured gems will be a very good long-term investment.” So, every cloud… Returning to the point of difference angle, jeweller Andrew Geoghegan points out that “coloured stones are gaining more interest among jewellery retailers because they move their displays away from stark white, which has dominated for a while. I believe retailers also want to offer their customers something different and this can be done though colour and it also caters for the confident customer who does not follow; who wants to express herself through her choice of colour,” he adds.

than conventional stones,” says designer Kirsten Goss. “Being irreverent and playful by juxtaposing contemporary design with colour and intrigue commands attention.” “I think our retail customers understand that the brand is all about colour,” adds Sarah Ho of SHO Fine Jewellery. “The advantage of including gemstones – topaz and quartz – in our silver collections is that it adds value to the customer. It’s a good selling point as it is proving popular, probably because

Sophie Harley

The Voice of the Industry 47

| Feature

Coloured stones – the retail view “When Theo Fennell can sell a paraíba tourmaline for £1,000,000 then it tells you that the line between precious and semi-precious has blurred.” Jason Holt, Holts, Hatton Garden “Fine colourful gemstones of natural origin are becoming more and more rare and it is stones such as the padparadscha sapphire – an orangey pink natural sapphire – presented in our Venus ring which are the most beautiful.” Paul Carter, MD Ritz Fine Jewellery, London “For us, coloured gemstone jewellery seems to be a purchase made for Christmas and special occasions – 2013 has been very busy for us with ruby weddings.” Sheila Hussey, operations manager, Alum & Sidaway, Dorchester “One advantage of coloured gems is that they’re less comparable than diamonds. The internet has taken some of the romance out of buying diamonds – luckily for coloured stones it is still there.” Julia Clarke, Hester Clarke, Aylesbury “Our customers know that we specialise in British gemstones, so obviously our main coloured stone interest lies with Derbyshire Blue John & Whitby jet. However we have also seen a growing following for rubies and aquamarine.” Kerrie Edmonds, CW Sellors Ashbourne boutique manager “From a value point of view the potential for growth can be greater for colour stones (depending on what they are) than diamonds given that for some they are far rarer.” Jason Holt festive colour in their Christmas buys this year,” says Pomegranate’s Chris Land. Gem dealer Marcia Lanyon agrees. “Sales tend to be quite fashion-driven and seasonal,” she says. “At this time of year we sell a lot of autumnal-coloured agates, petrified wood and fancy quartzes.” However, designer Sophie Harley feels that while fashion trends can definitely affect even precious jewellery, there are other outside influencers. “The fabulous Cheapside Hoard exhibition is full of beautiful examples of 17th century jewellery using stones in wonderful colours, that will

Kirsten Goss

designer silver has been selling well over the last couple of years.” The suite that launched Sarah Ho Couture featured “beautiful beryls which included aquamarine, morganite, heliodor and goshenite”.

With the price of fine coloured stones having rocketed in the last two years many gemstones are anything but cheap…

Fashion… and other key drivers As would be expected seasonal trends play their role in the choice of colours – at both a trade and consumer level. “The autumnal shades of tourmaline and smoky quartz always tend to do quite well at this time of year and trade customers seem to have picked up on ruby as a

48 The Jeweller Nov/Dec 2013

Danhov

Casa Gi

no doubt have a knock-on effect,” she says. And Vivian Watson explains that tanzanite continues to be a popular choice “as consumers are exposed to a large selection of the gems in jewellery displays, particularly on holiday”. Green, as anyone who keeps a weather eye on the catwalks will tell you, is enjoying something of a ‘fashion moment’. As Ed Adams points out ‘emerald’ is the Pantone ‘colour of the year’ and so appears to be rather sought-after and “should remain so SHO Fine Jewellery

until Christmas”. At Casa Gi, while rubies and blue sapphires have been long-term constant favourites, emeralds are also currently proving popular. The Belgian family-owned business designs and makes hand-crafted luxury jewellery and has recently expanded to offer a full manufacturing service to other jewellery brands and independent retailers. (Kevin Vine, who worked for De Beers for 17 years, is now the company’s UK representative.) “Chryosprase has been very popular this year with both retailers and consumers,” says Sushilla Done of Sushilla. “This could be trend-driven as there has been a lot of talk of emerald being this year’s colour and if

| Feature search for something in particular,” observes Julia Clarke. “We find this enables us to buy truly attractive coloured gems that have a great appeal.” Beyond the traditional ‘major’ stones, gems such as topaz, aquamarine, tourmaline, opal, peridot and tanzanite are all ‘quite routine’ for the shop that has always stocked a wide range. Clarke also finds interesting the perception that the public has about certain stones. “Some customers say that they don’t like sapphire for instance, but what they really mean is that they don’t like the ink-black ones that they have seen up to that point. Once we show them decent colour sapphires, they change their point of view and realise how stunning they can be,” she explains. “Of course the price will be somewhat different, but at least they understand why.”

Mark Soley

you can’t afford this beautiful precious stone you might look for other green gems.” Having always worked in silver and gold vermeil, Sushilla is now looking at setting some of her more expensive stones – such as sapphire slices – in gold. “We’re seeing more individual expression coming through – clients who want a distinct or unique colour,” says Geoghegan. London Road

“There is a tendency for fashion to have an effect – such as greens this year – and there are also the safe bets such as blue topaz and amethyst. We encourage our clients to be brave and go for the more interesting stones, such as deep iolites, rutiles and zircons.” Meanwhile, Katie Rowland notes that the punk trend for next season has seen a boost in sales for black spinel and purple amethyst pieces. At Pearly, tones that have strong saturated hues are big favourites. “Deep, dark and mysterious ones are always in demand,” says

50 The Jeweller Nov/Dec 2013

Emerald is the Pantone ‘colour of the year’ and so appears to be rather sought-after owner and designer Pearl Ng. “There are electric coloured stones that I feature in my current collection – such as malachite and lapis – which are favourites and easy to match. Aventurine, amethyst, black agate, and velvety tiger’s-eye are very popular as well.” At Hester Clarke in Aylesbury sapphire is generally the most popular stone, followed by ruby (ruby weddings being the catalyst). “We generally tend to buy the more unusual coloured stones for stock (tsavorite, grossular, spessartite garnets, natural spinels, andalucite for example) as and when we see a gem that appeals to us, rather than going out to

Missoma

Emdico

Personal favourites “I love all gems and I find the choice of colours for certain types is quite amazing,” continues Clarke. “Garnets for example come in so many shades of pinks, reds, greens and yellows. On a personal level, it is coloured diamonds for me – but natural colours, not treated ones. The appeal is the durability and especially the rarity of the natural colours.” “A fine black opal is still unbeatable to me and there is also something very special about a top quality Mogok ruby,” says Peter Grumitt of gem dealers Apsara. “As I diverse into more unusual gemstones I am finding all kinds of wonderful things. I recently came across a stunning colour-change garnet with perfect red to green colour change. I have also seen some very beautiful tsavorites, Mali garnets and tanzanites.”

Feature |

Sushilla

pieces of morganite, alexandrite, pink tourmaline and green sapphire over the last few years and we are always looking for that extra special piece of coloured gemstone jewellery, possibly with a particular customer in mind, or just that it will be fabulous to have in the window.” Unusual colours and cuts are regarded as a strong selling point for Alexis Dove’s precious jewellery collections and while she leans towards grey rose-cut diamonds and sapphires in blues and greens, fancy sapphires in opulent purple and olive green

On-line jewellery retailer Lulu Winter finds that there are geographical variations with stone popularity (amethysts in Scotland for instance) but owner/partner Louise Myson has a personal preference for greens with gold. “It’s a rich colour combination, which sells well in London,” she explains.

Daring to be different “Some of our customers are constantly looking for the unusual,” says Sheila Hussey, operations manager at NAG member Allum & Sidaway. “We have sold some beautiful

Robinson Pelham

C W Sellors

are current ‘on-trend’ customer favourites. Lynn Rodgers of Rodgers & Rodgers explains that labradorite is a favourite with retailers and consumers because it changes colour with every stone that’s cut. “Sometimes it can be very dark and moody and other stones can be subtle and light in colour and consumers love they way the light shines through the stone,” she says. While using a wide variety of coloured stones, London Road’s collections invariably include more unusual gems including labradorite, cornelian, moonstone and rose

The Voice of the Industry 51

| Feature and smoky quartz. “We also look for unusual cuts or get gems cut especially for us in sizes which fit in with our designs to ensure a unique look,” says creative director Suzanne Adams. “Jewellery is increasingly becoming an accessory and a wide choice of gemstones not only allows jewellery to be teamed with a specific colour of a dress or look, it also provides a better opportunity to find a more flattering colour for their individual skin tone.”

Daphne Krinos

Trick or treat? The treatment of gemstones is a recurring issue – but how much of a problem is it? “Treatments have always and will always be a danger, but it is important to distinguish between heating and treating,” says Ariel Tivon. “Heating is a common practice which dates back hundreds of years and is not detrimental to the stone. Treating however is a deliberate action taken by certain stone dealers to conceal evidence of lower quality. We frown upon this and steer clear of any such gemstones.” So what’s the solution? “There is no one hundred per cent fix,” Tivon continues. “I know of a colleague who has a massive ruby operation and moves some of the world’s most expensive rubies. He bought a ruby – supposedly Burmese, unheated, untreated – from someone new. With over 40 years of experience he was sure he’d bought a true gem. Following it being tested by a laboratory, the results came back that the ruby has undergone every treatment known to mankind and the value was practically a 20th of what he had paid. So even all the knowledge and experience does not offer complete protection. I would say buy from trusted sources so that you are protected to the greatest extent.” As with all aspects of the industry, the watchwords are disclosure and transparency (along with trust). “Is treatment a growing

PJ Watson

Colour… caters for the confident customer who does not follow; who wants to express herself through her choice… problem? I don’t think so, it’s been around for a long time and it serves a practical purpose for a certain sector of jewellery making,” says Pearl Ng of Pearly. “However I do think it can be a problem when treated stones are not disclosed to customers; most people outside of the trade are not aware of treatments. To a consumer it can be a

The brooch is making a modern comeback says Olga Gonzalez I n jewellery, as in all fashion, styles come and styles go… and then after a while they are ‘rediscovered’ by the next generation. The traditional brooch, also known as a fibula in ancient jewellery, has seen one of the most interesting and unexpected comebacks over the last year. Mainly because it’s being used in the most unusual of places… The ‘brooch bouquet’ is a big deal in wedding fashion these days. If you haven’t heard of it, Google it and you will be amazed at the variety of colour and creativity being poured into these beautiful wedding bouquet alternatives, made with vintage and modern diamond, coloured gemstone and rhinestone brooches. Some bouquets feature only 360 degrees of brooches going around the stem of the bouquet, while others intersperse

52 The Jeweller Nov/Dec 2013

brooches with real, fabric and paper flowers, buttons or even seashells. The DIY trend has become a powerful movement in retail, with designers selling their handmade creations online from home on websites with massive followings such as Etsy.com. Other designers have created a large enough

following that they have success with business generated from their B2C site. The brooch trend doesn’t end with bouquets though. Since brooches look so good mixed with flowers, brides have incorporated vintage brooches into their wedding themes, mixing brooches in with their centerpieces on the table, as well as using them as place cards for guests, and as napkin holders. Although the brooch revival has mostly happened alongside wedding themes, there are designers that are creating beautiful Christmas ornaments with brooches as well. So if you have some brooches that have been sitting round that you don’t know what to do with, working with a designer to repurpose them is a new project worth thinking about.

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Feature | Lilly Hastedt

definite disadvantage not knowing to ask these important questions, and salespeople on the floor are sometimes not knowledgeable or trained enough to explain fully about their products. That issue I think can be improved on a retail level so consumers understand what their buying options are.” “Disclose is the biggest issue – treatments have to be conveyed to the customer and not to do so is unethical in my view,” adds gemstone dealer Sara Abey FGA who specialises in untreated natural sapphires. She has been running her business for nine years, but her family, who are from Ranapura in Sri Lanka has been in the business for many generations. “For the jewellery retailer there is a responsibility to educate yourself – and your staff – about gemstones and treatments. “You have to keep an eye on the situation.” “You need to give the customer as much information as possible,” says Zoe Benyon.

“The price premium between natural and treated stones is widening dramatically so the customer needs to make an informed decision between the cheaper stone and the natural stone. There is no way of stopping the illegal treatment – the industry must just keep up, identify the treatment and inform the customer.” She also points out that while some types of treatments are accepted by certain parts of the industry (heating of blue topaz or tanzanite for instance), Robinson Pelham is keen to supply untreated gems. Designer

At the fashion end of the market of course, treating coloured stones is a given rather than a concern. “Most people are more interested in the appeal of the colour or the character of the stone,” says Chris Land. “Put simply, if the colour is right, treatments are not generally a problem.” Alternatively, ‘improving’ on the flaws of a natural stone can be a no-no to some. “Natural chrysoprase has all sorts of flaws – it can have small patches of white or brown in the stone – but to my eye this just adds to its natural beauty,” says Sushilla Done.

Alexis Dove

Heating is a common practice which dates back hundreds of years and is not detrimental to the stone.

Pearly

maker Lilly Hastedt, echoing the view of all adds that: “forging or enhancing gemstones is an old practice – this has always been a problem. The solution is always to deal with reputable sources and disclose any treatments to your customers.” It’s true that, depending on the nature of the process, ‘treatment’ isn’t always a dirty word. “As long as I know if a stone has been heattreated or not, I can then inform my client,” says Harley. “I don’t think it’s something that can be stopped and in fact the colour of some stones can be greatly enhanced and the results can be really interesting and beautiful after heat-treatment has taken place.”

“I could use dyed chalcedony – this would produce a uniform colour and texture – but would lack the interesting appeal of chrysoprase. I have started using natural chalcedony in my collection – it has a lovely pale mauve hue. To my mind there is so much beauty in untreated stones which should be celebrated.”

The ethical debate “The jewellery brands and retail partners who work with our gemstones often tell us that their customers are increasingly wanting to know more about their gemstones, making sure that it has been responsibly sourced,

The Voice of the Industry 55

| Feature

Monica Vinader

and that no-one has suffered in the process of mining and bringing the gemstone to market,” says Ian Harebottle, CEO of Gemfields, which specializes in emerald and amethyst from Zambia and rubies from Mozambique. “We are also encouraging retailers to impart this knowledge to the customer even when they don’t ask. Each gemstone is unique, and any gemmologist should be able to say where a gemstone is from by looking at the inclusions. These are the gemstone’s ‘finger print’ – its DNA and often the colours are indicative of the country of origin.” ‘Ethical’ does matter to retail customers, “but it’s virtually impossible to ensure where the stones you are buying are from,” says Haruni. “I buy wholesale, so I’m not at the mine seeing the stones come out of the ground. But I have in the past and mining is getting much better, as are the conditions for

the miners, especially as bigger corporations control the operations and have their own ethical policy. Generally though, even if people ask where a stone comes from, there’s little more that I can offer other than a geographical location.” “I do get asked occasionally about ethical issues from my clients; however, there is no agreed world-wide policy regarding the mining, cutting and dealing of coloured gems,” says Grumitt. Without [this] it is very difficult to draw the line between what is ethical and what isn’t. My own suppliers are people I have known for many years; all individuals who are responsible for their

Tivon

As her designs often start from custom cutting roughs, Pearl Ng of Pearly generally goes directly to the source for her stones. “I frequently work with vendors who cut, or even own the mines themselves,” she says.

Andrew Geoghegan

We’re seeing more individual expression coming through – clients who want a distinct or unique colour…

Pomegranate

56 The Jeweller Nov/Dec 2013

own businesses and their reputations. It is in everyone’s interest to look after the people we work with down the supply chain.” To allay her concerns designer maker Ornella Iannuzzi travelled to Ethiopia three years ago to make sure that the opals she loves to work with were “really ethically sourced”. They were. “I wish I could do this for every stone that I use, but I have to trust my suppliers most of the time,” she says.

“I think it’s the responsibility of us in the industry to do the best we can to maintain ethical standards, be knowledgeable about our supply chain and who is involved.” For Sara Abey however the key word should be ‘transparency’ rather than ‘ethical’. “Retail staff need to be educated about gems so that they know more about them than their very ‘aware’ customers.” She also feels that ‘ethics’ is the topic of the moment:

| Feature

Domino

“Many people are jumping on the bandwagon, using the term as a marketing ploy and the media tends to make the issue darker than it actually is,” she says. “It should be assumed that it is ethical. The coloured gemstone industry is very small comparatively and is run mainly by families and people who know each other… there’s passion in the industry.” A passion reflected in the jewellery. Andrew Sollitt, sales and marketing director at Domino, which launched the colourful ‘Belle Ile’ collection at IJL, sums up the appeal of coloured stones: “Coloured stones add variety and individuality and are clearly very much on trend. They provide the retailer with eye-catching pieces for their windows and offer the consumer great value for money as well as being a tremendous choice for those looking for something a little out of the ordinary.” Finding the best balance between beauty and cost is the holy grail. “The great thing

about coloured stones is that the layperson can nearly always spot the difference between a fine coloured stone and a more commercial one,” adds Ed Adams. “They speak for themselves, and this makes selling them much easier, as the end customer will fall in love with a gem for same reasons we do!”

EW Adams

Gem-A USA ambassador Olga Gonzalez FGA tells the tanzanite story S triking in the form of a deep blue to violet gemstone, with a range of colours in between, tanzanite is the most commercially sought-after and mainstream variety of the mineral, zoisite. Discovered in 1967 and mined in only one locality, the Mererani Hills of northern Tanzania, it has found its way to being a staple gemstone. At the shows this year tanzanite was on everyone’s lips – whether buyers, sellers or seekers. TanzaniteOne, the largest of the mining operations, employs over 600 locals within the mining area. In response to an enquiry regarding the heating of brown zoisite to create tanzanite, Hayley Henning, executive director of the Tanzanite Foundation, stated: “Thirty percent of the tanzanite coming out of the mine is naturally blue when it is removed from the ground. For the rest we finish off what might have happened if you left the tanzanite there for natural heating processes to take place.” A labour-intensive process, the rough is pulled out of the rock by hand, and is sorted in-house by hand and eye. Dedicated to giving back to the Masai community surrounding the mine, TanzaniteOne builds local schools and also has brought in a jewellery designer to teach local women wire-wrapping techniques for the creation of

58 The Jeweller Nov/Dec 2013

jewellery with their own native motifs out of tumbled rough donated by TanzaniteOne. Regarding her interest, Hayley Henning comments: “"What intrigues me most about Tanzanite over any other gemstone, is that it will only be available for another 20 or so years. The single source and limited supply makes it unique among gemstones and beyond our generation it will have to be inherited.” So, what is the outlook of tanzanite dealers? Doug Parker from AF Greenwood Co Inc., said: “We have lots of interest in emerald cut tanzanite. Tanzanite has become a staple – one of the major coloured

Mark Schneider

gemstones that has won a place.” It became apparent that, like many stones, various factors play a part in determining tanzanite’s price per carat. Depending on colour, size, quality and cut, retail pricing ranged anywhere from $1-$1,000/carat. Benjamin Hackman of Intercolor, explains that there’s a major demand for tanzanite, but it is not easily accessible across the board. In order to get good pieces, one must be involved in a few mines; the major players in tanzanite buying are not only involved in several small mines, but are also TanzaniteOne sightholders. He also adds: “The rarity of tanzanite makes it extremely appealing to the consumer. However, some dealers don’t want to deal in it because they fear they will have no inventory when the mine runs out, and there is no telling how long it will take. That’s good for us!” From an appraisal standpoint this gemstone is also interesting. David Hendry from Jewelry Insurance Brokerage of North America explains the challenges: “I am seeing a lot of tanzanite and unfortunately, dark tanzanite gets mistaken for sapphires by appraisers, especially those that aren’t gemmologists. Most appraisers don’t know it is zoisite, or what it looks like when it is brown, before it was treated.”

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| Opinion: Mike Taylor

Revolution or E-volution? In light of the NAG’s new inclusive membership policy Mike Taylor, co-founder of JewelStreet.com and owner of Berkshire jewellers Taylor & Whitlock, says “Adapt to survive!” he evolution of eCommerce has, overnight, removed all the traditional trading barriers that have existed for centuries. It has released manufacturers and wholesalers from the constraints of their historical and traditional trading boundaries, and the rules of engagement have changed forever. E-tailers should not be seen as the enemy… we have to face the fact that they are now well established within the jewellery sector, and, to anyone not on their game, could be considered a threat. It is e-tailing that will help to create demand and build popular brands online, enhancing their profile in stores in the same way that television advertising does – with the added benefit that the e-tailers are footing the bill, albeit with a slight trade-off. Retailers who fail to adapt and respond to market changes historically don’t last the distance. However, those who evolve and embrace new technologies and opportunity will have the greatest chance of survival in an everchanging marketplace.

acceptance to online selling from the jewellery industry and offers extra quality assurance for the consumer in the eCommerce environment. Also it will help prevent online fraud and contribute to setting high standards for eCommerce jewellery websites. The move will also help raise the profile of the NAG in the online consumer market, which up until now has been absent. This will in turn heighten its profile on the high street. I have a few questions though. The curation process of the online applicants is going to be key, so what will determine the code of conduct and how is the NAG going to police it? How is it going to work towards determining what is fair and unfair practice/ competition online? How will it deal with nonsustainable, heavy brand discounting? Clearly I have a vested interest in all of this. JewelStreet came about because as a manufacturing retailer we were creating great product but because footfall on the high street was in decline we were losing our market share through a diminishing audience.

The move will help raise the profile of the NAG in the online consumer market… This will in turn heighten its profile on the high street. Sadly, retailers can no longer rely on footfall alone unless they are ideally located, but if they stock and merchandise their stores in response to online trends and indicators, it will help to draw custom in and it is this tangible, service-based immediate sale that e-tailers cannot compete with, specifically in the high end jewellery market. The NAG’s decision to accept as members online-only retailers can only be a positive thing for the industry and work towards improving and raising the profile of the NAG as a valuable trade accreditation. It shows an

60 The Jeweller Nov/Dec 2013

To survive we had to look at online marketplaces to retail our products and, with no suitable platform or online marketplace available, JewelStreet was born. It provides designers with a much needed and free direct route to market, a suitable platform to showcase their designs as well as receiving a much fairer share of the retail price. And it’s not purely about benefitting the designers and the site itself. For the jewellery retailer JewelStreet is a valuable resource allowing them to view hundreds of designers all in one place, and outside of a

trade fair environment. Retailers can also join in the community and find out important news such as who’s hot, who sells and what the current trends are. We admit that not everything about JewelStreet is going to appeal to the bricksand-mortar retailer and most will view us as being serious competition, but what we do believe will appeal is the quality in which we showcase designer jewellery and also the effort we put in to promote the designers to create a demand for their jewellery, which in turn will filter through the industry and back to the retailer. While I feel that it is vital that high street jewellers should have an online presence I think that many of them look at eCommerce as the golden bullet and go through the process of spending their initial investment… but look no further than that. What they fail to do is factor in the cost and investment in time to keep a website technically and aesthetically up-to-date, as well as consider the budget necessary for promotion. This then leads to a website that after a while is in danger of damaging the business it was set up to promote, by being out of date and poorly maintained The attitude to take when embarking upon building a website should be that of opening up a second store, investing the same care and attention that you would on a retail space, along with the budgets to launch and promote it. The cost will be comparable! The fact is, eCommerce is not the golden bullet and you have to be willing not only to invest as you would in a second store, but also add in the on-going costs of time managing the store and promoting it. See our January/February issue for NAG CEO Michael Rawlinson’s response to Mike Taylor’s questions.

| Show Review

Creating the buzz Belinda Morris visited Handmade in Britain13 and found much to entice anyone searching for new, different and innovative. fter the vast halls of UK and international trade exhibitions, whose spaces are dominated by the major brands and their ever-expanding, look-at-me stands, it makes a change to go to a craft fair. And Handmade in Britain13 earlier this month, ensconced in the slightly faded grandeur of Chelsea Town Hall – all chandeliers and painted ceilings – created a refreshingly different atmosphere for buyer and seller alike. OK, so during the opening evening the bubbly was flowing and, ahead of the selling weekend, there was an air of excited anticipation in the two main halls. That particular buzz notwithstanding, there was no mistaking the positive vibe among the designers representing the various creative disciplines (essentially jewellery, silverware, glass, ceramics, wood and textiles). Now in its seventh year, Handmade in Britain: The Contemporary Crafts & Design Fair has developed considerably since its birth, according to some long-time participants, with the standard of craftsmanship rising with every show. And as jewellery represents a good third of the work being shown among the 100 or so exhibitors, a trip to Chelsea would surely by worthwhile for retail visitors as well as consumers. A number of the jewellery designers at the event will be familiar to those who regularly walk the ‘Design’ aisles at the trade fairs – Kokkino, Maya Magal, Anna Byers, Ornella Iannuzzi, Sarah Herriot and Catherine Hills to name a few have all shown (or continue

Jacqueline Clarke

62 The Jeweller Nov/Dec 2013

to show) at trade fairs. However if you, like me, have found yourself running out of time (or energy) to explore thoroughly this sector, a smaller, more intimate show such as this provides the perfect opportunity to discover new names and some very individual and innovative fine jewellery collections. It’s surprising then to learn that more members of the trade don’t take advantage of all this creativity under one roof. Melanie Ankers of Kokkino was optimistic of meeting a few retailers however. “I did this show five years ago and I’m hoping to see some buyers – I’ve brought my trade catalogues Sarah Herriot

just in case,” she said. “This show would be particularly good for any retailer who sells other pieces as well as jewellery.” “I think retailers would be pleasantly surprised by the diversity and quality of jewellery that is designed and made in the UK by smaller businesses,” says designer maker Frances Julie Whitelaw, who has exhibited previously at the event, finding it useful to make new trade contacts. Her collection harnesses the potential of silver wire, complemented by surface finishes, pearls and gemstones to add colour and texture. Watching the designers engaging with customers also demonstrates how telling a ‘story’ and explaining about techniques and

Susi Hines

materials is a pretty valuable sales tool. They’re happy to impart the knowledge and the public are clearly delighted to learn. “I was attracted to show at the fair because the emphasis of the show is on the individual designer makers and our craft,” says Jacqueline Clarke. “It's a unique opportunity to meet people, talk about my work and give an insight into the skills involved in making my jewellery. The show has a good reputation` and will generate a creative atmosphere which I’m sure everyone involved will find inspiring.” This is the first time that Ornella Iannuzzi has shown at Handmade (she’s a regular at the Goldsmiths’ Fair) and was attracted to it by its reputation as well as the venue itself. And although she is hoping to attract plenty of consumers, she is also hoping to make a few retail contacts. “That would be great,” she told me, “especially as I now have Les Corallines, a range specifically created for the trade now. “Having focussed on commissions and one-of-a-kind pieces of fine art jewellery for the past five years, we have created an ‘everyday wear’ line which builds on the distinctive and powerful style that has gained our recognition in the industry. I think trade visitors would really benefit from attending a show like this, because aside from meeting the designers, they would be able to see directly which products are popular with the public,” she says.

Show Review |

Talent at Goldsmiths’ The NAG’s Caner Daywood attended the Goldsmiths’ Fair 2013 and was impressed by the wealth of established and new talent on show. The annual Fair proves that, despite our branddominated world, there is still an appreciation for original design. uyers came from all over the world – Japan, Mexico, the US, Europe, Australia – and while the Goldsmiths’ Fair is largely a consumer event, it also attracted trade buyers. Jeweller Sarah Parker-Eaton took orders from a Paris gallery, James Newman and Louise O’Neill both sold to US galleries and Dagmar Korecki attracted a gallery from Copenhagen. Glasgow based jeweller Eric N Smith, who has exhibited at 20 Goldsmiths’ Fairs, says of the event: “Its importance shouldn’t be underestimated. It’s a vital showcase for the highly-regarded reputation of the top-end of the UK jewellery and silver trade, a position that is being rapidly diluted and undermined by foreign imports. These fine craftsmen and women who exhibit at the Goldsmiths’ Fair are the lifeline for all the hand-skills and processes that are centuries old. Today they still manage to astound and impress the potential buyer, who can see the hand-made item, the individual design, the quality of finish and craftsmanship.” While I was there I spoke to a couple of new designers at the fair who have already started to make their mark in the industry.

Shimell and Madden Shimell and Madden is an East-Londonbased design duo that has been creating hand-made jewellery since 2010, combining tradition and technique to build creative and inventive collections.

Describe your work to our readers Our first fine collection ‘Symmetry’ combines richly textured 18ct gold with prismatic coloured gemstones. Each stone is specially selected for its unique proportions and precision cutting. The mirror-cut aquamarines and tourmalines are sourced from cutters in Idar-Oberstein, the European epicentre for gemstone cutting. This collection is unique and contemporary yet it echoes ideas of ancient architecture and classic mathematics, creating distinctive geometric artefacts. The symmetrical pieces are built by multi-layering simple primal forms of lines and circles, transforming them into complex threedimensional structures. What have you got out of showing at Goldsmiths’ Fair? I found the Fair was an incredible experience, both for meeting people within the industry and also having the opportunity to showcase our work to its visitors and patrons. We were very lucky to have won ‘Best New Design’ for week two; this strengthened our confidence in our work and it was also a great talking point with visitors to our stand. Did you make useful contacts? We made a number of very useful contacts, including gallerists, and we have already planned three new shows with people we met at the Goldsmiths’ Fair. How would you say that retailers gain by visiting the Fair? It is great place to see designer-makers, particularly new ones who are creating in precious metal to a high standard. There was a wider mix of work than ever this year.

Maud Traon

Shimell and Madden

Award-winning contemporary jewellery designer and artist Maud Traon combines an explosive mix of colour and form to create imaginative and unpredictable works of

Maud Traon

wearable art. In an array of mixed media and metals her work explores an innovative and unique aesthetic. Describe your work It is difficult to mention one inspiration for my work as it has evolved over the last few years really. My questions are: Is it possible to bring craft to the level of fine jewellery? Is it still possible to find new ways of setting stones? The core material I use is a resin that enables me to play with colour and texture. I then set or embed my stones in and it is finally silver electroplated by professionals and the selected part become metal. It can then be gold plated or given a black finish or stay silver depending of the colour of the material and the stones. How have you benefitted from the Fair? Exhibiting at the Goldsmiths’ this year has been really good. I showed my work for the first time in 2012 and this year I had a lot of returning customers who bought for the second time, or the first time having seen me last year. So it is a major place to build up a clientele. Have you made useful contacts? I did, but I was very much hoping that international retailers would come. I was contacted last year by a China-based retailer maybe six months after she had visited the fair. How do retailers gain by visiting the Fair? Retailers gain because the diversity is important enough for them to find what would suit their shop and clientele.

The Voice of the Industry 63

| Feature

A big idea for small businesses Small Business Saturday is coming to the UK on 7th December and is an opportunity to support, celebrate and champion the UK’s 5 million small businesses, reports Caner Daywood. merican Express originally founded Small Business Saturday in the US in 2010 and is an active supporter of the programme in the UK. It is traditionally held on the Saturday after Thanksgiving in the US, one of the busiest shopping days of the year and, as part of American Express’ on-going commitment to encourage consumers to shop small, is a hugely successful initiative. Last year the programme created a huge $5.5 (£3.5) billion in sales to small businesses and President Barack Obama even took part visiting his local bookshop and tweeting in the run-up to the day in 2012 in the US. Championed in the UK by Chuka Umunna, the Shadow Secretary of State for Business Innovation and Skills, and already supported by Prime Minister David Cameron, this non-political campaign will highlight small business success and encourage consumers to ‘shop local’ and support small businesses in their communities. This initiative is also extremely important as our nation’s small businesses provide almost two thirds of private sector employment and almost half of private sector turnover.

64 The Jeweller Nov/Dec 2013

Mobile phone giant O2 has also become the latest corporate name to support Small Business Saturday. The company has said that it will assist in promoting it through its various social media platforms to ensure that

its 23m customers – both consumers and small business owners – are kept updated on how they can become involved with the initiative. O2’s business director, Ben Dowd, himself an ambassador for Small Business Saturday, said: “O2 has about 500,000 SME customers in the UK, so we are delighted to be supporting the Small Business Saturday campaign. Digital technology can help small businesses reach new clients and achieve new sales – and that’s what Local Priority Moments (O2’s self-serve portal to advertise offers) is all about.” The Small Business Saturday UK initiative has also attracted the support of leading business organisations including the Association of City and Town Management, the Federation of Small Businesses, the Association of Convenience Stores, the Northern Ireland Independent Retail Trade

We hope that jewellers will take full advantage of this day and make the most of it in the run-up to Christmas.

David Cameron adds his support to the initiative

Feature | Association and Ingenious Britain, as well as corporates like American Express, Aldermore Bank, Make It Cheaper and prominent entrepreneurs James Caan and Martha Lane Fox. The ambassador for the initiative is businesswoman and West Ham FC’s vice chairman Karren Brady, who recently gave an inspiring talk at the CMJ Conference. Gosport MP Caroline Dinenage has welcomed the announcement of a Small Business Saturday, which will encourage people to do their shopping exclusively in shops owned by small businesses. Dinenage said: “Small Business Saturday is a great way to get people in through the doors of our local independent retailers and see some of the unique and innovative products that they have to offer.” Chuka Umunna stated that: “Establishing a Small Business Saturday in the UK, a concept which has enjoyed considerable success in the US, would provide a small but simple and effective way to celebrate local small businesses and encourage more people to buy from them on one of the busiest shopping days of the year… We must do more to celebrate the contribution local,

small independent businesses make to our economy and encourage people to buy from them. They are the lifeblood of our economy, play a hugely important role in our communities and add to the unique character of each locality.”

hear about more and more councils coming on board to offer this. Great news!” said Michelle Ovens from Small Business Saturday, who is clearly in favour of the idea. The NAG is passionate about supporting SMEs and this principle has been the

We must do more to celebrate the contribution local, small independent businesses make to our economy and encourage people to buy from them. Small businesses are the lifeblood of our economy, play a hugely important role in our communities and add to the unique character of each locality. To add extra support to the day, The Forum of Private Business is calling on councils across the UK to lend their support to small businesses by waiving parking charges on 7th December. The group believes that parking charges discourage many consumers from shopping on the high street, diminishing the customer base of small businesses. “Free parking is a great way to encourage more people into town centres, and we are really excited to

Association’s core ethos since its beginning. CEO Michael Rawlinson is backing the Small Business Saturday initiative and said: “I am very pleased that small businesses are getting the recognition and support they truly deserve and we hope that jewellers will take full advantage of this day and make the most of it in the run-up to Christmas.” You can support the campaign by liking the Facebook page and following @SmallBizSatUK on Twitter.

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The Voice of the Industry 65

| Antique Jewellery

Antique JEWELLERY Medieval rings and personal identity Miniature works of art and laden with meaning, rings from the Middle Ages can resonate with contemporary jewellery wearers, as Dr Sandra Hindman explains. estern audiences are familiar with jewellery being used as symbols of identity, be it a signet ring bearing a family crest or personalised wedding bands with sentimental inscriptions. The origins of these forms of identity date back beyond the medieval period, and they continue to be used to inspire jewellers today, who reinterpret their symbols in modern designs. What few people realise however, is that these ancient and medieval rings can still be worn today – their symbols and inscriptions appropriated to suit their new owners. Of the many different types of rings that are markers of identity, the signet ring most

obviously lends itself to personalisation – signet deriving from old French and middle English signum or ‘small seal’. The Bible is full of references to signet rings. The Pharaoh puts his own signet ring on Joseph’s hand (Genesis 41: 42); the Lord declares that he makes Zerubbabel ‘like a signet ring’ (Haggai 2: 23); the son of Jehoiakim, King of Judah, wears the signet ring on his right hand (Jeremiah 22: 24); and King Xerxes presents Haman’s signet ring to Mordecai (Esther 8: 2). In these biblical stories, the signet ring conveyed on its owner an official authority that went with his identity.

66 The Jeweller Nov/Dec 2013

In the medieval era, signet rings came in many guises. The simplest type is the Merovingian signet of the 6th and 7th centuries mostly found in France. An excellent example (below) belonged to the Frankish Queen Aregunda (c. 500-561), who was the wife of King Clotaire I. A circular bezel bears an inscription with the engraved letters of her name arranged in a circle, Arnegundis, and the monogram in the centre Regine, or queen. Aregunda’s ring was found in 1959 during the excavations of her tomb in the royal mausoleum of Saint. Denis, but it is characteristic of Merovingian signets worn by men and women alike in early medieval Gaul. Emerging in the 12th century in the Middle Ages with the rise of feudal society, heraldry endorsed a system of personal identification of an individual or a family,

‘Regine Arnegundis’ (Queen Aregunda), gold, Merovingian Gaul, c. 570. Musée du Louvre

through emblems and devices, even colours, they could use on banners, garments and, of course, on rings. Heraldic rings thus replaced nominative rings. Those who were not entitled to bear arms, because they came from the non-noble families, such as merchants, created another type of signet ring as a marker of identity – the merchant’s ring. Decorated with mysterious geometric symbols, each example is distinctive and unique, like those rings with actual heraldry. Renaissance paintings by Hans Holbein the Elder show these rings prominently displayed on the thumbs of powerful merchants of the Hanseatic League, who used them to sign documents which are often strewn on the tables before them. This particular merchant’s ring (left) in a private collection is of special interest, because it suggests clearly that the symbols on these rings most likely originate with the marks medieval masons carved

Antique Jewellery |

into the stone in Cathedrals and parish churches to ‘sign’ their work. We have seen rings that identify a person by name, by lineage and by class. But there are also rings that identify persons by their civic status, such as betrothal or marriage rings. Today, the paired diamond bands worn on the left hand are tell-tale signs that

the colour of the gemstone was meaningful. Pious bishops’ rings invariably are set with expensive sapphires, the blue of the sapphire recalling the Virgin Mary’s blue mantle and the celestial blue of the heavens, and the value of the stone a reminder of the immense wealth of the church over which the bishop presided.

Plato uses the ring in the tale to analyse morality, asking whether man is moral purely out of necessity or by nature… but the ring that embodies power is as old as King Solomon’s magic ring and as recent as JR Tolkien’s ‘one ring’. a woman is married. In late Rome and Byzantium the marriage ring (above) had engraved portraits of the husband and wife on the bezel, accompanied by the engraved word Omonia for ‘harmony’ or Vivatis for ‘long life’. If the couple was Christian, the figure of God the Father often appeared to bless them from above, or at the very least a cross was inscribed between their portrait images – signaling yet another marker of identity, that of their religious faith. Sometimes medieval rings conveyed identity in even more symbolic ways. For example, bishops wore a type of ring we call the ‘stirrup ring’, a 19th-century misnomer based on the resemblance of the form to a horse’s stirrup (right). The unusual form probably makes reference instead to the Gothic arch of Cathedrals, the very realm over which the bishop exercised his ecclesiastical authority. Just as the form is symbolic, so too

Hand in hand with identity and authority, the ring in antiquity and the Middle Ages was thought to possess power, even magic. In Plato’s Republic, the ring of Gyges is a mythical magical artifact that grants the owner the power to become invisible at will. The shepherd, who discovers the golden ring worn by a corpse in a tomb, places it on his finger and, through his invisibility, is able to seduce the king’s wife, murder the king with her help and take control of the kingdom. Plato uses the ring in the tale to analyse morality, asking whether man is moral purely out of necessity or by nature (somewhat pessimistically, necessity wins out for Plato), but the ring that embodies power is as old as King Solomon’s magic ring and as recent as JR Tolkien’s ‘one ring’. The idea of the power of the ring, coupled with personal identity, is inherent in another popular type of medieval ring, the iconographic ring, so-called because it bears engraved religious scenes of saints and their martyrdoms, stories of the New Testament such as the Nativity, and religious images, such as the Trinity. Iconographic rings (overleaf) were so common in 15thcentury England we might consider them a sort of medieval ‘bestseller’ in the realm of jewellery just as the Book of Hours was the ‘bestseller’ among manuscripts. Literary accounts reveal that they were often given as gifts to protect wearers, and many such

The Voice of the Industry 67

| Antique Jewellery rings are inscribed en bon an (Happy New Year), a sure indication that they were exchanged as presents at étrennes or New Years. A frequent image on iconographic rings is that of Saint Christopher, the giant who crossed the river with the Christ Child on his shoulders, guaranteed to safeguard the owner on his own travels. If Catherine was your name saint, you might commission (or purchase ready-made) a ring showing Saint Catherine of Alexandria with her wheel, the symbol of her martyrdom. Gazing at the engraved image on your finger, like gazing at the image of the saint in a manuscript, reminded the viewer that Catherine was patron saint of female wisdom, virginity, spinners, librarians and so forth. Saint Margaret assured young brides protection in childbirth, a much more dangerous procedure then than now. Both men and women wore iconographic rings, which often referred to the identity of the wearer but at the same time were thought to have the power to protect. Rings are so tied with personal identity in part because they are so intimate. A ring is one of the few pieces of jewellery that the wearer can admire without access to a mirror, whereas earrings, necklaces and

befall the present wearer. Others (I belong to this camp) take pleasure in the idea that another person long ago treasured and wore the ring close to his or her body. People wore rings from antiquity through the Renaissance and in all sorts of ways – pinned onto hats, dangling from chains, over their gloves, or peeking through specially designed gloves, etc. Bishops’ rings and nominative rings come down to us from tombs, discovered still encircling the fingers of the corpse of the interred person, marking identity in death as in life. Iconographic rings must have been passed down from generation to generation much like the Book of Hours with which they are compared. Signet rings probably enjoyed the same fate. What about today? One thing is certain: made of heavy gold and often set with hard, indestructible gemstones, medieval rings are surprisingly durable, and they easily withstand daily wear. They survive as perhaps the only form of truly wearable medieval art. As such, they are purchased (and worn) today as engagement and wedding rings, for anniversaries with apt inscriptions (one ring inscribed on the outside ‘I love you’ and the inside ‘And I will always love you’ turned

A ring is one of the few pieces of jewellery that the wearer can admire without access to a mirror, whereas earrings, necklaces and brooches are all worn to be admired by others or by oneself only if looking at one’s reflection. brooches are all worn to be admired by others or by oneself only if looking at one’s reflection. Stressing the intimacy of the ring, the very terms defining its parts refer to the human body: the ‘head’ of the ring is the bezel, the ‘shoulders’ refer to the part of the ring between the hoop and the bezel and the ‘foot’ of the ring is the lower part of the hoop. It is this intimacy that makes the ring so enticing – or, alternatively, so foreboding. I have a client who, sensitive to the vibrations she receives from a ring, tries on every ring to see how it speaks to her of its previous ‘life’. In some cultures it is superstitious to wear the ring of another person, because if something bad happened to the owner, it is believed that a similar misfortune could

68 The Jeweller Nov/Dec 2013

out to be the perfect 25-year anniversary gift), for birthdays with the appropriate gemstone of the month, as special gifts and of course simply as beautifully crafted adornments. I conclude with a personal story. I have worn the same 15th-century iconographic ring for nearly two decades (I even swim with it on). At the close of the very first TEFAF – the art, antique and design fair – at which I exhibited in Maastricht, as a special treat to myself, I rushed over to a

colleague’s booth and bought a ring I had admired throughout the fair. It is engraved with the image of Anne, the mother of the Virgin Mary, teaching her daughter Mary to read. At the ridge of the double bezel, the two figures hold an open book, a manuscript. I have studied medieval manuscripts for many decades, first as a professor and scholar, and later as an art dealer, so for me the representation of a manuscript on a ring held by two women is incredibly personal. In the 15th century, the ring was also a very special gift – in my imagination to a young girl (maybe her name was Anne) perhaps from her mother – for the inner hoop is inscribed nul si bien or ‘no one so good as you’. Like my ring, every ring has the potential to tell many stories, connecting people of the past with those in the present – and future.

Dr Sandra Hindman is Professor Emerita of Art History at Northwestern University (Evanston, IL) and owner/CEO of Les Enluminures, New York, Paris and Chicago. She is author, co-author and editor of a dozen books and many articles on medieval manuscripts. She wrote Toward an Art History of Medieval Rings: A Private Collection, London, Paul Holberton, 2007.

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Spring Fair 2014 issue previewing the Watch & Jewellery Show as well as wedding jewellery!

For editorial contributions email our editor ASAP: bmorris@colony.co.uk To advertise contact Ian Francis on tel: +44 (0) 20 7613 4445 or email: ian@jewellers-online.org

We would like to wish all our readers and advertisers a happy and prosperous Christmas! The Voice of the Industry 69

| Regular

Notebook

Where to go, what to read, what to see…

Book Reviews London’s Lost Jewels – The Cheapside Hoard by Hazel Forsyth (£19.95, Philip Wilson Publishers) This is not simply a catalogue to accompany the fabulous new exhibition at the Museum of London (see opposite page), but much more than that. This is a comprehensive, fascinating insight into the Elizabethan and early Stuart jewellery trade in London, during which period the 500-piece Hoard was created, gathered together and then hidden. In fact what adds to the allure of this dazzling cache, which was discovered in 1912 by labourers who were digging up the floor of a cellar in Cheapside, is that it cannot be said for sure exactly when the gemstones, jewels and objets d’art were buried, or by whom or even why. But what curator Hazel Forsyth does offer is a myriad clues. There’s the detailed look at the pre-Great Fire Cheapside buildings that housed jewellers’ workshops, shops, counting houses and sleeping quarters; there are inventories of everything from fixtures and fittings to precious materials from that time; there’s a study of leasehold agreements and the multifarious tenures that hinder as well as help the investigator. Under the entire plot of three buildings where the Hoard laid undisturbed for 300 years, there were five cellars. The cache – probably the stock-in-trade of a jeweller, or maybe more than one – could have been buried in any of them. Of course clues lie in the jewels themselves and dotted throughout the book are pages devoted either to particular gemstones or to jewellery designs. Garnets, for instance, make up the largest group of unset gems in the Hoard and most are cabochons.

70 The Jeweller Nov/Dec 2013

They were prized at the time for their medicinal as well as aesthetic qualities. Chain, wirework pendants, gem-set rings, cameos, bodkins and fan handles are also well-represented in this time-capsule of the jeweller’s trade and examined here, as well as many one-off curios. Readers of The Jeweller can receive 30 per cent discount on the price of London’s Lost Jewels. Visit the publisher’s website: http://bit.ly/1a1AgX4, place the book in your basket using the code 9IL at the checkout stage. Click on Update to reduce the cost to £13.96. 20th Century Jewelry and the Icons of Style by Stefano Papi & Alexandra Rhodes (£35, Thames & Hudson) The combination of images of beautiful/ stylish women of a bygone, glamorous era – a peak into the lives of this very rich, elite coterie – and sumptuous close-up shots of the most gorgeous, covetable jewellery, makes for a heady mix. The authors of this book demonstrate that after the First World War, the collecting of precious jewels was no longer the sole preserve of royalty, but also of celebrities and new-rich socialites. Some of the 11 subjects of this coffee table book will be familiar (Maria Callas, the Duchess of Windsor, Barbara Hutton), others less so, but all were renowned in their day for amassing astonishing jewellery collections and here are the stories of these jewels and their owners. The gems are described in detail and offer a profile into the work of leading jewellers including (predictably) Cartier, Van Cleef & Arpels and Harry Winston among them. Close-ups of the jewels as well as portraits of the women by leading photographers illustrate the stories perfectly.

Pearls by Beatriz Chadour-Sampson with Hubert Bari (£25, V&A) Another exhibition worth a visit is Pearls at the V&A and it too, of course, has a book to accompany it. The experienced pearl aficionado/seller will probably be au fait with much of the content (particularly that relating to the formation of natural and cultured pearls and the history of the pearl trade) but lovers of these gems will find plenty to capture the imagination nonetheless. The best part of the book is devoted to the history of the much-soughtafter pearl, crossing cultures from East to West as it does so and taking us from the Roman Empire to the present day. The social and cultural significance of pearls is explored as well as changing fashions and how pearls were worn – pearls could be all about the Virgin Mary… or Coco Chanel. While they were once a symbol of purity or privilege they also became, simply, a popular and affordable adornment. The Art of Bulgari – La Dolce Vita and Beyond, 1950-1990 by Martin Chapman & Amanda Triossi (£22.50, Prestel) Accompanying an exhibition of the same title in San Francisco, this book focuses on a period in Bulgari’s history (the company was founded in Rome in1884) of eclectic creativity. It was a time when the signature look of the house was truly established and had enormous status in the rarefied world of celebrity. Opulent pieces worn by the likes of Elizabeth Taylor (naturally), Sophia Loren and Ingrid Bergman are shown in glorious close-up as well as via portrait and paparazzi images. Triossi’s profile of Bulgari outlines the company’s history, its innovations and designers.

Regular | Jewellery & Watch Trade Fairs November 28th-1st December: Hong Kong International Jewelry Manufacturers’ Show, Wanchai, Hong Kong Around 900 exhibitor stands – including a designer area – offering everything from diamond and pearl jewellery to loose stones and jewellery watches. www. jewelryshows.org December 4th-7th: Dubai International Jewellery Week, Dubai World Trade Centre, UAE Global and local exhibitors showing designer jewellery, diamonds, major international brands, traditional gold jewellery, emerging talent and equipment, tools and machinery. www.jewelleryshow.com 6th-8th: Mineralien, Hamburg, Germany The world’s fourth largest mineral show, offering rough and finished gems, minerals, fossils, jewellery, equipment and literature. Open to trade and public visitors. mineralien.hamberg.de

Natalie Vardey at Scotland’s Trade Fair

January 2014 19th-21st: Scotland’s Trade Fair Spring, The SECC, Glasgow Jewellery, giftware, fashion and home accessories are the design-led product categories at this bi-annual market place. Among the jewellery brands exhibiting are: Kleshna, Chris Lewis, Silver Willow, Jos von

Arx, Linda Macdonald, Ortak, Natalie Vardey and Sheila Fleet www.scotlandstradefairs.co.uk 26th-28th: Antwerp Diamond Trade Fair, Hoveniersstraat, Antwerp, Belgium The largest ADTF yet, with 80 of Antwerp’s diamond firms exhibiting at this exclusive, invitation-only event. www.antwerpdiamondfair.com

Sales & Exhibitions Tourmaline latch ring by Melanie Eddy

November Current-29th: Contemporary Jewellery & Gemstones from Afghanistan, British Council, Spring Gardens, SW1 An exhibition of Afghan jewellery design and manufacture illustrating the richness of traditional Afghan skills. Works by designers Hattie Rickard, Melanie Eddy and Pippa Small are among those included. www.britishcouncil.org Current-19th January, 2014: Pearls, V&A, London In conjunction with the Qatar Museums Authority, a major exhibition that looks at every aspect of the pearl, from the production of natural pearls and pearl fishing and trading, to pearl jewellery throughout history. The origins of the cultured pearl are also explored, and along with examples of jewellery of royal and celebrity provenance are pieces by contemporary designers and brands such as Yoko, Hammerle and Friedrich Becker. www.vam.uk.uk Current-27th April 2014: The Cheapside Hoard, The Museum of London, EC2 The 500-piece priceless treasure trove of jewellery and gemstones uncovered over a century ago – and its secrets revealed. A visit to this extraordinary exhibition, which is sponsored by Fabergé and Gemfields, will

surely be on everyone’s ‘must-do’ list. For those who would like a truly in-depth insight into the Hoard, valuer and this year’s David Wilkins Award winner Shirley Mitchell FIRV has organised a talk by curator Hazel Scent bottle from The Cheapside Hoard Forsyth, followed by a guided tour, at 11.30am on Friday 14th February. It’s open to all NAG/IRV members (and their families) and costs £10 for the talk and £10 for the tour. To book please contact Shirley at: sdmvaluations@btinternet.com www.museumoflondon.org.uk 11th-5th January 2014: Dazzle, Oxo Tower Wharf’s Gallery, South Bank, London Established and just-discovered contemporary jewellery design from the UK and around 22 countries. www.dazzle-exhibitions.co.uk 25th-11th January 2014: Dazzle, Manchester Art Gallery, Mosley Street One of two new venues for this long-standing fair, showcasing work from 120 designers www.dazzle-exhibitions.co.uk 15th-1st January 2014: Designer Jewellers Group+, Barbican Centre, London EC2 The annual Christmas showcase for this elite group of contemporary jewellery designers. www.designerjewellersgroup.co.uk 28th-1st December: Made in Clerkenwell: Open Studios, London EC1 Now in partnership with The Goldsmiths’ Centre, this event showcases the work of 150 designers (jewellery, fashion and accessories). One ticket gives access across four days. www.craftcentral.org.uk December 17th-7th January, 2014: Jewels, Royal Opera House, Covent Garden, London George Balanchine’s ballet was created in 1967 and inspired by the gemstones he saw in Van Cleef & Arpels. Each of the three movements draws on a different stone – diamond, ruby, emerald – for the dance and a different composer for its sound. www.roh.org.uk

The Voice of the Industry 71

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| Regular

The

Last Word Gemmologist and jewellery consultant Roy Huddlestone MIRV celebrates his 69th year in the industry this year, so it’s appropriate that he should have The Last Word in 2013’s last issue. Personal Profile A director of Hatton Garden based Huddlestone Gemmological Consultants and UK agent for EGL, Roy Huddlestone began his long and illustrious career in 1944 at the age of 14. For five years he was an apprentice watchmaker/repairer and jewellery maker/repairer at which point his interest in gemstones and equipment was aroused and he started his extensive collection. Training was followed by a year’s National Service in the RAF as an aircraft instruments mechanic and after being demobbed Roy worked for a number of jewellery retailers, rising through the ranks. His love of precious gems brought him to Hatton Garden in 1968. This period saw him establish Diamond Grading Laboratories Ltd while he also worked as a director/buyer for a rough diamond company. The end of the 1960s through to 1972 was a busy time for Roy – innovations and pioneering ideas that emanated from his office included the first ever diamond price matrix (which was quoted monthly in the FT) and the first diamond colour measuring spectrophotometer. A modified form of his system to grade the clarity of diamonds is still in use in the HRD lab in Antwerp.

Who has been the biggest influence in your life? My Christian parents. If you could go back in time, what era or moment would you choose? Why? The late ’60s early ’70s, when I pioneered my DGL lab as the first dedicated diamond certification lab in Europe. There were lots of exciting developments. HRD, EGL, IGI, Gem-A and Birmingham all came later. If you could wave a magic wand and change one thing about the jewellery industry what would it be? I wish that everyone in the trade and labs could resolve the chasm of clarity grading differences by agreeing a measuring system

74 The Jeweller Nov/Dec 2013

along the lines of the system we developed at DGL in Hatton Garden in the ’70s. Looking back at your career, what one thing would you do differently if you had your time over? Nothing. My 69-year career has had many phases, all interesting and challenging. What three words describe you best… in your view and according to others? In my view – independent, constructive, balanced. In the view of others – friendly, helpful, many faceted. The last film you saw at the cinema? I saw The Jolson Story last month at the Kew Musical Museum. It’s one of the most

outstanding musical biographies to ever come out of Hollywood. Tell us something not many people know about you… I relax by playing on my three-manual Yamaha electronic organ and I am learning to play a Wurlitzer theatre pipe organ. I am a volunteer tour guide of mechanical instruments at the Musical Museum. Favourite shopping destination? San Francisco for its variety. If not the jewellery industry, what might your alternative career have been? Having played second lead In the musicals Oklahoma and Annie get your Gun and the King in King and I I would love to have been an actor. What has been the highest point of your career so far? There have been many. Being commissioned, secretly, to evaluate technically and value for private sale two famous diamonds. One was the Sancy, 55.23 carats – now in the Louvre museum – and the other was the Star of the South, 129 carats from Brazil, now in private hands. And the lowest? Being allowed to do blasting 1800 metres deep in the Cullinan diamond mine! Quick Fire • Cats or dogs? Cats • White or yellow metal? Yellow, it’s warmer • TV or radio? TV • Jewellery on men? Yes, in moderation • Beer or wine? I’ve been teetotal all my life (so far) • Party pooper or party animal? Party animal

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