Title: Alumni Activities Advance the Legacy of the Gem and Jewelry Trade Abstract: Attendees in London are crowned with jewels created by famed celebrity designer, Andrew Prince, second from right. Photo courtesy of the London chapter

Alumni across the globe participate in events hosted by our chapters, including social meet-ups and networking opportunities at industry trade shows and education opportunities provided by GIA. They are out in full force to support the trade by participating as panelists, recruiters, career coaches and attendees at GIA’s Career Fair in New York and at the annual GIA Global Leadership Program for gem and jewelry industry leaders at the Harvard Business School.
Here is a glimpse of some of the worldwide activities the GIA Alumni Association is pleased to share:

Chapters hosted more than 30 field trips, education and social gatherings in just three months.
GIA participated in 15 trade shows in China, Japan, India, the U.K. and U.S. This is a great opportunity for alums and students to connect with GIA.
Alumni participation was strong at GIA’s Jewelry Career Fair in New York, from veteran alumni giving back to the trade as program participants to alumni attendees looking to start or enhance their careers by gaining knowledge of the industry and connections. Please Note: GIA’s next Career Fair will be held Oct. 10 at GIA’s World Headquarters in Carlsbad, California.

Participation from our alums has been remarkable and we thank you!

Speaker Brian Cook shares the “Thrill of Brazil” with this colorful image of Paraiba tourmaline gem rough at a London event. Photo courtesy of the London chapter

Chapter Activities
GIA speakers – Dr. James Shigley, distinguished research fellow, provided an update on synthetic diamonds at chapters in Greater Cincinnati and Michigan; Dr. Wuyi Wang, director of research and development and identification services, shared an overview on synthetic diamond growth methods, predominant manufacturers and identifying characteristics of both natural and synthetic diamonds in Malaysia; GIA provided a synthetic diamond update for alumni in Botswana; and members gathered in Seattle for a presentation by GIA’s Robert Weldon on "Rediscovering Colombia's Chivor Emerald Mine." To read more on the topic, see Weldon's 2016 Gems & Gemology article.
Meet-ups of global alumni and chapter leadership – Many attendees at the Las Vegas jewelry shows in June were able to enjoy multiple events to reunite with past classmates and network with and meet new alumni connections.
Second annual CalTech Gemology Lecture – The Los Angeles chapter hosted a sellout-event for more than 100 participants from southern California and beyond. The “Ametrine Adventure” was presented by Dr. George R. Rossman, a renowned educator and professor of mineralogy in the division of the geological and planetary sciences at the California Institute of Technology. Rossman has authored or co-authored more than 320 articles on mineralogical and chemical sciences and is a former GIA Board of Governor.
Fine Watchmaking – Alice Leung, GIA GG and certified trainer of Foundation de la Haute Horlogerie (FHH), shared her expertise with chapter members in Hong Kong.
Gold Mining in Colorado – The Mile High-Colorado chapter organized a two-part education event, including a talk by Tina Flemming, president of the Foothills chapter of the Gold Panning Association of America. This was followed with a day trip of gold panning two weeks later.
FBI: Security for the Jewelry Industry – An agent of the U.S. Federal Bureau of Investigation (FBI) shared security tips with members in St. Louis.
Somewhere In The Rainbow – Curator Shelley Sergent shared a collection of outstanding gems and jewelry with members of the Middle Tennessee chapter.
Appraisal Methodology and Evaluation – Edward Lewand, GIA GG, ASA, AAA, a professional appraiser and noted expert, discussed this topic with members of the Washington, D.C. chapter.
Diamond Cutting Evolution and Demonstration – Scott Sucher talked about the evolution of diamond cut in St. Louis and Phillip Van Emmenis presented a diamond cutting demonstration and talk in Georgia.
Jewelry Design and Inspiration – Famed jewelry designers Fei Liu and Andrew Prince gave presentations to the London chapter. Liu, recognized for challenging the preconceptions of traditional jewelry design, shared his love for art and gemstones and described his transition from a student to an internationally acclaimed and award-winning designer. Prince – who has an impressive and  loyal clientele ranging from stars of stage and screen, royalty, couture houses and institutions, including the Victoria and Albert Museum (V&A) in London – shared his professional journey as a creator known for the finest traditionally designed crystal jewelry in the world, including wedding tiaras, combs and bands, earrings, bracelets and more.
Jewelry History – Marie E. Betteley, GIA GG, head of Christie’s Russian Department in America and a leading expert on Russian jewelry, works of art and Fabergé, shared an engaging look at her life, career and experiences with the Golden Gate-California chapter. Lauren Abramowitz, GIA GG and jewelry expert, shared the history of Tiffany & Co. with the Golden Gate-California. Elyse Zorn Karlin discussed the Association for the Study of Jewelry and Related Arts (ASJRA) with members of the Manhattan chapter.
Fascinating World of Jewelry Auctions – Noted auction and jewelry historian veterans Monsieur Côme REMY (in Switzerland) and Joe DuMouchelle, GIA GG (in Michigan), provided attendees with an inside look at the exclusive world of jewelry auctions. (Alums who have attended GIA’s annual “Party at the GIA Gem Mine” in Tucson, know DuMouchelle and his wife Lindy as our live auctioneers.)

Taiwan members share pride in their chapter at a recent trade fair. Photo courtesy of the Taiwan chapter
Social Gatherings – Alumni, students and industry friends gathered together to celebrate with the Malaysia, Monterrey-Mexico, Ontario-Canada and Switzerland chapters.
“Hands-On” Gemology Study Groups and Industry Report – These events remain popular among all chapters, including a summer barbeque and “Beryl Study Session: Part II,” hosted by Minnesota-Twin Cities; and a colored stone marketplace report by Kusam Malhotra, GIA GG and chapter president in Washington, D.C.
Adventures in Mining, Localities and Gemstone Production – Gem expert Brian Cook captivated a London audience with a talk on Paraiba tourmaline and the “Thrill of Brazil.” Dacques Nini, GIA GG and president of the Houston-Texas chapter, shared experiences of personal travels to mining regions in Brazil, Burma and South Africa with San Diego chapter members.
Special Exhibition and a Museum Field Trip – Washington, D.C. members viewed the personal jewelry treasures of socialite Marjorie Merriweather-Post in the “Spectacular Gems and Jewelry” exhibit at the Hillwood Museum.
Five Things to Know about the Jewelry Industry Right Now – Michelle Graff, editor-in-chief of National Jeweler magazine, spoke to alumni and visitors attending July’s jewelry shows and events in New York.

Alumni News – Take Note
Mark your calendars! We hope to see you at these global education and experience opportunities:
A Gemological Discovery Journey to Sri Lanka
The Taiwan chapter has organized a “Gem Discovery Journey to Sri Lanka III” tour to coincide with the annual FACETS Gem and Jewelry show in Columbo, Sri Lanka in late August. All interested parties should reach out to Taiwan chapter representatives for more information.
World of Gems Conference V

The World of Gems Conference V, which will be held on Sept. 23-24 in Rosemont, Illinois, will include an impressive lineup of international gemological experts and attendees. GIA speakers include Nicholas Sturman, from the GIA laboratory in Thailand and Al Gilbertson, a recent Antonio Bonnano Award recipient from GIA’s Carlsbad laboratory in California. The last conference hosted more than 200 attendees from 15 countries, including seven GIA Alumni chapter presidents in attendance.
Gemworld is offering a limited number of student scholarships to attend the conference. Visit their scholarship page to learn more.
Alumni Party Tucson 2018 – Save the Date!
We will celebrate Richard T. Liddicoat, the Father of Modern Gemology, at next year’s “Party at the GIA Gem Mine” in recognition of the centennial year of his birth. All GIA alumni around the world have a connection to Mr. Liddicoat – thanks to him and the efforts of GIA’s Bob Earnest, the “official” GIA Alumni Association was launched in 1982. Mark your calendars to attend the Art Deco-themed “Party at the GIA Gem Mine” on Friday, Feb. 2, 2018. This annual reunion, dinner dance and auction is organized by the GIA Alumni Association and is held during the gem and mineral fairs in Tucson, Arizona each year.
You can help us make the celebration even better:

Share Your Photo or Story: Please share your personal photo or story with Mr. Liddicoat for potential use at the event or in additional celebrations.
Auction Donations: The alumni office is encouraging early donations for the “Party at the GIA Gem Mine’s” silent or live auctions. All auction proceeds support the alumni endowment fund and provide scholarships and education opportunities across the globe.

The outstanding legacy of service and contributions of Richard T. Liddicoat and many others who have positively influenced our industry makes me ponder how each positive action made by any individual – either by making the effort to stay educated and up-to-date on gemology; sharing their success and experience or providing mentorship; or so many other examples of paying it forward – helps ensure that current and future generations continue to respect the time-honored careers in the gem and jewelry trade.
Though historically driven by nature’s beauty and design, the jewelry industry prides itself on a foundation of integrity, creativity and expanding global culturalism.
So I leave you with thoughts to consider as a GIA Alum: What personal actions have you made recently to pay it forward or advance your personal journey or knowledge? What will you do next? Source: GIA @topic:9


Title: Exhibition Review: A Modern Gem and Jewelry Collection Abstract: Figure 1. This 16 ct rhodochrosite, faceted by the late Stephen Kotlowski, is from Colorado’s Sweet Home mine. Photo by Stephen Kotlowski, courtesy of Somewhere In The Rainbow.

A Modern Gem and Jewelry Collection, consisting of 458 carefully chosen pieces, is currently on display at the Flandrau Science Center & Planetarium in Tucson, Arizona. The ensemble, located on the first floor of the Planetarium, was provided by a group of anonymous private collectors called Somewhere In The Rainbow, who aim to promote appreciation of fine colored gemstones through museum and gallery exhibitions.

The exhibition’s pathway is L-shaped and oriented toward the left with a total of eleven windows. The first window presents a selection of high-end jewelry pieces that have won AGTA Spectrum awards. This arrangement is followed by six windows organized by locale. This group of windows contains minerals, cut gemstones, and prominent jewelry pieces. A more didactic window exhibits a selection of gemological tools that have been used to identify and study gemstones through the ages. A central round case shows a selection of ten award-winning jewelry pieces. An impressive display is dedicated to a selection of elite sapphire gems and carvings. The last case is equipped with a UV light switch, which displays the fluorescence of the gemstones within.

The highlight of the first window is a pair of tourmaline, tsavorite, and diamond earrings by Ai Van Pham. A second window represents a selection of Africa's most notable species, including a diamond necklace with a 17.84 ct green cuprian tourmaline center stone by Adam Neely and an 18.55 ct trillion-cut Mahenge spinel. The third window features a collection of American gemstones, such as rhodochrosites (figure 1), amethysts, Montana sapphires, Oregon sunstones, and benitoites. The two must-see jewelry pieces in this case are two magnificent strands of graduated turquoise beads (figure 2) from Arizona’s Sleeping Beauty mine in Arizona, and a necklace featuring a rhodochrosite from Colorado’s Sweet Home County mine alongside diamond and sapphire. The turquoise strands particularly exemplify the best quality in color and texture of this increasingly rare untreated material. The Southeast Asia display features fantastic spinels, rubies, and sapphires (figure 3). The exhibition promotes blue and pink spinel as the most colorful material on the market, and a sumptuous multicolored spinel and diamond necklace is the most noteworthy piece of the ensemble.

Figure 2. Arizona’s Sleeping Beauty mine is the source of these strands of turquoise
beads. Photo by Robert Weldon, courtesy of Somewhere In The Rainbow.

Figure 3. The cutter of this 16.73 ct unheated color-change sapphire from Sri Lanka is unknown. Photo by Photography by Michelle, courtesy of Somewhere In The Rainbow.
Brazil is prominently represented in its own case (figure 4) thanks to an impressive collection of tourmalines and high-quality topazes. A diamond necklace with a 34.34 ct Imperial topaz, along with a 15 ct pear-shaped Paraiba tourmaline as the center stone of a diamond necklace (figure 5), stand out as extremely alluring numbers. Even more intriguing, one case gathers some pieces from “exotic origins” such as csazite from Turkey, a vivid 140.71 ct kunzite from Afghanistan, some remarkable green beryls from Russia, and a 187.57 ct sphalerite from Spain. A green beryl carving by Alfred Zimmerman, depicting a frog sitting on a hexagonal rough beryl set in a Henri Dunay gold carving from the early 1970s, stands out. The “Sea and Sky” window contains a selection of various pearls and coral specimens. A central round case displays ten innovative and acclaimed jewelry pieces, including a multicolored tourmaline and diamond ring by Randy Coffin that received an AGTA Spectrum award in 2016.  The next window is entirely dedicated to sapphires in various cuts with a remarkable Buddha carving (figure 6) dating 1400-1500 AD. A window exhibiting fluorescent gems ends the show.

Figure 4. The Brazil case features gems from the country, fashioned for jewelry by
master artisans. The artwork in the case is by Leslie Porter of Phoenix, Arizona.
Photo by Shelly Sergent; mineral specimens courtesy of Pala Gems.

Figure 5. The showcase of this necklace is the 15 ct Paraíba tourmaline, from the original Batalha mine, which is surrounded by diamonds. Photo by Robert Weldon, courtesy of Somewhere In The Rainbow.

Figure 6. The 15.73ct Buddha Blue sapphire, ca. 1400–1500AD, was cut from an unheated   Sri Lankan specimen. The stone has an active fluid inclusion. Photo by Sean Milliner, courtesy of Somewhere In The Rainbow.
The selection of pieces in A Modern Gem and Jewelry Collection is of high quality and is well documented with carat weight and detailed cartels. The exhibition allows the general public and aficionados alike to get more familiar with rare gems and a distinctive group of American designers.

A Modern Gem and Jewelry Collection will run at the Flandrau Science Center & Planetarium until January 15, 2018. Admission is $16.00 for adults, $12.00 for seniors, military, college students with ID, and children ages 4–17. The Science Center & Planetarium is open is open seven days a week; hours are 9:00 a.m.–5:00 p.m. Monday through Thursday, 9:00 a.m.–10:00 p.m. Friday, 10:00 a.m.–10:00 p.m. Saturday, and 12:00 p.m.–5:00 p.m. Sunday. Source: GIA @topic:10


Title: Jeweler’s Goal: Unite Gem, Jewelry Industry in One of Mexico’s Largest Cities Abstract: Melissa Villarreal, a jewelry designer and GIA AJP who is working toward her Graduate Gemologist diploma, advocates immersive, ongoing learning. “Ask – don´t be afraid to get answers,” says Villarreal, pictured on a 2016 trip with the Mexico City and Monterrey-Mexico GIA Alumni Association chapters to the Sea of Cortez. “That is how you learn and become masterful at your craft, whether it’s sales, design or bench work. Never apologize for going in deep with your questions.” Photo by Guillermo Soberón Tirado

Melissa Villarreal’s vision for the fine jewelry industry in her hometown of Monterrey, Mexico – a city of 4.5 million people in the eastern state of Nuevo León – is simple, and bold: she’d like to help develop the nation’s third-most populous city into a thriving jewelry design and manufacturing hub.

That means doing away with the insular, “closed-off” approach that has dominated the region’s jewelry industry in the past and embracing a collaborative plan for success.

“I really believe in the power of community,” Villarreal says. “My idea of elevating the jewelry industry in Monterrey in the future involves an open-door, mature process of working together to create better industry opportunities for everyone. Jalisco (a nearby state) has a jewelry chamber of commerce, and I see no reason why we in Nuevo León shouldn’t have one, too.”

For Villarreal, the CEO of jewelry company Orofina and vice president of operations for her family’s Marco Antonio Jewelry, the first step in that direction was to create a local chapter of the GIA Alumni Association in 2015. The group’s growth and engagement has exploded in just a few short years, and the Monterrey-Mexico chapter is one of the most active in the international GIA Alumni Association network, according to Kate Donovan, alumni relations manager at GIA.

 “Having an open-door policy for former, current and potential GIA alumni allows us to reach people from all corners of the industry, from designers to new brands, to seasoned owners, bench jewelers and more,” she says. “We hold monthly meetings on different topics that relate to the jewelry industry and business itself. Getting a variety of topics covered by experts every month can be a challenge, but it is one that excites us and keeps the fire burning. We love a challenge because with it comes great growth and learning.”

“When you network, you learn from other people’s experiences and create a sense of community,” says Melissa Villarreal, founder of the GIA Alumni Association’s Monterrey-Mexico Chapter. “You also get to know other professionals who will work with you and get your business where it needs to be.” Villarreal, center, poses with her jeweler parents (on her right) and several members after a chapter meeting. Photo courtesy of Orofina
Villarreal’s investment in the success of the local jewelry industry, and her belief in the power of building a GIA network, came naturally.

As a third-generation jeweler, Villarreal grew up admiring her maternal grandmother, a jeweler who often traveled around the world and returned with “an exquisite selection” of gems. When Villarreal’s parents married, they, too, became jewelers. Her mother, Esthela, followed her own mother’s footsteps, and her father, Marco Antonio, took some classes at GIA.

“My father had the pleasure of meeting [former GIA president and “Father of Modern Gemology”] Richard T. Liddicoat, who graciously took him under his wing and showed him the ropes with dealers in New York City and California,” Villarreal says. “Some of them are still important to us, both in a personal and professional manner, to this day.”

Villarreal has fond memories of growing up around jewelry – playing with the tools at her parents’ store, taking family trips to trade shows – but didn’t choose it as her own path until later, after working in sales, design and fashion editorial for several years.

“I first learned about GIA from a very young age because of my father,” she says. “I even remember the GIA logo so well! I discovered that jewelry was my passion, too, and realized that I needed to have a strong education in jewelry and gemology if I was going to get seriously involved in the family business.”

This 22K gold necklace from Orofina features cube-shaped lapis lazuli beads. Photo courtesy of Orofina
Villarreal earned her Accredited Jewelry Professional diploma through GIA in 2006, then worked for a jewelry company in Houston, Texas for eight years. She and her husband, Fernando, returned to Monterrey in 2014, and she began working for her parents’ company, overseeing everything from design to sales and customer care.

“Working on my AJP online, with flexible hours and comprehensive materials, was fantastic,” she says.

In 2014, Villarreal also launched her own brand, Orofina, focused on creating jewelry that “highlights the natural beauty of the one who wears it.” Orofina is not “fast fashion,” she says, but represents “timeless elegance that can be passed on from one generation to the next.”

One of her early pieces – her first engagement ring, in fact – was purchased by a high-profile couple, football star Antonio Briseño of Portugal’s Feirense, and Mexican model and socialite Alethia Sada. The couple’s wedding, and Villarreal’s engagement ring, with a 1.71-ct round diamond center stone and diamond melee, earned quite a bit of press. The couple loved it, and it was a fulfilling moment for Villarreal.

“The best part of my career is the human connection, and having satisfied customers,” she says. “The fine jewelry industry is all about luxury, it’s not a necessity. These are costly decisions that must be treated with respect. When they thank you afterwards, you know you did your job right – and when they even share personal family moments where your jewelry was involved, that makes it even more special. You’re building a relationship.”

Orofina’s 14K yellow gold Rainbow ring includes citrine and Montana sapphires. Courtesy of Orofina. Photo by Maritere CR Photography
Villarreal was awarded a scholarship in 2015 to continue her GIA studies, and will begin the final stages of earning her GG diploma when she attends lab classes at the Carlsbad campus this fall.

She’s not alone: Villarreal has encouraged many attendees of the Monterrey chapter’s events to apply for GIA scholarships, and is proud to say that several of those people have also received them.

“A GIA education will allow them to keep growing in their preparation as jewelry professionals,” she says – as will the entire chapter.

“I strongly believe our efforts in the GIA Alumni Chapter are the stepping stone to a more open conversation between jewelers in Monterrey,” she says. “We can elevate it and lead it to becoming the design and manufacturing destination that I know it can be.” Source: GIA @topic:9


Title: Gemstone ‘Paintings’ Tell Story of a Master Craftsman, Gem and Jewelry Mentor Abstract: Visiting the display window at M.D. Hohenstine Jewelers was a beloved tradition for generations of Columbus, Ohio residents and tourists. When Hohenstine installed his 2,000th display, the mayor declared it M.D. Hohenstine Day in the city. Photo by M.D. Hohenstine/Courtesy of Judith Allen Hall

“For the first Christmas in 50 years, there is no intricate, shimmering picture woven of hundreds of gemstones to decorate the holiday display window of the jewelry store at 37 S. High Street on the ground floor of the Neil House. A tradition that gave a unique flavor to Capitol Square and warmed the hearts of generations of Columbus visitors and shoppers since 1927 has ended with the death of the artisan who painstakingly handcrafted gem paintings for all seasons.” – Columbus Citizen-Journal, 1976 obituary of M.D. Hohenstine

Aside from a few mementos available for sale on Etsy and eBay – a vintage rose gold brooch, a sterling silver spoon, a taxidermy butterfly serving tray – along with a handful of business directory listings and an obituary in the local newspaper, there isn’t much of an online record that tells the story of jeweler M.D. Hohenstine and his Columbus, Ohio retail store.

And yet, Hohenstine’s spectacular window displays, featuring elaborate, artistic arrangements of hundreds of loose gemstones, were a creative and logistical marvel that captured the imagination of Ohio’s capital city for decades.

“People traveled to Columbus from all over and made a point of going to see ‘the window,’” remembers former employee and longtime family friend Judith Allen Hall. “During the Christmas season, people would sometimes line up three and four deep, trying to look in. Over the years, so many feet stood in front of Hohenstine’s store window that the pavement in front of it had to be repaired because of depressions in the concrete.”

M.D. Hohenstine Jewelers’ location on High Street, across from the capitol building in the heart of vibrant downtown Columbus, Ohio, meant that employees had a front-row seat for several important occasions in history for 50 years. Here, a World War II victory parade and United States Army Band performance passes in front of Hohenstine’s store, seen at the far right of the photo. The clock in front of the store was also marked with his name. In 2012, the M.D. Hohenstine clock was refurbished and returned to the store’s first location, at 21 East Gay Street. Photo by the United States Army Signal Corps
M.D. Hohenstine Jewelers sat in the heart of one of the city’s most bustling neighborhoods, where visitors toured, entertainers performed, and politicians and military personnel were welcomed with parades and fanfare. Its location in the historic Neil House hotel – across from the state capitol building, down the street from the iconic Lazarus department store and the city’s theater district – along with its dramatic curved windows and rich, oversized mahogany display cases, drew actors, big-band and jazz musicians, and entertainers, including the apex of jewelry-loving celebrities, Elizabeth Taylor.

“I’m sure whatever design was in the window was what drew her in that day,” says Hall, who notes that “Mr. H,” as employees called him, stayed in the back of the store and let staff have face time with the A-lister as she browsed the counters.

Family members, like Hohenstine’s grandchildren, still look back fondly on their visits to 37 S. High Street. “My favorite memories always included seeing his gemstone displays in the store window,” says Hohenstine’s granddaughter, Tracy Hagen-Smith.

As much as Hohenstine’s intricate displays – all 2,000-plus of them, catalogued diligently in 35-mm slide photographs – drew public attention, he also quietly built a circle of inspiration and influence within the gem and jewelry industry. Hohenstine’s behind-the-scenes mentorship and willingness to pass on his extensive knowledge of gemology, bench jewelry and the logistics of business operations, has continued through generations of GIA-educated jewelers and gemologists long after the doors of his business closed.

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‘Tuesdays Were Display Days’
Gems & Gemology featured Hohenstine’s 1,039th design on its cover in 1951, and noted his “effective window displays,” which started with his collection of hundreds of loose, natural gemstones.

“None were synthetic,” Halls says, “and none were for sale.”

Hohenstine kept the gems he used for his displays in the left drawer of his custom-designed desk, wrapped in papers scrawled with notes like “56 rubies” or “one 10-ct diamond.” He used a soft pencil to sketch designs, often celebrating a season, holiday, local sports team or charity organization, and meticulously arranged the gems over them. Each slide was marked with a number in one corner, and the gems’ identification in the other. The process took at least six hours, and customers walking by could look into Hohenstine’s secure diamond room and watch the craftsman at work.

The gemstone arrangements – unsecured in any way to the plates – were then photographed and carefully carried 100 feet from the diamond room to the window for dressing.

M.D. Hohenstine’s 1,777th gemstone design, seen here both in the window display and close-up, was one of many patriotic designs he created. Right photo by M.D. Hohenstine. Both photos courtesy of Judith Allen Hall
“Tuesdays were display days,” says Hall, who remembers many of the details of how Hohenstine created his window displays. “Every other Tuesday evening, from 1927 until his death in 1976, he trimmed the windows, and a new gem design went in the center of the left window facing the capitol – even on the Hohenstines’ 50th wedding anniversary!”

The slide photographs weren’t simply for posterity. Hohenstine used them as an educational tool for his frequent lectures to gem and mineral societies, as well as civic organizations, such as the Kiwanis Club, for several decades.

M.D. Hohenstine, right, is pictured with son-in-law Stewart Cox at a gem and jewelry lecture to the Euclid, Ohio Kiwanis Club in 1974. Hohenstine, who shared slide photographs of his gem displays to many of his lecture groups as an educational tool, was a believer in gemological and continuing education for everyone. “He was even ahead of his time in supporting a college education for each of his four daughters,” says granddaughter Tracy Hagen-Smith. Photo courtesy of Tracy Hagen-Smith
A Mentor in Jewelry, and Advocate for GIA Education
Hohenstine was born in 1891 and grew up in a relatively poor family in Columbus’ German Village neighborhood; after finishing eighth grade, he helped earn money for the family by working for well-known jeweler and watchmaker Edwin S. Albaugh. Hohenstine married Albaugh’s niece, Margaret Vause, and eventually opened his own small jewelry store in downtown Columbus. Business became so robust that he moved his store to the larger Neil House location in 1927, where it continued to thrive in a competitive area.

He helped differentiate himself early on. “When he learned about GIA courses, which were by mail at the time, he promptly signed up and became an early Certified Gemologist [today’s GIA GG],” Hall says. “He was so proud of that.”

Hohenstine hired Hall’s father, Lawrence Allen, who had also apprenticed under Albaugh and well-known local jeweler, Curly Miller, in 1935. Hohenstine became a friend and mentor to Allen over the next five years, as Allen also began to earn his Certified Gemologist diploma from GIA. Allen left to open his own store, Allen Jewelers, in nearby Mount Vernon, and become vice president of the Ohio Jewelers Association, but the two stayed in touch.

Hall visited Hohenstine’s store with her father as a toddler, and at 12 years old, began to work alongside him at Allen Jewelers in 1948. “I sat next to him every day at the bench,” says Hall, until she started high school.

Lawrence “Larry” Allen, friend and employee of M.D. Hohenstine and father of Judith Hall, became a jeweler who, according to Hall, “could do anything.” Allen was an early student in GIA’s Distance Education courses, and received a glowing, handwritten review on his first exam. “Congratulations – an excellent paper!” wrote GIA’s Bob Crowningshield. “I trust you can complete all courses with a fine record.” Photo courtesy of Judith Allen Hall
Tragedy struck the Allen family shortly after Hall’s graduation in 1954, when her father passed away unexpectedly at 41. Hall, only 19 years old, took the reins of the family store and managed it for a few years until their landlord sold the building and the family shuttered Allen Jewelers permanently.

Hall and her sisters – all trained in the trade – moved to Columbus and joined different jewelry stores. Her father’s old friend M.D. Hohenstine welcomed Hall to his business with open arms. He proudly displayed her Registered Jeweler certificate from the American Gem Society, which she had earned while running the family store, on the wall of M.D. Hohenstine Jewelers – right alongside his own. This was notable, Hall says, as women’s roles as professionals in the gem and jewelry industry were not yet fully accepted in some circles.

She worked alongside Hohenstine for eight years, handling sales, assisting in his window display dressings, and eventually with his encouragement, dipping into the world of gem education. Hall lectured and gave presentations on behalf of M.D. Hohenstine Jewelers until the store was bought in 1966 by fellow jeweler Thomas Hawk. Hohenstine continued to work there, still creating his biweekly gem displays, as Hall moved on to Florida, to teach gemology at multiple schools, including the University of South Florida in Tampa.

Judith Allen Hall, who worked in retail jewelry stores owned by her father, Lawrence Allen, and mentor, M.D. Hohenstine, before embarking on a 30-year career in gemology education, hopes her donation to GIA can help preserve the legacy of jewelers and artists from the past. “There are so many people in the industry who have stories that don’t get told,” she says. “So much of that history could be lost.” Photo courtesy of Judith Allen Hall
A Legacy of Sharing Knowledge
Hall, who took gemology and design classes at GIA through the years, launched into teaching and reached out to her mentor in 1974 with a letter requesting copies of the window design slides.

“At first I asked him because I was trying to fill up 30 hours of class time,” she laughs.

Hohenstine wrote back that he would not send her copies, but originals – though he had previously refused every other request for them from others.

“I am sending 40 slides from my collection as a gift,” he wrote, “with the understanding they are to be used for educational purposes.”

From that point on, Hall never taught a class without them.

“People were always excited to see them,” she says, “and fascinated that someone would have that big of a collection that was not for sale.”

Jeweler M.D. Hohenstine had many creative pursuits outside of jewelry and gemology. “I think of him as always doing, rather than talking,” says his granddaughter, Tracy Hagen-Smith. “His craftsmanship and artistic skills were extensive. He was involved in photography, clock-making, and had his own theater in the basement of his home. I still have two pieces of marquetry that he made in my home.” Here, he plays the organ as his wife, Margaret – “always his biggest fan,” says Hagen-Smith – looks on. Photo courtesy of Judith Allen Hall
Over the next few decades, Hall encouraged her students – many working jewelers and pawnbrokers – to continue their studies at GIA. In a profession like pawn brokerage, she explains, professionals have to make decisions quickly, with nothing more than a loupe in hand and gemological knowledge in their heads.

“I convinced many of them to take GIA classes,” Hall says. “I explained that having that foundation of GIA knowledge is what allowed me to identify gemstones quickly in the first place.”

One of those students, Shane Socash, was a working jeweler looking to expand his gemological knowledge.

“Judith exposed me to the history, lore and beauty of gemstones that I wasn’t getting in other parts of my jewelry education,” says Socash, who went on to earn his Graduate Gemologist diploma and become the owner of David Reynolds Jewelry & Coin in St. Petersburg, Florida. “It allowed me to broaden my knowledge, and I knew since she studied at GIA, that I wanted to explore that direction in my life, too.”

Shane Socash, GG, and owner of David Reynolds Jewelry & Coin, is part of the circle of influence surrounding M.D. Hohenstine, who mentored Socash’s gemology instructor, Judith Hall. As a young jeweler, Socash determined that he wanted to attend GIA like she did, and one day found $400 in the parking lot of a jewelry store. He returned the cash to the owner of the store, but the owner said it wasn’t his and suggested that Socash keep the money if no one claimed it. Socash decided its best use was to put the money toward his first Distance Education course at GIA. Photo courtesy of Shane Socash
When Hall retired from teaching in 2016 at 80 years old, she began to think about the best home for Hohenstine’s slides, including those sent to her by Hawk upon Hohenstine’s passing, and the first edition of Richard T. Liddicoat’s “Gem Identification” book that he gave her.

“In the process of deciding where the best permanent home for them would be, I concluded that GIA is the connecting thread that links us together,” she says. “It’s the vehicle through which and by which we not only receive education, but we also can use to pass on our passion and knowledge of gems and jewelry industry history.”

Hall inquired whether GIA’s Richard T. Liddicoat Gemological Library and Information Center would be interested in a donation to further gemological education. She was “thrilled” when librarians said they would be honored to safeguard the slide collection that Hohenstine had entrusted to her so many years ago.

“For me, that connecting thread was that Mr. Hohenstine, who was an early GIA graduate, taught my father, who also became a GIA graduate,” she says. “My father inspired me to study at GIA, and as a recipient of two generations of jewelry industry education and knowledge, I taught for 30 years and was able to inspire graduates like Shane Socash, who passes on his knowledge to his clients, and even his daughters.”

It’s been just shy of a century since M.D. Hohenstine installed the first of his “handcrafted gem paintings,” and 40 years since he created his last. But because he invested in the next generation of the gem and jewelry industry, his legacy of knowledge, craftsmanship and creative excellence will continue to inspire jewelers in the years ahead – far beyond the borders of the town where he created such unique and memorable art. Source: GIA @topic:6


Title: Internet Jewelry Pioneer Creates ‘Gems of Madagascar’ to Improve Lives of Children Abstract: Michelle Rahm, GG, founded "Gems of Madagascar" in 2015 to help provide clean water projects and other basic needs for the nation’s children. Here, she is pictured with three girls from the village of Mananjara, whom the organization sent to school because their families could not afford to. “They were so happy and doing well in their studies, and their dispositions had changed so much,” she says. “It’s amazing how much something like sending the girls to school changed their overall well-being.” Courtesy of Michelle Rahm

	Michelle Rahm is many things: an accomplished business owner, a seasoned gemologist, an Internet jewelry sales pioneer and an award-winning leader in the GIA Alumni Association.

	But when Rahm visited Madagascar in 2014 to learn about its mineralogy and tour mining localities, she didn’t expect to also become an advocate for the nation’s children. “I never imagined that a business trip to Madagascar would change my life,” she says.

	Rahm’s business began when she decided “on a whim” to put a few pieces of costume jewelry for sale online in 1997. “It was an experiment to earn a little extra money for Christmas while my other start-up business was in the works,” says the Colorado resident. “But the jewelry sold so well right away, I never went back to the other business.”

	She tried wholesaling items like hot cocoa and coffee, but jewelry and watches always performed best, so she zeroed in and founded JewelryImpressions.com.

Michelle Rahm, president of the GIA Alumni Association’s Mile-High Chapter, used her expertise as a pioneer in online jewelry sales to help her alma mater develop an e-commerce curriculum. Courtesy of Michelle Rahm

	As Rahm found success in online jewelry sales, though, so did others.

	“The Internet was becoming more accepted as a means of commerce, and I wanted an edge over my competition by having real credentials in the trade,” she says. When Rahm found herself at the Jewelers 24 Karat Club golf tournament with Douglas Hucker, CEO of the American Gem Trade Association, she asked his opinion on whether she should pursue her Graduate Gemologist diploma.

	“He strongly encouraged me to do so,” says Rahm, a graduate of the University of Wisconsin - Platteville. “Within six months I signed up for classes, and had finished the program a year later.”

	Rahm soon noticed the effects of a GIA education on her business: as her knowledge increased, her sales evolved from costume jewelry to fine jewelry and loose stones – and she was able to communicate with customers in an entirely new way.

	“My GIA education allowed me to speak intelligently about gems and diamonds to my clients,” she says. “There is a trust factor there that consumers don’t find with other retailers who do not have their GG. I feel like my diploma helps me stand out in the sea of jewelry retailers, especially those selling on the Internet. When I have the opportunity to speak to customers, they realize that I have the education to back what I say.”

	Rahm continued to engage with customers, seizing an opportunity in 2009 when she recognized that many of them were buying loose stones to be set in engagement rings. She created OurCustomWeddingRings.com, which sells engagement rings set with colored stones.

Michelle Rahm’s June 2014 trip to Madagascar’s mining localities was inspirational for its continuing education opportunities and connection to her GIA studies. “The most exciting destination for me was the Ilakaka alluvial sapphire deposit (pictured here), because I saw a video about it in my GIA coursework,” she says. Photo by Jaroslav Hrysl/Courtesy of Michelle Rahm

	She also threw herself into involvement with the GIA Alumni Association – she’s president of the Denver, Colorado-area Mile-High chapter – and into continuing education classes and workshops. It was her quest for ever-expanding knowledge that led Rahm to that life-changing trip to Madagascar, where she was thrilled to visit sites like the Ilakaka alluvial sapphire deposit she studied in her GIA coursework.

	What impacted her the most, though, was a surprise. “It wasn’t the sparkling gems that caught my eye,” she says. “It was the children.”

	Rahm felt an instant bond with the “beautiful” children she met with such “rich spirits,” but was overwhelmed by their lack of access to clean water, nutritious food and other fundamental necessities for survival. She returned to the United States with a resolve to learn about clean water projects and other basic needs of the Malagasy people.

	The real “gems” of that nation, she says, are its children. She joined forces with partners in Madagascar and Colorado and founded GemsofMadagascar.org, a non-governmental organization with a “holistic approach” to humanitarian work. The nonprofit, which was officially created in 2015, will offer first aid and hygiene training, develop community gardens and clean water systems, and construct buildings, among other needs that will give local children a better chance of a bright future. The first two projects will launch this summer: a clean-water system that will supply eight villages, and a church and community building for another village. There are plans for more clean-water systems in the next year.

	Rahm has traveled back to Madagascar several times in the last couple of years. In addition to her work with her own business and as a leader in the Alumni Association, Rahm is thrilled at the many opportunities and paths that have developed from a “whim” of a decision to sell some costume jewelry online.

	“I absolutely love my career,” she says. Source: GIA @topic:9


Title: Panyu: A Legendary Manufacturing Hub for the Global Gem and Jewelry Industry Abstract: The Pearl River is the third longest river in China. It cuts through the city of Guangzhou and connects some of the most developed areas in southern China. The scenery along the river has become a main tourist attraction. Photo by Eric Welch/GIA.

                      When talking about jewelry manufacturing, one can’t ignore Panyu, a small district of Guangzhou, the capital of China’s Guangdong province. Panyu is located at the center of the Pearl River Delta, one of mainland China’s most economically developed areas. Over the past 30 years, Panyu has gradually evolved into one of the world’s main jewelry manufacturing centers. This was made possible by its well-established transportation network and the tight connection with its “twin city” of Hong Kong, along with the support of the central and local governments.

The gem and jewelry industry in Panyu was established in 1986, and now accounts for about 25 percent of Hong Kong’s and mainland China’s combined annual jewelry exports and 60 percent of annual nationwide jewelry production. Panyu workers set more than 70 tons of colored stones into jewelry every year. Panyu’s jewelry exports surged from $2.53 billion in 2011 to $4.13 billion in 2013, with an annual growth rate of almost 28 percent. Seventy percent of jewelry exported from Hong Kong and 90 percent of jewelry branded and sold in Hong Kong is manufactured in Panyu.

In recent years, Hong Kong producers have placed more emphasis on the creative and design side of jewelry manufacturing, leading to higher labor costs. As a result, mass commercial production has mostly moved to Panyu, merging its gem and jewelry industry with Hong Kong’s. Currently, many local and international jewelry brands manufacture their products in Panyu.

Panyu also has more than 1,600 colored stone cutting factories. Panyu gem cutters created the world famous “China Cut” for diamonds and colored stones. It has now become a worldwide brand and the pride of Chinese gem and jewelry manufacturers.

Location Map

The Pearl River Delta enjoys an ideal geographical location and a close connection to Hong Kong. These factors have made it one of the most economically developed areas in mainland China since the country opened to the rest of the world in the late 1970s.
In the summer of 2013, GIA sent a team to explore the Chinese gem and jewelry industry. They were guided by Mr. Wilson Yun, an ex-president of the International Colored Gemstone Association (ICA). Mr. Yun introduced the GIA team to local industry leaders and provided us with an in-depth view of the many attributes of this legendary area.

	Panyu Gem and Jewelry Industry

	Panyu Gem and Jewelry Industry

	Shawan Jewelry Park: A One-Stop Solution
Shawan is a subsidiary district of Panyu. The Shawan Jewelry Park was originally established in 2002 as a gold manufacturing center but its management and strategy changed after 2006. It is now home to jewelry factories, trading offices, an industry service center, and trade organizations. It also hosts tourists and has a large-scale living area for factory employees. In the park, the GIA team visited a well-known jewelry factory and the central business service center.

Noble Jewelry Holdings Ltd. is a Hong Kong-based company that was formed in 1983. The company specializes in jewelry design, manufacture, and trading. It was one of the first companies to set its factory in Shawan Jewelry Park. Thirty percent of its products are exported to the Middle East, making the company one of the largest suppliers of high-end jewelry in the area.

Many well-known jewelry brands have established factories in the Shawan Jewelry Park. The park’s scenery features attractive buildings and bold sculptures. Photo by Eric Welch/GIA.
Our group was highly impressed with the factory’s design department, considered by Noble to be at the core of its market competitiveness. The department is divided into groups that specialize in designs for different countries and areas. Designers are predominantly young college graduates with jewelry design majors. To keep up with the fashion trends, the company invests in sending its designers to study different countries and areas. These efforts make it possible for Noble to debut over 10,000 jewelry designs each year. Many of them have won domestic and international design awards.

	Noble JewelryManufacturing Plant

	Noble Jewelry Manufacturing Plant
The park’s management provides a central service center to facilitate business for its members. Customs, express transportation, and gem-testing services are all located inside the center. Business owners can complete all of the necessary steps to export their goods without leaving the park.

	Shawan Jewelry Park

	Shawan Jewelry Park
Besides providing services for the business enterprises, the park also has a large dormitory area for employees. Comfortable living conditions and a safe and friendly environment help to attract young workers to Panyu. Skillful and productive young workers are important for the future of China’s gem and jewelry industry, as increased human labor costs have become a serious problem for many business owners.

	Colored Stone Cutting
Colored stone cutting is another pillar of the Panyu gem and jewelry industry. The team visited the cutting factory of Hutang Gems & Jewelry Ltd., founded in 1992. Mr.Wu Jianping, owner of Hutang, informed us that he started the business in Guangdong and moved to Panyu after a few years. What keeps him in Panyu are the strong government support of the industry, the business services, and the rich human and economic resources.

Mr. Wu also proudly expressed to us that the key to his success in the current global industry is that he maintains very strict quality control in his factory, which currently adds more quality control staff than cutters and goldsmiths.

	Hutang Cutting Factory

	Hutang Cutting Factory
The gemstones cut in Mr. Wu’s factory include peridot, amethyst, citrine, garnet, and chrome diopside. The company has been transformed from simply a colored stone cutting business to one that includes both stone cutting and jewelry design and manufacturing. Mr. Wu plans to develop his business to cover the whole value chain, from mine to market, in the future. Currently, most production is for export. He has already opened trading offices in Hong Kong and Los Angeles, California, US. In 2013, he invested in an e-commerce team to establish a company sales website.

Hutang, with more than 23 years of experience in colored stone cutting, recently started its own jewelry manufacturing enterprise. Hutang also opened a sales office in Los Angeles to target the US market. Courtesy Hutang.

The Greater Panyu Area: Shared benefits and resources
Many of Panyu’s existing resources are shared with its surrounding towns, a few of which have also developed into jewelry manufacturing hubs. Hong Kong’s big three—Chow Tai Fook, Chow Sang Sang, and Luk Fook—have all opened factories in the greater Panyu area.

Chow Tai Fook has both its diamond cutting and jewelry manufacturing facilities in Foshan, a city immediately to the west of Panyu. Earlier this year, Chow Sang Sang also opened a center in Foshan to further raise its production capacity in mainland China. The jeweler moved from Guangzhou to Hong Kong in 1948 and had 298 stores on the mainland by the end of 2013.

In 2003, Luk Fook opened its jewelry factory in Nansha District, immediately to the south of Panyu. Luk Fook was founded in Hong Kong in 1991. As the youngest of the big three, its growth in mainland China has been extremely fast. The jeweler operates 1,350 retail stores globally.

Chow Tai Fook is the largest jewelry retailer in the world. Its diamond cutting facility and jewelry manufacturing plant are both located in Foshan, a town immediately to the west of Panyu. Courtesy Chow Tai Fook.
In 1988, Yue Shun Fook Jewelry and Diamond Co. Ltd. opened its first diamond cutting and jewelry manufacturing factories in Foshan. The company, which had partnered with Chow Tai Fook for a long time, finally became a subsidiary of Chow Tai Fook in 2011. The GIA team visited both the Chow Tai Fook diamond cutting (http://www.gia.edu/gia-news-research-chowtai-fook-hsu) and jewelry manufacturing factories in Foshan.

	Chow Tai Fook is a DTC sightholder. Its diamond wedding jewelry is a best-seller in China.
	All the work—from rough diamond cutting to finished ring—is done in Foshan. Courtesy
	Chow Tai Fook.

After our tour of the jewelry factory, executive staff introduced their product strategy and showed us some representative high-end jewelry pieces. The factory applies both traditional and advanced techniques. Some of their lines are manufactured using automatic wax injection into rubber molds. This process can increase efficiency by 20 percent with about 5 percent less product failure. Laser welding technology is used to fix the surface defects that result from precious metal casting, such as very tiny pits. Its use is not very common among small-scale jewelry manufacturers.

They use die-striking and electroforming to make some commercial gold jewelry and decorations, while other high-end jewelry is made by hand. All employees are very focused on the details of their work, and commonly use jewelers’ loupes for quality checks. The skill, efficiency, and technology this manufacturer demands are all at the forefront of their operating philosophy.

	Chow Tai Fook Jewelry Factory

	Chow Tai Fook Jewelry Factory

	Transformation and Upgrading
Besides the Pearl River Delta cluster of jewelry industry firms, there are two other clusters in mainland China: the Yangtze River Delta cluster and the Bohai Coastal Region cluster. Clustering offers shared resources, reduced costs, and mass promotion and helps to increase the competitiveness of the local industry.

Jewelry Clusters

After more than 30 years of development, three major gem and jewelry industry clusters have formed along the east and southeast coasts of China.
Compared to the other two younger clusters, Panyu had its golden development period at the beginning of the 1980s, when labor costs were extremely low. Along with the critical geographic location and strong initial investment, the low start-up costs made this region to some degree the best jewelry industry cluster so far in China.

The Chow Tai Fook jewelry manufacturing plant in Foshan employs highly skilled stone setters. Incorporating technology, such as advanced microscopes, aids in intricate stone-setting and also helps increase quality and production to overcome higher labor costs. Courtesy Chow Tai Fook.
The situation has changed a lot in the past decade. The lowest monthly wages in Guangzhou have increased from 770 to 1550 yuan (about US $125 to $250) over the past 10 years, while the price of jewelry products has not changed very much. Many jewelry manufacturers claim they have had to raise employees’ wages about 15 percent each year over the past several years. Thus, their profit margin is narrowing. Another problem arises from the reliance on exports and external economies.

To address the increasing costs, many factories have invested in more-advanced manufacturing technologies to reduce long-term labor costs, and opened online sales platforms. For example, Shawan Jewelry Industry Park has launched an e-commerce platform that provides services such as warehousing, import and export customs clearance, transportation, and even insurance.

According to the director of the Panyu branch of the China Council for the Promotion of International Trade (CCPIT), the jewelry industry will have to expand further into the domestic market. The Guangzhou Panyu Jewelry Manufacturers Association also works together with business owners to brand the products from all over the Panyu and Pearl River Delta industrial cluster.

The first annual Guangzhou Panyu Jewelry Cultural Festival was held in Panyu at the end of November, 2014. This event will become an annual platform designed specifically for local businesses to display their products and images and to promote jewelry made in Panyu to the rest of the country and the world. Almost all of the participants agree that innovation, technology, and branding will be the key factors keeping the industry advancing in the future. Source: GIA @topic:9


Title: Grad Transforms Family Business, Evolves Local Gem and Jewelry Network Abstract: Yihchen Ng, known as "Y.C." to friends and colleagues, has grown his family's business and helped build an active, vibrant GIA Alumni chapter in Malaysia. Photo courtesy of Yihchen Ng

                      Yihchen Ng’s childhood home in Seremban, Malaysia is only an hour from his residence in Kuala Lumpur, the nation’s bustling capital city.

But his path to a major metropolitan area was not direct – Ng’s professional and educational journey wound through many countries and schools before bringing him home.

Ng, known as “Y.C.” to friends and colleagues, is the group executive director of Tomei Consolidated Bhd., and the executive director and CEO of Malaysia’s Oasis College.

His grandfather, a goldsmith in China, immigrated to Malaysia with his wife in the 1930s, but passed away before he was able to pass those skills to the couple’s sons. Ng’s father began his own education, and opened Tomei after finishing his collegiate work.

Ng, who completed grade school in Kuala Lumpur, high school in Singapore and attended grade 13 in Canada’s Columbia College and freshman year with Michigan Technological University, finally settled in after transferring to Iowa State University, where he majored in marketing and graduated with a B.B.A. in 1988.

He returned home and joined Tomei, where he dreamed of evolving the family company. “Those were the days of a predominantly gold jewelry industry,” he says, “when gold accounted for 90 percent of the sales revenue. Even though our business was primarily gold jewelry, I saw the potential of diamonds and gems in the future of Malaysia.”

Friends in the industry recommended that Ng pursue studies at GIA if he wanted to get serious about growth in the jewelry business; he says it was a “natural choice” and completed the Institute’s rigorous Graduate Gemologist correspondence course in 1990, in just a year.

“It was tough, especially when it came to grading and gem identification,” he says. “It was difficult to master, definitely an eye-opening and challenging experience.”

And without a local person to guide him – Ng knew of no other GGs in Kuala Lumpur at the time – or the benefit of today’s Web-based curriculum, he was largely on his own.

His diligence showed positive returns. After he earned his GG, he began to buy loose gemstones and build the first stages of Tomei’s gem and jewelry manufacturing business. He has worked in and overseen nearly every aspect of the company’s growing operations and introduced CAD and 3D prototyping in 2004.

Ng completed his MBA in finance from the U.K.’s University of Hull in 1995 and primarily focuses on corporate issues and sales. He also serves as treasurer for the Federation of Goldsmiths and Jewelers’ Associations of Malaysia (FGJAM), which has “constant dialogue sessions” with several government agencies, including the police and central bank, on security issues and new rulings.

In 2010, Ng also took over as CEO and executive director of Malaysia’s burgeoning Oasis College, which offers the first jewelry design course approved by the country’s Ministry of Higher Education. The program requires students to spend months of hands-on training in industrial manufacturing and retail environments.

But as much as Ng embraces new technologies and ventures, he believes a solid foundation is critical.

“A GIA education is a must,” he says. “It’s the ticket to the gem industry, a template and guiding tool to explore further. You gain a knowledge about gems that is mapped out systematically, and are trained with equipment for identification. This sets a firm foundation.”

Ng advises students enrolling at GIA to cover the basics: get their eyesight checked, mentally prepare for “intensive practical training,” and brush up on English if it’s not their first language. He also encourages them to join a local Alumni Association chapter and follow GIA publications to advance professional knowledge and understand new technologies after they graduate.

His own early experience taught him about the importance of that professional network, and in 2010, Ng was hand-selected by Tawfic Farah, GIA’s late vice president of international operations, to launch the GIA Alumni Association chapter in Malaysia.

Ng, who resides in Kuala Lumpur with his wife and three children, has served as president of the chapter ever since. He’s energized about the chapters’ growth and leadership, and how it can help the regional gem and jewelry business.

 “One of the main reasons for establishing a local chapter was to provide a good network for alumni – be it for academic or business support, or just friendship,” he says. “And since GIA is very active in engaging the global alumni communities, it helps local chapters connect and relate with other chapters effectively.” Source: GIA @topic:9


Title: GIA Team Documents the Chinese Gem and Jewelry Industry Abstract: View Gallery

A GIA team traveled to China in the summer of 2013 on a quest to learn about the gem and jewelry industry there and its significance in the global industry.

	The team, led by Gems and Gemology’s (G&G) technical editor Dr. Tao Hsu who is originally from Beijing, wanted to tell the story of the Chinese industry from an insider’s perspective. Andrew Lucas, manager of Field Gemology; Pedro Padua, video producer; and Eric Welch, photo editor, joined her.

	They launched their project at the business gateway to mainland China: the annual June Hong Kong Gem and Jewellery Fair. After the show, they traveled to seven cities ‒ Shenzhen, Panyu, Sihui, Pingzhou, Guangzhou, Shanghai and Beijing ‒ to visit factories, trading centers, trade organizations, government agencies and retail stores. They documented these visits with interviews, videos and photos.

	The team will present a series of field reports and G&G articles on what they found including:

		an overview of the Chinese gem and jewelry industry

		how jewelry designers are inspired and how they market their designs

		an in-depth look at the jade industry

		a visit to one of the world’s leading diamond cutting, colored gemstone cutting and jewelry manufacturing centers and how they work

		the explosion of the Chinese consumer market

	Many of the field reports and G&G articles will also include video footage that takes the viewer on tours through factories, trading centers, trade organizations and retail stores. They’ll also get an up-close look at state-of-the-art manufacturing, jade carving, robust trading and the thriving market.

	Readers will be able to download the field reports and G&G articles in English and Mandarin. This will be the first time G&G articles will be available in a language other than English.

	The documentaries and future collaborations are all possible due to the close bonds the team made with the Chinese industry leaders and professionals, such as at this traditional Chinese tea ceremony with the president of the Pingzhou Jadeite Association. Photo by Pedro Padua, © GIA Source: GIA @topic:9


Title: Video Feature: 2013 Hong Kong Jewelry & Gem Fair Abstract: A view of Hong Kong, a leading global trade port. Stock photo.

                      The former British colony of Hong Kong, now a Special Administrative Region of the People’s Republic of China, is one of the world’s top ten importers and exporters. Almost half of Hong Kong trade is with mainland China, which makes it a very attractive site for global gem and jewelry trade shows. The fact that it is a free trade port with no tariffs and minimal licensing also draws suppliers and buyers. Alongside Las Vegas and Basel, Switzerland, Hong Kong’s gem and jewelry shows rank as one of the world’s most important in terms of size, trading, and industry trendsetting.

The former British colony of Hong Kong, now a Special Administrative Region of the People’s Republic of China, is one of the world’s top ten importers and exporters. Almost half of Hong Kong trading is with mainland China, which makes it a very attractive site for global gem and jewelry trade shows. Being a free trade port with no tariffs and minimal licensing also draws suppliers and buyers. Alongside Las Vegas and Basel, Switzerland, Hong Kong’s gem and jewelry shows rank as one of the world’s most important in terms of size, trading, and industry trendsetting.

	Wolfram Diener Talks About UBM's Trade Shows in Asia

	Wolfram Diener, UBM’s Senior Vice President, gives an interview at Hong Kong’s 2013 Jewellery & Gem Fair about why UBM, the biggest commercial exhibition organizer in mainland China, is attracted to Hong Kong for trade shows.
Three main Hong Kong shows are held every year. The first is usually in March, followed by another in June. The September show is the largest, with two venues needed to accommodate all the exhibitors. The June and September events are organized by UBM, a global communications and marketing firm. This year’s June show, the 26th annual Hong Kong Jewellery & Gem Fair, was held at the Hong Kong Convention and Exhibition Center (HKCEC), concurrently with Asia’s Fashion Jewellery and Accessories Fair. It featured several theme pavilions, including diamonds, colored stones, jadeite, pearls, fine jewelry, antique jewelry, design, and manufacturing tools.

	David BindraA Colored Stone Dealer's Perspective

	David Bindra of Los Angeles' B&B Fine Gems gives his perspective on the growth of the September gem show in Hong Kong, which he said has become the "epicenter" of colored gem trading.
Approximately 40,000 buyers attended the June show, a figure that typically reaches 60,000 for the September event. While the buyers represented a truly international mix, the percentage from China has consistently increased. As the country’s wealth continues to soar, the rise of a consumer economy has led to strong gains in gemstone and jewelry purchases. The Chinese consumer is becoming more sophisticated and demands higher-quality diamonds, gemstones, and jewelry.

Western designs and brands are also popular in China, which has created opportunities for international suppliers, including diamond dealers and gold jewelry manufacturers. China is the world’s largest buyer of gold. With its free trade policies, geographic location, and tradition as a gateway to China, Hong Kong is poised to remain Asia’s largest trading hub for fine jewelry, as well as a top destination for international suppliers and buyers. Source: GIA @topic:8


Title: Summer 2020 G&G Available Now Abstract: The Summer 2020 edition of Gems & Gemology concludes the fancy-color diamond series with a discussion on yellow and orange diamonds and wraps up the saga of the Chivor emerald mine in Colombia. The issue also explores a surface luminescence imaging technique to separate natural from laboratory-grown diamond, the use of fluorescence spectroscopy to identify pearls that have been optically whitened and brightened, the geographic origin determination of nephrite based on isotope ratios, and more.
Naturally Colored Yellow and Orange Gem Diamonds: The Nitrogen Factor
The lead article, by Christopher M. Breeding and co-authors, investigates the four major defect groups responsible for the color in most yellow and orange diamonds. They conclude their fancy-color diamond series by focusing on yellow diamonds, the most commonly encountered colored diamonds of all, and their much rarer orange relatives.
Separation of Natural from Laboratory-Grown Diamond Using Time-Gated Luminescence Imaging
De Beers Group Technology has developed a method to easily separate colorless and near-colorless natural and synthetic diamond using an expansion of the surface luminescence imaging employed by the DiamondView. Colin D. McGuinness and co-authors explain how blue delayed luminescence can be used as an identifier for more than 99% of natural type IIa and type Ia diamond. This improved imaging technique helps eliminate the need for time-consuming and expensive testing.
History of the Chivor Emerald Mine, Part II (1924-1970): Between Insolvency and Viability
Karl Schmetzer and co-authors bring a dramatic close to the Chivor emerald mine’s rich history with part two. This story resumes after the controlling company, the Colombian Emerald Syndicate, Ltd., succumbed to bankruptcy in 1923. The tale continues with countless twists and turns involving stock market speculation, insolvency, and ownership changes.
Optical Whitening and Brightening of Pearls: A Fluorescence Spectroscopy Study
Cultured pearls often undergo a bleaching process and maeshori treatment to improve their appearance. However, the pearl trade also employs chemical compounds known as optical brightening agents to enhance the appearance of these goods. Chunhui Zhou and co-authors explore the use of fluorescence spectroscopy to quickly and effectively separate optically brightened pearls from those that are untreated or have undergone routine bleaching.
Hydrogen and Oxygen Stable Isotope Ratios of Dolomite-Related Nephrite: Relevance for Its Geographic Origin and Geological Significance
Hydrogen and oxygen stable isotope ratios can be used to distinguish the four most important origins of dolomite-related nephrite. Kong Gao and co-authors compare ratio values in samples from Russia, South Korea, and two locations in China and discuss how these ratios are related to ore-forming fluids. Combined with unique gemological characteristics such as color, luster, and transparency from specific nephrite deposits, these isotope ratios can be used to determine geographic origin.
Lab Notes
GIA laboratory staff present their latest findings in the Lab Notes section, including quench-crackled dyed blue chalcedony resembling Larimar, an exceptional purple sapphire from Montana, and HPHT-processed CVD laboratory-grown diamonds with low color grades.
Micro-World
The Micro-World section, dedicated to the inner world of gemstones, features unusually shaped rutile crystal inclusions in Russian emerald, windmill inclusions in the rare mineral sphalerite, and crystalline pyrite inside a 466.27 ct rock crystal quartz.
Gem News International
Finally, GNI correspondents from around the world report on a possible new find of purplish pink diaspore, the impact of ivory bans on the fossil ivory trade, the design and cutting of the “Fragility of the Eternal” kunzite, “rhodatrolite” from Indonesia, and a field trip to Crater of Diamonds State Park in Arkansas. Source: GIA @topic:7


Title: Synthetic Moissanite Melee in a Colored Diamond Bracelet Abstract: Figure 1. This fancy-color melee diamond bracelet contained two synthetic moissanites. Photo by Sood Oil (Judy) Chia.

A colored diamond bracelet submitted to the New York laboratory for identification (figure 1) contained 162 round brilliants ranging from 0.05 to 0.20 ct, with a color range from near-colorless to fancy yellow and brownish yellow. Melee-size diamonds below 0.20 ct are usually not screened for synthetics and imitations, and melee set into fine jewelry are very seldom tested due to limitations from the mounting. But because of recent concerns over fine diamond jewelry set with melee-size synthetics and imitations (see H. Kitawaki et al., “Identification of melee-size synthetic yellow diamonds in jewelry,” Fall 2008 G&G, pp. 202–213; Winter 2014 Lab Notes, pp. 293–294), we decided to conduct a full analysis on the mounted round brilliants in this bracelet.

Testing was first performed on the 60 near-colorless round brilliants with the DTC DiamondSure. Several samples were referred and sent for further testing using Raman spectroscopy. Of these, two round brilliants were suspected as imitation. Close examination under the optical microscope revealed obvious doubling on the facet junctions, a key identification feature for synthetic moissanites (K. Nassau et al., “Synthetic moissanite: A new diamond substitute,” Winter 1997 G&G, pp. 260–275). Further testing with Raman spectroscopy confirmed this identification with three peaks at 768, 789, and 966 cm–1 (figure 2).

Figure 2. Raman spectroscopy confirmed the identification of two colorless round brilliants as synthetic moissanite with peaks at 768, 789, and 966 cm–1.
FTIR spectroscopy performed on the other referred near-colorless and colored melee identified them as natural. One melee was found to be type IaB, while the others were type IaA.

This analysis showed that melee-sized diamond imitations are being mixed with natural diamond parcels and set into fine jewelry without proper disclosure. Therefore, proper identification by a gemological laboratory is an essential tool to maintaining the integrity of the industry. Source: GIA @topic:4


Title: Fancy Color Diamond Care and Cleaning Guide Abstract: With proper care Fancy color diamonds can also be "forever". - Robert Weldon

Hardness
Gem and mineral hardness is measured on the Mohs scale. The scale originated in 1822 when Friedrich Mohs chose ten minerals and assigned numbers to them, based on the relative ease or difficulty with which one could be scratched by another. But the Mohs scale is deceptive. The steps between the minerals are not evenly spaced. For example, diamond is only one number away, but it’s many times harder than gems in the corundum family. Only a diamond can scratch a diamond.

Something the Mohs scale doesn’t show, but that’s equally important to the diamond industry, is that diamond can also scratch any of the precious metals used for settings. That means a diamond that’s loose in its setting can wear through a prong over time.

	Diamond rates highest on the Mohs hardness scale, at number 10.

Toughness
Any stone, including a diamond, will fracture if it’s hit hard enough in the right place. Toughness is a measure of how well a gem can survive an impact and resist breaking, chipping, or cracking.

Diamonds are tougher in the directions where the atoms are bonded tightly together, less tough where they’re not so tightly bonded.

The weakest directions are the ones where the atoms are farthest apart. It’s easier to break a diamond in those directions, which are called cleavage directions. A cutter can split a rough diamond by hitting it sharply in the cleavage direction. Even after cutting, a hard blow can still cleave or fracture a diamond. This can happen during the setting process, when it’s being worn, or when it accidentally strikes another object.

Stability
Stability is a term that describes how well a diamond resists temperature changes and chemicals. Diamonds are very stable. They’re invulnerable to virtually all acids, for one thing. The cutting process generates a lot of heat, but diamonds usually endure intact. Situations that are more threatening to a diamond’s stability are those that involve sudden and extreme temperature changes. Those changes can cause thermal shock and create new fractures and cleavages or cause existing ones to spread.

Diamonds will burn at about 1562°F (850°C). House fires and jewelers’ torches can reach that temperature. During jewelry repair, the bench jeweler can use certain methods to protect the diamond from the torch’s high-temperature flame.

Cleaning
Diamonds can be safely cleaned with lint-free cloths, commercial jewelry cleaning solutions, and household detergents.

Harsher cleaning methods are not recommended for household use. These include powdered abrasive household cleansers, ultrasonic cleaners, and steam cleaners. Source: GIA @topic:4


Title: Effects of Blue Fluorescence on Diamond Appearance, Color Treatment and Brightening of “Edison” Pearls, and a Pioneering Gemstone Market in Pakistan Abstract: Welcome to the Summer installment of Gems & Gemology! This issue sizzles with new content, including the relationship between fluorescence and diamond appearance, a deep dive into the world of pearls with advances in color treatment detection and a comprehensive classification system, and the evolution of the Namak Mandi gemstone market in Peshawar, Pakistan.
“…quantitatively characterizes the effects of fluorescence intensity on perceived transparency and appearance...”
Our lead article looks at the long-debated effects of blue fluorescence on the appearance of diamonds with D-to-Z color grades. Some argue that colorless to near-colorless diamonds possessing strong or very strong fluorescence will appear hazy or “oily.” Others express concern that lower-color diamonds may appear one color grade better depending on fluorescence intensity. A GIA team led by Yun Luo quantitatively characterizes the effects of fluorescence intensity on perceived transparency and appearance to help reduce biases in the industry and promote consumer confidence.
Advances in freshwater culturing techniques have dramatically improved the quality of freshwater cultured pearl output from China, making color treatment detection a key element of the identification process in gemological laboratories. In the second article of this issue, Chunhui Zhou and fellow researchers study 23 freshwater “Edison” pearls with a mix of natural and treated colors. A combination of various gemological tests and advanced analytical methods presented in this study prove effective in detecting color treatment and optical brightening.
Next, Joyce Wing Yan Ho and Sally Chan Shih present GIA’s comprehensive pearl classification system based on seven value factors—size, shape, color, luster, surface, nacre, and matching. This article is accompanied by an illustrated wall chart intended as a valuable visual reference.
In the final article, Habib Ur Rehman and coauthors journey to the Namak Mandi market in Peshawar, the largest rough gemstone trading hub in Pakistan. They document its transformation over the last 50 years from a salt market to the bustling “intersection of anxiety” engaged in modern gem commerce. The authors also examine the gemstone supply chain, the continued use of traditional cutting tools, and the shift toward ethical pricing and trading practices.
As always, our regular columns provide an array of gemological insights from around the world. Highlights of the Lab Notes section include an impressive emerald imitation in the form of dyed beryl, a desirable Melo pearl discovered while preparing a Melo shell for consumption, and an exquisite opal strand displaying bright and vibrant play-of-color. The Micro-World section explores the inner landscapes of gemstones, offering a glimpse into Earth’s natural forces, including two high-quality diamonds with noteworthy green chromium-colored diopside and purplish pink pyrope garnet inclusions, respectively, and heavily etched blue beryl from Pakistan. In Gem News International, you’ll find a characterization of natural freshwater pearls from Russia, Scotland, and Germany, as well as an examination of 28 non-bead cultured freshwater pearls grown over 14 years in Lake Biwa, Japan (a precursor to a more detailed review), and much more.
We hope you enjoy the latest issue of Gems & Gemology! Source: GIA @topic:4


Title: Books: Fashion Jewellery: Made In Italy Abstract: By Deanna Farneti Cera, 392 pp., hardcover, illus., publ. by the Antique Collectors Club, Woodbridge, UK, 2013. US$85.00

              This hefty tome’s frontispiece, a nearly foot-long image of an early 1970s Gianfranco Ferré silvery metal brooch hand-fashioned in the shape of Italy, alerts readers that they are in for a wild ride.

Written by Deanna Farneti Cera, a curator for international jewelry exhibits and formerly of the Municipal Museum of Modern Art in Bologna, the book chronicles the rise of Italian fashion jewelry from traditional roots to the most raucous of catwalks.

Italian fashion jewelry from the first half of the 20th century left little in the way of artistic footprinting, as years of war, a Fascist regime, and economic hardship all took a toll. Nonetheless, pieces by Edoardo Saronni from the early part of the century display the ingenuity and craftsmanship that would mark the work of later Italian artisans and artists. After World War II, Giuliano Fratti achieved fame using materials that were allowed during Fascist rule such as raffia, wood, berries, and nuts.

Despite a pervasive Francophilia among fashionistas, Italian fashion jewelry began to take flight in earnest during the 1950s, with the rise of an industrial bourgeoisie and the birth of organized fashion consortia in Milan, Florence, and Rome. Moving beyond roots in theatre, opera, and fine jewelry, Italian designers not only embraced mid-century trends but also forged ahead with bold, inventive designs that stood apart from the staid and two-dimensional.

By the 1970s, “Made in Italy” had become the de rigueur fashion statement, as illustrated by Ugo Correani’s designs for Valentino and the architectural accessories of Gianfranco Ferré, whose celebrated fashion career began with non-precious jewelry. Farneti Cera continues the visually stunning romp through the over-the-top ’80s the colorful supermodel years of the ’90s, and into the millennium’s rock-inspired catwalks and fashion show happenings.

The author offers a few pages of introductory text to each era, followed by a barrage of captivating images of the pieces themselves and as worn by fashion models. Some pieces are shown in advertisements or featured on magazine covers of the time. A few sketches, images from private collections, and photographs from fashion house archives round out the book’s colorful, eye-popping appeal.

The text cites many cultural and historical touchstones that help set the tone for the period, which helps explain the artistic expressions that flowed from these trends. American readers may not be aware of the fear of terrorism that loomed over Italy during the 1970s and 1980s. Some of these passages make for difficult reading in a book focused on beauty and art, yet such events help frame the brazen fashion fringe, typified by Moschino, that emerged once those fears had been exorcised.

Toward the end of the book, Farneti Cera devotes 17 pages to profiles of the jewelry manufacturers whose works graced the preceding pages. These individuals and houses are listed alphabetically, which may strike some readers as being at odds with the book’s chronological focus. The narrative sometimes lacks the flow to deliver such an engaging subject.  Readers may find it easier to navigate some of the book’s occasionally impenetrable and stilted text by referring back to these manufacturers’ profiles as they peruse the images of their works, instead of waiting to reach the back pages.

The book concludes with two “Will They Be Famous?” sections—one with the work of up-and-coming artists, and the other comprising their biographies. The author uses these pages to express her own wish lists for these and future artists, with a reasoned proposal for a craftsman/artist cooperative to help aspiring talents overcome some of the difficulties associated with the business side of their art. Farneti Cera also bemoans the dearth of jewelry galleries or museums in Italy that serve to engage and educate the public about the rich history of ornamentation.

In piecing together this treasure trove of signature Italian style, the book brings readers closer to understanding the appeal and artistry of jewelry making beyond that which is traditionally associated with fine jewelry. Here, fashion jewelry reigns as contextual art. Jewelry designers, illustrators, manufacturers, historians, and curators will enjoy this book, as will readers who long for an Italian holiday or those who are merely intrigued by fashion’s sublime and at times allegorical roots. Source: GIA @topic:6


Title: Books: Fashion Jewellery: Made In Italy Abstract: By Deanna Farneti Cera, 392 pp., hardcover, illus., publ. by the Antique Collectors Club, Woodbridge, UK, 2013. US$85.00

                      This hefty tome’s frontispiece, a nearly foot-long image of an early 1970s Gianfranco Ferré silvery metal brooch hand-fashioned in the shape of Italy, alerts readers that they are in for a wild ride.

Written by Deanna Farneti Cera, a curator for international jewelry exhibits and formerly of the Municipal Museum of Modern Art in Bologna, the book chronicles the rise of Italian fashion jewelry from traditional roots to the most raucous of catwalks.

Italian fashion jewelry from the first half of the 20th century left little in the way of artistic footprinting, as years of war, a Fascist regime, and economic hardship all took a toll. Nonetheless, pieces by Edoardo Saronni from the early part of the century display the ingenuity and craftsmanship that would mark the work of later Italian artisans and artists. After World War II, Giuliano Fratti achieved fame using materials that were allowed during Fascist rule such as raffia, wood, berries, and nuts.

Despite a pervasive Francophilia among fashionistas, Italian fashion jewelry began to take flight in earnest during the 1950s, with the rise of an industrial bourgeoisie and the birth of organized fashion consortia in Milan, Florence, and Rome. Moving beyond roots in theatre, opera, and fine jewelry, Italian designers not only embraced mid-century trends but also forged ahead with bold, inventive designs that stood apart from the staid and two-dimensional.

By the 1970s, “Made in Italy” had become the de rigueur fashion statement, as illustrated by Ugo Correani’s designs for Valentino and the architectural accessories of Gianfranco Ferré, whose celebrated fashion career began with non-precious jewelry. Farneti Cera continues the visually stunning romp through the over-the-top ’80s the colorful supermodel years of the ’90s, and into the millennium’s rock-inspired catwalks and fashion show happenings.

The author offers a few pages of introductory text to each era, followed by a barrage of captivating images of the pieces themselves and as worn by fashion models. Some pieces are shown in advertisements or featured on magazine covers of the time. A few sketches, images from private collections, and photographs from fashion house archives round out the book’s colorful, eye-popping appeal.

The text cites many cultural and historical touchstones that help set the tone for the period, which helps explain the artistic expressions that flowed from these trends. American readers may not be aware of the fear of terrorism that loomed over Italy during the 1970s and 1980s. Some of these passages make for difficult reading in a book focused on beauty and art, yet such events help frame the brazen fashion fringe, typified by Moschino, that emerged once those fears had been exorcised.

Toward the end of the book, Farneti Cera devotes 17 pages to profiles of the jewelry manufacturers whose works graced the preceding pages. These individuals and houses are listed alphabetically, which may strike some readers as being at odds with the book’s chronological focus. The narrative sometimes lacks the flow to deliver such an engaging subject.  Readers may find it easier to navigate some of the book’s occasionally impenetrable and stilted text by referring back to these manufacturers’ profiles as they peruse the images of their works, instead of waiting to reach the back pages.

The book concludes with two “Will They Be Famous?” sections—one with the work of up-and-coming artists, and the other comprising their biographies. The author uses these pages to express her own wish lists for these and future artists, with a reasoned proposal for a craftsman/artist cooperative to help aspiring talents overcome some of the difficulties associated with the business side of their art. Farneti Cera also bemoans the dearth of jewelry galleries or museums in Italy that serve to engage and educate the public about the rich history of ornamentation.

In piecing together this treasure trove of signature Italian style, the book brings readers closer to understanding the appeal and artistry of jewelry making beyond that which is traditionally associated with fine jewelry. Here, fashion jewelry reigns as contextual art. Jewelry designers, illustrators, manufacturers, historians, and curators will enjoy this book, as will readers who long for an Italian holiday or those who are merely intrigued by fashion’s sublime and at times allegorical roots. Source: GIA @topic:6


Title: Books: 21st-Century Jewellery Designers Abstract: By Juliet Weir-de La Rochefoucauld, 359 pp., illus., Antique Collectors Club, Woodbridge, UK, 2013. US$95.00

                      In this volume, Juliet Weir-de La Rochefoucauld presents highlights from a selection of international contemporary jewelry designers. This hefty opus represents a sort of sequel to the publisher’s Celebrating Jewellery (Bennett and Mascetti, 2012), this time with an eye toward the future of jewelry.

This remarkably illustrated coffee table book prominently displays more than 540 jewelry pieces from 25 of today’s important designers. After a short chapter featuring some of the finest works of the French artist JAR, the author takes the reader on an inspired journey. Twenty sections display the iconic pieces of Kaoru Kay Akihara, Walid Akkad, Lorenz Baumer, Bhagat, Sevan Bicakci, Luz Camino, Wallace Chan, Edmond Chin, Lydia Courteille, Michele Della Valle, Patrice Fabre, James de Givenchy, Vicente Gracia, Hemmerle, Anna Hu, Michelle Ong, Susanne Syz, Nicholas Varney, Stephen Webster, Dickson Yewn, as well as the work of “newcomers” Rami Abboud, Tomasz Donocik, LaMouche, and 10 Royale. The cultural diversity of this ensemble is truly remarkable.

Each section contains a brief background for each designer, along with their diverse creative sources of inspiration, including a list of their favorite themes and motifs. Numerous detailed photos illustrate beautifully how these themes translate into jewelry. Pieces of exceptional craftsmanship are displayed using front-and-back photos. Weir-de La Rochefoucauld gives significant insights into their creative processes and details technical aspects of their jewelry making. Some of the most valuable comments pertain to the innovative materials and techniques used by the designers, including titanium, ceramic, cement, laser welding, and CAD/CAM. The artists also discuss their favorite gemstones and cuts. The book sheds a stimulating light on the use of alternative materials such as wood, leather, ivory mammoth, animal teeth, or old cameos; the choice of bold color and material contrasts to create striking pieces.

In spite of their different sources, the photo renderings are consistent throughout the book. Some of the photos are so sharp that the reader gains a sense of the heft and smoothness of the piece. Gemstone inclusions, special carvings, and jewelry techniques such as micro mosaic, enameling, and special settings, are artfully depicted.

One of this book’s strongest assets is to place the designers and their creations in their artistic and cultural context. Two sections, those on Sevan Bicakci and Wallace Chan, are particularly captivating from both a technical and aesthetic standpoint. The former highlights a rare level of craftsmanship in enameling and stone cutting and the creation of unique rings that celebrate the rich cultural heritage of Bicakci’s native Istanbul. In the latter section, Chan, nicknamed the “Zen Philosopher,” has mastered the use of titanium; he has also invented a way to carve jadeite into a four-prong setting in order to set a precious stone into this matrix. Many of his jewelry pieces refer to some aspects and practices of Buddhism, creating an effect reminiscent of classic Chinese art.

From an aesthetic standpoint, Lydia Courteille and Nicholas Varney stand out for their use of gemstone materials to create unique combinations. Courteille has embraced classic cameos and figurative gem carvings in creating whimsical multicolor cocktail rings, while Varney has mastered the art of incorporating irregular pearls of all shapes into asymmetrical oversized pieces.

One might regret that the selection criteria of these designers are never explained. Were they chosen by generation, prominence, awards won, technical innovation, or auction appeal? One could also fault the unimaginative alphabetical order of presenting them. A thematic arrangement could have provided some interesting comparisons and meaningful conclusions. The alphabetical arrangement also gives way to the repetition of clichés, such as the search for perfection, the need for control over jewelry making, and how each artist is unmistakably guided by their love of the material.

Also, gemologists will note the mention of the species versubianite, presumably a typo for vesuvianite. New Yorkers will quickly catch that LaGuardia Airport is, according to this book, located in New Jersey.

A more basic criticism is that almost no reference is made to actual jewelry size. Since the jewelry designers themselves provided the documentation for this book, these details were probably available. Similarly, no mention is made of photo magnifications, which differ from one page to the next.

With that noted, this luxurious book provides a great source of inspiration for all jewelry scholars, collectors, and professionals at large for envisioning the future trends of the industry. The quality of the photos is an exceptional asset to that end. Source: GIA @topic:6


Title: Banded Turquoise from Zhushan County, Hubei Province, China Abstract: Figure 1. Banded turquoise specimens from Zhushan County, China. Photos of the six specimens show the variation in the color and width of the bands as well as the sharpness of the boundaries between bands. Photos by Tianting Lei.
Zhushan County in China’s Hubei Province is the world’s most abundant source of commercial gem-grade turquoise (F. Xu, “Study on turquoise in Shiyan City, Hubei Province,” Shanghai Art & Crafts, No. 3, 2017, pp. 30–32). It produces turquoise with special patterns, including “raindrop,” “Tang tricolor,” “growth layer,” “spiderweb,” “water grass vein,” and “Ulan flower” (L. Liu et al., “Unique raindrop pattern of turquoise from Hubei, China,” Fall 2020 G&G, pp. 380–400). Turquoise materials with growth layers display a yellow, red, brownish red, brown, blue, or blue-green banded structure, occasionally accompanied by tiny colored spots. This pattern is called “banded turquoise” in the trade. The gemological and mineralogical characteristics, color origin, and origin traceability of common turquoise have been well studied. However, there are few reports on banded turquoise, which is highly valued in the Chinese market.

Figure 2. Division of bands and FTIR spectra of specimens T1, T3, T4, and T6, which were sliced open. A: T1-1 through T1-6, six bands. B: T3-1 through T3-6, six bands. C: T4-1 through T4-7, seven bands. D: T6-1 through T6-5, five bands. Photos by Tianting Lei.
Six specimens of banded turquoise were obtained through long-term cooperation of local miners from the turquoise market in Zhushan. The specimens displayed numerous bands with various colors, including blue, green, yellow, red, and brown (figure 1). The band profiles of samples T1, T3, T4, and T6 were separated according to color for investigation (figure 2). Specimens T3 and T5 were severely damaged during the cutting process and could not meet the requirements of FTIR testing, but they were measured to analyze the composition and structure. The FTIR absorption spectra, which were typical of those for turquoise, were essentially identical in the various bands within a sample (figure 2). The FTIR absorption fingerprint peaks of turquoise, produced by the vibrations of the phosphate group, range from 483 to 653 cm–1 and from 1000 to 1200 cm–1, respectively. The FTIR absorption peaks of the functional group area, characterized by the vibrations of water molecules and hydroxyl ions (Q.L. Chen et al., “Turquoise from Zhushan County, Hubei Province, China,” Fall 2012 G&G, pp. 198–204), are located near 842, 787, 1659, 3087, 3290, 3461, and 3508 cm–1.

Figure 3. SEM microtopography of different bands in samples T1, T2, T3, and T6. Images by Tianting Lei; field of view 13.5 µm.
The banded turquoise microcrystals were characterized by platy, columnar, and layered structures visible with scanning electron microscopy (SEM) (figure 3). The samples had a disorderly crystal structure, except for the deep green band (T6-2) with specific directionality. The more deeply saturated turquoise had higher density, less porosity, and more compactness than the lighter-colored turquoise. The edges of the blue band turquoise (T1) microcrystals were straight and clear with sharp corners (T1-5), while the red and brown band turquoise microcrystals did not show sharp corners (T1-2, T1-4). The same was true for specimens T2 and T3. The edges of the turquoise microcrystals were always straight, while the corners of blue band turquoise microcrystals (T2-2, T3-1) were sharper than those of the red bands (T1-2) and yellow bands (T3-3, T3-5) in the same samples.

The chemical compositions for turquoise (as a microcrystalline aggregate mineral) obtained from electron probe microanalysis (EPMA) are often not completely consistent with the theoretical value, which is mainly due to the mixed weathering and leaching of minerals. The chemical composition of bands in specimens T1, T3, and T5 is shown in table 1. There was little difference in the chemical composition of each band within the same turquoise, except for the FeOT content in specimen T1. Additionally, there was no obvious linear relationship between the content of other major elements and the color change of turquoise in each band. In specimen T1, the FeOT contents of the red band (T1-2), brownish red band (T1-3), brown band (T1-4), and tan band (T1-6) were higher than that of the blue band (T1-1, T1-5).
Although bands in this turquoise showed obvious color differences, there was no obvious difference in the infrared spectrum and chemical composition of each band. The crystallinity of blue bands was higher than that of the red, brown, and yellow bands. An explanation of the formation mechanism of this material needs further investigation. Source: GIA @topic:1