Jeweller - September 2021

VOICE OF THE AUSTRALIAN JEWELLERY INDUSTRY
SEPTEMBER 2021
All in white
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Est. 1990
Important Update regarding this year’s Jewellery Fair.
Dear retailers, buyers and family,
We hope that you and your staff, as well as your family, are doing OK despite the challenges we are all facing throughout
Australia.
Given what was unfolding at time of production of this advertisement, it has become obvious that we must again reschedule
the International Jewellery & Watch Fair (IJWF) following the various State Government’s COVID lockdowns. It is clear that the
situation is not improving quickly enough to have confidence that the September dates in Sydney can proceed.
Update your diary!
It was an extremely difficult decision to make, but ultimately the health and safety of everyone involved and limiting the potential
threat of spreading the virus was the most important consideration.
So it distresses me to announce that we believe we have no other choice but to reschedule the IJWF to next year –
Saturday 27 August through to Monday 29 August, 2022 at the ICC Darling Harbour.
That said, we know that many suppliers and retailers have been depending on the Sydney Fair this year to get a chance to meet
face-to-face with existing and new customers, in time for the important Christmas and New Year sales periods. In fact, following
18 months of COVID, never has there been a time where in-person meetings to present new products and ideas in time for
Christmas are vital.
For that reason, and after extensive discussions with industry leaders, there is no doubt that retail buyers are looking for new
designs and products. The feedback from suppliers over the past few years, and especially since COVID, is that retailer-buying
patterns have changed, with a tendency for later and later ordering for Christmas delivery.
A pattern was established last year – while there was a pent-up demand after the lockdowns, retailers wanted to see sales
materialise and start ticking over before they ordered Christmas stock. It should be noted that jewellery sales increased by around
30% post the COVID lockdowns.
StockUpTopUp
JEWELLERY
INTRODUCING SUTU
Therefore, based on the NSW and QLD borders re-opening by a reasonable time in September and
allowing retailers to begin trading again we have created special events to reconnect.
Understandably, many retailers were caught short last year and found that they had under-estimated demand as consumers
opened their wallets after a long period of COVID restrictions. For that reason, and with consultation with the industry, we have
created a niche trade event: StockUp&TopUp (SUTU’21).
StockUp&TopUp (SUTU’21) is designed exclusively to meet the buying patterns of retailers for the busiest time of the year,
Christmas and New Year. And the timing of StockUp&TopUp is also ideal:
SUTU Brisbane: 9 – 10 October at the Brisbane Convention Centre
SUTU Sydney: 23 – 24 October at the ICC Darling Harbour
Both events are not only well-timed for Christmas orders, they will also be time efficient for retailers.
We are aware that the Sydney IJWF is the #1 date on the jewellery industry calendar, and we know the importance it plays in
showcasing this wonderful industry; educating, inspiring and selling, and the free marketing opportunities we provide to the
various industry associations and guilds to unite people. More importantly, our staff is immensely grateful for the understanding,
kindness and unwavering support everyone has demonstrated during these very difficult and trying times and we promise to
reward this support with the most memorable trade show ever next year.
We are also please to announce the new year Trade Days will again run nationally in 2022!
Melbourne: 5 – 6 February • Sydney: 12 – 13 February • Brisbane: 5 – 6 March • Perth: 12 – 13 March • Adelaide: 20 – 21 March
Stay safe and positive; we did come out of this once before and time will ensure we do again.
Gary Fitz-Roy
www.expertiseevents.com.au

AUGUST 2021
Contents
This Month
Industry Facets
15 Editor’s Desk
28
10 YEARS AGO
Time Machine: September 2011
16 Upfront
30
MY STORE
Steve Pallas Bespoke Jewellery
18 News
32
NOW & THEN
Smales Jewellers
26 Product Spotlight
35
LEARN ABOUT GEMS
Fire opal
48 DIAMOND CUT SPECIAL
Shape and shimmer
4ARABELLA RODEN explores
the creative potential, history, and
misconceptions about diamond cuts.
46 Jewellers Showcase
Features
80
82
MY BENCH
Rick Southwick
SOAPBOX
Lilo Stadler
36
48
61
WHITE METALS FEATURE
The white side
DIAMOND CUT SPECIAL
A to Z: Diamond cuts
GEM QUARTER: BLUE & GREEN GEMSTONES
Every hue of green and blue
Better Your Business
36 WHITE METALS FEATURE
The silver lining
4The diversity of the white metals category makes
it uniquely resilient in the face of unpredictable
market forces, writes ARABELLA RODEN.
74
76
77
78
79
BUSINESS STRATEGY
JEANNIE WALTERS cracks the code of predicting future consumer behaviour.
SELLING
It's time to assess and improve your store's sales culture, writes JOSH STRUTT.
MANAGEMENT
BRI WILLIAMS reveals the right way to deliver bad news.
MARKETING & PR
SIMON DELL explains how to build a customer loyalty program that pays off.
LOGGED ON
BETH WALKER presents a simplified guide to understanding digital marketing.
35 LEARN ABOUT
Fire opal
4Also known as
Mexican opal, the
flame-like hues of fire
opal ignite the passion and
creativity of jewellers.
FRONT COVER Sapphire Dreams
pays tribute to the beauty of Australian
sapphires, celebrating the art of
craftsmanship and contemporary
jewellery design. Proudly Australian
owned and operated, SAMS Group
Australia has more than 50 years
of experience in luxury jewellery
and working with Australian
gemstones. All of our products
are of impeccable quality, ethically
sourced and expertly crafted.
September 2021 | 13

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Editor’s Desk
Beyoncé, Tiffany, and the marketing conundrum
Tiffany & Co.’s latest advertising campaign has made headlines –
but will it attract new customers, asks ARABELLA RODEN.
When French luxury conglomerate Moët
Hennessy Louis Vuitton (LVMH) acquired
Tiffany & Co. in January, it signalled
that big changes were afoot, whether
customers liked them or not.
Tiffany wasn’t just getting a takeover, but
a makeover.
And with the deep coffers one might
expect from Europe’s most valuable
company, LVMH was willing to commit
the funds to seeing its new vision
become a reality.
Tiffany’s CEO, chief artistic officer,
and chief brand officer were promptly
shown the door, and new management –
selected from LVMH’s existing stable of
luxury brands – was ushered in.
One of them was the son of LVMH
chairman Bernard Arnault, who
was named Tiffany’s new executive
vice-president of product and
communications.
Born in 1992, Alexandre Arnault already
had an impressive resume, having
repositioned 123-year-old German
luggage brand Rimowa during his tenure
as CEO as a luxury powerhouse of
modern travel accessories.
His appointment was a clear indication
of LVMH’s new marketing strategy for
Tiffany – ‘freshening’ the brand for a new
generation of consumers.
Barely two months into Arnault’s tenure,
Tiffany & Co. cancelled its New York
Times print-edition ad, which had run on
page 3 since 1896.
The re-branding continued with a
controversial billboard campaign bearing
the slogan, ‘Not your mother’s Tiffany’.
The intention was clear – positioning
Tiffany as a youthful, on-trend, and
unpretentious brand, accessible to Gen Z.
Yet it fell into the trap faced by many
heritage brands attempting to shift
their image: alienating its existing
customer base.
The ire was palpable on social media:
“Tiffany is classic and iconic. Why is there
a need to pit generations against one
another?” one Tiffany customer wrote.
Another was more blunt, “I am a
mom. Am I not good enough? Am I
too embarrassing? Too old? My values
and thoughts too stupid and dumb? Is
everyone better than me because I gave
birth? Or is it just all old women are not
worth it and embarrassing?”
Industry commentators were also
unimpressed, with some calling it lazy,
ageist, uninspired, and fundamentally
misunderstanding the nature of Tiffany
jewellery as an intergenerational product
– a treasured heirloom often passed from
mother to daughter.
With a less-than-stellar reception for its
first marketing foray, Tiffany switched
gears and brought out ‘the big guns’:
international superstar Beyoncé, the
128-carat Tiffany Diamond, and Breakfast
At Tiffany’s.
Against a backdrop of a rarely-seen
painting by iconic 1980s street artist
Jean-Michel Basquiat – featuring Tiffanyblue
paint, no less – the ‘About Love’
campaign sees Beyoncé don the canary
yellow pendant and croon Moon River
alongside husband Jay Z.
"It’s our biggest campaign for the year,"
Arnault said. "It’s the most enduring
campaign. Also, it’s the only year-long
campaign that we have.
"It marks a clear evolution of what we’ve
been doing from a creative standpoint.”
Indeed, if Tiffany was intending to ‘break
the Internet’ with this campaign, it
certainly succeeded; breathless headlines
abounded over every detail, including
Tiffany’s accompanying donation to
historically black universities and
scholarship funds in the US.
However, for every post excited over the
first woman of colour to wear the Tiffany
Diamond, there was another criticising
Beyoncé for donning a diamond mined
in colonial South Africa, where African
The old adage
states that any
publicity is good
publicity, but
have the ‘Not
Your Mother’s
Tiffany’ and
‘About Love’
campaigns
convinced
anyone, let
alone Gen
Z, to buy
more Tiffany
jewellery?
labourers were often ruthlessly exploited
under British control.
For every article marvelling at the
Basquiat, there was an opinion piece
decrying the use of the artist’s work in a
commercial campaign.
In an attempt to appeal to Gen Z’s ‘woke’
– that is, politically correct and socially
aware – sensibilities, Tiffany opened
itself up to severe criticism, muddying
the message of its eye-wateringly
expensive advertising.
The old adage states that any publicity
is good publicity, but have the ‘Not
Your Mother’s Tiffany’ and ‘About Love’
campaigns convinced anyone, let alone
Gen Z, to buy more Tiffany jewellery?
Arnault seems to think so. "'Not
Your Mother’s Tiffany’ has been met
with quite a bit of adversity, which
we anticipated, but we’ve seen great
growth from the product categories in
it," he said in August. However, he did
not provide specific figures, and the
campaign was only launched in July.
Arnault added, "We obviously welcome
the dialogue, whether it’s positive or
negative. We were spoken about by
people who had never spoken about
Tiffany before."
In a crowded marketplace, a business
must work harder than ever to win the
attention and dollars of consumers.
On an investor call in April, Jean-
Jacques Guiony, LVMH’s chief financial
officer, said, "It will take years to do
what we want to do with this brand,
from a distribution, merchandising, and
marketing viewpoint. It is a lot of work –
we are committed to doing it."
It’s clear that the French conglomerate
has the will and the money to turn
big plans into reality. But first, it must
work out exactly what it wants Tiffany
to be.
Arabella Roden
Editor
September 2021 | 15

Upfront
#Instagram hashtags to follow
#18kwhitegold
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#garnetearrings
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#londonbluetopaz
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#mensrings
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HISTORIC GEMSTONE
Black
Star of
Queensland
4Perhaps the most famous Australian
sapphire is the Black Star of Queensland, which
held the title of the world's largest star sapphire
until 2015. Found by 12-year-old Roy Spencer in
the gemfields of Anakie in 1938, the 1,165-carat
rough was used as a doorstop before Roy's father
realised it was a sapphire.
Alpha Order
#modernjewellery
205,494+ POSTS
#ovaldiamond
98,475+ POSTS
#peridot
1.1 MILLION POSTS
#sapphirering
270,904+ POSTS
#southseapearls
241,247+ POSTS
US jeweller Harry Kazanjian purchased the rough in 1947 and painstakingly
cut it into a 733-carat cabochon, later set in a diamond pendant and worn by
singer Cher in 1971 (top right). It changed hands several times in the 2000s,
with an estimated sale price of $US100 million, and was last seen in 2007.
Campaign Watch
4Lourdes Leon, the daughter of
Madonna, has been tapped as the latest
model for Swarovski jewellery as part
of its ongoing re-branding strategy.
Leon will be the face of Collection II, the
second range of designs from the crystal
brand's creative director Giovanna
Battaglia Engelbert. The pieces feature
kaleidoscopic colours and on-trend
chain details.
Image credit: Swarovski/Mikael Jansson
Stranger Things
Weird, wacky and wonderful
jewellery news from around the world
Dammed if you do
4Former action star Jean-Claude
Van Damme may have unwittingly
assisted in the robbery of a
luxury jewellery store in Paris by
distracting would-be witnesses.
According to a UK report, an armed
man successfully held up staff at
the Chaumet store on the Champs-
Élysées and made off with jewellery
valued at more than €2 million, with
crowds of shoppers on the street
failing to notice the commotion as
they clammered to get a look at The
Expendables star instead.
Dental as anything
4US professional footballer
Odell Beckham Jr has undergone
a glitzy mouth makeover. The
athlete had diamond-encrusted
porcelain veneers placed on his
teeth at a cost of $US1.8 million.
The design used stones weighing
a total of 13 carats, including oval,
kite, and cross-cut shapes. Several
other celebrities, including rapper
Post Malone, have had similar
dental treatments.
Provenance Proof
– which relies
on blockchain
technology – now
has more than 500
users globally.
Digital Brainwave
4The Provenance Proof gemstone tracking
platform, developed by the House of Gübelin
and Australian-led blockchain technology
firm Everledger, has marked 500,000
coloured gemstones processed worldwide,
as well as announcing new features.
Klemens Link, head of Provenance
Proof, said, “Retailers and customers
demand information that goes beyond the
scientific data that can be provided in the
gemmological laboratory. Digital technology
has bridged the gap."
New Product
4SAMS Group Australia introduces
Sapphire Dreams, a new range paying
tribute to the beauty of Australian
sapphires. Sapphire Dreams exhibits a
wide range of contemporary sapphire
jewellery, set in 9 or 18-carat gold.
Ethically sourced loose Australian
sapphires are also available, with laser
inscription and a verified certificate.
Robbing the grave
4Police have arrested a French
woman for a jewellery theft which
took place at an open casket funeral.
The woman is alleged to have
posed as a friend of the deceased,
convincing family members to allow
her to pay her respects alone. French
media report that when the family
returned, the deceased's earrings,
ring and necklace were all missing.
Searching the suspect's home, police
later found a stack of recent death
notices along with funeral home
access codes.
VOICE OF THE AUSTRALIAN JEWELLERY INDUSTRY
Published by Befindan Media Pty Ltd
Locked Bag 26, South Melbourne, VIC 3205 AUSTRALIA | ABN 66 638 077 648 | Phone: +61 3 9696 7200 | Subscriptions & Enquiries: info@jewellermagazine.com
Publisher Angela Han angela.han@jewellermagazine.com • Editor Arabella Roden arabella.roden@jewellermagazine.com • Production Assistant Lauren McKinnon art@befindanmedia.com
Digital Co-ordinator Trish Bucheli-Preece trish@jewellermagazine.com • Advertising Toli Podolak toli.podolak@jewellermagazine.com • Accounts Paul Blewitt finance@befindanmedia.com
Copyright All material appearing in Jeweller is subject to copyright. Reproduction in whole or in part is strictly forbidden without prior written consent of the publisher. Befindan Media Pty Ltd
strives to report accurately and fairly and it is our policy to correct significant errors of fact and misleading statements in the next available issue. All statements made, although based on information
believed to be reliable and accurate at the time, cannot be guaranteed and no fault or liability can be accepted for error or omission. Any comment relating to subjective opinions should be addressed to
the editor. Advertising The publisher reserves the right to omit or alter any advertisement to comply with Australian law and the advertiser agrees to indemnify the publisher for all damages or liabilities
arising from the published material.

Supplying Australia Since 1974

Sydney jewellery fair cancelled; new
events launched for October
The 2021 International Jewellery & Watch Fair has been cancelled, with two new
buying events announced for Sydney and Brisbane in October.
With continuing high COVID-19 case numbers and an extended lockdown
in greater Sydney, organiser Expertise Events has cancelled the upcoming
International Jewellery & Watch Fair, (IJWF) however two new events are
launching in Brisbane and Sydney.
The IJWF, due to take place at the ICC Sydney Exhibition Centre in Sydney’s
Darling Harbour, was previously postponed from 29–30 August to 24–27
September 2021.
Gary Fitz-Roy, managing director Expertise Events, said it was “devastating”
to cancel what would have been the 30th IJWF. “It’s clear that the situation is
not improving quickly enough to have confidence that the September dates
in Sydney can proceed to the scale that it has been previously,” Fitz-Roy said
in an email to exhibitors.
The Diamonds by DGA range includes
9K and 18K gold bridal sets, wedding
bands, earrings, bracelets,
rings and pendants.
New season designs now available.
'Exceptional' 342-carat
diamond found
4 Petra Diamonds has recovered a
342.92-carat Type IIa white rough stone
at the iconic Cullinan Mine in South
Africa. The diamond is described as
“exceptional” in terms of both colour
and clarity, and that is likely to be
sold at Petra's September tender. The
company sold a 299.3-carat Type IIa
stone for $US12.2 million in March and
a 39.34-carat Proudly blue distributed diamond for by $US40.2
million in July.
“It was an extremely difficult decision to make, but ultimately the health
and safety of everyone involved and limiting the potential threat of spreading
the virus was the most important consideration, as is the confidence of our
visitor audience to attend large gatherings.”
Expertise Events confirmed the next IJWF will take place from Saturday
27 to Monday 29 August 2022.
“Our staff are immensely grateful for the understanding, kindness and
unwavering support everyone has demonstrated during these very difficult
and trying times and we promise to reward this support with the most
memorable trade show ever next year.”
Fitz-Roy acknowledged that suppliers and retailers were depending on this
year’s Sydney fair to meet face-to-face in time for the crucial Christmas and
New Year sales periods. Taking this into consideration, Expertise Events has
announced new buying days, similar to the successful Trade Days format
earlier this year.
Named Stock Up & Top Up (SUTU), the events are scheduled to be held at:
• Brisbane: 9–10 October 2021 at the Brisbane Convention Centre
• Sydney: 23–24 October 2021 at the ICC Darling Harbour
Both will have capped exhibitor numbers; IJWF exhibitors will be invited
to attend first, with the ability to ‘roll over’ their deposits to SUTU or to the
2022 IJWF.
“As you will understand, our office is closed but we will do our very best
to call you personally to seek your instructions,” Fitz-Roy said. All buying
groups are invited, with Nationwide Jewellers and Independent Jewellers
Collective already committing their support.
18 02 9417 | September 0177 | www.dgau.com.au
2021

Michael Hill results indicate
transformation on track
Despite the ongoing COVID-19 pandemic, Michael Hill International has recorded
strong financial results for the year with a lift in same-store sales.
Michael Hill International (MHI) has reported an after-tax profit of $45.3
million for the year ended 30 June 2021, a significant increase from its 2020
result of $3.1 million. Earnings before interest and tax were $72.4 million,
compared with $14.1 million the previous year.
The company’s revenue from Australian stores was $312.3 million, a 17 per
cent increase compared to FY20, while revenue from New Zealand stores
exceeded $121 million – 19 per cent increase over the previous year.
Commenting on the result in a media release, Daniel Bracken, CEO MHI,
said, “I am particularly proud of our results, underpinned by strategy
execution and the resilience of our team... Setting aside the global
store network closure in 2020, the company has now delivered eight
consecutive quarters of positive same-store sales growth together with
sustained margin expansion.”
As at 30 June 2021, there were 150 Michael Hill stores in Australia – a loss of
five stores on the previous year and representing more than 52 per cent of its
285 total store count. At the time of publication, 46 NSW, 34 Victorian and 4
ACT stores are temporarily closed due to government-mandated lockdowns,
with a further 49 New Zealand stores also in lockdown.
Bracken explained: “Throughout the year, we successfully navigated the
complexity of the global pandemic, with half our Canadian stores closed for
many months, and sporadic temporary closures across our global network.
“While it was an incredibly challenging year, the strength of our brand and
the determination of our team delivered record results and further validates
the transformation is on track.”
MHI also experienced encouraging results in Canada, where all-store
revenue increased by 6.9 per cent to $CA118.4 million, up from $CA110.8
million the previous year. This included a same-store sales increase of 6.8
per cent.
The company noted: “This segment was heavily impacted by temporary store
closures in Eastern Canada, with 6,525 lost store trading days for the year.
By early July, all 86 stores were open and have remained trading, with our
strategic focus now returning to the productivity opportunity in the market."
The financial announcement noted that MHI had experienced “significant"
lost sales in the first seven weeks of FY22 due to lockdowns in Australia,
though strong early performance in Canada and New Zealand contributed to
an increase of 17 per cent group same-store sales for the period.
Management estimated that the 2,755 lost trading days – a figure calculated
by adding the opening hours of all temporarily closed stores – would lower
revenue expectations by $5 million, with sales down 2 per cent.

New Scandinavian watch brand launched in Australia
Nordgreen watches, distributed locally by West End
Collection, have proved popular, reaching DKK101 million
($AU22.2 million) in sales last year.
West End Collection has begun distributing
Nordgreen watches – designed in Copenhagen,
Denmark – to the local market.
Founded in 2017, Nordgreen is described as
combining minimalist Nordic design with a
commitment to environmental and social
responsibility. Its timepieces are conceptualised
by award-winning designer and engineer Jakob
Wagner, who is renowned for his work at luxury
electronics manufacturer Bang & Olufsen.
In addition to sustainable production and
recyclable packaging, the brand also operates
a ‘Give Back Program' – for each watch
purchased, Nordgreen organises a donation to
one of three charity projects.
John Rose, director West End Collection, said,
“Nordgreen is the next big watch brand to
come out of Scandinavia. It has a very powerful
and experienced team behind it; the advisory
board includes the former CEO of Pandora,
Mikkel Olesen, as well as Juha Christensen, the
chairman of Bang & Olufsen.
“Its chief commercial officer is the man
responsible for the incredible growth of Skagen,
prior to it being purchased by Fossil, Lars
Kornbech,” Rose added.
Rose called Nordgreen’s sales growth “far
greater than any other brand that we have
seen”; according to a brand presentation, its
revenues increased from DKK31 million ($AU6.8
million) in 2019 to DKK101 million ($AU22.2
million) in 2020 – its third calendar year of
operation – despite the COVID-19 pandemic.
At retail, Nordgreen pieces are priced between
$239–429 across five lines for men and women.
The brand is currently stocked by retailers
across Europe and Asia, including Denmark, the
UK, Germany, Japan and China.
Rose emphasised the brand’s “genuine support”
for retailers, noting that each new stockist would
receive a 30-day "Geotargeting campaign" to
boost in-store sales through digital marketing.
New Nordgreen stockists also receive a free
second watch strap with every watch.

Pandora’s sales, share price
on the rise
Amid promising results in the second quarter of 2021, Pandora Jewelry has
updated its financial guidance for the year.
Pandora Jewelry has issued an
encouraging financial guidance,
upgrading its forecast for the
remainder of 2021.
The company had originally
estimated organic growth – that
is, increase in revenue excluding
mergers and acquisitions – would
be “above 12 per cent” for the
year; the revised figure is 16–18
per cent.
Meanwhile, the forecast operating
margin has also increased from
22 per cent to 23–24 per cent.
The updated guidance is based
on the assumption that 5 per
cent of Pandora’s stores will be
temporarily closed or severely
impacted due to the COVID-19
pandemic during the second half
of 2021.
Earlier forecasts indicated the
number could be as high as
10 per cent.
In the second quarter of 2021,
15 per cent of its global network
of approximately 2,690 stores –
of which 1,382 are owned and
operated by Pandora – were
temporarily closed.
A statement issued by the
company on 8 August noted,
“Today, around 6 per cent of
the stores are temporarily
closed or severely impacted
due to COVID-19.
"The updated guidance also
assumes that COVID-19 will have
no major negative impact on
production and supply chain.
“COVID-19 is still expected to
impact organic growth negatively
by around -6 per cent for the full
year.”
The statement also shed light on,
and compared, past results to
those achieved during the second
quarter of 2021.
Describing the company’s “strong
momentum” during the period,
the statement noted that organic
growth had increased 13 per cent
compared with 2019 and 84 per
cent compared with 2020.
Overall, the company recorded
revenue of DKK5.2 billion
($AU1.1 billion) for the quarter –
an 84 per cent increase compared
with the same period in 2020 and
13 per cent above the second
quarter of 2019, prior to the
COVID-19 pandemic.
The positive results follow the
launch of Pandora’s new strategic
initiative, Phoenix, at the end of
the first quarter.
Meanwhile, following some
time in the doldrums, Pandora’s
share price on the NASDAQ
Copenhagen had rebounded to
DKK761 at the time of publication
– up from DKK455 at the same
time last year.
The company’s share price was
well above its ‘COVID low’ of
DKK203 on 13 March 2020 and
consistently trading near its 2017
peak of more than DKK900.

Sydney and Melbourne lockdowns bite into July jewellery sales
New sales data compiled by Retail Edge Consultants
indicates jewellery sales in dollar and number terms
declined between June and July, likely due to enforced
store closures across Sydney and Melbourne.
The extended lockdown of greater Sydney and
a two-week snap lockdown in Melbourne in
July have impacted jewellery sales in dollar
and number terms, bringing to an end more
than eight months of upward momentum.
When compared with June 2021, overall
sales declined from $12.7 million to $11.4
million, and were 14 per cent lower than in
July 2020, according to data compiled by
Retail Edge Consultants.
"When compared with June 2021, overall sales
declined from $12.7 million to $11.4 million,
and were 14 per cent lower than in July 2020"
Sales fell across all jewellery categories,
with the most significant decrease in silver
and alternative metal jewellery, which declined
by 24.8 per cent when compared with the
previous month and 19 per cent compared
with July 2020.
However, overall jewellery sales in dollar terms
increased 4.3 per cent when compared with
2019, while average sale price (inventory only)
was 34 per cent higher than in July 2019.
Michael Dyer, sales manager at Retail Edge,
noted in the report, “Although the figures are
a little clouded by the number of stores with
limited trading in July, the picture does show
customers are still buying bigger ticket items
than last July.”
The best performing category in sales dollars
was no-stone precious metal jewellery, which
increased 45 per cent when compared with
July 2019 and remained flat compared with
2020, followed by diamond-set precious metal
jewellery which increased 19 per cent over
two years.
Dyer added, “With the calendar turning
over into August you should be well into the
planning, if not the placing of orders for the
lead into Christmas.”
He suggested retailers conduct a strategic
review of the best-performing product
categories over the past 12 months ahead of
the all-important buying season, as well as
under-performing categories.
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Bigger is better for Lightbox labcreated
diamonds
De Beers-owned Lightbox Jewelry has announced it is expanding into two-carat
blue, pink, and white lab-created diamond jewellery..
Lightbox, the De Beers-owned lab-created diamond fashion jewellery
business, has announced that it will now manufacture and sell larger stones,
while maintaining its $US800 per carat pricing model.
From October, Lightbox will offer pink, blue and white lab-grown diamonds in
sizes up to and including two carats, with a 2-carat round brilliant lab-grown
diamond pendant retailing for $US1,600 plus the cost of setting. Previously,
Lightbox pieces were limited to one carat.
The company also announced it is further expanding its product range with the
launch of 'Finest', a new line which it describes as, “superior quality Lightbox
lab-grown diamonds, priced well-below what is currently offered in the market.”
The Finest product line comes courtesy of a new proprietary diamond
engineering process developed by the De Beers-owned lab-created
diamond manufacturer Element Six. It combines existing chemical vapour
deposition (CVD) technology with a further refinement process that
enhances colour in stones. Element Six opened a new, advanced $US94
million factory in the US state of Oregon in October 2020.
Steve Coe, CEO Lightbox, said, "These exciting new introductions represent
our continued commitment to innovation.
“Our incredible team continues to push the boundaries on lab-grown diamond
engineering technology and thanks to our 50 years of experience, pioneering
approach, IP portfolio and state-of-the-art manufacturing facility we have the
capability to now take the next steps in expanding our lab-grown diamond
product range to include stones of larger size and even higher qualities.”
Coe told US publication JCK Online that Lightbox expanded its product
offering in response to consumer demand for bigger stones, noting its pair of
1-carat lab-created diamond studs have sold well.
He added that Pandora Jewelry’s recent introduction of a lab-created
diamond line aligns with where Lightbox sees the “long-term opportunity
for lab-grown: the ability to sell at an accessible price point.” The jewellery
giant launched its first collection set exclusively with lab-created diamonds,
‘Pandora Brilliance’, in May, while announcing plans to phase out natural
diamonds from its product lines.
Coe also commented on Lightbox’s sales figures, noting its 2020 revenue was
up 50 per cent compared with the prior year and 2021 revenue is expected to
triple the 2020 figure.
The new, larger lab-created diamond jewellery will be available to purchase
via the Lightbox website in late October and a broader rollout to both bricksand-mortar
and online retail stockists is planned for early 2022. Launched
in September 2018, Lightbox jewellery was initially only available to the
US market, however it is now distributed in 75 countries via e-commerce,
including Australia.
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Buying group announces strong profits and returns for members
Showcase Jewellers has announced positive financial
results for the year, with $3 million refunded to members
as part of its profit-sharing model.
The Showcase Jewellers buying group has
announced positive financial results for FY2019-
2020 and FY2020-21, with a total of $3 million
repaid to its members across Australasia.
The results exceeded expectations, with Jorge
Joaquim, chief financial officer, Showcase
Jewellers, saying the group’s profits had “almost
doubled” in FY2020-21 compared with the
previous financial year.
Joaquim attributed Showcase’s performance
to a number of factors during the COVID-19
pandemic: “The government provided various
types of assistance to businesses and
individuals... So much money in the [local]
economy led to a spending spree, including
the jewellery industry. Just like many other
businesses, our profits were beyond our
expectations,” he told Jeweller.
In a statement announcing the financial
results, Showcase management said the
buying group had "held steadfast in providing
consistent support to its members over the
past 12 months, while many members in turn
have persevered through trials to thrive in
unprecedented times.”
During the 2020-21 financial year, the buying
group implemented a three-month period
without charging members and distributed
refunds totalling $1 million from members’
‘trading loan’ pool of funds.
As Australasia’s only member-owned jewellery
buying group, Showcase charges a 1 per cent
fee on purchases which fund the trading loan,
with all profits distributed to members annually;
each member’s trading loan balance is fully
refunded once they retire from Showcase.
With retailers in NSW and Victoria currently
impacted by extended lockdowns, Joaquim
said Showcase management was “evaluating
the situation in key COVID-19 areas to assess
members’ needs and will take action accordingly
for specific cases”. As at 1 December 2020,
Showcase Jewellers had 159 members across
Australia, New Zealand and Vanuatu.
Curators of of extraordinary
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Kiwi jewellery brand moves across ‘the ditch’
Pride Brands has taken over distribution of Kagi
Jewellery, with stock to be held in Australia instead
of New Zealand.
Pride Brands has secured the Australian
distribution for high-profile New Zealand
jewellery brand Kagi. Founded in 2005, Kagi’s
range includes unique and interchangeable
pendants, necklaces, bracelets and earrings.
Paul McCarthy, group brand manager Pride
Brands, believes the brand is “a good fit” with
the supplier's existing brands.
“Kagi has always had a big following with
customers in Australia but it hasn’t been
represented locally here for many years.
"Since the business was sold in 2018, the new
owners in New Zealand have returned the brand
to its core designs that offer statement jewellery
pieces that are easily interchanged to create
different looks and styles,” McCarthy said.
McCarthy told Jeweller that Kagi stock will
now be held in Australia instead of New
Zealand, which should enable local retailers
to receive orders more quickly and cut out the
“time zone challenges”.
Kagi has more than 80 stockists across
Australasia and McCarthy said Pride Brands
would fully service the brand in Australia, adding
that “previous stockists of Kagi will be given the
first option of stocking the brand in their area”
He added, “We also believe the decision to
return Kagi to the original, versatile designs
that everyone knows and loves will be rewarded
by the brand’s loyal customers [and we] saw
Kagi as being a good fit and point-of-difference
to our existing stable of jewellery brands
from Germany – Engelsrufer, Save Brave and
Herzengel.”
Pride Brands took over Australian distribution of
the three German brands in September 2020.
Engelsrufer’s flagship design is a sterling silver
basket pendant that can hold interchangeable
‘sound balls’. Herzengel is a range of sterling
silver jewellery for children, while Save Brave
is a boutique range of men's jewellery and
accessories, including chains, leather necklaces
and bracelets and steel bracelets.

On The Market
1 2 3
4
5
SEPTEMBER
Product
Spotlight
Jeweller’s special snapshot
of the latest jewellery and
watches to hit the market.
6 7
8
1 ELLENDALE DIAMONDS Created to capture your individuality and beauty, this three-band ring is crafted in 18-carat white and rose gold and set with shimmering white diamonds and stunning Argyle pink
diamonds, radiating sophistication. 2 ROAMER | West End Collection The Competence Skeleton III is a brilliant example of precision and a clear design language. The 43mm stainless steel case features an
open, skeleton dial creating a window into the fascinating movement beneath. 3 IKECHO AUSTRALIA The 9-carat Keshi Diamond Pendant from the Baroque Collection features an 18mm+ freshwater keshi
pearl delicately set in yellow gold studded with white diamonds. 4 THOMAS SABO | Duraflex Group Australia Thomas Sabo’s Charming Collection presents a range of new filigree creations, with playful,
sparkling padlock and key symbols across ear studs, rings, and necklaces. 5 UNODE50 | Timesupply New to the exciting and dynamic handmade Spanish brand UNOde50 is the Dazzle Collection, studded
with sparkling European crystals. 6 KAGI | Pride Brands The Kagi Elyssian Pendant has its own unique aura. Brushed steel and rose gold plating combine beautifully to create a stunning statement piece.
7 EFVA ATTLING STOCKHOLM | Nordic Fusion The Women Power Earrings by Efva Attling Stockholm pay tribute to all women, formed in a sterling silver W and stamped with the word ‘power’. 8 DORA | RJ
Scanlan & Co. Dora’s new Tantalum Collection is raising eyebrows – and sales. The dark grey metal is a similar weight to platinum and versatile, stretching up to three sizes, with a great price-point.

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10 Years Ago
Time Machine: September 2011
A snapshot of the industry events making headlines this time 10 years ago in Jeweller.
Historic Headlines
4 Hong Kong jewellery fair closes amid caution
4 Diamond investment funds stretch to Aus
4 Local jeweller to judge global competition
4 Jewellers 'tickled pink' at gem sale
4 Diamond rings now a bride's choice
New jewellery fair for Sydney?
Only one week after the JAA signed a new
five-year agreement with jewellery trade fair
organiser, Expertise Events, a new fair has been
announced for Sydney.
The Intermedia Group, the publishing house
behind Jewellery World magazine, announced the
launch of a rival jewellery exhibition, set to kick-off
in 2012. The proposed fair – entitled the Jewellery
World Show – will take place only one week
before the official JAA International Jewellery Fair,
September 2-4, 2012, of which Jeweller is the
official media partner.
For JAA chairman Peter Beever, the
announcement came as something of a surprise.
“We are not sure why there is a need for a second
Sydney fair and we’re not confident that the
industry could support a second event at the same
time as our [JAA] fair,” he told Jeweller.
Tiffany may become
takeover target
The respected financial news website, Bloomberg
has reported that Tiffany & Co. could become a
takeover target after its profit-sharing alliance
with Swatch Group was recently terminated.
With the breakup of the Swatch deal, Tiffany
may now lure interest from luxury groups Moët
Hennessy Louis Vuitton and Financiere Richemont.
Jon Cox, a Zürich-based analyst for Kepler
Capital Markets, told Bloomberg, “If someone
like a Richemont, another watch company,
wanted to take over Tiffany’s, that would have
caused complications [because of the Swatch
partnership]."
According to data compiled by Bloomberg, Tiffany
could command a 40 per cent premium in the
event of an acquisition.
September 2011
ON THE COVER SAMS Group Australia
Editor’s Desk
4Pointless Polls Produce Meaningless
Statistics:“Did you recently read an article
about how 86 per cent of people are
“dubious about purchasing jewellery
online” and that 43.8 per cent of people
“wouldn’t buy jewellery online”? I hope
you didn’t, as the statistics most likely
came from a voodoo poll.
"What worries me more than banal
online polls is that many in the jewellery
industry try tricking themselves into
believing that online retailers don’t offer
a genuine alternative for consumers."
Soapbox
4Old School vs New School: “My own
degree, which was endorsed by the
JAA, offered an alternative training
and educational model to the
apprenticeship system and covered
both design and manufacturing skills.
Imagine my shock, therefore, when
I returned to my home state of
Tasmania to find potential employers
were reluctant to recognise my
degree. Some modern courses are
in fact better equipped to prepare
students for work than the traditional
apprenticeship."
– Emily Snadden, jeweller
STILL RELEVANT 10 YEARS ON
Age and Experience:
Young jewellers face no shortages in
skills training courses and degree options
– whether they adequately prepare them
for, or necessarily propel them into, a
paying career in the jewellery industry
is questionable, however... Despite there
being many creative avenues for young
jewellers, many still struggle in getting
established and obtaining entry-level jobs
after training.
Indian suitor tipped for
Zamels Jewellers
Sydney-based private-equity firm Quadrant
is considering the sale of The Jewellery
Group, parent company 101 Zamels and 26
Mazzuchellis stores.
Quadrant acquired the business in March
2007 from the Zamel family and recently
began looking to find an overseas buyer. While
Jeweller’s sources ruled out New Zealand's
James Pascoe, reports indicate an India-based
company is currently undertaking due diligence.
If a new sale proceeds, Quadrant is tipped to be
offloading the group for less than $20 million – a
loss of $30 million in just over four years.
Jewellers squeeze shopping
centres over rent
Retail giant Premier Investments has thrown
down the gauntlet to shopping centre landlords
in a bid to reduce rents, but some jewellery
retailers have already begun the process.
Following a tumble in profits, the retail
powerhouse behind fashion clothing
brands including Just Jeans, Jay Jays and
Portmans threatened to close as many as
50 under-performing stores if shopping
centre landlords don’t 'come to the party' on
rent reviews.
Pressure from a major retail player to reduce
rents could conceivably deliver a much-needed
knock-on effect for jewellers suffering under
exorbitant rents but some jewellery chains have
already demanded rent reductions.
READ ALL HEADLINES IN FULL ON
JEWELLERMAGAZINE.COM
28 | September 2021

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INSIDE
My Store
Steve Pallas Bespoke Jewellery
MELBOURNE, VIC with Steve Pallas, director and master jeweller • SPACE COMPLETED June 2021
4Who is the target market and how did they
influence the store design?
Anybody who wants bespoke jewellery
design, whether it be jewellery remodelling,
diamond engagement rings, antique jewellery
restoration etcetera.
We tend to attract the customers who have the
wildest ideas and the most challenging jobs that
other jewellers might not take.
Specifically, our customers appreciate quality,
design, honesty and integrity.
This is reflected in the store – we are always
striving for the best, constantly updating and
making changes to our showroom, and are
currently renovating our workshop too.
4With the relationship between store
ambience and consumer purchasing in mind,
which features in the store encourage sales?
Our focus isn’t to encourage sales, as such – 90
per cent of our customers find us through wordof-mouth
– but rather to allow the customer to
be comfortable enough to purchase and to help
them make an informed decision about their
special piece.
I strive to educate the customer first, so they know
exactly what they’re purchasing – allowing them
to view, try and hold.
Providing 3D CAD and/or 3D resin printing
on-site also gives our customers reassurance,
allowing them to get a clearer idea of the
final product.
4What is the store design’s ‘wow factor’?
It is definitely our custom indoor and outdoor
signage, which reflects the new name and
branding of the store.
As the store is located in the basement of a
heritage-listed building on Melbourne’s iconic
Hardware Lane, we couldn’t change the exterior.
Instead, we invested in an amazing custom-made
bronze sign which helps us stand out and attracts
shoppers downstairs to our store.
30 | September 2021

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INSIDE
Now & Then
Smales Jewellers
Celebrating 84 Years • PERTH, BUNBURY, GERALDTON, KARRATHA AND KALGOORLIE, WA • A moment with Tony Smales, owner & manager
MILESTONES
1937
Ron Smales Sr opens
Smales Watch & Clock
Repairs at the rear of his
family’s suburban home
in Kalgoorlie
L to R: Ron Smales Sr and his apprentice at the first Smales Jewellers showroom on Hannan Street,
Kalgoorlie; Shanaya King models the Gold Nugget Collection.
Smales Jewellers is one of Western
Australia’s oldest jewellers and
watchmakers, and with this age comes
precision and history – all beginning with
Thomas Smales, the father of founder
Ron Smales Sr.
Coming from the trade of stonemasonry,
Thomas fixed mantel and wall clocks with
his son, who went on to establish a small
business at the family home in Kalgoorlie.
Ron later worked as an instrument maker
for the Royal Australian Air Force’s 451
Squadron, fixing crashed aircraft in the
Middle East during World War II.
After the war, Ron formalised his
qualifications and completed a watchmaking
apprenticeship in Perth, before opening
his ‘watchmaking jewellery store’ back home
in Kalgoorlie.
When Ron retired, his son – my brother Ron
Smales Jr – took over the Kalgoorlie store
and later expanded the business to a second
location in Subiaco, Perth in 1989.
With the success of the Subiaco store,
Ron Jr’s name became synonymous with
the Perth luxury watch industry and his
lively personality well-known on the Perth
social scene.
Over the following years, Smales Jewellers
opened an additional three stores across
the state and three jewellery workshops in
Subiaco, Kalgoorlie and Bunbury.
Within any business – especially a family
business – death is a great hardship, and
indeed the most recent challenge faced by
Smales Jewellers was Ron Jr passing away
in April 2018.
Smales operations have been continued on
by the family, with ownership bestowed to me
as Ron’s brother and business partner.
Alongside my wife Trish, I manage the
Bunbury store and regularly travel to all
the Smales Jewellers locations, especially
Perth to oversee the Subiaco store and
office operations.
The business continues to celebrate
craftmanship every day through
watchmaking services and jewellery
creations.
Not only does Smales make custom designs,
but also showcases a commitment to
quality with exclusive brands such as Rolex,
Mont Blanc, Grand Seiko and Hearts On
Fire Diamonds, which are on display and
available for purchase in the showrooms.
Most recently, in collaboration with the
West Australian Ballet, we have launched
the Bridal Core Collection which celebrates
the ancestry of the brand and the precision
of ballet.
I have overseen this collection, which has a
signature blue sapphire embedded within
the band of each ring, signifying the quality
and craftmanship we strive to accomplish
with each diamond creation.
Another recent success was our Gold
Nugget Collection, which alongside the
Bridal Core Collection has ensured the
Smales name stands the test of time in the
jewellery industry.
Our Gold Nugget Collection is exclusively
sourced from local prospectors in the
Goldfields area, known the Smales family for
many years.
1952
After completing
his watchmaking
apprenticeship, Ron
establishes a storefront
in Kalgoorlie and six
years later, the business
moves to new premises at
Hannan Street
1976
Ron retires, and the store
is purchased by his son
Ron Smales Jr
1978
New premises are
purchased in Kalgoorlie,
and a state-of-the-art
jewellery store fit out is
completed
1989
Ron Jr acquires acquires
the Subiaco Prestige
Jewellery Store and reopens
it as the second
Smales Jewellers location
1990
Ron’s brother Tony
Smales purchases the
Kalgoorlie store
2003
Smales Jewellers
expands into Western
Australia’s second-largest
city, opening a store in
Bunbury; it also becomes
the official and only
Hearts On Fire diamond
retailer in Western
Australia
2007
Tony’s niece Leilani Pop-
Markov and her husband
Sacha join the company
to operate the original
Kalgoorlie store
2016
Smales Jewellers
continues its expansion,
opening its fourth and
fifth stores in Geraldton
and Karratha
Above: The Smales Jewellers Subiaco store, which
has been operating since 1989.
The nuggets are brought into the Subiaco
workshop where the jewellers create
beautiful pieces combining them with
South Sea pearls and/or diamonds.
The most recent ‘face’ of Smales
Jewellers, Shanaya King, is also a
Kalgoorlie local who prospected with her
father when she was growing up; one of
her most treasured possessions is a gold
nugget given to her as a gift from her
father when she was 16.
Smales continues to create gold nugget
pieces for their customers as a part of this
heritage collection.
We are proud of our heritage; we strive to
make sure our goods are of the highest
quality the customer can afford, and while
we have a team of 37, we also do our
best to make sure our staff hold similar
mindsets and enjoy their work.
The future is unpredictable, but the
future of our business will always be to
keep the integrity, quality and values of
Smales Jewellers intact.
Succession means having someone to
pass the business down to and that is the
key to maintaining longevity; my niece
Leilani and her partner have worked
within the business since 2009 and
continue the tradition of family within
Smales Jewellers.
We always strive to deliver the best
service, jewellery and watches while
maintaining the family name.
Read the full length interview
on Jewellermagazine.com
32 | September 2021

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REVIEW
Gems
Unusual Opal Part I: Fire opal
L to R: Neha Dani ring; Le Vian pendant; Chopard earrings
Below: Lydia Courteille cuff; Tiffany & Co. ring
Opal is famous for the incredible array
of colours displayed, from vibrant reds –
the most prized – to velvety purples and
everything in between.
This is caused by a unique optical
phenomenon known as play-of-colour.
With such incredible opal specimens here
in our backyard, international varieties
are often lesser known and less available.
Fire opal rarely displays play-of-colour,
yet it attracts collectors based on the
body-colour of the stone itself – a primary
distinction from the better-known types
of opal.
Opals with play-of-colour are termed
precious opal, whereas those without are
called common opal. Although fire opal
may be either, the presence of play-ofcolour
commands a higher price.
Fire opal is the transparent to translucent
variety of opal with a yellow, orange,
or even ruby red body-colour, also
known as ‘Mexican opal’ – derived
from the hue and the most well-known
locality of this material.
The regions of Querétaro and Jalisco in
Mexico are major producers of fire opal,
though other regions include Michoacán,
as well as Bemia in Madagascar,
Kazakhstan, Turkey, Ethiopia, Java in
Indonesia, and the US state of Oregon.
The opal localities of Mexico were
discovered accidentally by labourers
around 1835.
Organised mining efforts commenced
circa 1870, although it is believed these
deposits may have been known to the
Mayan and Aztec people who used fire
opal in art and ritualistic ceremonies,
significantly extending the history of
these gemstones.
The vibrant hues are owed to the
presence of particularly minute
inclusions, coloured by iron.
Given that play-of-colour is less
prevalent, and these fire opals are
admired for their body-colour, they are
often faceted rather than just fashioned
into the cabochon or freeform shapes
commonly seen in other types of opal.
Opal is often classified according to
its geological setting, such as the
sedimentary context for Queensland
boulder opal.
Unlike boulder opal, fire opal is volcanic
with some degree of crystallinity – i.e.,
some order to its structure.
Generally, this variety can be up to 66
million years old.
Despite differences in appearance, fire
opal is still hydrated silica – the same
material as other opal – and so it must be
treated delicately.
Clean gently with a toothbrush in warm
soapy water – avoid the ultrasonic. Be
sure to also avoid heating and thermal
shock as this can cause cracking and
crazing in the stone and can even change
the internal structure.
Fire opal
From the Latin opalus
meaning “precious
stone”, and fire, due to
its flame-like colour
Colour: Yellow to
orange and red
Found in: Mexico,
Madagascar, Turkey,
Kazakhstan, Ethiopia,
Indonesia and the US
Mohs Hardness: 5.5–6
Class: Silicate
Lustre: Subvitreous
Formula: SiO 2
.nH 2
O
Being a hydrated material, fire opal
is not to be left in strong light for long
periods of time; otherwise, the stone can
dehydrate and crack.
As with all kinds of opal, fire opal should
be avoided for everyday rings and other
jewellery that is highly exposed for
extended periods of time.
Treatments seen in this variety of
opal include coatings and dyes; some
examples have been known to leak dye
when left immersed in water overnight.
Synthetic opal is not uncommon, nor is it
new in the world of gemstones, and this
is no different for fire opal, which has
synthetic options both with and without
play-of-colour.
A certain type of synthetic, known as
Mexifire, is particularly close to its
natural counterpart in its structure and
its colouring mechanism (traces of iron).
To the astute gemmologist, fine
pinpoint inclusions throughout the
synthetic material is likely to be one
of the most helpful characteristics
for identification.
Mikaelah Egan FGAA Dip DT
began her career in the industry at
Diamonds of Distinction in 2015. She now
balances her role as a gemmologist at
Vault Valuations in Brisbane with studying
geology at the University of Queensland.
Visit instagram.com/mikaelah.egan
September 2021 | 35

FEATURE
White Metals
ARABELLA RODEN explores how
the white metals category is adapting
to an unpredictable market, and
what the future holds.
Molten gold is poured. Image: SHUTTERSTOCK

WHITE METALS FEATURE | The White Side
Facing Page (L to R):
Roberto Coin, Cartier, Georg
Jensen; Bulgari; Fope
RECENT STATS
White Metal
Trends
A
s a jewellery category, white metals
– platinum, palladium, silver, and
white gold – are impacted not only by
consumer demand, but by a complex interplay of
macroeconomic factors.
The disruption of the COVID-19 pandemic to global
supply chains – particularly in the mining sector – as well
as investor confidence and lowered demand from the
automotive sector, have all led to some volatility in the
white metals market.
“Having suffered steep falls in early 2020 as result of
the global COVID-19 outbreak, precious metal prices
rebounded strongly in the second half of 2020 as the
pandemic triggered stockpiling by investors looking to
protect their wealth,” explains Richard Hayes, CEO
The Perth Mint.
“This, alongside supply deficits, pushed gold prices up
by 25 per cent last year, while silver rose 47 per cent, and
platinum and palladium by 11 per cent and 23 per cent,
respectively.”
Hayes notes that precious metal prices “again trended
higher in early 2021 on a more optimistic economic
footing, before retracing markedly” as a result of economic
policy changes and the Delta variant of COVID-19.
White metal jewellery demand has followed a similar
pattern, with the initial shock of the pandemic waning
around July of 2020 before a sustained period of growth,
later interrupted in mid-2021 by the Delta variant and
associated lockdowns across NSW and Victoria.
Still, as a diverse category comprising premium priced
platinum, palladium and white gold and affordable
silver, white metals have widespread appeal as well as a
competitive advantage in the high-value bridal sector –
though this too has experienced recurrent disruption as a
result of the pandemic.
Platinum progress
Platinum prices reached a five-year high of $US1,266
per ounce in February 2021, rising steadily following a
plummet in March 2020 to the lowest level since 2003.
Still, platinum prices remain significantly below that of
gold, palladium, and rhodium – all components in the
manufacture of white gold jewellery.
Rhodium in particular has experienced a “phenomenal
price movement” since January 2019, according to UK
resources firm Johnson Matthey, rising from $US2,300
to $US29,200 per ounce in March 2021; since May, it has
plateaued at approximately $US15,000 per ounce.
Chris Botha, innovation division manager at Palloys,
observes, “Platinum pricing has had a continuous run
for some time, and while it has slowed a little, jewellers
will be weighing up the additional labour costs of
$29,200
rhodium price per
ounce ($US) in
March 2021, a record
high and increase of
71% in three months
Business Line
22%
increase in demand
for platinum from
the jewellery sector,
Q1 2021, compared
with 2020
World Platinum
Investment Council
20%
of the world's
silver demand
comes from
jewellery
fabrication
Metals Focus
223tn
forecast platinum
supply in 2021, an
increase of 16%
World Platinum
Investment Council
$2,519
palladium price
per ounce ($US)
in May 2021, an
all-time peak
Kitco
working in platinum against rapidly having to purchase
rhodium plating.
“The rhodium market is very volatile and has seen steep
increases in pricing over the last 18 months.”
Like palladium, South Africa is the largest producer
of rhodium. It accounts for 80 to 90 per cent of total
global production, which was significantly reduced by
temporary mine closures last year, with the overall
‘rhodium deficit’ – the gulf between supply and
demand – more than doubling.
The unprecedented upward pressure on rhodium
prices is largely from the automotive sector, with
manufacturers in China and Europe utilising the metal
to reduce emissions.
The automotive sector has also buoyed platinum prices,
in tandem with jewellery demand and disrupted supplies,
Hayes notes.
The unprecedented upward
pressure on rhodium
prices is largely from the
automotive sector, with
manufacturers in China and
Europe utilising the metal
to reduce emissions"
According to the World Platinum Investment Council,
jewellery demand for the metal recovered by 22 per cent
in the first quarter of 2021 when compared with the same
period in 2020, driven by China and the US.
In April 2021, the Council predicted the overall platinum
jewellery market would recover the ground lost in 2020,
rising 13 per cent.
Industry organisation Platinum Guild International (PGI)
tracks demand for platinum jewellery across a number of
retail chains in the key markets of the US, China, Japan,
and India.
Commenting on its first-quarter report, Huw Daniel, CEO
PGI, noted that while jewellery demand could “slow in
some markets as subsequent waves of COVID-19 cloud
the outlook”, there had been “a renewed enthusiasm for
platinum” within the jewellery industry.
“Jewellers are increasingly engaging with this precious
metal, which has been effectively marketed as a metal of
meaning and become important as consumers look for
ways to symbolise and mark occasions in restricted and
unprecedented times,” Daniel said.
Indeed, platinum sales across PGI's key markets were
driven by targeted campaigns promoting branded
platinum collections. In India, historically a far stronger
September 2021 | 37

The White Side | WHITE METALS FEATURE
market for yellow gold, retailers who took part in PGI’s ‘Platinum
Days of Love’ campaign reported a 17 per cent increase in platinum
sales in the first quarter of 2021.
Locally, Greville Ingham, national sales manager at Peter W Beck,
observes, “The family of white metals has seen popularity recently
and we have especially noted a great demand for platinum jewellery,
in both men’s and ladies’ wedding rings.”
Ingham noted two factors increasing the demand for platinum:
“Platinum is perceived as a rare and more exotic precious metal, so
the current relative affordability has made it accessible to those who
may not have previously considered it,” he explains.
“The second factor drawing customers to platinum is the qualities of
high purity – platinum being a hypoallergenic metal and a naturally
strong white colour without the need for plating.”
As the most affordable member of the
precious white metal category, silver has
consistently maintained a stable level of
demand in the market"
Ingham adds, “In terms of the white metal market, the relative price
difference of platinum to white gold has lately made platinum a
popular choice. We see that this pricing will be an influencing factor
for some time.”
At Chemgold, director Darren Sher has observed “a slight increase
in 9-carat and 14-carat white gold as well as platinum being ordered
– this of course due to the higher palladium cost pushing up the cost
of 18-carat white gold.”
Sher adds, “Overall, the price increase in palladium has resulted in
customers utilising lower-carat white gold as well as platinum quite
often; however, having said that, the majority of our clients prefer
18-carat white gold or platinum for the white metal jewellery.”
Showing the strength of white metal demand, Botha told Jeweller,
“Our sales data shows the spread of sales in 18-carat golds to be
50 per cent yellow gold, 35 per cent white, and the balance rose gold.
"However, by weight value if we add platinum – which nearly
matches yellow gold for sales – definitively, the white metals are
selling better.”
In refining terms, the figures echoed the sales data with Botha
noting “increases in white gold and platinum refining, with sporadic
large bursts of platinum refining, as jewellers
opt to save more of the white metal until
there is enough for a larger refining job.”
He added, “Our sweep
and four-metal recovery
services have seen a
significant increase
as jewellers want to
recover the palladium and
platinum from their small
lemel and sweeps.”
Proudly distributed by
At Chemgold, demand for both
two-metal (gold and silver)
and four-metal (gold, silver,
palladium, and platinum) and
platinum refining had remained
stable when compared to
previous years.
Nomination
02 9417 0177 | www.dgau.com.au

A L L O Y S
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The White Side | WHITE METALS FEATURE
STILE COLLECTION
R8873642001
Yellow Gold Chronograph
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AUD $649
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Rose Gold Chronograph
100m Water Resistant
AUD $589
Meanwhile, the Peter W Beck precious metal refining division is now
refining more platinum and palladium “than ever”.
“We have certainly seen those wishing to refine here in Australia
directing these metals to us – platinum and palladium require
specialist knowledge and techniques to recover,” says Ingham.
Silver in the spotlight
L to R: Van Cleef & Arpels; Thomas Sabo
As the most affordable member of the precious white metal
category, silver has consistently maintained a stable level of demand
in the market.
Between 2010 and 2019, the year-on-year change in demand for
silver jewellery averaged 5 per cent, compared with 9 per cent for
gold jewellery, according to the World Silver Survey 2021 report
published by The Silver Institute and Metals Focus, an independent
precious metals research firm.
Worldwide, silver jewellery fabrication accounts for approximately
one-fifth of worldwide demand for the metal and the Silver Five
Year Forecasting Quarterly report, also authored by Metals Focus,
predicts this will rise to a quarter of total demand by the mid-2020s.
From a manufacturing perspective, Botha says, “There has always
been high demand for silver, and as a more affordable metal, it saw
big growth in Australia [in the past year] due to many manufacturers
bringing that production back on-shore to offset the shipping issues
the world has endured since the onset of the pandemic.”
At Palloys, “scientific silver” – used for industrial, research, and
medical applications – also led to an increase in demand for “highend”
refining services.
The Perth Mint’s Hayes observed a surge in demand for refined
silver “investment products”, such as bullion, in the first and
second quarters of 2021 due to a rally in the silver price – though he
notes that the price per ounce has since “suffered several bouts of
weakness in recent months”.
“Silver has been struggling to regain momentum, as growing
concerns over the highly contagious Delta variant sparked a sell-off
across industrial commodities,” he adds.
www.westendcollection.com.au
info@westendcollection.com.au
Ph: 03 9553 3777
Silver prices remain relatively high from a historical perspective; it

The White Side | WHITE METALS FEATURE
PRECIOUS METAL PRICES 2016 – 2021
CHART A: PALLADIUM
CHART B: PLATINUM
2,500
2,000
PALLADIUM USD/oz 2,346.00
PLATINUM USD/oz 1,006.00
1,200
1,100
1,000
900
1,500
800
1,000
500
700
600
500
2017 Jul 2018 Jul 2019 Jul 2020 Jul 2021 Jul
2017 Jul 2018 Jul 2019 Jul 2020 Jul 2021 Jul
2000 2002 2004 2006 2008 2010 2012 2014 2016 2018 2020
2000 2002 2004 2006 2008 2010 2012 2014 2016 2018 2020
CHART C: SILVER
CHART D: RHODIUM
SILVER USD/oz 23.98
RHODIUM USD/oz 16,400.00
25,000
25
20,000
20
15,000
10,000
15
5,000
10
0
Jul Jul Jul Jul
2017 2018 2019 2020 2021 Jul
2017 Jul 2018 Jul 2019 Jul 2020 Jul 2021 Jul
2000 2002 2004 2006 2008 2010 2012 2014 2016 2018 2020
2000 2002 2004 2006 2008 2010 2012 2014 2016 2018 2020
Source: Kitco. All prices in $US per ounce
FIND US ON INSTAGRAM
MILLENNIUM_CHAIN
Australian leading wholesaler, specialising in manufacturing
9ct and 18ct yellow gold, rose gold and white gold.
Machine made and hand made, any kind, chains and bracelets,
bangles and findings. Suppliers to retailers and wholesalers.
MILLENNIUM CHAIN
P: 03 9650 5955 | E: sales@millenniumchain.com.au
www.millenniumchain.com.au

CHART E: SILVER & ALTERNATIVE METALS SALES – JAN-JUL 2021
% increase (Year on Year) % increase (vs 2019)
60
40
20
0
-20
Jan '21 Feb '21 Mar '21 Apr '21 May '21 Jun '21 Jul '21
Source: Retail Edge Consultants.
Reflects increase and decrease
of sales in dollar terms. July
figures impacted by lockdowns
in NSW and Victoria
IP3556N-9YG
The Perth Mint
IP82-G014-9Y
increased 137 per cent during 2020, compared with gold’s 38 per cent.
Yet from a jewellery perspective, consumers Western markets such as
Australia tend not to be influenced as strongly by fluctuations in the
silver price – particularly when compared with gold.
Silver jewellery also enjoy other benefits; the World Silver Survey 2021
notes that the shift toward e-commerce is generally “positive as silver
jewellery’s price points work well in an online space”.
This shift was pronounced in Australia over the course of the pandemic,
with Australia Post’s 2021 Inside Australian Online Shopping report
noting that e-commerce spending increased by 57 per cent in the 12
months to 31 December 2020.
Potentially indicating strong consumer demand for silver jewellery are
recent financial results announced by Pandora, the world’s largest
jewellery producer by volume.
The company refers to 925 sterling silver as its ‘signature metal’
and utilises an estimated 340 tonnes of silver per year across its
product lines.
Pandora recently upgraded its forecast for the year, following promising
financial results and citing a robust recovery in the US which is also the
largest market for sterling silver jewellery by value.
In the Australian market, the silver and alternative metals jewellery
category has seen double-digit increases in sales dollars every month
from January to June this year when compared with 2020, according to
data from Retail Edge Consultants.
Even taking into account the impact of the extended COVID-19
lockdowns across Victoria and NSW in July, Retail Edge’s data – drawn
from more than 400 stores – indicated sales in this category were still
6 per cent higher than in July 2019.
However, the ongoing and unpredictable COVID-19 pandemic is likely to
continue to weigh on both supply and demand for silver jewellery, and
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The White Side | WHITE METALS FEATURE
SPOTLIGHT ON
MIXING IT UP
Left: Cobalt, used in
a number of white
metal alloys including
platinum alloys.
Below: Working at the
Palloys Fabricated
Metals Division.
A notable trend in the white metals market has been an emphasis on alloys and
mixed designs in order to manage costs.
“We have noticed that a lot more two-tone designs are being made, utilising rose
and yellow gold for shanks and accents to lower the cost. However, the setting is
always in a white alloy,” Chemgold’s Darren Sher tells Jeweller.
He adds, “With respect to this we have also observed a minor trend in mixed carat,
such as an 18-carat yellow or rose gold shank with a 9 or 14-carat white gold setting,
again to reduce cost for the customer but keeping a similar effect.”
At Palloys, Botha observes, “The Fabricated Metals division of Palloys has always
had a very large assortment of alloys on offer to a typically niche market, however,
the introduction of the Alloy Properties pages on the new website, located under the
Resources tab, have stirred up great interest in these ‘old-but-new-again’ alloys
like palladium silver.”
Botha also notes an increase in demand for Argentium Pro 935, which combines
93.5 per cent silver with germanium to produce a low-maintenance, non-tarnish
silver alloy that does not display firescale during production.
At Chemgold, the 18-carat white gold 18W132 alloy “continues to be very popular”
given higher palladium prices.
“With 13.2 per cent PGMs [platinum group metals] it is a very good alloy and on
average 10 per cent less expensive than the traditional 18-carat white gold with 15
per cent palladium,” Sher explains.
“The metal is still premium white, hard wearing and great for polishing,” he adds.
Ingham predicts that consumer tastes may also
shift away from white metals in general.
“We have seen white metals enjoying popularity
over the last three to five years, but in the cyclical
nature of the market, we are predicting to again
see popularity of yellow gold jewellery emerging
in due course,” he tells Jeweller.
Generational appeal
While yellow gold has seen an undeniable
resurgence in the market in recent years,
some industry commentators have noted
a generational divide of demand between
Millennials and Gen Z, the latter of which
appears to prefer white metals.
In a 2019 survey of 18,000 consumers across six
international markets, the World Gold Council
found that “gold jewellery resonates less well
with younger consumers, most notably the 18-22
Gen Zs.
"The connection to gold’s emotional heritage is
weaker among this group.”
Intriguingly, this trend was particularly
pronounced in the Chinese market, with the
report noting, “They are considerably less likely
than Gen Z consumers in other markets to have
bought gold jewellery in the last year – 18 per
cent compared with 26 per cent globally.
"And only 31 per cent of them agree that wearing
gold helps them to fit in with their friends,
compared with 46 per cent at a global level.”
In contrast, Millennial attitudes toward gold
jewellery were “not significantly different to those
of older generations”.
While yellow gold has seen
an undeniable resurgence in
the market in recent years,
some industry commentators
have noted a generational
divide of demand between
Millennials and Gen Z, the
latter of which appears to
prefer white metals"
Research conducted by Platinum Guild
International found that younger Chinese
consumers strongly preferred platinum jewellery.
“In China, platinum is most popular among Gen
Z and Millennials aged between 18 and 45 – the
future driver of jewellery consumption,” the
report noted.
“Younger Chinese consumers prefer platinum
in jewellery not only to signify relationship
milestones such as engagement rings, wedding
bands and anniversary bands, but in a range of
non-bridal types of jewellery, such as fashion
rings, necklaces, earrings and chains.”
These findings were echoed in De Beers’ 2018
Diamond Insight Report, entitled Millennials
and Gen Z: Capturing the Opportunity, which
noted that 96 per cent of bridal rings acquired by
Chinese women contained platinum, while just
4 per cent contained gold.
Worldwide, white metals still dominate the bridal
market. In the US, white gold remained the most
popular choice for engagement rings at 45 per
cent, followed by silver at 19 per cent, according
to the De Beers report.
As Gen Z – currently aged between 11 and 25 –
further ages into the engagement and marriage
bracket, it is likely that white metals will continue
to enjoy a competitive edge in the bridal category.
With thousands of weddings delayed by
lockdowns across Australia, jewellers may be
well-placed to take advantage with white metal
offerings designed to cater to these consumers
in the future.
In the meantime, the affordability of silver and
its resilience and consistency add to the overall
strength of the white metals category.
44 | September 2021

L to R: David Yurman; Fope
Chris Botha
Palloys
“Our sales data shows
the spread of sales in
18-carat golds to be 50
per cent yellow gold,
35 per cent white, and
the balance rose gold.
However, by weight
value if we add platinum,
the white metals are
selling better.”
IN SUMM ARY
Key Points
Rhodium
rollercoaster
The volatile
rhodium market
has seen prices
surge to dizzying
highs this year
Carat drop
Greville Ingham
Peter W Beck
Darren Sher
Chemgold
“The family of white
metals has seen
popularity recently
and we have especially
noted a great demand
for platinum jewellery,
in both men’s and
ladies’ wedding rings.”
"Overall, the price
increase in palladium has
resulted in customers
utilising lower-carat
white gold as well as
platinum quite often;
however, having said that,
the majority of our clients
prefer 18-carat white gold
or platinum for the
white metal jewellery."
Due to high
palladium prices,
some jewellers
are opting for
lower-carat white
gold alloys or
mixed-carat
designs
Stable silver
Silver demand
remains
consistent and
is relatively
unaffected by
price changes
Platinum
push
The pure, bright
metal is enjoying
robust demand
locally and
internationally

CELEBRATING
Local Talent
AHW STUDIO
The Timekeeper
Pendant
Metal: Re-purposed
from early 1930s
Waltham USA watch,
stainless steel
Gemstone: Opal
Angus & Aaron Zhao
Sydney, NSW
NATASHA
SCHWEITZER
Double Band
Buttercup Lemon
Quartz Ring
Metal: 18-carat
yellow gold
Gemstones:
White diamond,
lemon quartz
Natasha & Alex
Chipman
Fortitude Valley, QLD
and Sydney, NSW
HERA SAABI
The Gardener
Earrings
Metal: 9-carat
yellow gold
Gemstone: Ruby
Maeve Woodhouse
Auckland, NZ
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BABY ANYTHING
Kaleidoscope Rainbow
Half Band Rings
Metal: 14-carat yellow gold
Gemstones: Emerald, citrine,
sapphire, amethyst
Lucie Ferguson
Sydney, NSW
TALLULAH
Rhapsody Golden
Topaz Earrings
Metal: 18-carat
yellow gold
Gemstones: Golden
topaz, champagne
diamond
Rebecca Sampson
Melbourne, VIC
46 | September 2021

PIECES OF
EIGHT
Botanical Jewel
Hoop Earrings
Metals: Yellow goldplated
sterling silver
Gemstones:
Tourmaline, jasper
Nina Oikawa
Melbourne, VIC
ARBOR
BRUNSWICK
Amethyst Drop
Earrings
Metals: 18-carat
yellow and
white gold
Gemstones:
Amethyst,
freshwater pearl,
white diamond
Sarah Kellett
Melbourne, VIC
CAMILLE PALOMA
WALTON
Rainbow Snake
Earrings
Metals: 14-carat goldplated
silver
Gemstones:
Tourmaline, topaz
Camille Paloma Walton
Wellington, NZ
GERARD MCCABE
Fancy Yellow
Diamond Ring
Metals: 18-carat white
and yellow gold
Gemstones: Green,
yellow, orange, and
white diamond
Nazanin
Mohammadkhani
Adelaide, SA
LAURA MIERS
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September 2021 | 47

DIAMOND FEATURE
Making the Cut
In the quest for ever-more beautiful and brilliant
diamonds, creativity and innovation abound in the
world of diamond cuts, writes ARABELLA RODEN.

DIAMOND FEATURE | Making the Cut
Lili Diamonds
INSIGHTS
By The
Numbers
Nicole Mera ring
featuring Rose cut and
Round Brilliant white
diamonds and cushioncut
yellow diamond
Of the famous four ‘C’s of diamond
assessment, none is more important
than cut. As the only element of a
diamond’s appearance that can be controlled
by human hands, the cut has the power to make
– or break – a stone’s value.
“Cut is the heart of the diamond,” says Maulin Shah,
director of World Shiner.
“It is the most important characteristic. If the cut isn't
nice – the stone could be D colour and internally flawless,
but it won't sparkle.”
Alongside brilliance and fire, cut also impacts the other
‘Cs’ – it can both saturate and soften a stone’s colour,
remove inclusions to improve clarity, and make a stone
appear larger than its carat weight would otherwise imply.
While the vast majority of the world’s diamonds are cut as
round brilliants, master cutters and designers worldwide
have explored new ways to differentiate stones, enhance
a diamond’s natural beauty to its greatest potential, and
support the creativity of jewellers.
The history of branded or ‘proprietary’ cuts – those that
were trademarked or even patented – can be traced back
to one of the most venerable diamond cutting houses,
with Joseph Asscher, co-founder of Royal Asscher, who
created the Asscher cut in 1902.
While reports vary over whether Asscher patented the
cut – the Gemological Institute of America’s journal, Gems
& Gemology, asserts that he did – it has since become a
generic cut; an updated version, the Royal Asscher cut,
was patented in 2002.
Similarly, the 66-facet Radiant cut – invented by New
York cutter Henry Grossbard in 1977 – was once a
patented design and has since become standard industry
terminology, as has the Princess cut, which was developed
by Bez Ambar and Israel Itzkowitz in 1979, strongly
influenced by Basil Watermeyer’s patented Barion cut
and Arpad Nagy’s Profile cut.
72%
approximate
proportion
of GIA round
brilliants graded
‘Excellent’ cut
58
number of facets
on a round
brilliant diamond
2006
year the GIA
began issuing
cut grades on
diamond reports
2018
year the GIA
launched its
Proprietary Cut
Program
Garry Holloway – director of Holloway Diamonds and
inventor of the IdealScope, Holloway Cut Advisor (HCA)
and Angular Spectrum Evaluation Tool (ASET) – calls
the Asscher, Radiant, and Princess cuts “the only three
successful branded cuts”, though he laments, “The GIA
have never used these names and this provides confusion
for retail salespeople and consumers.”
Branded breakthrough
In the late 1990s and early 2000s, an influx of proprietary
cuts and shapes entered the market, largely driven by
“radical changes in the diamond pipeline, widespread
reliance on standardised price lists, advances in diamond
cutting technology, and falling profit margins throughout the
industry”, according to Gems & Gemology.
Many did not withstand the test of time.
“The branded cuts were largely developed as ways to
improve yields or charge more for a few extra facets,”
Holloway says. “The yield-increasing diamonds were the
worst, essentially turning an 80-point Ideal cut round
diamond hiding inside a rough into a 1-carat disaster.
“Human vision – when confronted with miniscule flashes from
a 100-facet half-carat diamond – sees ‘mush’,” he explains.
“Side by side [with classic cut diamonds], they just didn’t
stack up.”
And when it comes to selling a diamond, sparkle is, of
course, key. “Maximum scintillation and fire is what
customers want to see,” says Cindy Eidukevicius-Jones,
diamond trainer and marketing and merchandise manager
at the Nationwide Jewellers buying group.
“A diamond needs to show how lively and bright it
can become.”
However, a select few proprietary cuts managed to
provide enough of an advantage to jewellers and appeal to
consumers to maintain an ongoing presence in the market.
Russian manufacturer Kristall Smolensk’s 89-facet,
octagonal-shaped Phoenix cut, developed in the ’90s,
» CONTINUED PAGE 52
September 2021 | 49

Making the Cut | DIAMOND FEATURE
Golden Jubilee
Diamond,
545.65 carats
A selection of diamond cuts
developed by Sir Gabriel
Tolkowsky from the Flower Cuts
and Sea Shell Cuts collections
Centenary
Diamond,
273.85 carats
THE FATHER of MODERN BRILLIANCE A moment with Sir Gabriel Tolkowsky
Over a career spanning more than six
decades, Sir Gabriel ‘Gabi’ Tolkowsky’s name
has become synonymous with the art of
diamond cutting.
Born in Tel Aviv in 1939 to a family of diamond
cutters – including his uncle Marcel, credited
as the inventor of the round brilliant cut – Sir
Gabi was trained by his father Jean and at
the age of 16, was tasked with polishing a
100-carat emerald-cut diamond.
In 1975, he began working with De Beers for
whom he developed the Flower Cuts collection.
In the 1980s, Sir Gabi and his son Jean
Paul – also a master cutter – were secretly
commissioned to cut the Unnamed Brown,
a 755.5-carat brown stone unearthed at the
Premier Mine in South Africa.
An underground workshop, free of vibration,
was constructed to ensure no damage came
to the stone as it was meticulously whittled
into a 545.65-carat Golden Jubilee Diamond,
which remains the largest cut and faceted
diamond in the world – outweighing even the
Cullinan I, which had held the title since 1908.
The stone was completed in 1990 and later
became part of the Thai Crown Jewels.
When De Beers unearthed a 599-carat rough
in South Africa in 1986, Sir Gabi was also
selected to lead an expert team to transform
it into what would become the world’s largest
D Flawless stone, The Centenary Diamond.
The rough was so fragile and so valuable, that
no heat or laser could be used in the initial
cutting process.
Years later, Sir Gabi recalled, “I will never
forget how I worked on the Centenary for
154 working days – an entire working year
– carving and carving away with my bare
hands. I removed more than 50 carats before
we started polishing.”
The finished diamond – weighing 273.85 carats
with a modified heart shape – was completed
in February 1991 and unveiled in May that year,
insured for more than $US100 million.
Drawing from techniques developed during
the polishing of the Centenary and the Golden
Jubilee Diamonds and from the De Beers
Flower Cuts, Sir Gabi created the Gabrielle
cut, known as the first ‘triple brilliant’ and
which was later sold throughout Europe,
Asia, and the US.
Founding his namesake company Gabi S
Tolkowksy & Sons in Antwerp, Belgium, in 1995,
he later created the Sea Shells Cuts collection.
In 2003, he was presented with the title
Chevalier de L'Ordre du Roi Leopold II
(Knight of the Order of King Leopold II) for his
services to the diamond industry.
Here, Sir Gabi discusses his experiences
and legacy as the world’s foremost master
diamond cutter.
What was it like to grow up in a family with
such a strong connection to diamonds and
diamond cutting?
GT: I was the sixth generation, learning cutting
and polishing from my father Jean Tolkowsky,
who cut and polished as a young boy of 10 years
old together with his cousin Marcel Tolkowsky,
learning from their fathers and uncles. So it
was natural to attract my own wish to become a
diamond cleaver, cutter and polisher.
What are your fondest memories of your
career in the diamond industry?
GT: Having participated in the planning and
creations of the Flower Cuts, the Sea Shells
Cuts, and others, and the Centenary Diamond
and Golden Jubilee.
You were responsible for cutting the largest
faceted diamond in history, the Golden
Jubilee. How did this come about and what
did this process involve?
GT: Without having a team of 15 expert
scientists, technicians, security guards and
master diamond cutters that communicated
daily with me during three long years, I
would have never been able to achieve the
uniqueness of such a creation.
Together we realised that every single
diamond is effectively an individual that will
attract every human’s senses; each one of
them is a unique beauty.
As it is said, “Beauty is altogether in the eye of
the beholder.” This, without any doubt, was and
still is the basic reason for humans to continue
to manufacture and deal with diamonds.
How has diamond cutting evolved over time,
both as an art and commercially?
GT: No matter what the position is of humans
that are involved in transforming a rough
diamond into a polished one, they are making
art that allows them also to be commercially
busy if they wish.
They are all part of a unique artistic movement.
Where is the centre of innovation, today, in
terms of diamond cutting?
GT: Without any doubt, due to the evolutionary
period that we are witnessing, centres of
innovation do exist and will continue to
develop in various parts of the world.
This is because approaching beauty is a
normal human evolution; it allows people
– men and women – to express themselves
according to their cultural environment.
As a matter of fact, beauty is not only an
artistic reaction, but also a way to wish, hope
and dream – beauty is a haven of peace!
Without any doubt, it is my wish to continue
the legacy of the importance of beauty by my
children and grandchildren.
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Making the Cut | DIAMOND FEATURE
THE TIME-TESTED CL A S SICS
Traditional Diamond Shapes
Round Brilliant
58 Facets
Oval
58 Facets
Trillion / Trilliant
31 Facets (Accent) or
50 Facets (Solitaire)
Cushion
58 Facets
Pear
58 Facets
Rose Cut
3 to 24 Facets
Princess
57 Facets
Marquise
57 Facets
Old Mine Cut
58 Facets
Radiant
70 Facets
Asscher
72 Facets
Old European Cut
58 Facets
Emerald
57 Facets
Heart
57 Facets
Baguette
14 Facets
is still available today, as is the Dream cut – a modified
square cut patented in 2002 – from US manufacturer
Hearts On Fire, which is now part of Chow Tai Fook
Jewellery Group.
Lili Diamonds’ Crisscut and Lily cut, released to the market
in 1996, are also still available and the company has since
developed four more internationally patented designs:
Crisscut Cushion, Orchidea, Wonder and the Meteor, a
decagonal-shaped diamond with 71 facets, in 2010.
Speaking to Jeweller in 2018, Dotan Siman-Tov, managing
director Lili Diamonds, said, “There are several other
successful patent diamonds other than Lili Diamonds
around the world, but many suppliers found that it’s one
thing to invent it [a new cut] and another thing to market it
and that’s not easy. There is a story to build for each stone.”
Siman-Tov believed the problem was a lack of
differentiation: “The new cuts were not dramatically
different to the average consumer, whereas our cuts
are different because, for example, we have the Lily Cut
and Orchidea that are flower shapes and the Crisscut and
the Crisscut Cushion are different facets than, let’s say, the
regular emerald or regular cushion.”
Patented cuts comprised approximately 60 per cent of Lili
Diamonds’ sales in 2018, commanding price premiums
and manufactured on larger stones of five to 10 carats.
Indeed, Holloway notes that cuts incorporating extra facets
work best on stones “two to 10 times larger than what is
usually produced".
The year 2018 also marked the patent of eight diamonds
marketed as the ‘world’s brightest’: the Sirius Star 80
Round, Sirius Star 100 Round, Sirius Star Cushion, Sirius
Star Cushion 100, Sirius Star Square, Sirius Star Octagon,
Sirius Star 88 Round and Sirius Star Oval.
Developed by master cutter Mike Botha and licensed by
Dharmanandan Diamonds, the cuts were marketed to
offer “additional light performance compared to a round
brilliant cut and address the retailer’s issue of shrinking
profit margins.”
Garry Holloway
Holloway Diamonds
"A diamond can have an
Excellent cut grade – or
even top performance with
my Holloway Cut Advisor – but
it can still be as dull as
dishwater, In theory, a black
diamond could receive a
XXX cut grade."
Sir Gabriel Tolkowsky
Tolkowsky
"'Beauty is altogether in the eye
of the beholder.' This, without
any doubt, was and still is the
basic reason for humans to
continue to manufacture and
deal with diamonds."
Cindy Eidukevicius-Jones
Nationwide Jewellers
"Maximum scintillation
and fire is what customers
want to see. A diamond
needs to show how lively and
bright it can become."
In particular, the Sirius Star 80 was said to feature greater
scintillation and increased light return, improved brilliance
and higher visual appeal than various other round cuts.
Its 80 inclined facets include an eight-pointed star pattern
in the pavilion with 100 per cent light return while the
Sirius Star 100 features a 10-pointed version.
Botha said at the time, “This is a tremendous milestone
for the Sirius Star brand as Dharmanandan has the
depth of expertise and global reach to carry the brand in
adequate inventory in all the sizes and clarity necessary
for successful distribution.”
That same year, the GIA established a Proprietary
Cut Program which includes branded cut names and
descriptions on its diamond reports.
Back to basics
Of course, the vast majority of jewellers are well aware of
the power of cut – Shah notes that the Australian market
is particularly well-educated among World Shiner’s
international customer base.
Yet there are still persistent misconceptions when it comes
to avoiding poorly-cut stones, particularly when searching
for niche products such as fancy shapes, or purchasing
fancy-colour diamonds.
First and foremost, it is essential to understand that a
diamond’s cut is not a single attribute, but rather refers to
several different elements – not including the shape.
“Cut and shape can be confused,” Eidukevicius-Jones
explains. Shape is whether the diamond is round, pear
shape, cushion, etcetera; cut is how the stone has
been manufactured/polished, and whether it is graded
Excellent, Very Good, and so on.”
Many patented designs include both cut and shape, such
as Lili Diamonds' Lily Cut.
John Chapman, director Gemetrix and Delta Diamond
Laboratory, adds, “‘Cut’ has mixed connotations – even
to diamond dealers. It encompasses several different
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Making the Cut | DIAMOND FEATURE
Above: Calleija Glacier cut
diamond ring, courtesy
Calleija. Right: Rose cut
diamonds, courtesy
Kunming Diamonds
attributes that include proportions, angles,
symmetry, and facet junctions.”
Grading laboratories“distil these properties
into grades that can be compared to a
standardised reference”.
While the GIA, International Gemological
Institute (IGI) and HRD Antwerp use a fivepoint
scale to grade cut, ranging from Poor
to Excellent, the American Gem Society (AGS)
includes a sixth grade above Excellent, Ideal.
Says Chapman, “For round brilliants, the
parameters are well understood – table width
53 per cent, pavilion depth 43 per cent, and
crown height 16 per cent.
A diamond close to those specifications would
be graded ‘Excellent’ for proportions and outside
these ranges, proportion grades of Very Good,
Good, Fair, and Poor have been defined.”
He adds, “The advent of scanners that can
accurately profile a diamond and measure its
proportions, facet angles and symmetry has
allowed objective measures of the cut.
“Departures from this ideal cut are detrimental
to the appearance of a stone through loss of
brilliance, fire, and apparent size.”
And though not an official term, a diamond may
also be referred to as ‘Triple Excellent’ – also
noted as XXX or triple-ex – if its proportion,
symmetry, and polish have all been graded
as Excellent.
While the cut grades are well-established
within the industry, Holloway says the biggest
misconception about diamond cuts is “that
Triple Excellent round cut diamonds are
excellent diamonds”.
“Seventy-two per cent of round diamonds
submitted to the GIA receive the top cut grade of
Excellent – the standard is so lenient you can drive
a truck sideways through it!” he says.
Meanwhile, the Hearts and Arrows descriptor –
introduced by the Japanese diamond industry in
the 1980s and brought to the US market in the
early 1990s – can add another layer of confusion.
“The concept of Hearts and Arrows was introduced
as a way of determining if a round brilliant has been
cut with the right proportions,” Chapman says.
While the vast majority
of the world’s diamonds
are cut as round brilliants,
master cutters and designers
worldwide have explored
new ways to differentiate
stones, enhance a diamond’s
natural beauty to its greatest
potential, and support the
creativity of jewellers"
Commanding a premium price, these diamonds
are precision-cut for physical and optical symmetry,
resulting in the namesake pattern appearing when
viewed through a special light scope.
“Every Hearts and Arrows diamond will be
graded Triple Excellent for cut, symmetry
and polish, but not every Triple Excellent will
necessarily be graded as a Hearts and Arrows
diamond,” explains Eidukevicius-Jones.
IGI and HRD Antwerp offer Hearts and
Arrows certification, though the GIA does not.
Notably, a Hearts and Arrows diamond may not
always display optimal brilliance.
A question of quality
Since the GIA began grading cut quality in 2006,
manufacturers have adapted their products in line
with Excellent-grade proportions – leading to both
positive and negative outcomes.
As the GIA itself notes on its website, “A diamond’s
proportions can help predict how well a diamond
will deliver brightness, fire and scintillation.
"However, an important outcome of GIA’s cut
research was the finding that there is no single
set of proportions that defines a well-cut round
brilliant diamond.”
On the positive side, Shah has observed an
overall increase in diamond cut quality, in part
due to increased education, awareness, and
demand from the jewellery market for stones
that fit the standardised cut grades – alongside
improvements in diamond-cutting technology.
“Worldwide, Excellent cut stones are becoming
more popular, so manufacturers are producing
more goods to fit that standard.
"Due to the latest machinery innovations,
manufacturers now also have better results from
the rough, so there are, overall, better stones
coming to market,” he explains.
“Usually, if a jeweller asks for an Excellent cut
round diamond certified by major laboratories such
as the GIA, IGI, HRD Antwerp, or the Australian
labs, they will get a nice cut stone,” Shah adds.
However, while this standardisation and wide adoption
of the GIA standards allows for easier comparison
between stones, the system is not perfect.
Abraham Tok, director Tok Bros, says, “The
54 | September 2021

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Making the Cut | DIAMOND FEATURE
Asprey cut
Bez Ambar
Blaze Solo cut
Above: Buddha Cut diamond set
in pendant. Left: Loose Buddha
Cut diamond
current GIA cut grade standard is acceptable as it has
provided a standardised format for objectively comparing
one diamond’s cut grade to another, however, it can be
improved by tightening the parameters that constitute an
Excellent cut grade,” he says.
Holloway points out that the standards are also not
necessarily enforced by grading laboratories.
“More than 10 per cent of GIA-graded Excellent cut
diamonds are deeper than 63 per cent, and the GIA
teaches that 62.9 per cent is the maximum allowable
depth percentage,” he says.
“When queried on this, the GIA explains that [its
proprietary cut-assessment software program] Facetware
adds the crown height, girdle thickness and pavilion depth
percentages to arrive at depth percentage. So, clever
cutters have developed workarounds – and GIA allows it!”
There are still persistent
misconceptions when it comes
to avoiding poorly-cut stones,
particularly when searching for
niche products such as fancy
shapes, or purchasing fancycolour
diamonds"
Indeed, Tok has observed that “Excellent-grade round
brilliant cut diamonds have changed over the past few
years in that there has been a reduction in the diameter of
particular sizes”.
“A 1-carat round with an Excellent cut grade usually would
have a diameter of 6.4mm–6.5mm, while a 1.50-carat
would have a diameter of 7.4mm–7.5mm; now, you can
find plenty of examples of 1-carat and 1.50-carat round
diamonds, certified XXX by GIA, with diameters under
6.3mm and 7.3mm, respectively.
Maulin Shah
World Shiner
"With fancy shapes, it comes
down to the dealer. A diamond
dealer with a solid reputation,
extensive experience, and
a loyal existing customer
base will be able to give good
advice on fancy shapes."
John Chapman
Delta Diamond Laboratory
and Gemetrix
"Different polishers have
their own ‘recipes’ for extracting
the most colour and some
make a livelihood out
of recutting diamonds to
achieve a more valuable
colour grade."
Abraham Tok
Tok Bros
"Excellent-grade round
brilliant cut diamonds have
changed over the past few
years in that there has been
a reduction in the diameter of
particular sizes... The
end result is a 'lumpier' or
'fatter' stone."
“The end result is a ‘lumpier’ or ‘fatter’ stone that has
higher crown angles, increased depth percentages and
thicker girdles. The extra weight to push the diamond into
the [more valuable] 1-carat and 1.50-carat size ranges is
hidden in these proportions in order to extract more value/
yield from the rough diamond.”
He adds, “This generally has a negative impact on the
appearance of the diamond for jewellers as it is visually
smaller when compared side-by-side with a diamond
that was cut to the original Excellent parameters;
0.1mm–0.2mm may not sound like much as an overall
measurement, however, when comparing diamonds this
is a significant difference that is easily noticeable to the
trained eye.”
Holloway points out a further problem of transparency
being included in the clarity grade rather than the cut
grade, meaning “a diamond can have an Excellent cut
grade – or even top performance with my Holloway Cut
Advisor – but it can still be as dull as dishwater.”
“In theory, a black diamond could receive a XXX cut grade,”
he adds, explaining that the GIA's and other laboratory's
jargon can result in confusion for both jewellery retailers
and consumers alike.
“The worst is 'Clarity grade is based on clouds not show'
which means the clouds are not plotted on the clarity image
on a full certificate,” Holloway adds.
Exceptions and misconceptions
With the rise of custom jewellery design – particularly for
engagement rings – fancy shapes such as marquise, kite,
and heart are becoming increasingly popular.
Yet none receive a standardised cut grade on a certificate,
whether graded by the GIA or another laboratory, in the
same way as a round brilliant. Even classic shapes like
cushion, pear, and oval do not receive a full cut grade.
Says Holloway, “Simply put, most jewellers have no idea
that the GIA does not grade cut proportions for any fancyshaped
diamonds.”
56 | September 2021

DIAMOND CUTS
A BRIEF HISTORY
The history of diamond cutting is a long one. In the mid-14th
Century, the octahedral facets of rough stones would be
polished to create the simple ‘Point cut’; a century later, the
Table cut was created by splitting the octahedral crystal in half.
THE NEXT CHAPTER
IN FINE JEWELRY
Later, the Rose cut – introduced to Europe in approximately 1530 –
began to gain popularity. With 24 facets, the cut was prized for its
soft, diffused light.
In the 17th Century, French-Italian Cardinal Jules Mazarin invented
his namesake cut – perhaps the first true precursor to the modern
brilliant cut – with 17 crown facets. The Mazarin cut was later
improved by Venetian polisher Vincent Peruzzi, who nearly doubled
the number of crown facets for his Peruzzi cut.
By the late 1800s, the South African diamond rush had well and
truly begun, and demand for more efficient diamond cutting
techniques increased. The industry was revolutionised by steamdriven
bruting machines and motorised saws, which enabled
faster and more precise cutting – leading to the development of the
Old European cut, with 58 facets.
Previously, diamonds were laboriously cleaved by hand and
polished using diamond dust.
Coster Diamonds, in the Netherlands, claims to have been the first
polishing house to use steam-powered cutting machines, in 1840.
Old Mine cut diamonds emerged around this time, featuring 58
facets – similar to the modern round brilliant, but with a chunkier
and more geometric look.
In the 1870s, master cutter Henry D Morse developed what is
known as the Transition cut or American cut. Trained in the
Netherlands, Morse established the first diamond cutting factory
in the US, where several technological breakthroughs took place.
Notably, Morse profoundly shifted his focus away from maintaining
the weight of the rough towards creating the most beautiful result,
with lower main angles, smaller tables and symmetrical facets.
Indicative of his skill, Morse was trusted to cut the largest stone
found in the US in the 19th Century, the Dewey Diamond.
Perhaps the most significant breakthrough in diamond cutting
came in 1919, when engineer Marcel Tolkowsky – born to a family
of diamantaires – developed the modern round brilliant cut, also
known as the American Ideal cut or Tolkowsky cut.
Tolkowsky’s formula maximised light return based on
mathematical principles, and provided a framework by which the
vast majority of the world’s diamonds are still cut today.
The 20th Century would give rise to many other notable diamond
shapes and cuts; the modern Oval cut, developed by Tolkowsky’s
cousin Lazare Kaplan, the 66-facet Radiant cut, invented by New
York cutter Henry Grossbard in 1977, and the Princess – a square
diamond with a brilliant cut – in 1979.
SWAROVSKI
CREATED DIAMONDS
The late ’90s and early 2000s saw an influx of proprietary –
either trademarked or patented – diamond cuts, concurrent
with an increasingly crowded and competitive market, and rapid
technological advancements.
In 2018, the GIA established a Proprietary Cut Program and began
issuing reports including branded cut names and descriptions.
Today, more than 90 per cent of the world’s diamonds are cut and
polished in India; approximately three quarters are round brilliants.
Now proudly distributed by
Meanwhile large, premium diamonds and complex shapes are
primarily cut in Antwerp, Israel, and New York.
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WHEN TR A DITION A L JUST WON' T DO
Innovative Diamond Cuts & Shapes
* STONES ORDERED BY ASCENDING NUMBER OF FACETS
Sirius Star Cushion
116 Facets
By MIKE BOTHA
Sirius Star 88
88 Facets
By MIKE BOTHA
Padma Round
806 Facets
By DHARMANANDAN DIAMONDS
Meteor
71 Facets
By LILI DIAMONDS
Sirius Star 100
100 Facets
By MIKE BOTHA
Sirius Star Octagon
88 Facets
By MIKE BOTHA
Sirius Star 80
80 Facets
By MIKE BOTHA
Brilliant 10
71 Facets
By YAIR SHIMANSKY
Blue Flame
89 Facets
By BERNARD VAN PUL &
KOEN VAN ISHOVEN
Sirius Star Square
88 Facets
By MIKE BOTHA
Crisscut
77 Facets
By CHRISTOPHER SLOWINSKI
& LILI DIAMONDS
Ashoka
62 Facets
By WILLIAM GOLDBERG
Padma Cushion
88 Facets
By DHARMANANDAN DIAMONDS
Cherry Blossom/Sakura
87 Facets
By TOKYO KIHO CO
Lily Cut
77 Facets
By LILI DIAMONDS
Orchidea
61 Facets
By LILI DIAMONDS
Astralis Round Brilliant
89 Facets
By SIR GABRIEL TOLKOWSKY
Crisscut Cushion
85 Facets
By CHRISTOPHER SLOWINSKI
& LILI DIAMONDS
Cupio Cut
73 Facets
By KP SANGHVI & SONS
Quadrillion
49 Facets
By BEZ AMBAR & YGAL PERLMAN
This also presents a challenge for diamond suppliers,
with Shah noting, “It is definitely harder for fancy shapes
because none of the labs write the cut grade on the
certificate – they only grade rounds for the cut.
“For those other shapes, the report will mention things
like polish and symmetry, but there won’t be a cut grade.”
Indeed, the greatest selling point of fancy-shaped
diamonds – their unique appearance – makes them
difficult, if not impossible, to standardise.
“Non-round shapes are not guided by nearly as much
specification as round brilliants,” says Chapman.
The key determinants of value for
fancy colour diamonds are the
saturation and vibrancy of that
colour, and the size of the stone;
therefore, cutting and polishing
these diamonds is a delicate
balancing act"
“There are no ‘standard’ proportions – even for cushion
cuts or ovals – against which they can be graded. Though
symmetry and faceting can be graded, each lab offering
such a grade will have its own criteria for what constitutes
good or poor symmetry.”
Adds Tok, “The appeal of fancy shapes is subjective.
Different customers prefer different proportions in
their fancy shapes; for example, some customers
prefer pear shapes to be longer and some prefer oval
shapes to be rounder.”
When it comes to sourcing fancy shapes, Shah advises
jewellers to place their trust in a respected diamond supplier.
“With fancy shapes, it comes down to the dealer. A
diamond dealer with a solid reputation, extensive
IT'S CLEAR CUT
In Summary
First priority
Cut is the most important
of the 'four Cs', with
the most influence
over a diamond's final
appearance, including
its colour, clarity, carat
weight, and brilliance
Changing rules
Fancy shapes and
colours are cut and
graded differently to
round brilliants, which
can present challenges
Knowledge is
power
Education on Excellent
and Ideal cut parameters
and relevant diamond
assessment tools can
assist in both avoiding
poorly-cut diamonds and
making sales in-store
A matter of trust
A respected diamond
supplier with extensive
product knowledge
is essential when
sourcing well-cut stones,
particularly fancy colours
and shapes
experience, and a loyal existing customer base will be able
to give good advice on fancy shapes.
“They will have the knowledge of stone ratios and be able to
make suggestions and offer a selection, and a replacement
stone if the customer is not happy.”
Holloway suggests jewellers learn to use the ASET,
which he developed for the AGS, to assess fancy shaped
diamonds for light ‘leakage’ themselves.
Further complicating the question of cut are fancy
colour diamonds.
“Cuts for fancy colours are in a different class than
colourless diamonds,” says Chapman.
“The objective of the light within the stone is quite different
between the two types. For colourless diamonds, the
‘pathlength’ of light within a stone is minimised, whereas
for coloured diamonds, the art – or rather science – is to
maximise the pathlength to deepen the colour.”
Simply put, the deeper the pavilion, the farther light can
travel within the diamond, which can create a richer and
more intense colour.
The key determinants of value for fancy colour diamonds
are the saturation and vibrancy of that colour, and the
size of the stone; therefore, cutting and polishing these
diamonds is a delicate balancing act.
Typically, mixed cuts such as the Radiant are preferred
as they intensify colour; this is particularly evident in
diamonds toward the end of the classic D to Z colour
grading scale, which, when cut appropriately, can be
transformed into more valuable fancy yellows.
Says Chapman, “Different polishers have their own
‘recipes’ for extracting the most colour and some make
a livelihood out of recutting diamonds to achieve a more
valuable colour grade.”
Avoiding the traps
As in most areas of the jewellery trade, education is key
for jewellers in sourcing quality material; it is also a useful
58 | September 2021

DIAMOND FEATURE | Making the Cut
Top: Loose Alphabet
Cut diamonds by Kunming
Diamonds. Above: Alphabet
Cut diamonds set in necklace
by K Kane Jewellery
sales tool when discussing diamonds with customers. “Jewellers
should educate themselves on the ideal parameters and use that
knowledge to help their customers find great diamonds,” says Tok.
Chapman echoes this observation; “Most consumers are, quite
reasonably, not versed in what is a good cut and what to look for
to assess brilliance and fire, so some retailers have come to their
rescue with tools to help them,” he says.
Whether a proprietary cut, fancy shape,
fancy colour, or classic round brilliant,
there is no overstating the importance
of understanding a diamond’s cut and
the impact it has on the overall beauty
and appeal of a stone"
“An IdealScope allows a view of the behaviour of light in a diamond
from its refractions and reflections, and there are other fancier
tools that show light leakage and brilliance with moving light
stages, computer processing and graphic outputs of a stone’s light
performance.
“Several gem labs show these diagrams on their reports with areas
of red, green and blue denoting how the light is behaving.”
Eidukevicius-Jones advocates a hands-on approach: “Look at the
diamond and move it around even before you pick up a loupe. First
impressions last!” she says.
Whether a proprietary cut, fancy shape, fancy colour, or classic
round brilliant, there is no overstating the importance of
understanding a diamond’s cut and the impact it has on the
overall beauty and appeal of a stone.
In order to deliver the best possible service, jewellers must both
educate themselves and cultivate relationships with knowledgeable,
reliable diamond suppliers in order to procure stones with
outstanding sparkle – the stones with which consumers can’t help
but fall in love.

Packamate Limited
Flat F, Block 2.,
12/F Kwun Tong Industrial Centre.
460-470 Kwun Tong Road, Hong Kong
Tel. +852 2603 1173 or 8121 1751
Email.info@packamate.com
packamate.com
One-stop shop packaging component supply and solution
Packamate Limited is a well-established manufacturer
and wholesaler of quality packaging for various
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devices, display, watch winder, cabinets, cosmetic,
jewellery collectors and wine collectors.

A QUARTERLY SPOTLIGHT ON COLOURED GEMSTONES SEPTEMBER 2021
COLOUR
FOCUS
THIS MONTH
Blue
&
Green
70 RED CARPET
COLLECTION
Who dazzled with this
aquamarine ring?
Turn to page 70 to find out.
Index
COLOUR INVESTIGATION FEATURE
Forest, sea & sky
Jeweller discovers the chemical and structural causes
of colour in captivating natural blue and green
gemstones, from Ceylon sapphires to imperial jade.
64
65
70
IN DEPTH
Dive into gem trivia
COLOUR INVESTIGATION FEATURE
Every hue of green and blue
RED CARPET COLLECTION
This month’s colours dazzle
Sapphire
VARIETY
ETYMOLOGY
HARDNESS
REFRACTIVE INDEX
TREATMENTS
COLOURS
SEPTEMBER BIRTHSTONE
Corundum
Greek sappheiros, meaning blue stone
9
1.76 - 1.78
Heat
Blue, green, and teal (among others)
QUICK PROFILE
8 Popular
Blue &
Green
Gemstones
Tsavorite garnet
VARIETY
ETYMOLOGY
HARDNESS
REFRACTIVE INDEX
TREATMENTS
COLOURS
Garnet (Grossular)
Named after Tsavo National Park
6.5–7.5
1.71 - 1.89
None
Green
Emerald
VARIETY
ETYMOLOGY
HARDNESS
REFRACTIVE INDEX
TREATMENTS
COLOURS
Aquamarine
VARIETY
ETYMOLOGY
HARDNESS
REFRACTIVE INDEX
TREATMENTS
COLOURS
Paraìba Tourmaline
VARIETY
ETYMOLOGY
HARDNESS
REFRACTIVE INDEX
TREATMENTS
COLOURS
Beryl
Ancient Greek smaragdos, meaning
green gemstone
7.5 - 8
1.56 - 1.58
Oiling and other fracture filling
Bluish green to green
Beryl
Latin aqua marina, meaning
water of the sea
7.5 - 8
1.57- 1.58
Heat
Light blue-green to light blue
Tourmaline
Named after Paraìba State
7 - 7.5
1.61 - 1.67
Heat
'Neon' vivid blue-green
HONOURABLE
MENTIONS
• Apatite
• Blue Zircon
• Blue Spinel
• Chrysoprase
• Green Tourmaline
(Verdelite)
• Demantoid Garnet
• Lapis Lazuli
• Turquoise
Peridot
VARIETY
ETYMOLOGY
HARDNESS
REFRACTIVE INDEX
TREATMENTS
COLOURS
Jade
VARIETY
ETYMOLOGY
HARDNESS
REFRACTIVE INDEX
TREATMENTS
COLOURS
Tanzanite
VARIETY
ETYMOLOGY
HARDNESS
REFRACTIVE INDEX
TREATMENTS
COLOURS
Olivine
Unknown but believed to be Anglo–
Norman pedoretés, a type of opal
6.5 - 7
1.65 - 1.69
None
Olive to yellowish green and pure green
Jadeite and Nephrite (silicates)
From Spanish piedra de ijada,
meaning stone of the side
6.5 - 7 and 6 - 6.5
1.67 - 1.68 and 1.61 - 1.68
Bleach, wax, dye, and polymer
Varied, notably pale to deep green
Zoisite
Named after Tanzania
6 - 6.5
1.69 - 1.70
Heat
Violet blue
LEARN ABOUT THESE GEMSTONES IN DEPTH: JEWELLERMAGAZINE.COM

BLUE & GREEN
In Depth
Green Tourmaline
(Verdelite)
Afghanistan
Brazil
Mozambique
Sri Lanka
Tajikistan
USA
Blue Topaz
(Natural)
Brazil
USA
Peridot
Australia
Brazil
China
Kenya
Mexico
Myanmar (Burma)
Norway
Pakistan
Saudi Arabia
South Africa
Sri Lanka
Tanzania
USA
Tsavorite Garnet
Tanzania
Madagascar
Pakistan
Emerald
Afghanistan
Australia
Brazil
Colombia
Pakistan
Russia
Zambia
USA
Aquamarine
Brazil
China
India
Madagascar
Mozambique
Russia
USA
Colombia
PACIFIC
OCEAN • Emerald
• Sapphire
USA
• Green Tourmaline
• Blue Topaz
• Peridot
• Tsavorite Garnet
• Emerald
• Aquamarine
• Jade
Brazil
ATLANTIC
OCEAN
• Paraìba Tourmaline
• Green Tourmaline
• Aquamarine
• Peridot
• Jade
• Blue Topaz
PROVENANCE SNAPSHOT
TOP 5 BLUE AND GREEN GEMSTONE PRODUCING COUNTRIES
Tanzania
ARCTIC
OCEAN
• Tanzanite
• Tsavorite garnet
• Sapphire
• Peridot
• Blue spinel
• Jade
Sri Lanka
INDIAN
OCEAN
• Sapphire
• Peridot
• Green Tourmaline
• Blue Spinel
• Jade
SPECIAL MENTION
Australia
Sapphire
PACIFIC
OCEAN
Demantoid Garnet
Afghanistan
Iran
Italy
Madagascar
Nambia
Russia
Sapphire
Australia
Madagascar
Myanmar (Burma)
Sri Lanka
Tanzania
Thailand
Blue Spinel
Canada
Myanmar (Burma)
Sri Lanka
Tajikistan
Tanzania
Vietnam
Blue Zircon
Cambodia
Thailand
Vietnam
Tanzanite
Tanzania
Paraiba
Tourmaline
Brazil
Jade
Brazil
China
India
Myanmar
New Zealand
Sri Lanka
Tanzania
USA
Zimbabwe
The world's most
famous sapphire
engagement ring – belonging to
Diana, Princess of Wales – was not a
custom-make, but rather chosen by her
from the Garrard jewellery catalogue
“These gems
have life in
them; their
colours
speak – say
what words
fail of.”
GEORGE ELIOT
At least 50% of the world's
Emerald is sourced from Colombia
The most famous
collection of peridot
jewellery is the Habsburg
Peridot Parure, which
was created by imperial
jeweller Köchert in 1825
Ancient Egyptian priests
would grind peridot and
mix it into drinks, which
they believed would give
them mystical powers
and knowledge
$AU6.5 million
Price paid for Elizabeth Taylor’s
emerald Bulgari brooch
Love is an emerald.
Its brilliant light wards
off dragons on this
treacherous path."
RUMI
In the Middle Ages,
Europeans believed
sapphires could
cure eye diseases
3 BILLION
AGE OF THE OLDEST
EMERALDS
Cleopatra’s
legendary
emerald
collection was
likely peridot
Lapis lazuli beads and
artefacts have been found in
many ancient civilisations,
dating to the Neolithic age
381kg
The weight of the Bahia Emerald,
which contains the largest single
emerald shard ever found; it is hidden
in a secret vault in Los Angeles
62 | September 2021

BLUE & GREEN
Colour Investigation
UNDERSTANDING GEMSTONE COLOUR
Every hue of green and blue
Jeweller discovers the chemical and structural causes of colour in captivating natural blue and green
gemstones, from Ceylon sapphires to imperial jade.
Rich blue Ceylonese gemstones are the most wellknown
and valuable variety of sapphire, and the
standard against which other blue gems are measured.
However, paler versions are still in high demand and
the teal hue – a mix of blue and green – has also soared
in popularity in recent years, with premium specimens
sourced from Australia, Nigeria, and Montana in the US.
Sapphire is corundum; an allochromatic mineral that
derives colour from chemical impurities in the crystal
structure. These impurities absorb specific parts of the
light spectrum, and the remaining light reflected to the
eye gives colour to the gemstone.
Blue is caused by traces of titanium and iron; the more
iron present, the darker the stone. Green sapphires also
owe their colour to iron.
Sapphires are often heat-treated to remove silk
inclusions, thus enhancing clarity and richness of colour.
Like sapphire, the vibrant colour of emerald – a form of
beryl – has been adored from ancient times.
Created by trace impurities of chromium and vanadium,
the intense green colour is the most prized. The price
drops when accompanied by a bluish tinge, and continues
to devalue further when coloured a yellowish tinge from
iron impurities.
When the colour of beryl is too light to be called emerald,
it is termed ‘green beryl’.
Colombia remains the major source of emeralds,
retaining the best reputation and usually commanding a
price premium.
However, emeralds can be sourced from many parts of
63
FULL PAGE
ADVERTISEMENT
Sarah Ho
QUICK
FACTS
85%
of the
gemstones
mined in Sri
Lanka are
sapphire
1
location where
tanzanite
is found
worldwide
$42m
value of the
Colombia's
emerald
exports in
2020 ($US)
the world, including Russia (the Urals have produced
emeralds for more than 100 years), Zambia,
Brazil, Zimbabwe, Afghanistan and Ethiopia; some
emeralds from these mines will rival the best
Colombian emeralds.
Emeralds typically have many inclusions; the French say
they have a jardin (garden) inside them. The inclusions
also make emeralds a more brittle gemstone, often
confused with it being soft.
To help improve their clarity and colour, emeralds are
treated in several ways. They are usually “oiled” at the
mines – a process that uses oil to fill the cracks and
inclusion spaces in a technique practised for centuries.
Aquamarine is another variety of beryl, and owes its
delicate blue-green palette to ferrous iron.
Loved for its icy sky-blues and cool sea greens, its name
originated from the Latin aqua marina, meaning ‘water
of the sea’.
Available in large, eye-clean gemstones, aquamarine’s
colour and higher carat weights has made it popular,
although deeper shades command a higher price. Most
commercially-available aquamarines are heat-treated
to remove yellow tones and produce a more desirable
blue hue.
Maxixe beryl is the name given to blue beryl with a very
dark tone that is almost unnatural, unlike the softer
blues of aquamarine.
The colour is known to fade from deep blue to a
yellowish tone in sunlight and strong artificial light or
heat in a reasonably short time.
The maxixe beryl’s colour is caused by a nitrate trace
September 2021 | 63

Colour Investigation | BLUE & GREEN GEMSTONES
GEMSTONE FOCUS
AUSTRALIAN SAPPHIRE
Sapphire
Dreams
IA
NORTHERN
TERRITORY
SOUTH AUSTRALIA
QUEENSLAND
NEW SOUTH
WALES
VICTORIA
Anakie Fields
New England Fields
Australian sapphires originated as a
result of volcanic eruptions that date back
millions of years.
Discovered as crystal formations in
ancient riverbeds left behind by creeks and
streams, sapphire deposits were found to be
concentrated in alluvial gravels, colloquially
referred to as 'wash'.
Today, most of these gems are found in the
New England Fields in northern NSW and
the Anakie Fields in central Queensland,
which are the two major sources of
sapphires in Australia.
Sapphires are a form of corundum with
a chemical formula of Al 2
O 3
– aluminium
oxide.
The
word 'sapphire'
is derived from
sappheiros,
which means 'blue
stone' in Greek. However,
despite the common belief that sapphires
only come in a blue colour, that could not be
further from the truth.
All sapphires are allochromatic, which means
they receive their colour from impurities
within the crystal structure. Depending on the
trace amounts of iron, titanium and nickel,
and other elements, sapphires can attain a
range of different colours.
TAS
Corundum is a material known for its high
density, which makes sapphires among the
hardest natural minerals in the world, ranking
9 out of 10 on Mohs' hardness scale,
second only to diamonds.
Australian sapphires are particularly known
for deep blue, green, yellow and parti-colour
specimens combining blue, yellow and green.
Source: SAMS Group Australia
Est.1968
AUSTRALIA’S WIDEST
RANGE OF GEMSTONES
ALL VARIETIES OF NATURAL
COLOURED GEMSTONES
NATURAL FANCY
COLOURED DIAMONDS
OPALS AND PEARLS
PASSION
COLOUR
EXPERIENCE
MEMBER
03 9654 4449
Level 4, Wales Corner
227 Collins Street
Melbourne VIC 3000
gems@kandk.net.au
Suite 5, Level 1, 428 George Street SYDNEY NSW 2000
P +61 2 8065 8533 E info@sovereigngems.com
@sovereigngems

compound. Some maxixe-type beryl is also on the market with
colour resulting from a carbonate trace compound.
Demantoid, tsavorite and tanzanite
Another gemstone of many colours is garnet, and the standout
in the andradite branch of garnet is vibrant green demantoid.
With dispersion greater than diamond and a striking, rich green,
hue demantoid is one of the most valuable garnets.
Originally sourced from Russia, much of today’s demantoid
comes from Namibia.
Grossular garnet is found in a range of colours including yellow,
grey, colourless and green; indeed grossular gets its name
from the Latin word for gooseberry, the light green variety being
similar in colour to the fruit.
Annoushka x Fuli Gemstones
Aquamarine is another variety of beryl,
and owes its delicate blue-green palette
to ferrous iron. Loved for its icy skyblues
and cool sea greens, its name
originated from the Latin aqua marina,
meaning ‘water of the sea’”
The most sought after grossular garnet is the rich green
variety called tsavorite. Almost, but not quite emerald green,
tsavorite was discovered by geologist Campbell Bridges in
Tanzania in 1967.
He found another source in 1970, near Kenya’s Tsavo National
Park. Bridges and former Tiffany & Co. president Henry B Platt
named tsavorite after its Kenyan source.
On first viewing the gem, Platt observed, “Tsavorite is everything
a fine gemstone should be, and then some.”
Like tsavorite, tanzanite was also discovered in Tanzania
in 1967.
According to legend, a large bush fire swept the foot of Mount
Kilimanjaro, transforming the dull, greyish-brown material into
glittering blue and violet crystals, which not only caught the
eyes of Masai tribesmen but also the imagination of the world’s
most-prestigious jewellery houses.
This bushfire myth perfectly illustrates the chameleon-like
change that occurs when tanzanite crystals are heated to
approximately 400°C – the undesirable yellow and brown tints
disappear and the purple and blue tints deepen, resulting in
transparent, vividly-coloured material.
Tanzanite is a gem variety of the mineral zoisite, a calcium
aluminium silicate. Zoisite may be green, pink, grey, colourless
or brown in its untreated form.
Tanzanite’s unique formation has a million-to-one chance of
occurring outside the areas where it is known to be found,
making it significantly rarer than diamond and asserting its
reputation as a truly exotic gemstone.
Originally, tanzanite was confused with Kashmir sapphire and
even amethyst, due to its exquisite mix of velvety blue and
purple hues.
Chopard
David Morris
Chaumet
STERLING SILVER
FRESHWATER PEARLS
AVAILABLE IN RHODIUM
FOR STOCKIST ENQUIRIES
+61 413 872 810
INFO@BIANC.COM.AU
@BIANC_JEWELLERY
WWW.BIANC.COM.AU

Colour Investigation | BLUE & GREEN GEMSTONES
L to R: Van Cleef & Arpels; Sarah Ho; Bulgari; Sapphire Dreams
Intense blue tanzanite in large sizes is rare and more expensive
than purple because the rough does not provide as high a yield.
Indicolite, verdelite and Paraìba tourmaline
While the red hues of rubellite tourmaline maintain a steady
appreciation, the interest and value of blue and green tourmaline
was reignited with the discovery of Paraìba tourmaline.
Tourmalines showing unusually striking ‘neon’ colours of blue,
green-blue, green and violet first appeared in the jewellery trade
in 1989, when a single deposit was unearthed near the Brazilian
village of Sao Jose de Batalha in north-central Paraìba State.
The gems came to be known as Paraìba tourmalines. Such
tourmalines are rare, and exhibit a vivid blue and startling glow
incomparable to any other gem.
Although uncommon in sizes over 2 carats, these majestic
gemstones are always in high demand, attracting extraordinary
prices not seen with any other tourmaline variety. Interestingly, the
trace element responsible for these exciting colours is copper.
In some cases, the concentration is so high that small inclusions
of pure native copper can be found.
While copper is a contributing colouring agent in many other
minerals such as turquoise and malachite, it had not been known to
colour tourmaline until the discovery of Paraìba tourmaline.
Typically, iron and chromium induce the blue and
green in other coloured tourmaline varieties.
Mined by hand in the copper-rich
mountains of Mozambique and Nigeria
are Paraìba-type’ tourmalines.
FANCY COLORED DIAMONDS
ARGYLE PINK, COGNAC & CHAMPAGNE
AUSTRALIAN BLACK OPALS
Almost identical in chemistry and
colour saturation to their Brazilian
counterparts, these gems emerged
into the market in the early 2000s
with large stones, some over
5 carats.
However, some argue the quality
and richness of colour of the authentic
Brazilian stones are incomparable.
sales@tremac.com.au
www.tremonti.com.au
Harry Winston

Blue is caused
by traces of
titanium and
iron... Green
sapphires also
owe their colour
to iron”
Sapphire Dreams
S&S
STONES& SILVER
STERLING SILVER JEWELLERY
Exclusive Australian suppliers of
.935 Sterling Silver Chains
In contrast to Paraìba tourmaline, the other cool-hued varieties
are more readily available and at less extravagant prices.
These gems flaunt trade names such as ‘indicolite’, the name
given to a range of blue tourmalines, and ‘verdelite’, the name
given to a range of green tourmalines.
Both named varieties are often tinged with blue, green or violet
offering a broad spectrum of colours in varying saturations.
Blue tourmalines range from pale icy blue to deep and dark
saturated navy blues. Stones that exhibit a dominant blue hue
generally attract a higher value.
Some stones are labelled indicolite even when the green
predominates, so buyers should value a stone based on its
colour rather than its trade name.
Tourmalines showing unusually
striking ‘neon’ colours of blue, greenblue,
green and violet first appeared in
the jewellery trade in 1989”
Tourmaline’s other varying greens offer a pleasing alternative to
the grass green of peridot and the deep, rich green of emerald,
the other industry ‘heavyweights’.
These include pastel hues, blue-green ‘teal’ varieties and a
rare vivid green referred to as ‘chrome dravite’ – coloured by
vanadium, chromium and sometimes both.
Peridot and lapis lazuli
Peridot is the gem-quality variety of olivine and its colour ranges
from green, greenish-yellow, yellowish-green, greenish-brown
and brown, depending on its chemical composition.
Pure green gemstones are rare and most peridot exhibit a
yellowish undertone.
The intensity of peridot’s green hue is determined by the varying
amount of iron in its composition; iron influences a yellowbrown
tone within the gemstone while traces of chromium and
nickel – replacing iron and magnesium – are said to give peridot
a bright-green colour.
Ph: +61 3 9587 1215
Email: info@stonesandsilver.com.au
stonesandsilver.com.au

Colour Investigation | BLUE & GREEN GEMSTONES
L to R: Graff, Gucci, Neha Dani, Van Cleef & Arpels
Intriguingly, pallasites are one kind of stony-iron
meteorite that contain abundant crystalline olivine,
sometimes of gem-quality peridot – making it an ‘extraterrestrial’
gemstone!
The crystals are generally small and, due to the high
iron content of the surrounding iron-nickel matrix, are
typically yellowy-brown in colour.
The lustrous texture and luminous
colours of polished jade have been
prized for thousands of years.
Ancient cultures in North, Central
and South America, New Zealand,
Asia and Europe valued jade for its
beauty, hardness and durability”
Some pallasitic peridot specimens are higher in carat
weight and present an attractive green colour favourable
for faceted gemstones.
The finest examples of peridot are unearthed in Myanmar
(Burma) and Pakistan, with the US state Arizona and
China producing more reliable commercial quantities;
they are also found in Australia, Vietnam, and some
African nations.
Admired since the dawn of civilisation, early records
indicate the Ancient Egyptians mined a beautiful green
gemstone from the island in the Red Sea called Topazios.
The island, now known as St John’s Island, or Zabargad,
remains to this day the oldest and longest-known source
of gem-quality peridot.
Another gemstone prized in the ancient world is lapis
lazuli, often shortened to lapis, which gained its name
from Latin and Persian origins – lazhuward meaning
‘blue’ in Persian and lapis meaning ‘stone’ in Latin.
GEMSTONE FACTS
TANZANITE
Tanzanite was
discovered in
1967; legend has
it, a bushfire near
Mount Kilimanjaro
heated natural
crystals, giving them
tanzanite's signature
purple-blue hue
Tanzania is the only
known source of this
gemstone, with mines
located in a 14km
square radius
The largest-ever rough
tanzanite was found
in June 2020 and
weighed 9.2kg
The gem has been highly prized for thousands of
years, being used in jewellery, carvings, seals and
decorative items.
Lapis lazuli is an aggregate comprised primarily of
lazurite, calcite and pyrite. Quality lapis consists mainly
of lazurite – which gives the gem its intense blue colour
– with small amounts of white calcite and pyrite.
It is the metallic flash of pyrite against the deep blue
of lazurite that makes it so attractive to gem collectors
and jewellery artists.
Under a microscope, lapis lazuli looks like the night
sky – with depths of blue lazurite, a fine white haze of
calcite and the starlike sparkle of pyrite.
Lapis ranges in colour from greenish blue to rich royal
blue and violet blue. The most prized – and valuable
– is an intense royal blue featuring minute gold flashes
of pyrite.
Afghanistan is considered the most significant source
of quality lapis. The gem has been mined there for
thousands of years in a remote and inhospitable region,
known historically as Bactria.
Today, other sources are Lake Baikal in Siberia, Chile,
Angola, Pakistan, Canada and Colorado in the US.
Jadeite and nephrite
The lustrous texture and luminous colours of polished
jade have been prized for thousands of years.
Ancient cultures in North, Central and South America,
New Zealand, Asia and Europe valued jade for its
beauty, hardness and durability – properties that made
it suitable for use in implements, jewellery, regalia and
decorative items.
Wearers believed jade endowed them with long life,
good health and fortune, and today jade jewellery still
has strong traditional associations in many cultures.
The name ‘jade’ is the commercial term used for jadeite
68 | September 2021
Jewellery Theatre

Early records
indicate
the Ancient
Egyptians
mined a
beautiful green
gemstone”
and nephrite. Despite their similar appearance, these minerals
have distinct gemmological properties.
Both are silicates; jadeite is a sodium and aluminium silicate,
while nephrite is a calcium and magnesium silicate. Both are
polycrystalline in structure, with many interlocking microscopic
crystals, making them some of the toughest materials in the
gem world.
So, what is the difference between the two?
Typically, the name jadeite is associated with a rich deep green
colour, but the gem is found in many hues and is often mottled. The
richer and more even the colour, the higher the value.
In China, jadeite of fine green colour and translucency was once
reserved for the Emperor’s court and is known as ‘imperial jade’.
The presence of iron creates the green hue.
Jadeite has a hardness of 6.5-7 on Mohs’ scale, making it suitable
for use in a range of jewellery. However, it is the gem’s tenacity and
capacity to be carved and fashioned, along with its vitreous lustre,
that makes it attractive to jewellers and gem carvers.
With a hardness of 6–6.5 on Mohs’ scale, nephrite is a little softer
than jadeite, which has a hardness of 6.5–7. However, it has a higher
tenacity and is regarded as the ‘toughest’ of gems.
This property of toughness makes it suitable not only in a range of
jewellery, but also for use in gem carvings and decorative items.
Nephrite that is translucent with a solid green colour is the most
valuable. Mottling of colour or the presence of dark mineral
inclusions lessens the gem’s value.
Nephrite is a more common mineral than jadeite, and its major
sources are New Zealand, Mexico, Peru, British Columbia and
Taiwan. It is the official state mineral of Wyoming.
To the Maori of New Zealand, nephrite – called pounamu or
greenstone – is an important gemstone found on the South Island
around Otago.
It has great cultural significance, used not only for adornments but
also for practical uses, including making tools and weapons.
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BLUE & GREEN
Red Carpet Collection
STARS SHINE IN COLOUR
Gemstones in the Spotlight
The A-list have given their seal of approval to statement gems – be inspired by these colourful jewellery pieces worn on the red carpet.
4 More than 50 carats
of intricately carved jade
takes centre stage in the
Naila earrings by jewellery
designer Narcisa Pheres,
accented with delicate
pear-cut emeralds and white
diamonds and set in 18-carat
yellow gold.
Harry Winston
Narcisa Pheres
SAPPHIRE – Zoey Deutch,
Golden Globes 2020
JADE AND EMERALD – Kelly Rowland,
Spotify Secret Genius Awards 2018
Lorraine Schwartz
Bulgari
Van Cleef & Arpels
Tiffany & Co.
EMERALD – Kendall Jenner, Vanity Fair
Oscars Party 2018
EMERALD – Esther Expósito, Cannes
Film Festival 2021
SAPPHIRE AND EMERALD – Margot
Robbie, Academy Awards 2015
TSAVORITE GARNET – Sophie Turner,
Academy Awards 2016
4 Part of the Gucci
High Jewellery Hortus
Deliciarum Collection,
these white gold earrings
set with diamond and
tsavorite garnet are
inspired by the natural
world, and feature
Gucci's signature lion's
head motif.
Tiffany & Co.
Gucci
AQUAMARINE – Jessica Biel, Academy
Awards 2014
TSAVORITE GARNET – Jodie Turner-
Smith, Cannes Film Festival 2021
70 | September 2021

Tiffany & Co.
AQUAMARINE – Gal Gadot, Academy
Awards 2018
4 Combining carved
emeralds and cabochon rubies
with sapphire beads and white
diamonds, these statement
chandelier earrings hail from
Cartier’s iconic Tutti Frutti
Collection.
3Taking its cues from
Tiffany & Co. jewellery of
the Art Deco era, this lariat
chain necklace – designed
by Reed Krakoff – comes
from the jewellery house's
2018 Blue Book Collection.
It features show-stopping
icy aquamarines, offset by
pavé white diamonds and
platinum.
Arbe – Family owned,
American know how.
For decades Arbe has been
manufacturing Industry trusted
machinery built to stand the
test of time. Products including
polishing units, casting equipment,
electroplating equipment, magnetic
polishers, lights…..and extensive
range of other products assisting in
the manufacturing process.
Arbe’s quality so renowned their
machines are manufactured for
other industry brands, if you can’t
beat them, join them.
Cartier
SAPPHIRE AND EMERALD – Rachel
Brosnahan, amfAR Gala 2021
3 Nestled amongst
Padparadscha
sapphires and white
diamonds, opulent
white opals meet
27 carats of Paraìba
tourmaline in this
18-carat white gold cuff
from the Chopard Red
Carpet Collection.
Sole distribution rights for Australia,
New Zealand and Pacific.
Chopard
PARAÌBA TOURMALINE – Carla Bruni,
Cannes Film Festival 2021
Contact us at sales@cjservice.com.au
or call Craig - 0408 882 978 or
Steve - 0408 864 640
CJSERVICE.COM.AU

Stars shine in colour | GEMSTONES IN THE SPOTLIGHT
Red Carpet ‘Gemstones in the Spotlight’ continued...
4 These show-stopping
teardrop earrings by US
designer Irene Neuwirth
feature stunning faceted
lapis lazuli and onyx set
in white gold, accented
with rose-cut white
diamonds and
diamond pavé.
Sylvia & Cie
Irene Neuwirth
JADE – Jennifer Lawrence, BAFTA
Awards 2018
LAPIS LAZULI – Anna Gunn, SAG Awards
2014
Tiffany & Co.
Lorraine Schwartz
Fernando Jorge
Jared Lehr
AQUAMARINE – Kim Kardashian, Tiffany
& Co. Event 2018
TURQUOISE – Sofìa Vergara, Golden
Globes 2014
JADE – Emilia Clarke, Emmy Awards 2018
PERIDOT – Nikki Reed, Elton John
Oscars Viewing Party 2019
4 Aquamarine is the star
of the show in this jewellery
suite by Chopard, mixing
chandelier earrings from the
High Jewellery Collection
with a cocktail ring from the
Temptations Collection. The
earrings feature 30.96 carats of
pear-shape aquamarines set
in blue titanium, while the ring
is set with a 5.11-carat pearshaped
aquamarine accented
with tanzanite, amethyst, and
diamonds.
Harry Winston
Chopard
SAPPHIRE – Helen Mirren, Academy
Awards 2018
AQUAMARINE AND TANZANITE – Emily
Blunt, Academy Awards 2018
72 | September 2021

The Blush Pink range is an epitome
of charm and opulence intertwined
together. Delicate and utterly
elegant, it features affordable styles
that retain an exquisite sense of
rare luxury.
Chopard
PARAÌBA TOURMALINE – Salma Hayek,
Golden Globes 2020
Bulgari
SAPPHIRE – Tina Fey, Academy
Awards 2016
5 From the Bulgari High
Jewellery Collection, this
Art Deco-inspired necklace
features nine cushion-cut
Sri Lankan sapphires paired
with 18 marquise diamonds,
round brilliant-cut diamonds,
trapezoidal and pavé diamonds,
set in platinum.
Chopard
EMERALD – Julianne Moore, Cannes Film
Festival 2019
David Webb
JADE – Naomie Harris, 'Rampage'
Premiere 2018
E pink@samsgroup.com.au W samsgroup.com.au P 02 9290 2199

BUSINESS
Strategy
What customers want next:
Decoding the clues
JEANNIE WALTERS offers strategies for businesses as they adapt for the future
retail environment – and rapidly shifting consumer behaviour.
Human behaviour is notoriously difficult
to predict; sophisticated modelling and
data analysis can help, but these are
typically based on past behaviour.
Past behaviour might be helpful for
predicting future success if all variables
remain the same, but what if the context
– or the entire environment – changes
over time?
In one study by analytics firm Concentric,
99 per cent of business leaders reported
doing some kind of forecasting, yet only
14 per cent stated they were “effective”
at doing so.
It’s the secret everyone knows – predicting
the future is hard.
Many organisations and businesses are
benefiting from machine learning and
artificial intelligence tools to isolate data
points that can help predict the next
actions of customers, as well as the
likelihood of desired outcomes.
But like any form of analysis, these
methodologies rely on good data – and
many businesses are still ‘playing catch
up’ on getting the inputs right.
So, what can a business leader do
to look ahead and predict future
customer behaviour?
Searching for clues
The first step in predicting customer
behaviour is a simple one – know your
customers and their goals.
Business owners and leaders are regularly
told to improve customer experience in
order to increase sales, but with little
instruction or information on how to do so.
There is no data, there is no defined
goal, and in some cases, there is no
shared understanding of what ‘customer
experience’ is!
Therefore, it’s important to start with
the foundations.
Firstly find out what you can about your
customers. If you have data, such as
purchasing history, use it; if you don’t,
collect whatever feedback you can from
social media and product reviews.
Next, consider your customers’ lives; don’t
get stuck in the ‘our customers only care
about our product’ fantasy!
Too often, I
see business
owners and
leaders struggle
with predictions
because
they create a
universe where
the customer
has one goal
– to use the
company’s
product
To look for clues about how customers may
behave in the future, it’s vital to understand
their present reality.
That means looking beyond basic
demographics or job titles to knowing how
they get their information, the needs their
community has, and other brands to which
they are loyal.
What about their stage of life? Are they
dealing with school schedules or planning
for retirement?
Keep in mind the life they’ve led most
recently; the pandemic created a different
daily routine for most people.
Observe broader trends
Almost without exception, most business
owners and leaders tell me their industry is
unique, but there are absolutely trends that
apply across almost every industry.
For example, a very significant customer
experience trend for the future, across the
market, is a focus on health and safety.
Business owners must look for the trends
and then plan around them.
74 | September 2021

Business Strategy
Don’t automatically ignore something
because it doesn’t immediately apply to
your industry – eventually, it might!
Another trend is people relocating from
cities to suburbs and regional areas during
the pandemic.
Remote working allowed for this flexibility
and people shifted their lives in order to
accommodate more space and desirable
outdoor living.
What does that mean for your business? It
could mean a lot in terms of store location,
delivery expectations, and even the product
selection on offer.
Too often, I see business owners and
leaders struggle with predictions
because they create a universe where
the customer has one goal – to use the
company’s product.
That’s not how people work, and the
more you can truly pay attention to their
overall environment, the more successful
you’ll be in finding and acting on those
customer clues.
Applying knowledge
Now that you have an idea of the current
consumer environment, what can you do
with these insights?
• Mapping the future customer’s journey
– Who is the customer in one year or
five? What are their needs and
expectations? How can you adapt your
customer journey accordingly?
Journey mapping is an exercise where
a diagram is used to illustrate how a
customer interacts with a business.
The journey starts when the customer
identifies a specific need and progresses
through to researching product options
to meet that need, visiting a bricks-andmortar
or online store, making their
purchase, using the product, seeking
customer service support from the
business, and repeating the purchase.
The way a customer discovers and
purchases from your business in the future
may be very different from how they do
so today; mapping allows you to identify
the areas where you should prioritise
development and investment.
• Fix the future ‘pain points’ – One of
the key elements of customer journey
mapping is identifying ‘pain points’ – the
negative experiences that prevent a
shopper from purchasing or
re-purchasing from a business.
These can include being unable to find the
correct size, an inability to find a suitable
product within budget, or waiting too long
for a response from a business’ customer
service staff.
Compare your current and future
customer journey maps – are there
any existing pain points that could worsen
with time?
For example, more customers are now
comfortable with using their mobile
phone to get information while they’re
shopping in-person, so a store’s slow
Wi-Fi connection could present a barrier
to purchase.
Consider how a customer will use
their device in-store and develop
the environment to support that
new behaviour.
• Invite employee feedback – Employees
have great ideas and often see customer
expectations changing in real time;
they need a way to communicate these
observations and ideas with management.
Customer support staff often hear about
frustrations caused by comparisons to the
competition, such as wait times.
For example, they may say things like,
“Even my car mechanic has a mobile
update system now – why do I have to call
and wait on hold?”
It is important for businesses to be
exposed to all types of feedback, yet
staff may be discouraged from reporting
negative observations.
Keeping your finger on the pulse of change
means looking ahead and getting the
support you need to act quickly.
Don’t ignore the future
Several years ago, IT firm Cisco released
a report about what healthcare providers
and consumers wanted from healthcare.
One of the findings that stood out was the
FINDING THE
ANSWERS
Dive into data
Collect and use
information
about your
customers to
understand not
just what, but
how and why
they buy
Consider the
whole picture
Research
broader market
trends and
use journeymapping
to
identify pain
points
Act decisively
Turn insights
into action and
make changes
before serious
problems occur
idea that virtual doctor visits – also known
as telehealth – were perfectly acceptable to
many consumers.
The study found that while consumers
still depend heavily on in-person medical
treatments, given a choice between virtual
access to care and human contact, three
quarters said access to care was more
important than physical contact with their
care provider.
Consumers surveyed in the study were
overwhelmingly comfortable with the use of
technology for the clinician interaction.
I read this study in 2013 and thought,
doesn’t this apply to everything?
Everyone is living more frenzied and
complicated lives than ever and while
technology gives us access to services,
it also keeps us tethered to jobs and
obligations like never before.
Therefore, convenience continues to be a
top-ranking driver for customer behaviour
and loyalty. Healthcare is no different, so
why not offer video doctor visits for care
that can be provided in that way?
Yet many healthcare providers ignored this
trend; just think of how many GPs were
still unprepared for the surge in telehealth
consultations in 2020, when the COVID-19
pandemic began!
They were scrambling to set up basic
video connections, and many still required
patients to call their office to schedule
those appointments.
Patients had been asking for that type
of service for nearly a decade, and they
missed or dismissed the clues.
It was – and is – simpler and less expensive
to simply keep doing what’s always been
done, until it isn’t.
Inertia is a powerful force, and it is all
too easy to just let things happen the way
they always have. Leaders look ahead and
consider the clues, then, most importantly,
they act.
JEANNIE WALTERS is founder and
CEO of Experience Investigators. Learn
more: experienceinvestigators.com
September 2021 | 75

BUSINESS
Selling
What is a store without sales?
A strong sales culture should be the first priority of retail business owners, yet many are
lacking this focus – or a plan for improvement, writes JOSH STRUTT.
The secret to a focused, motivated and
goal-orientated retail team is not found
on the sales floor – in fact, it starts in the
back room.
When assessing a retail store’s
performance, there is a tell-tale sign
within this room that reveals the true
focus of the business: clear, obvious sales
targets and sales performance indicators,
as well as customer service scores, are
nowhere to be seen.
Retail is a competitive business – yet
highlighting the performance of sales
staff seems to be an area of question to
some retailers and some do not even set
sales goals.
However, without a goal and clear
objectives, staff are not motivated to
achieve. It's like a sports team; without the
primary objective to win the game, what is
the point in playing in the first place?
‘Fit’ businesses put sales at the centre of
their operations; if senior managers are
not discussing sales in general and with
individual staff, it is unrealistic to think staff
will make sales their number-one priority.
Creating a sales culture
Below are a few key questions to determine
if a store has a ‘fit’ sales culture and
identify areas that could be improved.
As a business owner, do you:
• Have weekly and daily sales targets
displayed in the back room for all staff?
• Employ managers who are passionate
about increasing sales?
• Benchmark key performance indicators
such as items per sale, average spend and
conversion – and measure them?
• Hold daily start-up meetings to
motivate staff, introduce new products and
promotions and allocate targets?
• Measure sales performance by product
category to product against stock holding?
• Have an incentive program that rewards
sales achievements?
Set clear sales targets and ensure all staff work towards them.
• Have a sales education program that is
tailored to your business type?
• Have individual coaching sessions with
staff based on their performance?
• See team member’s individual sales
increasing with their experience and
training?
Hire to win
Another way to determine if you have a
strong sales culture is by asking managers
and staff to anonymously nominate their
top three goals for the business.
If they do not nominate increasing sales as
their number-one goal, it may be time to
introduce further training, conferences, or
new recruitment practices.
As the old adage goes, ‘Recruit the will,
teach the skill.’ Enthusiasm can be
fostered and encouraged, but if your new
staff member isn’t motivated from their
first day, will they be motivated in a year?
Clear, standardised recruitment guidelines
help to create a team that is focused on a
common goal.
It's also a good idea to examine your
business’ turnover rate and the reasons
staff left and when. There is almost always
a common trend, and it may come down to
inconsistent recruitment – that is, hiring
the wrong people.
‘Fit’ businesses
put sales at the
centre of their
operations; if
senior managers
are not
discussing sales
in general and
with individual
staff, it is
unrealistic to
think staff will
make sales their
number-one
priority
Additionally, more than 70 per cent of exit
surveys conducted by Retail Doctor Group
(RDG) showed that staff who initiated
leaving did so because they did not feel
engaged with the business.
Engaged employees feel a sense of
purpose, contribution and growth in a
business. RDG research tells us that
engaged, motivated staff deliver an
average 20 per cent higher sales and
margin improvement.
They are also more loyal, have lower
turnover and are more productive.
Education and engagement
Are your sales staff fully confident in
the product range, and the features and
benefits of the products they are selling?
If the answer is not a resounding yes,
more training – such as practicing sales
scenarios at a weekly team meeting and
educating staff on cross- or upselling
strategies – is essential.
Once you introduce new staff, ensure
they have a clear mentor or senior staff
member to guide them, rather than a
direct manager or boss. This ‘go-to person’
should induct the new staff member into
the business’ sales focus.
Match your new employee with someone
with whom they are comfortable asking
questions and expressing their concerns,
and who is able to communicate effectively.
Putting these practices in place not
only fosters a strong sales culture, but
also creates a positive atmosphere of
improvement and connection.
Without both, it is very difficult – if not
impossible – for a business to increase
sales and maintain those improvements.
JOSH STRUTT is Retail Doctor Group’s
strategy analyst. His background is in
maximising operational efficiency to
drive growth. Visit: retaildoctor.com.au
76 | September 2021

BUSINESS
Management
Is there ever a good way to deliver bad news?
From performance criticism to budget cuts, bad news is a part of business –
but there are ways to mitigate and manage the damage, writes BRI WILLIAMS.
In Australia, we have experienced
various degrees of lockdown across
the country over the past year, and our
political leaders have been grappling
with how best to share bad news.
The NSW government started with a
relatively light-touch approach that
has become more stringent the longer
lockdown has lasted. In Victoria, the
message and conditions were restrictive
from the get-go.
While I won’t go into the relative merits
of each lockdown, I do want to reflect on
the psychology of sharing and receiving
bad news.
Given every business owner or leader will
have to be the bearer of bad news at some
time or another, what does science tell us
about how to best approach it?
Forget the 'sandwich'
A popular approach to giving bad news,
particularly in performance reviews, is to
‘sandwich’ the negatives between more
positive information.
An example might be, “I really liked how
you ran that last project, but I think you
need to work harder on your presentation
skills. All-in-all, I think you are a great
team player.”
It’s a popular approach because it
makes the deliverer feel better about
giving criticism; it starts positive and
ends positive, thereby avoiding any
social awkwardness.
The problem is, most people are waiting
for the “but” – they miss any of the
good news you want them to hear. This
is largely due to negativity bias, which
means we are wired to pay attention to
the negative more than the positive.
You are also confusing the message and
diluting its importance.
Instead, try framing a performance
review discussion by saying, “Thanks for
meeting with me. Today I want to cover
two aspects of your performance, as I see
it. First, we’ll cover areas I’d like to see
Being the bearer of bad news is all about managing emotions.
some improvement, and second, we’ll
talk through where you are excelling.
Does that sound good?”
This approach still has enough of the
social niceties and it ends on a high, but
it deliberately demarcates the negatives
and positives.
Anchor expectations
There is a reason many of us seek to
under promise and over deliver – it’s a
form of expectation management.
Anchoring expectations low means you
can come back with good news later,
which is infinitely more pleasurable than
anchoring high and having to return with
bad news, which is a double whammy –
not only was your original estimate off,
but you failed to deliver as well!
However, anchoring low isn’t without
its problems. Firstly, if you do it all the
time to the same people, they will start
to second-guess your ability to estimate
accurately, and alter their expectations.
Secondly, if your anchor is unpalatable,
you may be dismissed outright. For
example, telling someone a repair will
take you two months to complete instead
of four weeks may mean they’ll choose
someone else.
Thirdly, people will plan around your
anchor, so if it’s too outlandish you might
end up annoying them with budgeting or
productivity gaps – put simply, delivering
Anchoring
expectations
low means you
can come back
with good news
later, which is
infinitely more
pleasurable than
anchoring high
and having to
return with bad
news – however,
anchoring low
isn't without its
problems
a project two weeks before you said you
would may not be good news!
This low anchor has been a challenge
with lockdowns, particularly in NSW.
Restrictions started in a light-touch,
advisory way before being progressively
strengthened. As a result, the more
stringent restrictions felt worse for
people psychologically.
In Victoria, tough restrictions, such as
a 5km boundary and a curfew, set a
high anchor point; that meant the news
improved as restrictions were relaxed
and more freedoms allowed.
Experience is not the problem
Psychologist, author and Nobel laureate
Daniel Kahneman has described a
psychological phenomenon called
the ‘peak-end rule’ – human beings
remember moments of peak emotion and
the end of an experience.
Applying this to bad news, the biggest
takeaway is to focus on how you make
people feel and how you leave them.
Think back to the performance review
example; the criticism you share will
likely be the most intense part of the
experience for the employee – the ‘peak’.
To manage their emotional response,
be direct and assured, but also
compassionate. Remember that you
can use positive framing for bad news –
something like, “This is where I see your
greatest opportunity for development” –
to signal your support for them.
The end is also important; leaving the
employee with clear examples of what
they are doing well means they will have
the confidence and reassurance from you
to continue to perform.
BRI WILLIAMS is founder of People
Patterns, a specialist consultancy
that applies behavioural science to
everyday business issues. Visit:
www.briwilliams.com
September 2021 | 77

BUSINESS
Marketing & PR
How to create a winning loyalty program
for your customers
Loyalty programs offer myriad benefits for businesses, explains SIMON DELL,
who advises the ins and outs of strategies to keep shoppers coming back for more.
There are few things more valuable to a
business than loyal customers, but how do
you attract those shoppers and keep them
coming back?
Naturally, delivering great service and
products is one way – but a loyalty program
is even better.
Offering loyalty benefits is a great way to
say 'thank you' to returning shoppers, as
well as attracting new ones – and there are
other benefits for businesses too.
Create a connection
Today, customers want to make an
emotional connection with brands, which
is why you may have noticed so many
businesses prioritising open and honest
communication with shoppers.
The business tells their story, in the hopes
that customers will identify with them and
support them accordingly.
Loyalty programs provide a platform for
that long-lasting connection; it is not just
about ‘freebies’, discounts and rewards,
but also communicating and connecting
with customers in a positive way.
Harness technology
Traditionally, a loyalty program may have
been confined to email communication, or
even ‘snail mail’!
Now, businesses can provide an omnichannel
experience for their customers.
When setting up a loyalty program, these
are some of the ever-expanding points
of interaction at which you can provide
benefits for, and communicate with,
customers:
• Apps – Send alerts, discounts, or offers
to customers through your business’ app;
alternatively, an app can simply offer a fun
and convenient way to interact
• Social media – Social media is now a
necessity for loyalty programs. It is not
only convenient, but also gives customers
a chance to share and promote your
business to like-minded shoppers
• Email – We all hate spam, but when your
Rewarding customers is more complex than it first appears.
customers are engaged enough to willingly
seek email offers and communication, take
the opportunity! Email is a great way to
announce sales, introduce new products,
educate customers, or offer exclusive
discounts
• Text messages – In advertising terms,
using text messages is a relatively new
phenomenon, but it’s very effective. Use
texts to let your loyal customers know
about special offers and limited time
opportunities, but be careful not to come
across like spam or a scam!
This omni-channel approach lets you show
customers they are valued and makes
them feel included. It also keeps your
business top-of-mind, allowing you to take
advantage of opportunities to secure a sale
at any time of the day.
Understand what customers want
Delivering value is one of the key
components of any loyalty program.
When creating your loyalty program,
research what your customers respond
to – whether it be exclusive sales, birthday
discounts, or earning points.
Either in-store or online, you can also
reward customers with a special gift at
the point of purchase. This shows genuine
appreciation and asks nothing of the
customer in return.
Loyalty
programs are of
course designed
to increase
customer
loyalty and keep
people shopping
with you, with
the end goal to
generate more
sales and profits
– but it should
never appear
that way
Disguise the ‘sell’
Loyalty programs are of course designed
to increase customer loyalty and keep
people shopping with you, with the end goal
to generate more sales and profits – but it
should never appear that way.
Building customer loyalty is about
making genuine connections and showing
appreciation for continued business.
You should absolutely offer special deals
and benefits to loyalty program customers,
but only if it delivers real value to them.
An example of this is tier-based loyalty
programs. This system can work well from
a psychological perspective, as customers
will want to maintain their current tier – or,
if they are just shy of the next tier, spend a
little more to reach that threshold.
However, the system can fail if reaching the
next tier does not deliver a tangible benefit.
Similarly, consumers respond better
to promotions that feel special and
personalised – for example, birthdaybased
rewards emails have a far higher
transaction rate and generate more
revenue than standard promotional emails,
according to research by Experian.
Create meaningful interactions
Encouraging a customer to be loyal to
your business is a long and ever-changing
process. All customers value different
things so don’t be afraid to interact openly
and honestly with them.
Ask what they want, give them a say in new
products or ideas, make your interactions
meaningful, and people will take a genuine
interest.
The rewards of a loyalty program are a
bonus and a way for you to thank them for
their contribution.
SIMON DELL is co-founder and CEO
of Cemoh, a Brisbane-based firm that
provides marketing staff on demand.
He specialises in digital marketing and
brand management. Visit: cemoh.com
78 | September 2021

BUSINESS
Logged On
The simplified guide to digital marketing
BETH WALKER presents a concise guide to the world of digital marketing for business
owners, from content marketing to SEO and social media.
When I tell people I work in digital
marketing, they often respond by saying
they don't want to sell their products or
services on social media.
This reaction is understandable.
These days, social media isn't always kind,
and the algorithms used to determine which
accounts and posts reach the most eyes
are unpredictable.
For this reason, I advise businesses to
think of social media as the icing on
the multi-layered cake of their digital
marketing strategy.
One definition of digital marketing is that
it is the strategy of using the internet to
market a business.
The goal of digital marketing should be to
create and optimise information that helps
a business’ ideal customers understand
everything about the business, which then
makes them more likely to trust – and
therefore purchase – from that business.
It is a broad concept, and includes content
marketing, search engine optimisation
(SEO), social media marketing, website
development and design, pay-per-click
(PPC) advertising, lead generation, lead
nurturing, and email marketing.
These elements can be grouped roughly
into two sections – content marketing and
website development.
Content marketing
Content is the most time-consuming and
often the most expensive part of a digital
marketing strategy but it is key to engaging
and exciting potential customers.
When a business provides valuable
information and keeps its online audience
informed about its activities, it adds value.
There is a lot of ‘noise’ on the internet and
content marketing helps you to distinguish
your business as a space where customers
won't have their time wasted.
As the business owner, you will know the
types of content your customers need.
Using keywords, you can create content
Digital marketing is a broad concept with many different elements.
about the most important topics for
your business.
When you develop a library of assets
that are well-written or produced,
authoritative, relevant, and attract your
audience's attention, you will quickly
become an authority in your field.
Content marketing assets include:
• Web page content
• Blog posts
• Emails
• Infographics
• Whitepapers
• E-books
• Videos
• Podcasts
• How-to guides
• Webinars
Content marketing also includes social
media, lead generation, lead nurturing,
and email marketing.
Website development
Your most important digital asset is
your website. It is vital to have a website
that presents a clear message and has
easy navigation.
User experience is something that can't
The goal
of digital
marketing
should be to
create and
optimise
information
that helps a
business’ ideal
customers
understand
everything
about the
business
be overlooked, so it is critical to seek a
visually appealing design.
It's also necessary that your site is fully
optimised for SEO, providing you with the
best opportunities to rank highly in relevant
Google searches.
Incorporate SEO best practices into your
website’s content, meta descriptions,
and titles, incorporating key terms your
customers – and potential customers – are
using to search for businesses like yours.
Finally, you'll need to connect your website
to Google Analytics and Search Console
– formerly known as Google Webmaster
Tools – so you can ensure your site is being
found on Google.
Measurable results
To ensure your digital marketing strategy is
successful, it's important to analyse each
element. This ensures your effort, time and
resouces are actually working to connect
you with your desired audience.
However, the prospect of managing a digital
marketing strategy may seem daunting, and
you may want to seek further assistance.
If you start searching for the terms and
strategies highlighted in this article, you
will find thousands of get-rich-quick
pitches, hundreds of websites with people
stating they are digital marketing experts,
and just as many videos and webinars.
Each will have a different way of doing
things. So, who do you trust?
If marketers are willing to teach you what
they know to help you get started, that is a
good sign. It is also a good idea to listen to
a company that can prove its methodology
with case studies.
If a business cannot transparently show
that its strategies work, why should you
waste your time?
BETH WALKER writes for US-based
SMA Marketing, which specialises
in digital marketing strategies for
businesses. Visit: smamarketing.net
September 2021 | 79

My Bench
Rick Southwick
Rick Southwick Bespoke Jewellery, Sydney NSW
Years in Trade 45 • Training Trained under Graham Whitehead in London and Rob Gardner in Sydney • First job Lambert & Freed, Sydney NSW, 1978
• Other Qualifications Blues guitar
SIGNATURE PIECE
‘THE ORB'
CUSTOM PIECE
There are three divergent design elements I have combined in
this ring. Firstly, and the core of the design is Victorian scroll
work; second, and less obvious, is a subtle Egyptian touch with
my interpretation of the god Anubis in the shoulders; and thirdly –
and even less obvious – is the Louis XV furniture leg. The reversed
leg features prominently in another of my signature styles.
4FAVOURITE GEMSTONE I do have a fondness
for green tourmalines, especially complemented
with diamonds as they bring the rich, earthy colour
to the fore.
4FAVOURITE METAL It has to be platinum,
which is a formidable metal but once understood
can be turned into sculptural works with sweeping
sharp edges and a clean, bright, natural
white colour.
4FAVOURITE TOOL Saw frame. I believe it to be
a jeweller’s most important instrument and once
mastered – I spent a full seven months training
on it in London – allows for greater technical and
creative depth.
4BEST NEW TOOL DISCOVERY The Osada
Micromotor Drill. You have total control over speed
variations, allowing delicate work that is difficult
to achieve with confidence on a standard flexible
shaft drill.
4BEST PART OF THE JOB Designing and creating
jewellery. Full stop.
4WORST PART OF THE JOB Creative block – it’s
like walking through a desert!
4BEST TIP FROM A JEWELLER I had two mentors
– Graham Whitehead in London and Rob Gardner
in Sydney – who both instilled in me that designing
and creating jewellery is a holistic experience.
When applicable, allow a design to evolve while
creating it. That freedom is liberating.
4BEST TIP TO A JEWELLER Find mentors who
have the skills you want to learn, even if that
means going halfway round the world and walking
door-to-door to find them!
4BIGGEST HEALTH CONCERN ON THE BENCH
Posture is a key to longevity. The bench is
an extension of the jeweller, so it should be
ergonomically set up for ease of use and fluidity.
4LOVE JEWELLERY BECAUSE It has given me
a career spanning the globe, learning Victorian
jewellery-making skills in London and the
intricacies of style and proportion in Sydney, and
has led me to tapping into my own ‘creative well’.
I couldn’t imagine doing anything else.
80 | September 2021

OPINION
Soapbox
Regulation is stifling Australia’s
artisanal gemstone miners
An avalanche of bureaucracy and rising costs are burying small-scale mining
businesses and crushing a vibrant industry’s potential, writes LILO STADLER.
Australia’s gemstone mining industry
– ranging from our unique opal to
parti-colour sapphire, chrysoprase and
emerald – is largely made up of smallscale
miners, many of which are either
sole traders or family businesses.
Sadly, their job is becoming more and more
difficult because of the government.
Both levels of government – state and
federal – treat small mining operations like
the ‘big boys’ of oil, gas and minerals; they
have the same expectations of them and
bury them under endless regulations.
It’s unfair and it’s wrong, as it has major
consequences not only for the miners
themselves but also for the rest of the
supply chain.
In the course of my business, I’ve
encountered many miners who have
developed an ‘us and them’ attitude; they
are hostile to and suspicious of any extra
paperwork or conditions the wholesaler
might legally require, thus making our job
more onerous too.
They are drowning in regulations already,
and I feel sorry for them because it’s an
awful position in which to be.
When it comes to the mining paperwork
itself, I’ve seen first-hand how difficult it
can be to understand and complete.
My son has a university education and is a
miner himself, and he is reluctant to give
help or advice to others because of the
complexities involved.
How are people supposed to deal with
government bodies who are making their
lives a misery, whilst paying through the
nose for the privilege?
The over-regulation is appalling and over
the past 20 years that has quadrupled;
the cost for miners to register a claim has
risen four or five times in 10 years.
That is extraordinary.
In NSW, the cost of a standard mineral
claim starts at more than $1,000, renewals
start at more than $350, and opal
prospecting licences are charged on top of
that – a minimum of $589.
For larger claims of two hectares, the fees
can be as high as $6,300.
As I said previously, many mining
operations – particularly those mining
for opals – are sole traders or family
businesses; this type of regulation is a
burden and it’s unnecessary.
You can spend hours simply trying to read
the paperwork, let alone fill it out.
The NSW Opal and Gemstone Mining Guide
alone is more than 230 pages long.
In Queensland, many are transitioning
from leases to a small miners claim
system. However there are still as many
as seven layers of costs, including rent,
Indigenous and landholder compensation,
council rates, environmental authority
fees, and camp and mining security bonds.
You may even need the Land Court involved
to have a mining claim approved.
How can the ordinary person with a small
claim, or a person who speaks English
as a second language, be expected to
handle that?
Even worse, the regulations change
state-to-state, so if you are operating in
more than one state you are expected to
abide by separate regulations, paperwork,
and fee structures.
The overregulation
is
appalling and
over the past 20
years that has
quadrupled; the
cost for miners
to register a
claim has risen
four or five
times in
10 years
Is it possible to solve this problem?
Unfortunately, as an industry, we have
very little say in the political process.
Broadly, there are very few industry
associations with the money or staff to
lobby politicians or promote these issues
through the media.
Large oil or gas mining companies have
teams of staff and separate budgets
dedicated to this type of thing, but
artisanal mining doesn’t have the same
resources. Even if you were to speak to
a politician about these problems, they
would get a glazed look in their eye!
Opal is our national gemstone and should
be treated as such, yet politicians seem to
disregard it – and the people who produce
it. When was the last time you saw an
Australian politician wearing an opal?
But they should care; our opals are a
reliable, high-value export commodity
and are much sought-after overseas,
with markets willing to pay a premium
for our product.
Ditto Australian sapphires which have also
become incredibly popular in recent years,
both with local consumers and overseas.
If politicians truly care about the industry
they should show a will to guarantee that
it thrives now and into the future.
That means ensuring artisanal gemstone
mining is considered a special category
and is, therefore, regulated separately and
appropriately.
Name: Lilo Stadler
Business: Bolda
Position: Director
Location: Noosa Heads, Queensland
Years in the industry: 45
82 | September 2021

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