Publication Year: - Title: Client Encounters Teach Valuable Retail Lessons Abstract: Students at GIA’s campus in Carlsbad gather around Larry French, left, as he shows them the “Gran Dama,” a brooch designed by Gianmaria Buccellati. The brooch features white, blue, yellow and pink diamonds, and a 98.67 carat Melo pearl – believed to be the eighth-largest in the world – from Vietnam.  Only about 80 Melo pearls are known worldwide. Photo by Eric Welch, © GIA

	Success in the jewelry industry often requires drive and determination.

	That’s why when Larry French was turned down from a job at Van Cleef and Arpels in Los Angeles, he applied again.

	And again. And again.

	It took a total of eight attempts before owner Claude Arpels offered him a position.

	That determination is what took French from driving a tractor in a cornfield in Indiana to selling jewelry to celebrities and dignitaries around the world. The industry veteran spent 23 years at Van Cleef and Arpels before taking a position as store director at Buccellati Beverly Hills in the early 1990s.

	French shared anecdotes from his career with students at GIA’s Carlsbad campus on Nov. 6, 2013. Beyond accounts of famed actresses and rock stars, he imparted the advice for success he’s learned from his many years in the industry.

	He still vividly remembers the first piece of jewelry he sold, although not for its grandeur.

	“It was a crystal bead necklace for $1.99,” French said of his first sale in the costume jewelry department of a large store. He said he persuaded the customer to also buy the matching earrings for a dollar.

	French’s interest in gems began long before his stint in the costume jewelry department. “When I was a kid, I would read through National Geographic magazines and was fascinated with articles about golden idols with emerald eyes or stories about a new ruby mine,” he said. “The reason I got in this business was a real love of exotic stones and the history and stories behind them – which I find as fascinating as the stones themselves.”

	French said he entered an essay contest organized by the American Gem Society (AGS) in the mid-1960s. He doesn’t remember what he wrote in his essay application, but said it was interesting enough for the judges to award him a GIA scholarship. He said the courses further sparked his passion for gem stones and his determination to pursue the job at Van Cleef and Arpels.

	French said he has had the opportunity to see and sell many remarkable gems throughout his career. He described some of the most notable pieces and clients, including an invisible-set diamond and sapphire ring for musician Elton John and a trip from New York to California with Napoleon Bonaparte’s crown in a duffle bag.

	One account, in particular, left the audience in awe.

	Actress Elizabeth Taylor routinely had her gems and jewelry cleaned at his Van Cleef and Arpels store, so it came as no surprise when her assistant dropped off “La Peregrina,” a 50 carat natural pearl, for cleaning. But after the assistant left, French’s associate noticed scratches.

	“There were deep scratches,” he said. “This was bad. I knew how famous the pearl was. There was no way I could prove the pearl wasn’t flawless when it was brought in.”

	He said he paced the store in a state of panic for an hour before he called Taylor’s assistant to try to explain the situation. The assistant only laughed and told French he knew the pearl was scratched – they were bite marks from Taylor’s dog.

	Naturally, French offered this advice to students: always give a condition report.

	He also described what he considers to be the most valuable piece of jewelry he’s ever seen – a garnet and pearl ring a young woman brought into the Buccellati store to be repaired. The ring had belonged to her mother, grandmother and great-grandmother and she was heartbroken that it was in such poor condition because she wanted to wear it for her wedding. The store repaired the family heirloom so the client could continue the tradition.

	“Ever since that day, in spite of the great pieces I’ve sold in my life, I changed what I think creates value,” French said. “Value is not just carat weight … it has to do with the love that people put on jewelry, on what it means to them and their family.”

	He said jewelry is the only business with such sentimental value.

	When asked what advice he has for success, French shared a quote from Peter Carl Faberge: be noble.

	“If you can find a way to be [noble], you’ll certainly go far in your career,” he said. “Companies may go bankrupt … but you’ll be alright. They can't take that from you – no matter what happens.” @chapter:36


Publication Year: 2017 Title: New Phenomenal Feldspar from North Carolina with Iridescent Inclusions Abstract: Brown and black exsolution platelets of hematite and ilmenite in feldspar (left) show colorful thin-film interference colors in oblique fiber-optic illumination (right). Photomicrographs by Nathan Renfro; fields of view 3.55 mm.
Several varieties of aventurescent feldspar are well known in the gem trade. Of these, one of the most remarkable is orthoclase from the Hart’s Range area in Australia. This unique material showcases exsolution platelets of hematite and ilmenite that display thin-film interference colors along the interface between the exsolution product and the feldspar host. Because of its array of colors and the crosshatch pattern of exsolution platelets, the material’s trade name is “rainbow lattice sunstone.”

The authors recently examined samples of potassium feldspar from a relatively obscure source (see above) that displayed a phenomenon remarkably similar to Australian rainbow lattice sunstone. This new material is reported to be from the Statesville area of North Carolina and contains brown and black exsolution platelets of hematite and ilmenite showing thin-film interference colors along the interface with the host feldspar. This deposit was first reported by George Frederick Kunz (Gems and Precious Stones of North America, The Scientific Publishing Co., New York, 1890, p. 164). Chemical analysis of the feldspar was performed using laser ablation–inductively coupled plasma–mass spectrometry (LA-ICP-MS), and the results were consistent with potassium feldspar.

Local prospector Ryan Underwood first found samples of this material as loose crystal fragments and traced them back to their source rock, a metamorphic biotite gneiss. The crystals are brittle, apparently as a result of metamorphic stresses, and tend to cleave during cutting. As such, material suitable for cutting is rare and finished stones tend to be small (though some large multicrystalline specimens up to 30 cm in diameter have been recovered). Base colors include blue-gray, tan, and a pink color apparently induced by additional fine hematite inclusions. @chapter:6


Publication Year: 1995 Title: Winter 1995 G&G Lab Notes Abstract: Fancy Black Diamond with Iron
Fracture-Filled Diamond with Unusual Material
Extremely Thin Jadeite Jade Carving
A Testing Precaution for Jadeite Jade
Impregnated Synthetic Opal
Green and Yellow Bicolor Synthetic Quartz
Rock Resembling Jadeite
Ruby with Atypically High R.I.'s
Two Rubies with Unusual Features
Sapphire with Zoned Transmission Luminescence
Synthetic Sapphire with Color Changed by UV Radiation
Magnetic Serpentine
Spinel with Hogbomite Inclusions (?)
A Topaz Assemblage
Zircon with Phantom Planes

To view the full section, download the PDF above. @chapter:17


Publication Year: 2016 Title: Unique Drilled Emerald Abstract: Figure 1. This 3.39 ct emerald (8.91 × 8.87 × 7.61 mm) is moderately clarity enhanced, obscuring two drill holes (not visible in this photo). Photo by Sood Oil (Judy) Chia.

	A 3.39 ct emerald, as confirmed by standard gemological testing, was received by the New York lab (figure 1). At first glance it appeared to be a typical emerald with moderate clarity enhancement. It was categorized as F2, indicating that the fracturing present in the stone had a noticeable but not significant effect on the face-up appearance. Further microscopic examination of the pavilion revealed two prominent drill holes filled with a resin and emerald fragments (figure 2). The resin displayed a blue and yellow flash effect, and gas bubbles trapped in the resin were also present (figure 3). The filler had much higher relief than the emerald host and was clearly visible under reflected light due to the difference in luster between the two materials (figure 4).

Figure 2. With microscopic examination, the circular outline of the drill hole is apparent on the pavilion facet of the emerald. Photo by Edyta J. Banasiak; field of view 4.08 mm.

Figure 3. This drill hole shows a blue and orange flash effect along the interface between the emerald and the resin filler. Photo by Edyta J. Banasiak; field of view 3.57 mm.

	The question arose as to why such a treatment would be performed on this stone. Microscopic observation did not yield any clues. One hypothesis would be that eye-visible inclusions were removed by drilling, analogous to the laser-drilling treatment well known in diamonds. Assuming this theory is true, the “enhancement” actually significantly reduced the value of this good-quality emerald. We concluded that the stone contained a resinous material in the drill holes along with emerald fragments. This was the first time GIA’s New York lab had witnessed this type of enhancement in an emerald.

Figure 4. Examination of the drill hole in reflected light shows an emerald fragment intentionally placed in the opening, presumably to conceal the hole. Note the luster difference between the emerald and the resin filler. Photo by Edyta J. Banasiak; field of view 3.57 mm. @chapter:9


Publication Year: - Title: Decades-Old Synthetic Alexandrite Sheds Light on Modern Research Needs Abstract: Figure 1. These rough and faceted synthetic alexandrites, grown by Creative Crystals Inc., are shown in daylight (blue-green, top) and incandescent light (bottom). The crystals were grown on seeds parallel to the b pinacoid (1, 2), parallel to the r prism (3, 6) or parallel to the l dipyramid (4); the 13.49 ct faceted synthetic alexandrite measuring 16.6 × 11.8 mm (5) was grown on a seed parallel to the r prism. Photos courtesy of K. Schmetzer, The Journal of Gemmology.

                      For decades, much attention has been given to provenance studies of natural colored gemstones (such as emerald, ruby, and sapphire), as knowing their place of origin is significant in valuation. Synthetic colored stones do not command the same price per carat as their natural counterparts, but being able to pinpoint the growth technique and possibly the manufacturer is of value to the jewelry consumer, researcher, or collector. For example, many flux and hydrothermal producers can command a premium for their “luxury synthetics” over more quickly grown flame-fusion or Czochralski crystals.

The synthetic alexandrite produced by Creative Crystals Inc. from 1971 to the early 1980s exhibited true red-green color change (figure 1), and with no production for the last 30 years, these specimens are a rarity. A recent study by Karl Schmetzer, Heinz-Jurgen Bernhardt, and Thomas Hainschwang (“Flux-grown synthetic alexandrites from Creative Crystals Inc.,” The Journal of Gemmology, 2012, Volume 33, Number 1–4, pp. 49–81) goes into fascinating detail on the company’s history, how the seed crystals were generated, and how the crystals were grown, unlocking the mystery of the distinct growth zoning observed in these particular synthetics.

The authors’ diligence in collecting a highly representative group of samples of this out-of-production material, as well as their thorough review of the available literature, is commendable. Woven into the article are interesting tidbits about the various seed origins and orientations used for growing these alexandrites, which demonstrates how both practical considerations and research-based findings can influence production and ultimately quality. A highlight of the article is the two-page history recounted by David Patterson, a former owner of Creative Crystals Inc.

	Figure 2. This microphotograph shows layered growth zoning associated with intense color zoning in a faceted synthetic alexandrite grown by Creative Crystals Inc.; immersion, field of view 5.3 × 4.0 mm. Photo courtesy of K. Schmetzer, The Journal of Gemmology.
To capture the uniqueness of these synthetics, the authors conducted meticulous microscopic studies. Several other techniques—including X-ray fluorescence, electron microprobe, and ultraviolet through infrared absorption spectroscopy—were used to describe corresponding chemical and optical zoning, pleochroism, absorption bands, and inclusions. The authors draw clear correlations between growth parameters and crystal characteristics, such as the impact of seed orientation on morphology. Even more significantly, they link the previously unexplained internal growth bands (figure 2) to multiple growth cycles – the growing crystals were actually removed from the furnace repeatedly to assess their progress. Similarly, I.G. Farben grew synthetic emeralds in the 1930s using multiple growth cycles (Karl Schmetzer, Lore Kiefert, “The colour of Igmerald: I.G. Farbenindustrie flux-grown synthetic emerald,” The Journal of Gemmology, 1998, Volume 26, Number 3, pp. 145-155). However, Creative Crystals would cool the melt slightly during cycles lasting one week whereas I.G. Farben would keep the melt at a constant temperature during 20-day cycles.  Using a temperature gradient to grow synthetic alexandrite was not practiced for several more years (Karl Schmetzer, personal communication). A comparison with commercially produced flux alexandrite from Russia also illustrates how characterization techniques can reveal details of the growth process.

The article is not a light read, 33 pages in length with 46 figures and well over 100 images. But for crystal growers or those simply interested in understanding more about gem synthesis, this article serves as a window into the crystal growth engineering process, and how a specimen’s characteristics can shed light on its origin. Other synthetic materials have been similarly studied, and the need for such analyses continues to increase as additional synthetics and more advanced characterization techniques emerge. @chapter:6


Publication Year: - Title: GIA's Gübelin Gem Project: Various Gems, Olivine - Rutile Abstract: Peridot
Photo by Robert Weldon/GIA, courtesy Dr. E. J. Gübelin Collection
GIA Collection 33884

Among the collection assembled by Dr. Edward Gübelin are a number of uncommon gemstones from many worldwide localities. Documents, like the ones below, present information on gemstones that range from occasional use in jewelry to those that are quite rare and seldom faceted because of the lack of suitable starting material.

33884

			18.72 ct Olivine (Forsterite) -
			Peridot
			Egypt (PDF)

33885

			19.46 ct Olivine (Forsterite) -
			Peridot
			Egypt (PDF)

33879

			28.99 ct Olivine (Forsterite) -
			Peridot
			Myanmar (PDF)

35195

			5.92 ct Olivine (Forsterite) -
			Peridot
			The United States (PDF)

33367

			6.05 ct Opal
			Mexico (PDF)

34464

			6.59 ct Opal
			Mexico (PDF)

35459

			5.38 ct Parisite
			Colombia (PDF)

35196

			15.94 ct Periclase
			The United States (PDF)

35474

			11.14 ct Petalite
			Brazil (PDF)

34291

			16.48 ct Petalite
			Brazil (PDF)

35463

			41.12 ct Petalite
			Brazil (PDF)

35461

			17.60 ct Petalite
			Locality not stated (PDF)

35633

			2.92 ct Pezzottaite
			Madagascar (PDF)

35636

			4.15 ct Pezzottaite
			Madagascar (PDF)

34089

			33.15 ct Phenakite
			Brazil (PDF)

34094

			15.53 ct Phenakite
			Russia (PDF)

34861

			5.81 ct Phenakite
			Sri Lanka (PDF)

35478

			16.48 ct Phosgenite
			Morocco (PDF)

35466

			25.56 ct Phosgenite
			Morocco (PDF)

35481

			5.12 ct Phosphophyllite
			Bolivia (PDF)

35207

			2.69 ct Pollucite
			The United States (PDF)

35623

			31.53 ct Powellite
			India (PDF)

35486

			8.56 ct Prehnite
			Australia (PDF)

35485

			10.55 ct Prehnite
			Australia (PDF)

35468

			13.61 ct Prehnite
			Locality not stated (PDF)

35467

			15.18 ct Prehnite
			South Africa (PDF)

35208

			11.10 ct Prehnite
			The United States (PDF)

35469

			12.07 ct Proustite
			Chile (PDF)

35015

			4.87 ct Pyroxene (Bronzite)
			Tanzania (PDF)

34414

			4.52 ct Pyroxene (Diopside)
			Madagascar (PDF)

34560

			8.34 ct Pyroxene (Diopside)
			Myanmar (PDF)

34565

			14.19 ct Pyroxene (Diopside)
			Myanmar (PDF)

34847

			13.55 ct Pyroxene (Diopside)
			Sri Lanka (PDF)

35381

			3.70 ct Pyroxene (Diopside)
			The United States (PDF)

35385

			0.91 ct Pyroxene (Diopside) -
			Chrome Diopside
			Kenya (PDF)

34413

			9.15 ct Pyroxene (Enstatite)
			Madagascar (PDF)

34561

			1.50 ct Pyroxene (Enstatite)
			Myanmar

34846

			2.90 ct Pyroxene (Enstatite)
			Sri Lanka (PDF)

34826

			6.32 ct Pyroxene (Enstatite)
			Sri Lanka (PDF)

34819

			9.98 ct Pyroxene (Enstatite)
			Sri Lanka (PDF)

34827

			12.05 ct Pyroxene (Enstatite)
			Sri Lanka (PDF)

34820

			16.31 ct Pyroxene (Enstatite)
			Sri Lanka (PDF)

35004

			13.38 ct Pyroxene (Enstatite)
			Tanzania (PDF)

34034

			6.47 ct Pyroxene (Hypersthene)
			India (PDF)

34644

			9.72 ct Pyroxene (Jadeite)
			Myanmar (PDF)

35584

			8.54 ct Pyroxmangite
			Brazil (PDF)

34442

			30.23 ct Quartz
			Mexico (PDF)

33422

			56.19 ct Quartz
			Locality not stated (PDF)

33388

			23.76 ct Quartz - Amethyst
			Brazil (PDF)

35264

			10.95 ct Quartz - Amethyst
			Zimbabwe (PDF)

35001

			4.94 ct Quartz - Chalcedony
			(Chrysoprase)
			Tanzania (PDF)

33423

			26.57 ct Quartz - Citrine
			Locality not stated (PDF)

35299

			8.10 ct Quartz - Citrine
			Zimbabwe (PDF)

35257

			11.11 ct Quartz - Citrine
			Zimbabwe (PDF)

33385

			29.04 ct Quartz - Rose Quartz
			Locality not stated (PDF)

35019

			5.21 ct Rhodochrosite
			South Africa (PDF)

34709

			11.32 ct Rhodochrosite
			South Africa (PDF)

34679

			17.77 ct Rhodochrosite
			South Africa (PDF)

35491

			4.62 ct Rhodochrosite
			The United States (PDF)

35209

			9.06 ct Rhodochrosite
			The United States (PDF)

35212

			10.50 ct Rhodochrosite
			The United States (PDF)

35496

			2.09 ct Rhodonite
			Australia (PDF)

34865

			4.69 ct Rutile
			Sri Lanka (PDF)

34855

			5.64 ct Rutile
			Sri Lanka (PDF) @chapter:18


Publication Year: - Title: Design in the Fast Lane Abstract: Sports cars. Motorcycles. Men’s jewelry. An odd group at first glance, but take a closer look and you’ll see that they share common design elements: sleek lines, polished metal, matte black and fire-engine red color palettes, and more. That’s not surprising, as these design choices project status, power, and affluence – qualities likely to appeal to all.

Cross-pollination of design ideas between the automotive and jewelry industries is nothing new. Porsche has a jewelry division that makes cufflinks, necklaces, and earrings. Ferrari makes cufflinks featuring its iconic rearing horse. In May 2013, Jewel-Craft Inc. introduced the Insignia Collection – a jewelry collection based on the five most marketable drives of NASCAR. Pieces include steering wheel earrings and key chains in the shape of racing helmets.

To celebrate the 50th anniversary of the Ford Mustang, some 49 companies used the car’s logo on watches, cologne, commemorative Mustang leather jackets, nail polish, video games, die-cast models, apparel, and a number of other products, according to an April 2013 web article on Marketing Daily. Breitling took the idea a step further: it partnered with Bentley to make watches that feature the automaker’s iconic winged logo.

	Car design has a gravitational pull that extends far from the parking lot, influencing office dress and evening wear. Now that men are wearing more accessories, it’s natural to see car motifs showing up in jewelry design.

		McKenzie Santimer, Exhibit Developer, GIA Museum

Jewelry designers use a variety of techniques to capture the sleek beauty and raw power of car design. Making a piece often starts with drawing basic sketches, which are then migrated into computer-aided design (CAD) software. Using 3D CAD software is similar to making a clay model of a car, and allows members of the design team to provide feedback easily.

"GIA's Jewelry Design & Technology program incorporates a similar design concept. Students make rough sketches of their ideas. They then create the design in CAD. This lets them make realistic, full-color renderings, and to see the piece from multiple viewpoints. Students then share their work, getting feedback from classmates and their instructor. Once the concept has been finalized, they create 3D rapid prototypes with 3D printers or wax milling," says Mark Mann, director, Global Jewelry Manufacturing Arts.

	Of Hubcaps and Cufflinks
Cufflinks masquerading as hubcaps? These high-polished metal pieces sure look like them. And the matte black and fire-engine red color scheme is likely to appeal to men who love sports cars. So will the geometric symmetry of the circle-within-a-circle-within-a-circle design.

	Photo, left, by Eric Welch/GIA, courtesy Craig Selimotic Danforth

	Unchained and Ready to Wear
This ID bracelet looks like a motorcycle chain in many ways. It is made of a two-toned metal, has a continuous locking pattern, and flathead screws that are integral to the design. These elements make for a bold, masculine statement that are tough enough for the most macho motorcyclist.

	Photo, right, © GIA

	Function Over Form
Polished chrome pipes, gleaming carburetors, and exposed gears show that auto aficionados love the inside of their machines as much as the outside. It’s the appreciation of the beauty under the hood, and the valuing of function over form. This titanium watch echoes the same design principles of speed machines. It’s so stripped down that its exposed “engine” and gears are the design – something sure to rev up the car enthusiast.

	Photo, right, by Eric Welch/GIA, courtesy A. Gunalp Horologist Watch & Clock Shop

	Fender Bending
These cufflinks, whose simple, geometric lines evoke the Art Deco era, could resemble the grille of a classic car. They also look like tire treads.

Whatever the designer’s inspiration, the cufflinks are simple and functional. Their tri-color also makes for easy mixing and matching with belt buckles, watches, and other accessories.

	Photo, left, by Eric Welch/GIA, courtesy Craig Selimotic Danforth
The next time you’re designing jewelry, take a stroll through the parking lot. A car design may end up fueling your inspiration. @chapter:36


Publication Year: 2023 Title: Surat Diamond Bourse, a new diamond market that's better than before. Abstract: The Surat Diamond Bourse (SDB) is a new and significant diamond trading market in India, located in Surat city. It is expected to be larger than the Pentagon building in the United States. The new SDB project is estimated to cost around 3,500 Crore (151 billion Baht) and is scheduled to start operations in December 2023. News sources indicate that there will be an invitation for Narendra Modi, the Prime Minister of India, to inaugurate this diamond trading market.

The relocation of the diamond trading market to Surat has sparked great interest among diamond traders. Key proposals include a one-year exemption from maintenance fees for businesses that relocate and commence operations by November 21. Additionally, there will be advertising campaigns targeted at companies moving, aimed at creating business incentives to attract major diamond companies from Mumbai to operate in Surat.

The relocation of the diamond trading market from Mumbai to Surat, supported by the Indian government, presents a special and beneficial opportunity for Thai companies looking to invest or promote trade in the jewelry and gem industry within Surat's diamond trading market (SDB). However, the jewelry and gem industry has been affected by the global downturn in diamond trading, leading to unavoidable impacts on the workforce in the diamond industry and an important economic force
Zavier Bazaar is a significant jewelry and jewelry trading center that has been established for over 50 years in the city of Mumbai. This industry has experienced remarkable growth, with diamond traders moving from Prasad Chambers to the Pancharatna building in Opera House in 1975. The diamond trading market spans across an area of up to 20 acres and houses around 2,500 offices in the BKC area. This kingdom also includes numerous amenities such as seven banks, nineteen restaurants, two online trading platforms, three diamond testing labs, five equipment maintenance staff, and customs clearance services.

While the Bharat Diamond Bourse (BDB) continues its global trading operations, Surat has emerged as a city born out of the business of cutting and polishing raw diamonds, leveraging its affordable labor force. The Kathiawadi labor group, known for their expertise, has become leaders in craftsmanship and expanded business operations to several cities with manufacturing facilities. As a result, the diamond trading market in Mumbai, specifically the BDB, has become a hub for wealthy individuals in the diamond industry and a vital trading center globally.

A member of the SDB team expressed contrasting views regarding the comparison between Mumbai and Surat in the jewelry and gem industry, including the Palanpuri and Kathiawadi labor groups. They argued that the establishment of SDB focused solely on collaborative work. The proposal for office spaces in the diamond trading market requires advance booking, and the free maintenance fee offer is not exclusive to businesses from Mumbai but open to all reservations, whether from Mumbai, Delhi, Dubai, or any other city. Furthermore, the team cited Surat's development, transforming from a fashion hub to an industrial city, emphasizing the need for Surat to become a trade center to achieve its vision successfully. Since 1975, Surat has evolved into a significant apparel manufacturing city and a trading hub.
     When comparing the potential of the diamond industry between Mumbai and Surat, one diamond polisher in Mumbai commented that Surat is not yet ready to offer suitable conditions to international customers. Despite being a dry state where the sale of alcohol is prohibited, Surat has only two five-star hotels available for sale, and there are still many bureaucratic processes to navigate. On the other hand, diamond traders have more conveniences in Mumbai, including hotels and restaurants. Additionally, Mumbai has economic support with its airport connecting to many international destinations, whereas Surat lacks favorable transportation infrastructure for business travelers.

Mr. Mahesh Gadhvi, CEO of the Surat Diamond Bourse (SDB), provided a different perspective, noting that although SDB is located in a suburban area, infrastructure development has been ongoing. Currently, the Vande Bharat train connects Mumbai and Surat in just 2.5 hours, with bullet trains taking only one hour. Government efforts to improve transportation, particularly the Diamond Route, have facilitated economic linkages to SDB. Moreover, Surat's airport now offers flights to Sharjah in the UAE three times a week.

Additional information:
Despite the presence of upscale malls and apartments surrounding business centers like SDB/BDB, the declining diamond trade has impacted employment, with 750,000 to 1 million jobs affected. Most of the workforce is engaged in diamond cutting and polishing, with over 5,000 units operating in this sector.
The Russia-Ukraine conflict has impacted the supply chain for rough diamonds, leading to a scarcity of goods. Russia's diamond market has become the first choice in the jewelry industry, even for smaller-sized diamonds. However, when there is a shortage of diamonds demanded in the global market, diamond polishing businesses are affected with reduced orders. This has resulted in a decrease of about 20-30% in employment within the diamond polishing sector in Surat.
Comments
1. Consolidating the diamond trading business into Surat alone could benefit Thai-Indian trade relations. Thai entrepreneurs would have direct access to sources encompassing over 90% of diamond traders and related industries in Surat.

2. Pairing promotional activities with enhanced collaboration with Surat's diamond market would boost trade relations between Indian companies and Thai entrepreneurs. Inviting Surat Diamond Bourse (SDB) entrepreneurs to events like BGJF 2024 is a way to strengthen business relationships and facilitate knowledge exchange.

3. India is a crucial diamond market for Thailand, ranking third in exports after Hong Kong and Belgium from January to September 66. India is Thailand's top import market, with a value of 32,034.93 million baht (64.61% of total imports). Establishing business ties with Surat's diamond market can help Thai diamond traders study and exchange business experiences, enhancing trade opportunities.

4. Developing Thai entrepreneurs' capabilities in the diamond industry through deep knowledge training would help them understand global market trends and demands. For instance, synthetic diamonds have become popular due to the Russia-Ukraine conflict's impact on the supply chain, offering an alternative for consumers and gaining popularity in the wedding jewelry market. @chapter:30


Publication Year: - Title: Bright Light at Midnight: Canada’s Far North Land of Diamonds Abstract: Immense glaciers leveled hills and carved thousands of lakes in Canada’s far north. They are pure as distilled water and remain partially frozen most of the year. Even in late June, the ice remained five feet thick in some spots. Photo courtesy Rio Tinto

                      Canada’s far north is a vast silent land of stark beauty, molded by mile-high glaciers that carved many thousands of deep ruts and pits, then, as they melted, filled them to create one of the world’s largest networks of lakes. Four of the world’s largest diamond mines are clustered around one these lakes, Lac de Gras.

The diamonds remained hidden until 20 years ago because the unforgiving climate deterred all but the hardiest of human beings – the northern First Nations tribes who have lived there for thousands of years, fishing and trapping for sustenance – from exploring the area.

	Arriving at Yellowknife, 62.4 degrees latitude, just before midnight in the June solstice, the sun is still well above the horizon. Photo by Russell Shor/GIA.
In the 10 weeks of summer at the 64th parallel there are literally endless days, with several weeks of 24-hour light. There is just enough time for the vegetation − dwarf birch, northern Labrador tea, blueberry, mountain cranberry and sphagnum moss − to survive as feed for the herds of caribou that migrate over the rocky terrain in the fall and spring.

The first freeze returns with a vengeance in late September and brings with it the spectacular lights of the Aurora Borealis. The guidebooks say this part of the world is the best place to see nature’s show, and 50,000 tourists journey to the northernmost cities, Whitehorse and Yellowknife, each fall for a view. By December, the temperatures are down to -40°C (-40°F) and there’s but a glimmer of twilight at noontime.

	Caribou are essential to the ecology of Canada’s northland. Photo courtesy of Rio Tinto
The few outsiders who ventured up to the area in the last century and a half were looking for treasure – gold at first, as with the Klondike gold rush of 1897–99. By the 1930s, gold prospectors moved farther east to the Northwest Territories and developed the provincial capital of Yellowknife. At 100 miles south of the tree line, the town sits on the north bank of the Great Slave Lake, near two gold mines. The Great Slave (named after the Slavey tribe that inhabits the area) is the world’s 10th largest lake, covering well over 10,000 square miles, and the deepest in North America, plunging more than 2,000 feet in some spots.

The tree groves that surrounded Yellowknife provided a nearly unlimited source of building materials, first for log cabins, then for processed wood beams and siding. As Yellowknife grew into the provincial capital, prospectors rarely ventured much farther north beyond the tree line, the gold mines wound down, and money stopped pouring into the town.

	Dr. James Shigley, GIA Distinguished Research Fellow, and Pedro Padua, a videographer for GIA, stand in front of one of Yellowknife’s first structures dating from 1935 when most of the settlement was built from logs. Photo by Russell Shor/GIA
A half-century later, another type of prospector came to the region – geologists searching for diamonds.

They were there for sure. People had been finding diamonds in rivers and creeks as far south as Montana in the U.S. for decades. De Beers wanted to find them first, dispatching exploration teams north in the 1980s toward the Mackenzie Mountains near the Yukon border. The team did discover garnets, chromites and ilmenites, minerals that told them diamonds could be nearby, but no diamond sources.

Yellowknife, the closest city at that time, was facing an economic decline, so when De Beers chose it as the staging area for exploration, the locals welcomed it. When the word went round that the De Beers was on the scene, others paid attention, including Superior Oil, a California-based company exploring the area for other minerals.

	Charles Fipke, left, and Stewart Blusson traversed the rugged and remote terrain of Canada’s Northwest Territories for years in their quest to find diamonds. Left photo by GIA; right photo courtesy of Stewart Blusson.
Superior Oil dispatched geologist Charles Fipke in the early 1980s and a team that included another geologist, Stewart Blusson, to the Mackenzies to explore for diamonds. They found the same indicator minerals as De Beers, but Standard Oil quickly lost interest in the project.

The two geologists knew they were on the trail, but it was Blusson, with his strong knowledge of the region’s glacial history, who understood that the glaciers were the key. They carried the indicator minerals across the expanse of barren land that also happened to host the oldest known rocks on Earth (more than 3.9 billion years), making this prime diamond country. The geologists kept up the search, using their own funds to follow the pyrope garnet trail eastward.

Blusson rented and piloted a helicopter to plot a course, setting Fipke on the ground to collect samples until the fall temperatures fell well into the minus range and daylight nearly disappeared. After three years, the composition of samples strongly suggested diamonds, but the money was running out, so Fipke embarked on a fundraising plan to sell shares in an exploration company he founded, DiaMet Minerals.

	Lichen covered rocks and sparse vegetation cover most of Canada’s far north where the growing season is only a few weeks. This is the type of terrain Fipke and Blusson traversed for years as they followed the trail of pyrope garnet. Photo by Russell Shor/GIA
Eight years into the search, the indicator minerals around one large lake were off the charts, but the money was again running out and the encroaching winter had made it impossible to continue. Fipke returned in April 1990, with the ground still frozen solid and enough money for one more day of digging. On that day, after hard digging, he and his team found more indicators, including a large chrome diopside, which told them they were practically standing on a kimberlite pipe.

With these samples, Fipke was able to convince the mining giant BHP to front the funds to finish the job in exchange for a 51% share. Eighteen months later, while war raged in Kuwait, the company announced it had found a world-class diamond deposit at the bottom of Lac de Gras.

	Diavik Mine

	Discover the expansive, beautiful and harsh environment of Canada’s Northwest Territories and go behind-the-scenes of a Canadian diamond mine.
Developing the deposit, which became the Ekati Mine, tested the ability of BHP to develop a large mine without compromising one of the world’s last pristine wildernesses. The lakes are as pure as when they were formed. Despite its barrenness, the area is home to five First Nation tribes (two branches of the Dene First Nation, the Tlicho peoples, the Kitikmewot Inuit and the North Slave Metis), all of whom follow the caribou herds for sustenance, maintaining an ecological balance that has endured for millennia. Mine construction had to ensure the caribou would continue to migrate, which meant preserving all vegetation and ensuring their safe passage through the mining areas.

Today, Canada is the world’s fourth-largest diamond-producing nation. Ekati opened in 1998, followed by Diavik five years later and Snap Lake another five years after that − all within 50 miles of each other. A fourth, Gahcho Kue, will open next year. These, plus the Victor mine in northern Ontario, yielded over 12 million carats in 2014, valued at just over $2 billion.

Exploration teams continue to traverse the northern wilderness. Two mines are under construction elsewhere in Canada, at Fort à la Corne in Saskatchewan and Renard in Quebec, and there are other sites under evaluation.

	The long Arctic winters bring seven to eight months of white landscapes and frozen lakes. The Diavik Diamond Mine, above, is in a kimberlite cluster around frozen Lac de Gras. Photo courtesy Rio Tinto
For all of the difficulties the extreme winter brings, it also presents opportunity. There are no roads beyond Yellowknife, which lies about 200 miles south of the kimberlites. In the deepest of winter, the lakes freeze hard enough to construct an ice highway that heavy trucks use to resupply the mines for the entire year – the difficulties and dangers the ice road truckers face have been well-documented.

The dangers of just being out in this unforgiving winter climate are well known, and the diamond mines have strict rules about employees venturing out in winter. No one can leave their work area without a buddy or go outside during a whiteout blizzard, because people can quickly become disoriented and die from exposure only a few yards away from safety.

“It can happen like that,” said one supervisor at Diavik, snapping his fingers. @chapter:20


Publication Year: 1991 Title: Treated Andamooka Matrix Opal Abstract: Matrix opal from Andamooka, in South Australia, is a precious opal-included porous rock that is commonly color enhanced (carbon impregnated) to imitate the highly prized black opal from Lightning Ridge in northern New South Wales, Australia. This material has been commercially available since the mid-1950s and is often referred to as “sugar treated." A basic sugar acid-carbonizing technique is used to carbonize, and thus darken, the cream-colored matrix of prepolished stones so that the play-of-color is more prominent. The carbon impregnator in treated Andamooka matrix opal can be readily identified with low-power magnification. @chapter:39


Publication Year: - Title: Designer’s Award-Winning Jewelry Helps Reclaim Family History Abstract: “Jewelry design is a career that’s learned day by day,” says Veronica Eckert, GIA JDT. “It’s not only drawing beautifully, but creating a personality and style for your piece to communicate with the world.” Photo courtesy of Veronica Eckert

	Edgar Allen Poe, Jules Verne and Stephen King are not names that often pop up in conversations about jewelry design, but designer Veronica Eckert points to the literary icons as early catalysts for her creativity.

	“I read my father’s entire collection of science fiction books as a child,” says Eckert, a Mexican-American jewelry designer based in Los Angeles. “It had a big impact.”

	Eckert, a GIA JDT, is the owner of Veronica Eckert Studio and the recent grand prize winner of the Revere Academy’s 2016 Tahitian Pearl Jewelry Design Contest. Her winning design is the dreamy, space-inspired “Trip to Saturn” platinum ring, which features a 12-mm, high-luster black Tahitian pearl and blue sapphires, aquamarines and diamonds.

	“My pieces are almost storytellers,” Eckert says. “The inspiration for that ring came from my fascination with the universe, and the fact that Saturn was at its closest to Earth last year. I imagined the stars traveling along the shank of the ring and going around the pearl to represent Saturn’s rings.”

	She says that the experience of participating in the design competition elevated her artistic vision.

	“Winning a design award pushes you to become more creative and sharpen your skills and imagination,” she says. “Learning about pearls and working with them increased my love for nature and creativity.”

Veronica Eckert, GIA JDT, took top honors in the Revere Academy’s 2016 Tahitian Pearl Jewelry Design Contest with her platinum “Trip to Saturn” ring, which features a 12.5-mm natural, high-lustre black Tahitian pearl with green overtone. The ring, which includes .36 total carat weight of diamonds and .08 carats of sapphires and aquamarines, inspired Eckert to create an entire “Trip to Saturn” jewelry collection. Photo by Berlian Arts. Courtesy of Veronica Eckert

	The desire to create and communicate through jewelry ran through Eckert’s family for two prior generations. Her great-grandfather and grandfather owned a jewelry store in her hometown of Monterrey, Mexico. As a young girl, she carefully observed her grandfather, Eduardo Aguilar Herrera, as he interacted with customers in his shop. She noted the smile on his face when a customer was satisfied with a new piece of jewelry, and giggled in delight as she watched him use his old loupe to create the illusion of a “gigantic, magnified eye.”

	Eckert’s parents, a surgeon and a biologist, did not pursue the jewelry industry, and her grandfather passed away when she was young. The family store closed after his death, and though Eckert could no longer visit the store or learn from him, her desire to create was irrepressible.

	“I dedicated a good amount of time to working with my hands – drawing, creating toys, beading, disassembling and reassembling electronics,” she says. “It would sometimes get me in trouble when there was a ‘spare part’ missing from a piece of electronics, but that curiosity is what guides us to become makers.”

	Eckert studied design and worked as a graphic artist, and eventually art director, for an advertising and marketing agency. But, after immigrating to the United States and working for a design studio in Seattle in 2011, she decided to sign up for a beginner’s jewelry-making class at a small studio in the city. She instantly felt a spark of curiosity.

	“As soon as I had my first experience soldering, I felt the bond between the metal and me,” she says. “It was fascinating to see a sheet of metal and think, ‘How many things can I create with this?’”

	Eckert quickly enrolled in San Francisco’s Revere Academy of Jewelry Arts, where she completed two programs and earned recognition as a goldsmith. She improved her skills there, learning to “work in extreme detail.”

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	Eckert began to hear about the impact of CAD/CAM in the jewelry industry and wanted to know more. She discovered the Jewelry Design and Technology program at GIA, spoke with instructors and realized the JDT program was a perfect fit. Eckert jumped in, moving to Carlsbad for six months and enrolling in the On Campus program.

	“GIA opened new possibilities for my creations,” she says. “Not only did the CAD program help me create more elaborate and complex designs, but GIA helped me become further immersed in the jewelry design world, meet many people in the field … and ‘grow up’ as a professional in the jewelry industry.”

	Eckert says the instructors were “dedicated and professional,” and credits Kelly Borello, in particular, with serving as an advocate for her career, post-graduation.

	“She has been very helpful and kind – taking time to advise me of some modeling processes, discussing how to approach a company during a job search,” Eckert says.

	After working for a fine jewelry company in Southern California, Eckert found herself so busy designing for clients that she decided to go into business for herself. She opened Veronica Eckert Studio Jewelry in December 2016, in a small studio in Los Angeles’ jewelry district, and is enjoying being able to invest and focus more on design.

		Anything that awakens my senses inspires me.

		Veronica Eckert, GIA JDT

“Sometimes I’ll have an idea in my head and keep working on it until I’m ready to put it on paper. Other times, I pull out my sketching pad and just draw an idea even in the middle of the night," Eckert says. "I’ll give each of my pieces a personality and a name, and think about the story that might be behind that name in order to create it.”

Eckert cites art nouveau architecture, surrealist painters like Remedios Varo, and of course, science fiction, as sources of inspiration, but her ambitions are quite down to earth.

“My goal as a jewelry designer is simply to become a better designer every day,” she says.

To her delight, Eckert’s daughter, Itzel Montserrat, has followed her into the gem and jewelry industry.

Montserrat earned her GG diploma in 2014, and after working for Blue Nile in Seattle, moved to the Los Angeles suburb of Monrovia to work in quality assurance for designer Christian Tse. She also assists Eckert with buying, appraisal and gem identification.

Montserrat’s entry into the jewelry industry means that after a brief lapse, the mother-daughter duo can say that their family’s history runs four generations strong.

“My grandfather didn’t have a chance to see me become a jewelry designer, or my daughter become a gemologist,” Eckert says. “But his heritage and skills flow in our blood.” @chapter:16


Publication Year: - Title: Ametrine Care and Cleaning Abstract: The best ametrines show distinct areas of orangy yellow and purple. These colors are featured in this graceful cut design. Photo by Lydia Dyer, © John Dyer & Co., gem courtesy John Dyer & Co.

Hardness and toughness
Gem and mineral hardness is measured on the Mohs scale. The numbers are based on the relative ease or difficulty with which one mineral can 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.

Common substances like sand and dust are composed mostly of quartz, the mineral species that includes ametrine. So, while ametrine is a great gemstone for use in jewelry, it should be treated with the proper care to prevent scratching and other damage.

Like amethyst and citrine, ametrine rates a 7 on the Mohs scale and has good toughness, so it is suitable for all jewelry types. This includes rings as long as the wearer understands the limits of its hardness and follows proper precautions to prevent scratching.

	Ametrine’s hardness ranks a 7 on the Mohs hardness scale. Illustration by Peter Johnston, © GIA
Stability
Abrupt temperature changes can cause ametrine to fracture. Some ametrine colors can fade with prolonged exposure to intense light. Ametrine can also be damaged by hydrofluoric acid, ammonium fluoride, and alkaline solutions.

Cleaning
Ametrine can be safely cleaned with warm, soapy water. Ultrasonic cleaners are usually safe except in the rare instances where a stone is dyed or treated by fracture filling. Steam cleaning is not recommended, and ametrine should not be exposed to heat.

	With proper care, ametrine’s beauty will enhance all types of jewelry and provide years of wearing enjoyment. Photo by Robert Weldon/GIA, courtesy Minerales y Metales del Oriente, Bolivia, SA. @chapter:23


Publication Year: 2023 Title: Zigzag Fingerprint in Sri Lankan Sapphire Abstract: The rectilinear zigzag-patterned fingerprint in this 3.21 ct blue sapphire shows beautiful vibrant colors, indicating a Sri Lankan origin. Photomicrograph by Yuxiao Li; field of view 4.45 mm.
The author recently examined a 3.21 ct oval mixed-cut blue sapphire. Chemical analysis and gemological observation of internal fissures suggested a Sri Lankan origin. Under fiber-optic illumination, the fingerprints showed rectilinear zigzag-patterned films with vibrant colors that resulted from thin-film interference (see above). The rectilinear structure of this fingerprint was caused by the natural healing process of a fracture oriented parallel to the c-axis.
These zigzag-patterned fingerprints often indicate a Sri Lankan origin, but they can also be found in sapphires from Myanmar and Madagascar. The undamaged rectilinear pattern could indicate that the stone is unheated. @chapter:12


Publication Year: 1995 Title: A Visual Guide to the Identification of Filled Diamonds Abstract: A microscope with various types of lighting is the most practical and reliable method to detect fracture filling in diamonds. All of the filled diamonds examined to date have shown flash effects in a variety of colors. Also seen in some stones are evidence of flow structure, trapped bubbles, incomplete filling at the surface, crackled texture, trapped bubbles, an apparent color to the filler, cloudy filled areas, and surface residue. This article is accompanied by a chart that illustrates the various features seen in filled diamonds, plus features observed in unfilled fractures with which they might be confused. @chapter:31


Publication Year: 2021 Title: Vaterite Found on a Strand of Freshwater Cultured Pearls Abstract: Figure 1. Single-strand freshwater bead cultured necklace measuring 10.33 × 10.18 mm to 13.36 × 12.72 mm. Photo by Sood Oil (Judy) Chia.

Recently, GIA’s New York laboratory received a single-strand necklace with 32 pearls for identification (figure 1). The pearls were white and near-round, ranging from 10.33 × 10.18 mm to 13.36 × 12.72 mm in size and weighing 81.50 grams total. Real-time microradiography (RTX) analysis revealed that all of them had a bead nucleus. Chemical analysis by EDXRF spectrometry showed a high manganese concentration and low strontium, indicating they formed in a freshwater environment. During examination of the strand, random white patches were observed on the surface of many of the pearls. These irregular patches appeared overgrown on the surface and crystalline-like (figure 2).

Figure 2. Irregular whitish patches were visible on the surface of many of the pearls. Photos by Sally Chan Shih.
X-ray fluorescence analysis revealed a strong yellowish green reaction around each pearl, while the irregular white surface patches showed a reddish orange reaction with moderate intensity (figure 3).

Figure 3. X-ray fluorescence analysis of the strand showed a yellowish green reaction along with a reddish orange reaction on the irregular white patches. Photos by Sally Chan Shih.
Additionally, Raman analysis of the nacreous surface and the irregular white patches revealed they consisted of two calcium carbonate polymorphs: aragonite and vaterite, respectively (figure 4). Aragonite peaks were observed at 701, 704, and 1085 cm–1; vaterite peaks were at 740, 750, 1075, and 1090 cm–1.

Figure 4. Raman analysis found aragonite peaks at 701, 704, and 1085 cm–1 and vaterite peaks at 740, 750, 1075, and 1090 cm–1.
Formation of the shells and pearls relies on the epithelial cells of the mollusk. Aragonite and calcite are the two most common calcium carbonate polymorphs found in pearls, while vaterite is the third most common and also the least stable form. Vaterite has only been found in freshwater pearls so far (Li Qiao et al., “Special vaterite found in freshwater lackluster pearls,” Crystal Growth & Design, Vol. 7, No. 2, 2007, pp. 275–279; Summer 2021 Gem News International, pp. 171–174). Although the reason why vaterite formed on the pearls’ surface is unknown, the defect is one of the most unusual formations seen, especially in an entire strand. @chapter:14


Publication Year: - Title: Unveiling the Cat’s-Eye Effect in a 75 ct Colombian Emerald Pair Abstract: When Colombian emerald cutter Misael Angel Rodriguez was offered a large chunk of broken trapiche emerald in September 2012, he very nearly passed on the bid. The rough portion weighed nearly 370 ct and was covered in a black carbonaceous coating, with only a glimpse of green to suggest that it even contained emerald. Several other conocedores, or experts, had already declined to buy it, which added to Rodriguez’s concerns. Placing a bid on it was an expensive gamble: The piece was large and presumably mined at Muzo, Colombia’s historic emerald source. “But what secret does it hold?” Rodriguez wondered.

	Once cleaned, this large trapiche emerald portion from Muzo weighed more than 300 ct. The rough revealed two major sections that might be suitable for cutting. All photos courtesy of Misael Angel Rodriguez.
Emerald Mystery Revealed in Cutting
Emerald dealers are accustomed to speculation, because large pieces are inherently unknowable. Rodriguez’s dilemma was comparable to that of jadeite dealers in Myanmar (Burma), who often face similar anxieties when purchasing jadeite boulders. They are in effect betting on finding a valuable, deep color inside the stone—but not really knowing until they cut a window, or slice the boulder. For the sellers of such pieces there is also a gamble. More often than not, they too decline to cut windows into the rough for fear of losing weight, or perhaps cutting away the one valuable piece in an otherwise insignificant stone.

Rodriguez and wife Claudia Beltran Rubiano, both experienced emerald cutters, ultimately decided to take the gamble and purchase the rough. They cut one corner, and then another, attempting to judge the potential gem’s depth. They soon discovered that the chunk actually contained two portions of a six-ray trapiche emerald and concluded that two stones of similar size might be fashioned from it. They also noted a fine tube-like internal structure at one side of the rough, which is characteristic of the type of material that produces cat’s-eyes. As they further polished off the skin, they began to witness the unmistakable green of fine emerald.

“That is the riddle of emeralds in the rough,” Rodriguez explained. “Their splendor is often concealed.”

	Next, Rodriguez trimmed excess pieces and sawed through the rough.
He and his wife started to slowly remove the carbonaceous outer layer of the emerald, while removing small holes and pits in the material. Bearing in mind that trapiche emeralds often yield cat’s eyes, and having noticed the fine tubes that give rise to the phenomenon, they placed small, curved facets into the rough, hoping to coax out a cat’s-eye effect. They soon found the eye’s strongest orientation, which gave them further guidance on how both gems would have to be cut.

Both of the long cabochons began to take shape: Rodriguez, with his greater cutting experience, began fashioning what they considered the finer one. “But after each day of cutting and polishing, Claudia’s always looked better and finer than mine,” Rodriguez recalled.

	Two emeralds were then pre-formed to achieve a nearly matched weight and color.
Once polished, the pair of emeralds weighed 105 carats total, which Rodriguez believes was a record weight for a matched pair. But sacrifices in weight still had to be made because of the inclusions, bringing the pair down to about 75 carats total. Rodriguez noted that gems of such size and quality, in a matched pair, had never been seen to date in Colombia.

Shortly after the February 2013 Tucson gem show, GIA asked to see the stones, and they were sent to the Carlsbad laboratory for further examination.

	Two large matching cat’s-eye emeralds, ultimately weighing close to 75 carats total, emerged from the rough trapiche. Photo by Robert Weldon, GIA.
GIA Laboratory Examination
Both stones were received at GIA in the spring of 2013. Their gemological properties were typical of cat’s-eye emeralds examined in the past. We recorded a spot RI of 1.57, chrome lines in the red portion of the spectrum, and no reaction to ultraviolet light.

What was really interesting about them was the internal structure that gave rise to the cat’s-eye effect. The dense parallel growth tubes appeared somewhat transparent, quite unlike the needles or growth tubes that cause the chatoyancy in many other cat’s-eye specimens. As noted, this type of structure in emerald is often found in the individual pie-shaped sections of trapiche emeralds. However, only rarely is it dense enough to cut a strong cat’s-eye, as was the case for the large matched pair we saw.

In his 1981 book Emeralds and Other Beryls, noted beryl connoisseur John Sinkankas wrote that cat’s-eye emeralds are so rare as to be practically nonexistent in the market. Since the book’s publication three decades ago, several Colombian cat’s-eye emeralds have been reported, and they are slightly more prevalent on the international market today. This is partly because emerald cutters are now looking at rough material with an understanding of when rare cat’s-eye emerald might be revealed, and also because collectors are actively seeking out these stones for their rarity and beauty. @chapter:8


Publication Year: - Title: Topaz History and Lore Abstract: The 97.45-carat Blaze Imperial Topaz is in the collection of the Field Museum of Natural History. - Courtesy "Gems and Gemstones: Timeless Natural Beauty of the Mineral World" by Grande & Augustyn, U of Chicago Press.

                      Most authorities agree that the name topaz comes from Topazios, the old Greek name for a small island in the Red Sea, now called Zabargad. (The island never produced topaz, but it was once a source of peridot, which was confused with topaz before the development of modern mineralogy.) Some scholars trace the origin back to Sanskrit (an ancient language of India) and the word topas or tapaz, meaning “fire.”

The ancient Greeks believed that topaz gave them strength. In Europe during the Renaissance (the period from the 1300s to the 1600s) people thought that topaz could break magic spells and dispel anger. For centuries, many people in India have believed that topaz worn above the heart assures long life, beauty, and intelligence.

The name for imperial topaz originated in nineteenth-century Russia. At the time, the Ural Mountains were topaz’s leading source, and the pink gemstone mined there was named to honor the Russian czar. Ownership of the gem was restricted to the royal family.

Today, topaz is one of the US birthstones for November. The other is citrine quartz. @chapter:1


Publication Year: - Title: Sapphire Quality Factors Abstract: This sapphire from Kashmir has an intense velvety blue color. – Photo: Robert Weldon/GIA.

Sapphire is one of the Big three of jewelry colored gemstones—the other two are ruby and emerald. A durable stone that’s designated as a birthstone for September, it captures jewelry buyers with its practicality and aura of romance.

Corundum is the mineral species that includes both sapphire and ruby as varieties. Red corundum is known as ruby and all other colored corundum (including colorless, or white sapphire as it is known in the trade) is sapphire, although blue is the most well-known.
Colors of Sapphire
Sapphire is generally known as a blue gemstone but surprisingly it comes in a wide range of colors and quality variations. In general, the more intense and uniform the color is, the more valuable the stone.

Sapphires that are not blue are known as fancy sapphires, and may be any color—except red (which is a ruby). The fancy sapphire colors are: pink, orange, yellow, green, purple, and violet. There truly is a different color of sapphire to suit anyone’s taste!
Blue Sapphires
Color has the greatest influence on a sapphire’s value, and preferred sapphires have strong to vivid color saturation. The most valued blue sapphires are velvety blue to violetish blue, in medium to medium-dark tones. Sapphires with these qualities command the highest prices per carat. Less valuable blue sapphires might also be grayish, too light, or too dark.

Madagascar is a relative newcomer as a major sapphire source, but its stones can have an intense blue color that rivals the finest from more traditional sources. - Copyright: GIA & Tino Hammid
What is a Padparadscha Sapphire?

An extremely rare and collectible variety that is a mix of pink and orange is known in the trade as padparadscha. Such gems typically have a high value—much higher than many other types of fancy sapphires. Their color can be hard to describe. Some people say padparadscha sapphire colors should be called salmon or sunset. But the word padparadscha itself derives from the Sanskrit language and refers to the rich color of a lotus blossom.

Those who deal in these gemstones usually agree that padparadscha sapphires should range from light to medium pinkish orange to orange-pink.

Pink and Purple Sapphires

Pink sapphires range from light red (pink) to light purple with weak to intense color saturation which fall out of the color ranges for ruby or purple sapphire. Purple sapphires always have purple as the dominant color. They range from medium to dark reddish purple to violetish purple with weak to vivid color saturation.The major fancy sapphire color categories are padparadscha, pink and purple, orange and yellow, green, and colorless and black. Each category has its own color range, causes of color, and market.

Some pink sapphires have intensely saturated color. -- Photo: Lydia Dyer, gem courtesy of John Dyer & Co.
Yellow to Orange Sapphires

Yellow sapphire is also available in a variety color saturations from yellow to orangy yellow and in light to dark tones, while orange sapphires have deep golden, to mandarin, and deep orange colors.

Yellow sapphires may be affected by other colors within the same gem and can range from light to dark greenish yellow to orangy yellow with weak to intense color saturation. The finest yellow sapphire is yellow to orangy yellow with vivid saturation.

Orange sapphires range from yellowish orange to reddish orange. The finest orange sapphires are strong, pure orange to red-orange with medium tone and vivid saturation.

These sapphires range from yellow to a deep yellow-orange color called golden to highly saturated reddish orange. - Copyright: GIA & Tino Hammid. Courtesy: Varujan Arslanyan
Green Sapphires

Commercial-grade sapphires may contain a less desirable greenish blue color or strong greenish blue that is visible as you view the gem. Uniformly green sapphires that are saturated in color are actually rare and many collectors prize them. In green sapphires, a mix of yellow and blue sapphire accounts for the color a person sees.

Color Change Sapphires

Color-change sapphires are corundum’s chameleons—stones that change color under different lighting. Under daylight equivalent (fluorescent or LED daylight-balanced) light, the typical color-change sapphire’s basic color ranges from blue to violet. Under incandescent light, it ranges from violetish purple to strongly reddish purple. Some rare color-change sapphires change from green in daylight to reddish brown in incandescent light.

When gem experts judge color-change sapphires, they describe the color change as weak, moderate, or strong. The strength of the stone’s color change is the most important quality factor affecting its value.

The color of star corundum has a great effect on its value, though it is understood that miniscule inclusions are the cause of the asterism. They can affect transparency and color, and only very rare, exceptional gems exhibit transparency, depth of color and asterism. As such, the best star corundum has a crisp, distinct star against strongly saturated color. If the color is too light, it doesn’t provide enough contrast for the star’s rays, and the star will be less visible.

Star corundum can be red, pink, blue, black, gray, brown, purple, or yellow—practically every color under the sun. The term “star sapphire” encompasses all colors of star corundum except red, which is called star ruby.

Naturally, some colors of star corundum are valued more highly than others. In general, the most prized colors are the same as the colors most valued in non-phenomenal corundum: red and blue.

Trade terms based on sources can represent certain colors and qualities that are associated with a stone’s source, generally they refer to the finest stones from that source. But a single source never consistently yields gems that are all the same color and quality. In fact, the descriptive term might represent only a small percentage of its production.
New sources can produce material that is very similar to gems from classical sources or with a slightly different, but just as beautiful, appearance.

Sapphire Clarity
Blue sapphires typically have some inclusions, but they generally have better clarity than rubies. Blue sapphires with extremely high clarity are rare, and very valuable.

Several types of inclusions are found in sapphires. Among these are long thin mineral inclusions called needles. Fine needles are called silk when they occur as the mineral rutile in intersecting groups. Other clarity characteristics in sapphire are included mineral crystals, partially healed breaks that look like fingerprints, color zoning, and color banding.

These long, thin, intersecting inclusions of the mineral rutile are called silk. This arrangement can produce the star effect in corundum.

Generally, inclusions make a stone less valuable. Price can drop substantially if the inclusions threaten the stone’s durability. Even so, inclusions can actually increase the value of some sapphires. Many of the most valuable Kashmir sapphires contain tiny inclusions that give them a velvety appearance. They scatter light, causing the coveted visual effect without negatively affecting the gem’s transparency.
Star Sapphire

Star sapphires and star rubies belong to the phenomenal corundum category. The star effect is called asterism. It’s caused by reflections from tiny, needle-like inclusions that are oriented in several specific directions. Stars are usually made up of 2, 3, or 6 intersecting bands, resulting in 4, 6, or (rarely) 12 rays.

Tiny inclusions create magnificent reflections of light known as the star effect. - © GIA & Tino Hammid, courtesy Benjamin Zucker

Star sapphires usually have stars have 6 rays, and 12-rayed stars are quite rare. Two different sets of inclusions—one of rutile and one of hematite—oriented in slightly different directions can cause a 12-rayed star.

Hematite inclusions cause asterism in black star sapphires. The sapphire’s color is actually yellow, green, or blue, but the inclusions make it appear dark brown or black.

The finest star is distinct, centered on the top of the stone, and visible from a reasonable distance, about arm’s length. The star’s quality should be the same when viewed from all directions.

Ideally, the rays should be uniform in strength, reach from girdle to girdle on the cabochon, and intersect at the top center of the stone. The best stars are straight, not fuzzy, wavy, or broken. The reflective stars should contrast strongly against the gemstone’s bodycolor. The star should also have elegant “movement.” This means that, as you rock the stone, the star should appear to move smoothly across the surface.

The best and most expensive star corundum is semi-transparent, with just enough silk to create a well-defined star. Too much silk can harm transparency and also lead to poor color, lowering the value of the stone considerably.
Sapphire Cut

Oval shapes with triangular and kite-shaped facets on the gem's crown (top portion) and parallel rectangular facets on the gem's pavilion (bottom portion) are very common for corundum of all colors. Photo: Robert Weldon/GIA. Courtesy: Lewis Allen
The shape of a rough sapphire crystal influences the finished stone’s shape and size. Rough sapphire’s most common crystal form is a barrel- or spindle-shaped hexagonal pyramid. To achieve the best overall color, maintain the best proportions, and retain the most weight possible, cutters focus on factors like color zoning, pleochroism, and the lightness or darkness of a crystal to best determine how to orient the gem during cutting.

These sapphires are miniature works of art that have been expertly cut into custom designs. – Photo: Robert Weldon/GIA. Courtesy: Mark Gronlund, Umatilla, Florida
Color zoning—areas of different colors in a stone—is a common sapphire characteristic. Blue sapphire often has angular zones of blue and lighter blue. To accommodate color zoning in some sapphires, cutters orient the concentrated color in a location that offers the best visible color in the cut stone.

In Sri Lankan sapphires, the color is often concentrated close to the surface of the crystal. If a cutter can orient the culet within the concentrated area of color, the stone will appear entirely blue in the face-up position.

Pleochroism refers to different bodycolors in different crystal viewing directions. Blue sapphires often have greenish blue and violetish blue pleochroism. It’s most desirable to orient the cut so the stone shows the violetish blue color when it is set in jewelry.

Besides coming in all colors, corundum also comes in all cutting styles. – Photo: Jeff Scovil. Courtesy: Ballerina Gems
Star Sapphire Cut
Star corundum must be cut as a cabochon to display asterism. A finished stone’s attractiveness depends on the star’s orientation and the cabochon’s symmetry, proportions, and finish.

The cabochon must have an appealing appearance, with the star properly centered when the gem rests on its base. The stone’s outline should be symmetrical.

For most stones, the dome should be fairly high—about two-thirds of the stone’s width—to focus the star sharply. If it’s too high, the phenomenon loses its graceful motion when the stone is tilted. Excessive height also makes the stone difficult to mount.

If the dome is cut too shallow, the star will be visible only from directly above. Black star sapphires, however, are prone to parallel breaks, so they’re usually cut very flat to reduce the risk of damage.

A stone should not have excess weight below the girdle that doesn’t contribute to the optical effect or reinforce color.
Sapphire Carat Weight
Blue sapphires can range in size anywhere from a few points to hundreds of carats, and large blue sapphires are more readily available than large rubies. However, most commercial-quality blue sapphires weigh less than 5.00 carats.

Fine-quality blue sapphires in larger sizes are rare, but they’re still more available than ruby. The incredible blue sapphire in the center of this ring weighs 18.79 carats. - Vagabonde Bleue Ring © 2011 Fabergé Ltd
Large commercial-quality blue sapphires are rare, but more available than large fine-quality ones. As a result, size makes more of a difference in the price of fine-quality sapphire.

Sapphires are available in all sizes, shapes, and colors. Photo: Robert Weldon/GIA, Dr. Eduard J. Gübelin Collection. @chapter:18


Publication Year: 1993 Title: Spring 1993 Gem News International Abstract: TUCSON ‘93
Diamonds
            Show Update
            Star-Cut Diamonds
Colored Stones
            Exceptional Iris Agates
            Baltic Amber
            Amethyst from Uruguay...
            . . . and Amethyst-Citrine from Bolivia
            Apatite from Brazil and Madagascar
            Uncommon Cat's-Eye Gems
            Gems with Natural Crystal Surfaces
            Beryls from the Ukraine
            Miscellaneous Notes on Emeralds
            Extraterrestrial Gem Materials
            Some Unusually Large Gems
            Jadeite from the Russian Federation
            Lapidary Art
            Opal from Canada
            Cultured Pearls from Tahiti, Australia, and China
            Natural Freshwater Pearls from Quebec
            "Peeling" Pearls
            Peridot from Ethiopia
            Red Quartz from Mexico
            Miscellaneous Fashioned Curiosities
            Transparent Rhodochrosite from Colorado
            Update on Rubies
            Miscellaneous Notes on Sapphires
            Spessartine Garnet from Africa
            Tourmaline from Paraiba, Brazil
            Parti-Colored Zoisites
Enhancements
            Apparatus for Fracture Filling Gems
Synthetics and Simulants
            Reconstructed Amber
            More "Pulled" Synthetic Materials Available
            Miscellaneous Emerald Simulants
Update
            1993 Burma Emporium
Announcements
G&G Wins Top Honor as Best Professional Journal

To view the full section, download the PDF above. @chapter:23


Publication Year: - Title: Citrine Quality Factors Abstract: This award-winning 30.28-ct. super-trillion cut displays citrine’s highly valued, saturated orangy red color. – John Dyer, gem courtesy John Dyer & Co.

Color
Citrine’s attractive color, plus the durability and affordability it shares with most other quartzes, makes it the top-selling yellow-to-orange gem. A saturated yellow to reddish orange color free of brownish tints is prized in citrine, although in the contemporary market, citrine’s most popular shade is an earthy hue—a deep brownish or reddish orange.

	This group of rough and fashioned citrines exhibits the reddish orange colors enjoyed by consumers. - Dan Van Rossen, courtesy ICA

	Citrine’s colors range from pale brownish yellow shades like this one to intense reddish orange hues. - Robert Weldon
Since natural citrine is rare, most of the citrine on the market is the result of heat treatment, which causes some amethyst to change color from undesirable pale violet to attractive yellow. The amethyst’s original hue can determine the richness of the resulting citrine’s yellow.

	This fantasy-cut citrine started out as an amethyst. Its orange hues are the result of low-temperature heat treatment. - GIA & Tino Hammid

	Lime-colored citrine can result from heat treatment of smoky quartz. The gem’s designer used some frosted facets to highlight its trendy color. – Lydia Dyer,  gem courtesy John Dyer & Co
Clarity
Dealers look for citrines without color zoning or visible inclusions. Much of the faceted citrine in the market is eye-clean, meaning it lacks eye-visible inclusions.

	Most faceted citrine on the market has no eye-visible inclusions. - Robert Weldon

	Microscopic inclusions in citrine are usually not visible without high magnification.
Cut
Although citrine is available in standard shapes and sizes, in recent years many high-end jewelry designers and gem carvers have fashioned the warm yellow gem into unusual cuts for jewelry and carvings.

	A medley of oval-cut citrines in various sizes graces this elegant necklace. – GIA & Tino Hammid, courtesy a private collector

	Citrine carvings by gem designer Michael Dyber adorn a showcase at a Tucson gem show. - Eric Welch, courtesy Michael Dyber

	This golden cat is carved in citrine from Brazil. Its eyes are made of peridot and
	gold. - Robert Weldon
Carat Weight
Citrine crystals occur in a wide range of sizes, and citrines of up to 20 carats are readily available in jewelry.

	Award-winning gem designer John Dyer calls this gem’s cutting style the Regal Radiant Cut. It weighs 19.90 carats. – Lydia Dyer, gem courtesy John Dyer & Co.

	John Dyer’s Lime Citrine Reflections™ is a gem with an attractive lime green color, a fascinating designer cut, and a weight of 33.35 carats. – Lydia Dyer, gem courtesy of John Dyer & Co. @chapter:23


Publication Year: 2002 Title: Summer 2002 G&G Book Reviews Abstract: “Diamond Ring Buying Guide, 6th Ed.”
By Renée Newman, 160 pp., illus., publ. by International Jewelry Publications, Los Angeles, CA, 2002. US$17.95

“Tiaras: Past and Present”
By Geoffrey Munn, 128 pp., illus., publ. by V&A Publications, London, 2002. US$22.50

“Diamond Stories: Enduring Change on 47th Street”
By Renee Rose Shield, 234 pp., illus., publ. by Cornell University Press, Ithaca, NY, 2002. US$29.95

“Perlen”
By Elisabeth Strack, 696 pp., illus., publ. by Rühle-Diebener-Verlag, Stuttgart, Germany, 2000 (in German). –C66.00

“Diamonds: In the Heart of the Earth, in the Heart of Stars, at the Heart of Power”
By Hubert Bari and Violaine Sautter, Eds., 351 pp., illus., publ. by Vilo International, Éditions Adam Biro, Paris, 2001. US$60.00

“The Jewels of Jean Schlumberger”
By Chantal Bizot, Marie-Noël De Gary, and Évelyne Possémé, translated by Alexandra Bonfante- Warren, 157 pp., illus., publ. by Harry N. Abrams, New York, 2001. US$39.95

“Glossary of Obsolete Mineral Names”
By Peter Bayliss, 235 pp., publ. by The Mineralogical Record Inc., Tucson, AZ, 2000. US$32.00

“Modern Gemmology, SSEF Tutorials 1 & 2”
By SSEF Swiss Gemmological Institute, www.ssef.ch, Basel, Switzerland, 2001. Available in PC or Mac format. US $150 each/$250 for both

To view the full section, download the PDF above. @chapter:22


Publication Year: - Title: Summer 1996 G&G Book Reviews Abstract: “The Art of Jewelry Design, Volume I”
By Maurice P. Galli in collaboration with Nina GiambeUi, 224 pp., illus. by Mamice P. Galli, Dominique Rivihre, and Fanfan Li, publ. by SchifferPublishing, Atglen, PA, 1994

“Collectable Reads: A Universal Aesthetic”
By Robert K. Liu, 256 pp., illus., publ. by Ornament, Inc., Vista, CA,
1995. US $49.95

To view the full section, download the PDF above. @chapter:16


Publication Year: 1986 Title: Summer 1986 G&G Lab Notes Abstract: Cobalt-Bearing Devitrified Glass
Glass with an Unusual Inclusion
Dyed and Sealed Lapis Lazuli
Assembled Opal Beads
Green Opal from Brazil
Cultured Pearls
Cat's-Eye Rutile
CobaIt-Blue Spinel
Turquoise with Simulated Matrix

To view the full section, download the PDF above. @chapter:8


Publication Year: 2023 Title: “Kaleidoscope” in Alexandrite Abstract: This 0.69 ct alexandrite showed a stellate structure due to cyclic crystal twinning and pleochroism, producing a kaleidoscope effect when rotated. These photomicrographs were taken with a single polarizer placed above the stone and a white diffuser below the stone to highlight the color. Photomicrographs by Makoto Miura; field of view 9.80 mm.
Recently, the author examined an interesting 0.69 ct alexandrite measuring 6.22 × 5.21 × 2.51 mm. This stone displayed a color change from greenish blue in fluorescent light to purple in incandescent light. Its trace element chemistry along with the presence of characteristic inclusions suggested a Russian origin.
Under the microscope, this alexandrite showed a unique stellate structure that was divided into six sections of purple, pink, and yellow color. Chrysoberyl occasionally shows a stellate structure due to cyclic crystal twinning (trilling), with triplets oriented at 120° to one another (e.g., K. Schmetzer, Russian Alexandrites, Schweizerbart Science Publishers, Stuttgart, Germany, 2010). Each section showed a different face-up color, and the colors were changed by rotating the stone. This observation suggested that the stone was cut from a cyclic twin rough crystal and the various colors were due to pleochroism, not color zoning. When rotating a single polarizer between the stone and objective lens (analyzer), opposite areas showed the same pleochroic colors (see above). This feature indicated that the alexandrite consisted of three penetration twins (again, see Schmetzer, 2010). The unique pleochroic colors caused by cyclic twinning were reminiscent of a kaleidoscope. @chapter:19


Publication Year: - Title: Fall 2011 G&G Lab Notes Abstract: Unusually Large Clinohumite
	Black Diamond Colored by Strong Plastic Deformation
	Coated Black Diamond
	Coated Diamond with Spectroscopic Features of a Natural-Color Pink
	Colorless Untreated Diamonds with High Levels of Strain
	HPHT Treatment for Subtle Color Enhancement of Diamond
	An Interesting Luminescent Cleavage in Diamond
	A Large HPHT-Annealed Pink Diamond
	Gem-Quality CVD Synthetic Diamonds from Gemesis
	Treated Synthetic Diamonds with Pink Color Intensified by Fluorescence
	Cultured Pearls from Pteria Sterna with Plastic Bead Nuclei
	Large Conch Pearl
	Natural and Synthetic Green Sapphires with Similar Color but Remarkably Different Chromophores
	Unusual Be-Diffused Pink Sapphire . . . A Cautionary Note
	Unusually High Beryllium in Three Blue Sapphires

To view the full section, download the PDF above.

	DATA DEPOSITORY

Unusually Large Clinohumite - Additional Spectra
	October 24, 2011 @chapter:32


Publication Year: 2005 Title: Summer 2005 Gem News International Abstract: Colored Stones and Organic Materials
            Demantoid from Northern Pakistan
            Pyrope-Almandine from Ethiopia
            New Ruby and Pink Sapphire Deposit in the Lake Baringo Area, Kenya
            Faceted Orange and Brown Sunstone from India
Inclusions in Gems
            Staurolite in Kyanite from Brazil
            Obsidian with Spessartine Inclusions
            Fluorite Inclusions in Quartz from Madagascar
            Bismuthinite Inclusions in Rose Quartz from Madagascar
Synthetics and Simulants
            Yellow Hydrothermal Synthetic Sapphires Seen in India
Treatments
            Interesting Heated Citrine
            “Chocolate” Tahitian Cultured Pearls
            Lead Glass–Filled Rubies Appear in the Middle East
Conference Reports
            Gemmobasel 2005
Exhibits
            Cameos at the Met
            Diamonds in London

To view the full section, download the PDF above. @chapter:0


Publication Year: - 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.” @chapter:34


Publication Year: 2024 Title: Intarsia Jewelry Box by Nicolai Medvedev and Susan Helmich Abstract: Left: The front of the “Blue Boy” chest features two wing-like “conk” wood opal slices from Nevada. Right: A 22K gold stingray adorns the top of the chest, guarding the contents within. Photo by Robert Weldon.
Opening day at the AGTA show was truly memorable with the premiere of “Treasure Chest II with Blue Boy” (see above, left), a joint collaboration between intarsia master Nicolai Medvedev and jewelry designer Susan Helmich. The exterior of the chest is adorned with Australian opal, Paraíba tourmaline from Brazil, diamonds, South African sugilite, Burmese maw-sit-sit, turquoise from the Sleeping Beauty mine (Arizona) and Nevada, gold-in-quartz from Australia and California, Utah dinosaur bone, 22K gold, and a matched pair of exquisite opal slices from Virgin Valley, Nevada. This type of Nevada opal is commonly referred to as “conk” wood, in which the cells of the original wood have been opalized. The slices featured on the front of the box came from the Bonhams opal and phenomenal gem auction in 2021.
The stingray “Blue Boy” on top was designed and hand carved by Helmich, created from 22K gold with Paraíba tourmaline and diamonds (see above, right). The interior is lined with burl wood veneer, with jasper inset into the lid, malachite (Bisbee, Arizona), and an 18K gold hinge. The chest, which took two years to complete, is the second in the series from Medvedev and Helmich. Their first chest featured an octopus. @chapter:21


Publication Year: 2021 Title: Apatite in Blue Sapphire Abstract: An apatite crystal is suspended over a cloud of rutile silk in this untreated star sapphire. Photomicrograph by E. Billie Hughes; field of view 6 mm.
One of the beauties of working with gemstones is that each time you peer into a stone, you get a glimpse of the universe held within. When we first examined the scene in a star sapphire (see above), we were delighted with the view. A feature that immediately stands out is the triangular crystal, which displays terraced growth features and iridescence on the surface when illuminated with a fiber-optic light. Analysis with micro Raman revealed that this crystal is apatite.
What makes the scene even more stunning is the way the crystal seems to float over a cloud of rutile silk. This same silk is what creates asterism in the stone.
While in this case the apatite crystal resides in a sapphire from Sri Lanka, apatite has also been reported in corundum from a variety of sources, including Afghanistan, Cambodia, Madagascar, Myanmar, Nigeria, Pakistan, Tanzania, Thailand, the United States, and Vietnam.
Apatite can be found not only in ruby and sapphire from different origins, but also in many other types of gems. In our laboratory, we have encountered apatite inclusions in emerald, spinel, and garnet.
Apatite is a relatively common mineral, so it is not surprising to find it so often as an inclusion. Although it may occur frequently, in this instance it is anything but mundane. @chapter:13


Publication Year: - Title: Record Prices and Low Profits: The Bifurcated Diamond Trade Abstract: The Pink Star, a GIA-graded 59.60 carat Fancy Vivid pink diamond, sold for $83.2 million at a Sotheby’s auction Nov. 12, 2013 in Geneva. Photo courtesy of Sotheby’s. Update: According to media reports, Sotheby’s cancelled the sale of the Pink Star several months after the auction when the winning bidder was unable to complete the transaction.

	Two rare fancy colored diamonds set landmark price records last week at Geneva auctions. In the meantime, the more mundane side of the world diamond industry is still struggling with reductions in financing, tight liquidity and soft polished prices.

First the auctions: Christie’s sold a GIA-graded 14.82 carat Fancy Vivid orange diamond for $35.5 million.  At $2.4 million per carat, this is the highest-ever per-carat price for a gemstone at auction. The following day, a bidder paid $83.2 million ‒ the highest price ever paid for any gemstone anywhere ‒ for the 59.6 carat Pink Star, a Fancy Vivid pink diamond at Sotheby’s. This GIA-graded pink didn’t just beat the old record of $46 million (also a pink diamond), it demolished it. (Update: According to media reports, Sotheby’s cancelled the sale of the Pink Star several months after the auction when the winning bidder was unable to complete the transaction.)

	The Orange, a GIA-graded 14.82 carat Fancy Vivid orange diamond, sold for $35.5 million at a Christie’s auction Nov.11, 2013 in Geneva. Photo courtesy of Denis Hayoun Diode SA Geneva

	These were the top lots. Buyers, largely anonymous, also paid top prices for other lots: $4.6 million for the Cote D’Azure brooch containing a 58.29 carat Burmese sapphire and nearly $10 million for the Patino emerald and diamond necklace. The Pink Star helped Sotheby’s auction total set a new total record for a jewelry sale ‒ more than $199 million ‒ while Christie’s was $125 million.

	And, to provide context, there were also record prices in the auction houses’ fine art sales last week. A work by the Irish-born British artist Francis Bacon drew a top bid of $142 million ‒ the most money ever paid for a piece of art at auction. In the past two years, five paintings have changed hands at auction for more than $100 million each and a Cezanne reportedly sold for more than $250 million in a private sale.

	Luxury analysts say the market for such top pieces is driven by the ultra-wealthy in Western countries who are still concerned about uncertain financial markets and low interest rates. They view rare gems and art as a more certain investment, while, in other parts of the world, buyers use such assets as a hedge against political uncertainty.

Other Diamond News: Little of this translates to the market for diamonds and gemstones that sell for thousands (and hundreds) of dollars, instead of millions.

	Lack of profits and liquidity issues dominated the inaugural De Beers sight held in Botswana, November 12-15. The size of the sight was reportedly $470 million, though some companies may have received additional allocations. According to one report, prices were moderated slightly, about 2% on some goods, and the assortments were more closely in line with market needs.

	Despite this, some dealers did ‒ again ‒ leave goods on table they could not cut or resell profitably, though apparently not at the levels of the previous sights.

	The sight coincided with the first full tender auction of Botswana-mined rough by the Okavango Diamond Company, the auction subsidiary created by De Beers and the Botswana government to boost local manufacturers. Unlike the pilot sale where prices of some rough categories ran substantially higher than comparable sight goods, these results were reportedly in close alignment with De Beers set-sale prices. The banks’ sharp credit reductions of the past two months kept the bidding down at the tender sale.

	On an encouraging note, holiday jewelry sales in the U.S. are expected to increase about 4-5% over the 2012 total, according to most estimates. In unit terms, this increase should be a point or two higher because of the decline in gold and (to a much lesser extent) diamond prices during the year.

	For diamonds, retailer reports continue to head in diverging directions. Mid-priced stores and chains look to down-trade quality and size (lots of calls for “light sizes” have been reported), while higher-end retailers are in search of top makes.

	Indeed, one luxury market study reports that the Americas have surpassed China in terms of overall luxury goods spending, registering a 4% increase in 2013 compared with 2012, versus a 2.5% increase in China.

	A steady pace of store openings in second-tier cities in the U.S. has helped drive growth in the region, according to the 2013 Luxury Goods Worldwide Market study. This trend, along with an increasing number of Chinese tourists in Las Vegas and Los Angeles, has boosted growth. The report was commissioned by Altagamma, the Italian luxury goods manufacturers’ industry foundation. @chapter:30