sajn march 2016

Corporate Social Responsibility strategies for

jewellery industry come under spotlight

SOUTH AFRICAN JEWELLERY NEWS

The industry's only trade journal

MA

RC

H 2

016

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SIHH Geneva – first releases for 2016 from the high horology maisons

PPC Imaginarium Awards category

winners announced

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SA JEWELLERY NEWS – MARCH 2016

STRAP

13. AWARDSPPC Imaginarium Awards category winners announced

21. BRAND HISTORYA happy innovation

15. DIAMONDSAddressing the diamond industry’s global crisis: AWDC to focus on financial innovation

19. CORPORATE SOCIAL RESPONSIBILITYCorporate social responsibility strategies for jewellery industry come under the spotlight at VicenzaOro

16. INTERNATIONAL FAIRSIHH Geneva – first releases for 2016 from the Haute Horlogerie maisons

The views expressed in this publication are not necessarily those of the owners and the Diamond and Jewellery Federation of South Africa, its members, the publisher or its agents. While every effort has been made to ensure the accuracy of its contents, neither the owners and the Diamond and Jewellery Federation of South Africa, the editor nor the publisher can be held responsible for any omissions or errors; or for any misfortune, injury or damages which may arise therefrom. The same applies to all advertising. SA Jewellery News© 2016. All rights reserved. No part of this magazine may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or any information storage retrieval system, without prior written permission from the publishers. ISSN 1817-5333.

Official Journal of the Diamond and Jewellery Federation of South Africa. Website: www.jewellery.org.za

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The PPC Imaginarium Awards – SA’s biggest art and design competition – has jewellery

as an entry category. With R500 000 in prizes up for grabs, enter a creation that

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Visit http://www.ppcimaginarium.co.za/ for more information on this year’s competition.

On the cover

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Printing: Colors

Corporate Social Responsibility strategies for

jewellery industry come under spotlight

SOUTH AFRICAN JEWELLERY NEWS

The industry's only trade journal

MA

RC

H 2

016

R36,00 (incl VAT)

SIHH Geneva – first releases for 2016 from the high horology maisons

PPC Imaginarium Awards category

winners announced

CALL TO ENTRY FOR 2016/2017

c ntents

28. LITTLE GEMSInspired by a garden

23. BRAND MANAGEMENT• Breitling’s Avenger Bandit

• Refined chrono restores tradition

• A new trio for Baselworld

• On the international stage

• Reprising renowned sights of Paris

7. NEWS• De Beers CEO hints at sight changes, continued flexibility in 2016

• Seventh ADTF holds its own in cautious market

• French Jewellery at Hong Kong International Jewellery Show

• Diamantaires to receive additional options for identifying clients

• GIA débuts expanded lab and education facility in Botswana

• Polished diamond prices rise in January

4


WFDB PRAISES APPOINTMENT OF STEPHEN LUSSIER AS DPA CHAIRMAN

SEVENTH ADTF HOLDS ITS OWN IN CAUTIOUS MARKET

The World Federation of Diamond Bourses (WFDB) has congratulated

Stephen Lussier on his appointment as Chairman of the Diamond Pro-

ducers’ Association (DPA). “Stephen’s breadth of knowledge of the dia-

mond business is second to none and the DPA will reap the advantages

of having him guiding it,” says WFDB President Ernie Blom.

Lussier serves as the CEO of the De Beers diamond brand, Forever-

mark, is Executive Vice-President of the De Beers Group of Companies

and is also its Executive Vice-President: Marketing. He has worked for

De Beers for more than three decades.

“I’ve known Stephen for many years and his experience in driving

forward marketing programmes, most recently with the successful For-

evermark brand, will serve the DPA well,” says Blom. “With the support

of Sally Morrison as MD of Marketing, I believe the DPA is well set to

push forward creative generic marketing initiatives.

“The WFDB is ready to support the DPA. With more than 20 000

members at 30 affiliated bourses across the world I believe we can

work together successfully for the benefit of the entire diamond trade.

Generic marketing is absolutely critical to the continued success of the

diamond jewellery sector and I look forward to a co-operative relation-

ship with the DPA to achieve this aim.”

When the seventh edition of the Antwerp Diamond Trade Fair (ADTF)

opened its doors on Sunday, 31 January, expectations among par-

ticipating exhibitors were low-key, recognising the rather slow holiday

sales season reported by European retail jewellers and diamond dis-

tributors. Fortunately, by the time the three-day fair – jointly organised

by the Antwerp Diamond Bourse (Beurs voor Diamanthandel), the Dia-

mond Club of Antwerp (Diamantclub van Antwerpen) and Antwerp’s

Rough Diamond Bourse (Antwerpsche Diamantkring) and held in the

halls of the bourse and the club – drew to a close, the overall mood was

distinctly upbeat.

“We were here for all three days and spent a lot of time in the

halls, viewing many goods and conducting extensive negotiations

about the diamonds we’d selected. It wasn’t easy, but we did some

very serious business here,” said Albert M, a Middle Eastern diamond-

buyer. “Of course, Antwerp remains the No 1 source for diamonds.

If you don’t find what you’re looking for here, you won’t find it any-

where else either.”

The ADTF wasn’t about diamonds alone. Some of the exhibitors dis-

played an exclusive choice of precious coloured gemstones, including

emeralds, rubies and sapphires. “While we were only a few at this edi-

tion of the event, we had a lot to offer buyers on the high-end scale of

coloured gemstones,” said Oded Shapiro of the eponymous firm.

“Fairs are often less about sales and more about maintenance. With

lots of new buyers coming in and a loyal, ever-growing body of re-

tail jewellers and distributors coming back year after year, we’ve built

strong and lasting business relationships that produce sales throughout

the year,” said Organising Committee spokesman Michel Schonfeld.

“By meeting both new and existing clients and offering them good en-

tertainment and interesting educational seminars, we strengthen and

prolong our association with them.”

Close to 90 exhibitors at the ADTF offered visiting buyers a choice of

diamonds in all sizes, quantities, prices and qualities.

Suppliers of: Certified 0.30-5.00ct round and fancy cut diamonds, hand-calibrated

high quality smalls, extensive range of natural cognac/champagne in rounds from 0.005ct-4.00ct as well as fancy cuts, natural

and treated smalls in black, blue, pink, purple, yellow etc.

Delivery country-wide

CONTACT DETAILS:

Address: 402 East Wing, 27 Ridge Road,

Parktown, Johannesburg, 2193

Tel: (011) 484 3513/4 Fax: (011) 484 5562

Email: [email protected]/[email protected]

NEWS

DIAMANTAIRES TO RECEIVE ADDITIONAL OPTIONS FOR IDENTIFYING CLIENTSIn Belgium, not only banks, but also diamond

traders are required to identify potential

clients before proceeding to a trans-

action. In this regard, the country is

stricter than other European Mem-

ber States. To simplify the process,

the Antwerp World Diamond Centre

(AWDC) has entered into a co-opera-

tion agreement with Bureau Van Dijk,

which specialises in gathering infor-

mation with regard to company data

and shareholder structures.

“Diamond traders are requested

to implement a so-called client accept-

ance policy in which they investigate who the

potential client is, what risks are associated

with that client’s profile and the nature of

the business relationship,” says AWDC

spokeswoman Margaux Donckier.

“As a result of our collaboration with

Bureau Van Dijk, from now on Ant-

werp diamond traders can easily find

all the necessary information in the

database.”

In addition to identification

data, the database includes sanc-

tions lists, politically exposed

persons, media reports, Financial

Action Task Force high-risk countries, etc. It

also contains identification data from some

250 million firms worldwide, including compa-

ny information of diamond-related organisa-

tions in the most important trading hubs and

diamond-producing countries, such as Israel,

India, the USA, China and Botswana.

However, Donckier cautions that the da-

tabase should be considered an additional,

rather than a primary resource. “Diamantaires

still need to go through the traditional iden-

tification process, but can also look up the

client details in the database and conduct a

client risk analysis to supplement and verify

the information. In this way, we’re providing

diamond companies with an additional tool to

meet all legal requirements.”

GEMFIELDS’ 2Q EMERALD AND BERYL PRODUCTION UP 41%Gemfields reports that emerald and beryl

production from the Kagem mine in Zambia

surged 41% year-on-year to 8,2 million carats

in the second quarter, ending 31 December

2015. Ruby and corundum output from the

Montepuez deposit in Mozambique slumped

53% to 1,6 million carats.

Meanwhile, Fabergé sales orders rose 13%,

compared with the previous year, according to

a statement released on 16 February.

The coloured gemstone sector “appears

to have avoided many of the challenges being

faced within the diamond and wider resource

sector”, says Ian Harebottle, Gemfields’ CEO.

“Kagem delivered a 41% increase in pro-

duction volumes year-on-year, while costs

continue to be well maintained,” he adds.

“The second quarter of the 2016 financial year

has delivered positive results across Gemfields’

operations. This is an excellent achievement

and clearly demonstrates the positive impact

of our ongoing commitment to increased

efficiencies and improved mining methods.”

The miner says it maintains its 2016

production target of 25-30 million carats

for rough emeralds and 8 million for rough ru-

bies. – Rapaport

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SS PRINT FEB 16.pdf 1 2016/02/22 10:04:43 AM


SCHNITZER CONGRATULATED ON ELECTION AS IDI CHAIRMAN Ernie Blom, World Federation of Diamond Bourses (WFDB) President,

has congratulated Honorary WFDB President Shmuel Schnitzer on his

election as the new Chairman of the Israel Diamond Institute (IDI).

Blom says that during challenging times, it is critical for the global

industry to have experienced and well-known industry figures leading

its major organisations.

“I commend Shmuel not only on his election, but also on his will-

ingness to continue providing his vast knowledge and experience of

our industry for the benefit of the trade,” says Blom. “He’s only just

finished his fourth term overall as President of the Israel Diamond

Exchange and has also served as WFDB President. He’s now serving

as the Chairman of the WFDB’s Trade & Business Committee and his

knowledge of the issues is invaluable.

“It’s not always easy to find the time to serve the industry, but

Shmuel has the concept of public service built into him and has al-

ways been willing to help the Israeli and global diamond trade. I look

forward to being able to call on his assistance in the coming years.”

POLISHED DIAMOND PRICES RISE IN JANUARYAccording to figures released by the Rapaport Group, polished diamond

prices rose in January as shortages continue to support the market.

American demand is steady after a reasonably good holiday season,

while China’s wholesale market slowed as the focus shifted to retail for

the Chinese New Year Spring Festival.

The RapNet Diamond Index (RAPI) for 1ct, GIA-graded diamonds

rose 0,9% in January. RAPI for 0,30ct diamonds advanced 4,7% and

RAPI for 0,50ct diamonds grew 4,5%. RAPI for 3ct diamonds fell 0,5%.

RAPI for 1ct diamonds fell 4,4% from a year ago as manufacturers

sought to reduce excess inventory in 2015.

The Rapaport Monthly Report demonstrates that polished

prices rose in January due to shortages, rather than increasing

diamond demand. Polished trading was driven by American jewellers

replenishing stock sold during the holiday season, as well as some

inventory purchases. However, uncertainty remains as consumer

demand is sluggish in emerging markets. The stronger American

dollar is negatively impacting tourist spending in that country and

domestic dealer demand in India and China.

FRENCH JEWELLERY AT HONG KONG INTERNATIONAL JEWELLERY SHOW

Eight French jewellery brands will exhibit at the

next Hong Kong International Jewellery Show,

which is scheduled to take place at the Hong

Kong Convention & Exhibition Centre from 3-7

March 2016.

For the first time, a French pavilion will be set up at this show. It will

be located in Hall 3C, from booths F01-F11.

NEWS

HRD ANTWERP ORGANISES SPECIAL COURSE FOR ALROSA

VICENZAORO VISITORS UP 5% Total traffic at the VicenzaOro January trade

show rose 5% to more than 35 000 visitors as

international interest increased, according to

the event’s organisers.

The fair in Vicenza, Italy, which was held

from 22-27 January, saw 19 381 buyers turn

up, with 5% growth in the number of buyers

from outside Italy to 8 774 from 130 countries,

says Fiera di Vicenza. Italian operator numbers

increased 4,3% to 10 607, indicating a possible

recovery of the domestic market.

Products from 1 500 brands from 31 coun-

tries were on show across nine pavilions, cover-

ing 29 000 m².

“We’re particularly pleased with the results in

terms of visitor figures for this VicenzaOro,” says

Matteo Marzotto, President of Fiera di Vicenza.

There was “strong growth” in visitor num-

bers from the USA, but the number of buyers

from China and Hong Kong dropped, “confirm-

ing the slowdown in the Chinese economy”,

the company says.

The central theme of the fair was “The Gold-

en Voice”, which involved giving a voice to im-

portant stakeholders in the gold and jewellery

industries at workshops, seminars and meetings.

There was also a special focus on technology

used in the industry as part of the 39th T-GOLD,

an international show dedicated to machinery

and technology used in the gold and jewellery

industry. It was attended by 133 businesses, in-

cluding 111 Italian companies. – Rapaport

On 12 February the HRD Antwerp Education De-

partment organised a one-week special course

for Alrosa, one of the leading companies in the

diamond industry.

The course provided a broad understand-

ing of the various steps involved in transforming

a rough diamond into a polished one, starting

from the moment the stone leaves the mining

facility until it’s ready to be mounted into a jewel.

The course included hands-on training

whereby participants were provided with a Run

of Mine in order to sort out the different quali-

ties of small stones, eg sawables and makea-

bles, which then had to be divided into several

sub-categories.

Participants also received an introduction

to diamond grading by being taught the four

Cs (colour, cut, clarity and carat) and practis-

ing their skills using a diamond microscope and

loupe X10.

To complete the training, the Alrosa delega-

tion visited the Antwerpsche Diamantkring, one

of the four diamond bourses in the city, and a dia-

mond polishing factory. – www.hrdantwerp.com

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13SA JEWELLERY NEWS – MARCH 2016

AWARDS

The country’s richest art and design prize to support

emerging creatives, the PPC Imaginarium Awards, has

upped the ante by outstripping the inaugural round of

its own competition, which was launched in 2014.

PPC Imaginarium Awardscategory winners announced

The exhibition will be on show at the UJ Gallery at the University of Johannesburg in Auckland Park

from 3-28 March 2016 before moving to the Pretoria Arts Association from 1-12 April 2016.

THE 2015/16 PPC IMAGINARIUM AWARDS

not only garnered unprecedented attention

from entrants, with a record number of 698

registered, but there has also been a noticeably

marked improvement in the standard of the

submissions. What’s more, the number of

finalists for 2015/16 has more than doubled

that of the initial year of the competition.

A total of 47 regional finalists were selected

for 2015/16, compared with the previous

year’s tally of 21 finalists from 477 registered

entries. Finalists were chosen in each of the

six entry categories, namely: Film, Sculpture,

Industrial Design, Architecture, Jewellery

and Fashion. Submissions were judged by

a regional panel of industry heavyweights,

chosen for their notable achievements in their

respective sectors.

PPC Imaginarium Awards Director and well-

known architect Daniel van der Merwe curated

the regional judging panel, which toured the

country to evaluate the physical, digital and

film submissions in each region: Johannesburg,

Pretoria, Bloemfontein, Port Elizabeth, Durban

and Cape Town.

The regional judges included high-profile

industry personalities such as Aaron Kohn of

the Museum of African Design, artists

Stephen Hobbs and Wilma Cruise

and Cathy O’Clery of Platform Crea-

tive Agency. These judges were

tasked with identifying the final-

ists in each category, based on the

strength of their submissions.

Having evolved from the long-

standing PPC Young Concrete Sculp-

tor Awards, the PPC Imaginarium Awards

encourage artists and designers to create and

express their abilities using Portland cement-

based concrete as a primary base or mate-

rial. The emphasis is placed on innovation – a

criterion which has re-

sulted in dynamic and

progressive works that

truly push the limits of

cement and excite the

imagination.

Says Van der Merwe:

“We’re extremely thrilled

that the number of expres-

sions of interest increased from last year and the

standard of the entries is exceptional. We can

already see that the exhibition of the finalists’

work will be exciting and stimulating for the

public. All of this attests to the validity of the

PPC Imaginarium Awards and their relevance in

the South African art and design context as a

platform for promoting emerging talent.”

To celebrate the pieces and projects that

have been chosen as finalists, the PPC

Imaginarium Awards is mounting a

travelling exhibition, supported by

Stuttafords Van Lines, which will

move from Cape Town to Johan-

nesburg and then on to Pretoria in

the first half of 2016. In the

latter half of the year, the

exhibition will feature at the

Turbine Art Fair and at 100% Design South Af-

rica, both in Johannesburg.

The first leg of the travelling exhibition ran

from 4-26 February 2016 at the Youngblood

Arts & Culture Development in Cape Town,

with the opening night forming part of the

Mother City’s “First Thursdays” initiative. It

was the first time the finalists had been show-

cased publicly.

While the PPC Imaginarium Awards offer

the country’s richest cash prize ever for an

arts competition (over R500 000), they are

equally remarkable for their primary ambition

of providing a nurturing launch platform for

the finalists and winners – with the aim of

establishing them as leaders in their

field. The PPC Imaginarium Awards

cement PPC Ltd’s position as one

of the largest and most exciting

promoters and patrons of the

arts and design in SA, a com-

pany which has previously been

awarded for its innovation and

support of the arts.

Entries were open to South African

citizens, residency permit-holders and

foreign students with study permits – anyone

not yet professionally established in their field.

Entries by individuals, as well as team collabo-

rations, were allowed. Artists and designers

could enter multiple categories, with an origi-

nal artwork for each category.

Each category winner will receive R50 000,

while the runner–up walks away with R15 000.

Thereafter, each category winner stands a

further chance of receiving the overall grand

prize of R100 000. In addition to the mon-

etary incentives, category winners will receive

opportunities and mentorship from various

thought leaders in their respective industries.

The winners in each competition category

were judged by a national judging

panel convened on 1 February

2016 and the category winners

were announced at the open-

ing event on 4 February. This

year’s jewellery category

prize was awarded to

Mignon Daubermann.


DIAMONDS

vesting in the diamond

industry. Today we an-

nounce that this has re-

sulted in a concrete co-operation

agreement with two fintech com-

panies: Uphold and FX4BIZ.”

Uphold CEO Anthony Watson comments:

“With Uphold, the AWDC and its thousands of

trading partners can move, hold, transact, clear

and settle in any currency or form of value they

choose – securely, with real-time transparency

and traceability. By removing all forex spreads,

costs and settlement delays from AWDC’s

US$50 billion yearly diamond trade, Up-

hold will save AWDC trading

partners tens of millions

of dollars every year.

Uphold’s unique next-

generation platform al-

lows AWDC trading partners and

dealers to immediately transact, clear

and settle all trades in over 190 coun-

tries with zero waiting, delays or limita-

tions. In addition, we’ll be opening our third

European office here in Antwerp: staffed local-

ly (initially six hires), it will directly support the

AWDC and its trading partners on the ground

and globally.”

“As a Belgian payment service provider li-

censed by the National Bank of Belgium, we

feel honoured to have been selected to enter

into such a co-operation agreement,” says

FX4BIZ CFO Patrick Mollard. “We’re highly

motivated to work with the AWDC in building

a tailor-made and sustainable bank infrastruc-

ture for this industry. We’re convinced that the

key success factors in this project will be the

AWDC’s capacity to share its expertise and our

ability to comply with strict international regu-

latory constraints.”

A total of 60 diamond companies will be

able to sign up for these two pilot projects,

which will run for a full year. The AWDC will be

holding a seminar to explain the project to the

diamond companies.

THE WORLD’S DIAMOND TRADE IS CURRENTLY

under duress, with a global decline in sales

across the board. Antwerp saw its total trade

value decline from US$58,8 billion in 2014 to

US$48,3 billion in 2015. While this represents

a decline of nearly 18%, competitors such as

India and Israel endured much steeper declines.

In this context, the Antwerp World Diamond

Centre (AWDC) is turning to new technologies

to meet the industry’s alternative financial ser-

vices needs for international transactions. With

a commitment to innovative solutions for driv-

ing the industry forward, the AWDC is starting

a pilot programme with two so-called fintech

companies to offer international transactions

which are fast, transparent and instant.

AWDC CEO Ari Epstein explains: “The glob-

al diamond industry took a beating last year.

Thanks to our strong foundations and our abili-

ty to be agile and adopt new technologies, Ant-

werp has succeeded in safeguarding its world-

leading position with regard to both rough and

polished diamonds. Antwerp will consequently

emerge from this downturn in a position of

strength, poised for a profitable year ahead.”

Causes of the global downturn

As the diamond industry rises and falls on the

waves of the global economy, the economic

slowdown in the BRICS countries – particularly

China, the second-largest market for polished

Addressing the diamond

The diamond trade around the world is under duress.

Antwerp did not escape the year unscathed, but was the

best performer. This past year, US$48,3 billion worth of

diamonds were imported to and exported from that city.

diamonds after the USA – had a huge

impact on the diamond trade.

While the dramatic downturn in the

diamond industry resulted in a slight

decline in prices for rough diamonds

for the first time in decades, soft

prices for polished diamonds

made it increasingly difficult for

diamond traders to turn a profit.

As a result, the average profit

margins for wholesalers were 0,11-0,37%,

the same as in 2014.

Additionally, the banking and sovereign debt

crises led to drastic changes in the availability of

bank lending to businesses. This made it difficult

for many industries to obtain financing. Diaman-

taires had fewer resources available for purchas-

ing rough diamonds, which has an impact on

the global trade.

AWDC to begin pilot project

“The international terrain on which the Ant-

werp diamond industry does business means

that we, as the industry’s representative or-

ganisation, are always searching for new tech-

nologies and ways to distinguish ourselves

from our competitors,” says Epstein. “Last

autumn we organised a Diamond Equity In-

vestment Symposium, together with Morgan

Stanley, aimed at promoting transparency to

institutional investors who are considering in-

industry’s global crisis

16 SA JEWELLERY NEWS – MARCH 2016

INTERNATIONAL FAIR

Established in 1991, the 2016 Salon International de la

Haute Horlogerie (SIHH, or the “Geneva Salon”) was an

outstanding expo steeped in class and quality.

For non-tech attendees, there was glitz and

bling as well. Martin Foster attended it.

SIHH Geneva – first clude Cartier, Van Cleef &

Arpels, Piaget, Vacheron

Constantin, Jaeger-LeCoul-

tre, IWC Schaffhausen,

Greubel Forsey and Montblanc. Serious horo-

philes need deep pockets to venture into the

company of this elite cabal.

From the most simple to the most compli-

cated, the new in-house creations confirmed the

robust health of a centuries-old industry which

feeds on tradition, yet keeps up with the highest

technical requirements of exquisite time-

keeping. However, there are signs

of dark clouds gathering around

the event, which may presage

stormy times.

Symptomatic of the Swiss

watch industry, Richemont

watch brands saw a small de-

cline in sales of 4% in the past six

releases for 2016

(Above): From Greubel Forsey, this timepiece is the essence of refinement with its solid gold dial and lower tourbillon bridge, whose “barrelled and polished” surface requires extremely rare expertise. Each bridge is discreetly signed by the Movement Finisher who completed it. The price is available on request – but it’s guaranteed to reduce you to tears!

(Left): From Roger Dubuis in Geneva, the Blossom Velvet Pink and Blossom Velvet Blue are multi-petal expressions of sensuality, while three one-of-a-kind and even more elaborate interpretations – assembled as an exquisite set nestling in a superbly crafted, marquetry-worked box – comprise a dainty “trilogy bouquet”.

IN ADDITION TO THE 15

established exhibitors, the SIHH

also welcomed nine exclusive, in-

dependent watchmakers and créa-

teurs inside the “Carré des Horlogers”. For

five days, from 18 January, fine watchmaking

offered a show of creativity brought into being

by exceptional expertise. Ever more complex

tourbillons, chronographs, dive watches, extra-

thin designs and sumptuously decorated time-

pieces took technical mastery, craftsmanship

and sheer bling to dizzy heights.

The SIHH is primarily a Richemont Group

luxuries event and its illustrious exhibitors in-


INTERNATIONAL FAIR

The SIHH is primarily a Richemont Group luxury event and its illustrious exhibitors include Cartier, Van Cleef &

Arpels, Piaget, Vacheron Constantin, Jaeger-LeCoultre, IWC Schaffhausen,

Greubel Forsey and Montblanc.

months, although the rest of the

company performed very strongly

in difficult market conditions, with

overall operating profit up 6%. De-

spite an overall solid performance,

investors gave the company’s share price a

haircut of 25% over the past three months.

The Federation of the Swiss Watch Indus-

try has just released figures which reflect our

unsettled times. The industry recorded its

first downturn since 2009 – the total value of

watch exports was 21,5 billion francs, a de-

cline of 3,3% compared with 2014.

The situation regarding all Swiss

watch exports deteriorated steadily

during 2015, falling from +3,2% in

the first quarter to -7,3% in the fourth

quarter. The second quarter fell well short

of its 2014 level (-6,8%), while the first half-

year as a whole remained slightly positive

(+0,5%). Yet, notwithstanding these figures,

the industry’s still a far more dependable

investment than oil, coal or iron ore.

From these darkening economic clouds

emerged a thunderbolt last year when in mid-

January, the Swiss National Bank thumped the

(Above left): Urwerk’s UR-106 “Lotus” features the brand’s signature satellite hours in a guise not seen before. Three satel-lite hours wander across the dial to create the most graphic of horological blooms. “We’ve taken particular care over the small-est details of this UR-106. It’s taken us 18 years to perfect the concept, so we’re making no concessions,” explains Martin Frei, the company’s Chief Designer and co-founder.

(Above right): From Hautlence comes a new, luxurious edition in 18ct red gold. Unveiled in July 2015, the Vortex is housed in a three-dimensional case that offers a glimpse of its movement from all sides. The timepiece’s avant-garde, dynamic design changes every hour, as the cage of the regulating organ rotates 60° every 60 minutes, thus turning the Vortex into a mesmerising, mechanical piece of art.

(Above): At the 2016 SIHH, the authorities of the Republic and Canton of Geneva, the President of the Fondation de la Haute Horlogerie, which organises the event and the Federation of the Swiss Watch Industry mingled with CEOs of the representative industrial bodies and the exhibitor maisons.

markets by scrapping its three-year-old peg

of 1,20 Swiss francs/euros. Within a few cha-

otic minutes of the central bank’s announce-

ment, the Swiss franc soared by 30% against

the euro, finally settling at about a 12% revalu-

ation against major currencies. Notwithstand-

ing the notoriously jittery nerves of Richemont

shareholders, the tough psychometric mind-

set of the Swiss watch industry will see the

brand through.

The exclusive Geneva Salon is the first fix-

ture on the annual watch fair calendar. The

products, the people, the traditional industrial

culture and – above all – the production of

beautiful things made this invitation-only event

a very special one.

Reserved for retailers, distributors and the

media, the next one will be held from 16-20

January 2017 at the Geneva Palexpo.

Contact: Aroon BhooraTel: +27 31 301 3963 • Fax: +27 86 528 6516 • Cell: +27 83 777 6657

E-mail: [email protected] • Website: www.piyuvejewellers.co.za


CORPORATE SOCIAL RESPONSIBILITY

Corporate social responsibility (CSI) strategies in the

gemstone and jewellery sectors came under focus at a

well-attended seminar conducted during the VicenzaOro

January trade show in Vicenza, Italy, on 24 January.

jewellery industry

THE SEMINAR AT

this year’s Vicen-

zaOro on CSR was

part of CIBJO’s and

Fiera di Vicenza’s joint programme to

promote CSR education in the jewellery

sector and was also supported by Gem-

fields PLC, the world’s largest coloured

gemstone mining company.

The basic premise of the seminar was that,

in the current business environment, CSR is no

longer is an optional practice: it has become a

required component of every organisation in

the industry, which must be able to describe

its approach and, if possible, quantify it. There

was a special focus on the coloured gemstone

sector, with three of the speakers associated

with that industry.

The panel of speakers at the seminar in-

cluded Dr Gaetano Cavalieri, President of

CIBJO, who spoke of CSR as an essential busi-

ness strategy in the jewellery sector; Corrado

Facco, MD of Fiera di Vicenza and President

of CIBJO’s International Trade Fair Commis-

sion, who provided a concise introduction to

CSR in the jewellery sector and Eduardo Esc-

obedo, Executive Director of the Responsible

Ecosystems Sourcing Platform, who discussed

sustainability and responsible environmental

strategies in the coloured gemstone sector.

Ian Harebottle, CEO of Gemfields PLC, also

spoke and presented his company as a case

study for implementing CSR principles in the

coloured gemstone sector, while Dr Donald

Feaver, Chief Technical Officer of Branded

Trust Assurance Systems, outlined supply chain

and CSR compliance strategies. Paolo Cesari,

President of Assogemme, the Italian Associa-

tion of Precious Gemstones & Related Mate-

rial, described his organisation’s programme

to create a supply chain compliance system for

the Italian coloured gemstone sector.

The moderator of the seminar was Steven

Benson, CIBJO’s Director of Communications.

“To present your company as a firm with a

social conscience not only presents it in a posi-

tive light, but also communicates to consumers

that when they buy jewellery, they’re making

a positive contribution to society,” said Facco.

“In the modern business environment, it isn’t

enough to just talk about behaving correctly –

you have to be seen doing so.

“Through CSR, we can safeguard the long-

term health of our industry,” said Cavalieri. “By

showing our commitment to our stakeholders

and demonstrating that they, too, will be

provided with fair and equitable opportunities

to benefit from the jewellery enterprise, they’ll

be incentivised to invest and reinvest in their

future and that of the entire industry.”

CIBJO is the international jewellery confed-

The basic premise of the seminar was that, in the current business environment, CSR is no longer an optional practice – it has become a required component of every organisation in the industry, which must be able to describe its approach and, if possible, quantify it.

CSR strategies for the

eration of national trade organisations. Its pur-

pose is to encourage harmonisation, promote

international co-operation in the jewellery in-

dustry and consider issues which concern the

trade worldwide. CIBJO’s chief mission is to

protect consumer confidence in the industry.

(Above): Members of the speakers' panel during the CSR seminar in Vicenza (from left): Paolo Cesari, President of Assogemme, Dr Donald Feaver, Chief Technical Officer of Branded Trust Assurance Systems, Ian Harebottle, CEO of Gemfields PLC, Eduardo Escobedo, Executive Director of the Responsible Ecosystems Sourcing Platform and Dr Gaetano Cavalieri, President of CIBJO.


BRAND HISTORY

A happy innovation

CHOPARD LUXURY TIMEPIECES ARE KNOWN

for their innovative use of diamonds on the

dial of a watch. This features mobile diamonds

which float freely between two sapphire crys-

tals. The novelty, aptly named Happy Dia-

monds, was first introduced in 1976 and it

has become an integral and identify-

ing speciality of the brand’s collec-

tion, of which the hallmarks are

quality and creativity.

The founder of the brand

in 1836 was Swiss watchmaker

Louis Ulysses Chopard. He was

24 years old when he established

the LUC Manufacturing Company

in the small village of Sonvilier.

From the outset, it was a high-

precision manufacture which spe-

cialised in producing watches and

chronometers and he led the com-

pany until 1915. It still bears his name.

There were, however, towns better known

than Sonvilier and this prompted his son, André

– who took over the reins in 1921 – to move to

the well-established watch centre of La Chaux-

de-Fonds to be part of the fast-growing watch

market of the time. In 1987 he relocated to

Geneva, which had become the prime area for

upmarket, quality timepieces. The company’s

labour force numbered 150 at that time.

Ownership of the company changed with

its sale in 1963 after Louis Ulysses’ young

grandson, Paul-André Chopard, chose to

follow an alternative career. Karl Scheufele

III, a young goldsmith, became head of the

company that year and it was he who added a

jewellery segment to the watchmaking facility,

but retained the brand name. He quickly gained

experience in watchmaking and contributed to

the modernisation of the company.

The creation in 1976 of the first Happy Dia-

monds watch design, which was audacious and

playful, marked a new direction for the brand.

Within four years, under Scheufele’s leader-

ship, the theme was extended to include the

jewellery sector. It was then extended still fur-

ther to a range of sports watches and Chopard

boutiques were opened in Hong Kong

and Vienna.

In 1985, Karl-Friedrich and Caroline

Scheufele were appointed Vice-pres-

idents of the Chopard Group. Today

they are its Co-presidents. Caroline’s

passion for drawing jewellery, even

at a young age, prompted her

to sketch a clown with hinged

legs and a tummy full of dia-

monds and coloured stones. This

became an icon of the brand and

propelled the company into its

first high-end jewellery line of

Happy Diamonds.

A further development was

the sponsorship by the brand

of the legendary Italian classic car

rally, Mille Miglia, of which Chopard

became a partner in 1988. This resulted

in the brand’s tradition of developing a

special-edition timepiece every year and the

Happy Diamonds Sport appeared in 1993.

The production of the mechanical LUC move-

ments was moved to the Swiss Jura town of

Fleurier, marking a return to the brand’s roots.

Chopard’s affiliation with the Cannes Film

Festival began in 1998 with negotiations be-

tween Caroline Scheufele and the President of

the festival. It culminated in the brand becom-

ing the official partner of the event. In con-

The Cannes Film Festival is an annual highlight in the world of entertainment and watch and jewellery manufacturer Chopard became its official partner in 1998. The award of the Palme d’Or (Golden Palm) is a major event. Its trophy was redesigned in 1978 and is presented annually by Caroline Scheufele, who’s better known in the world of watches and jewellery as Co-Director of the Chopard brand. There’s a unique relationship between the Scheufele family and acting.

junction with a team of specialised craftsmen,

Caroline redesigned the Palme d’Or, which was

then created in the company’s workshop. Each

year new designs are created to celebrate mov-

ies, jewellery sets for the “mounting the steps”

ritual, parties to honour films and a trophy for

youthful talent, plus the Palme d’Or itself.

Pursuing the brand’s association with the

film world, the Chopard Trophy is a new award

by a jury of professionals to promote creativity in

films and honour two young actors judged as

male and female “Revelations of the Year”.

Yet another promotion was the rally

of sports cars dating from 1926-1978, at

which Chopard presented the Grand Prix

de Monaco Historique. This was first

organised in 1997 to commemorate

the 700th anniversary of the Gri-

maldi dynasty. Originally planned

as a one-off event, the enthusiasm

generated by the gathering of leg-

endary cars led the prestigious Au-

tomobile Club de Monaco to hold the

race every two years. In 2002 Chopard

became the official partner and time-

keeper of the event and it inspired

the development of a series of classic

sports watches. The brand also be-

came associated with Porsche in the

Le Mans 2014 race and presented its

version of the related Superfast Chrono in a

limited edition of 919 pieces.

Chopard has supported a number of chari-

ties, including the Prince of Wales’ Charitable

Foundation, by donating pieces to them.

Caroline Scheufele’s sketch of a clown became an icon of the Chopard brand and resulted in its first high-end jewellery line of Happy Diamonds.

CONTACT DETAILS Tel: 011 964 8119 | Email: [email protected] | Website: www.worldofdiamonds.co.za

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BRAND MANAGEMENT

Impresario LadyFirst introduced in 1998, the elegantly crafted

Concord Impresario proudly makes a comeback

to the forefront of the watchmaking scene. Its

sophisticated allure is a free-spirited blend of

tradition and modernity interpreted in two de-

signs, one for men and another for women.

Released from the constraints of pure clas-

sicism, the feminine version provides its own

definition of elegance and gives a pleasing

twist to its refined lines, with a vibrant con-

trast between stainless steel, pink gold and

shimmering white mother-of-pearl.

The diamond embellishment on the dial

pays a shining tribute to the design’s aesthetic

harmony. This new model also features sev-

eral of the Impresario’s original iconic design

details, including finely fluted case sides and

slender pink gold-plated hour-markers. An au-

thentic manifesto of elegance, the Impresario

Lady is above all a style statement, a watch to

be experienced and worn by day or night.

Luxury with a French touchOn show at Baselworld are new mod-

els such as Trocadero, which comes in a

leather version with different dials, with

or without jewelling. The Royal Titane

Fantôme features an all-black case,

dial and hands. It is a very trendy

style equipped with the Calibre

Royale in a limited edition. It

has dual direction, automatic

winding and a large date and

day, with no amplitude loss upon

aviation. Its unique system offers ex-

ceptional reliability, accuracy-integrated

complications and an 88-hour power re-

serve. The small seconds are at 4 o’clock,

while the bridges and main plate are cir-

cular-grained and snailed with Côtes de

Genève and a sunray oscillating-weight

gilt lys logo.

The Royale 300 has a uni-direction-

al, rubber-moulded Vulcamix bezel

and Luminova features complement

the minute scale, which is used to

calculate decompression time.

A quarter-turn crown features

the fleur-de-lys logo, which

allows for ease of use under

pressurised conditions. The

Calibre Royale movement is of

Pequignet manufacture and has

dual-direction automatic wind-

ing, an 88-hour power reserve and

is water-resistant to 300 m. The case

is 43 mm in diameter, polished and sat-

in-finished, enhanced by the coloured

bezel. This timepiece is available in or-

ange, blue or black.

French brand Pequignet is a luxury

product with a 40-year history. Located

in the town of Morteau in the Jura

Mountains, traditionally the heart

of watchmaking, the brand was

founded by Frenchman Emile

Pequignet in 1973. Each watch

bears his initials.

Taking over in 2004 from

Pequignet was Dieter Lebund-

gut, who set about making the

brand a Haute Horlogerie manu-

facture. Two years later he opened an

in-house laboratory equipped with the

latest technology, supported by talented

engineers. Within five years the brand

had installed its Manufacture work-

shops which introduced its innovative

mechanical movement, its emblem the

fleur-de-lys.

A luxury brand traditionally has

a distinctive icon, but Pequignet

believes it has two. The Calibre

Royale, a grandes complication

movement, is the real flagship

with a strongly defined iden-

tity. It required 279 technical

drawings, 379 components

and 150 tools to create its

performance. A younger and

more accessible collection is the

legendary range Moorea, with a

link bracelet which typifies the French

touch. Inspired by Pequignet’s passion

for his champion eponymous horse,

it has a steel grain-shaped link hinged

with the bracelet.

Refined chrono restores traditionLongines’ column-wheel single push-piece

chronograph is a re-issue of one of its period

pieces. It revives an early 20th-century classic

and is part of the brand’s Heritage line, from

what might be regarded as its “heyday”.

First made in 1936 using a calibre which was

available in many variations, it was considered

as defining what a high-end chronograph

should be and correct to the period. It has a

wide tachymeter scale to the leaf hands, the

slender Bauhaus-style face evoking the ’30s

and ’40s and exuding a luxurious aesthetic.

Yet it is also a watch with a modern automatic

column wheel and a mono-pusher/crown

measuring 6,5 x 5,5 mm, has sapphire crystals

and is set on a genuine alligator-skin strap.

The dial is black, the 49 mm robust

polished steel case based on the heavier

modern look, the thickness 14 mm,

simple and elegant sub-dials at 3, 6

and 9 o’clock and a date window

creating a balanced look.

Minutes and seconds have

small numerals, and one-fifth

seconds for the chronograph.

The watch is water-resistant to

30 m and has a sporty profile.

The design itself is fairly modest.

The middle case is a cylinder with slab

sides, the bezel tin. The lugs are very

angular – a unique look – with various

bevels and flat surfaces. At 3 o’clock is

the single mono-pusher and at

10 o’clock a sunken pusher for

changing the date which removes

this function from the crown. By

flipping the watch, the case-back is

revealed, which is decorated with

Côtes de Genève and shows off

the decorated movement and

the big blue column wheel, as

well as the brand logo.

The whole effect is simple and

classic, with a subtle military touch,

enhanced by graining and slight

shifts in dial height and surface

texture. There is also a white version

on which the sub-dials are silver.

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BRAND MANAGEMENT

On the international stageFrench company Pierre Lannier has had over

30 years of experience in exporting its watch

brand and has participated in trade shows at

Baselworld Tokyo and Hong Kong. It is a fam-

ily-run company founded in 1977 by Beatrice

and Jean-Paul Burgun, who were succeeded

by their son, Pierre, in 2004.

The brand’s best-seller for a number of

years has been the chronograph and it special-

ises in automatic watches.

Styles which will be on show at Baselworld

include Ceramic Elegance, a women’s

collection in rose gold with a pearly

face and a stainless steel bezel.

Set on a ceramic and stainless

steel bracelet, it is also available in

gold and is water-resistant to 30 m.

Another model with a white pearly

face has a rhinestone bezel, stainless steel

casing and is set on a crocodile-effect leather

strap. It is also available with a black strap and

is water-resistant to 50 m.

In the gents’ collection, key

styles from the brand’s best-selling

chronograph range with new,

sophisticated details are avail-

able in an elegant chronograph,

its case of stainless steel with

an indigo and rose gold face on a

stainless steel bezel. Water-resistant

to 50 m, it is set on a blue crocodile-

effect strap and is also available with

a black face.

A new trio for BaselworldThree new releases from French brand Michel

Herbelin will be on show at the upcoming

Baselworld 2016.

The classic Newport line has a new model

– the Newport Yacht Club Squelette. It has a

charcoal grey PVD-coated bezel to its stainless

steel case and silver internal bezels with indexes.

The silvered internal bezel dial has indexes vis-

ible through the sapphire crystal and the Swiss

movement is water-resistant to 100 m. The

watch is mounted on a charcoal-grey Louisiana

alligator-stamped full-grained calfskin strap.

The Odyssée automatic has a case of brushed

stainless steel and a sapphire glass. The dial is

black with luminescent indexes, the wristband

in stainless steel, polished and brushed, with a

folding clasp. Its Swiss automatic movement is

water-resistant to 100 m.

A more feminine model is the Scandinave,

which is available in a choice of stainless steel

or PVD-coated rose gold-plated steel. The silver-

toned dial has a slightly vertical satin finish, its

hands sword-shaped. The bracelet is in either

matching stainless steel or PVD-coated rose

gold-plated steel. The Swiss movement is water-

resistant to 30 m.

Lightness, safety and precision are crucial at-

tributes in the world of naval aviation. The

Avenger Bandit is a COSC-certified chrono-

graph that lives in step with the take-offs

and landings on the decks of aircraft carriers.

These “ocean fortresses” govern the demand-

ing features that Breitling has incorporated

into the Avenger Bandit.

Its 45 mm case is lightened by the use of

satin-brushed titanium, a favourite metal in

the aeronautical industry. The graduated ro-

tating bezel is topped by engraved stencil-type

numerals and distinguished by its four rider

tabs, a classic signature feature on Breitling

watches serving to memorise times.

The non-slip grip of the screw-lock crown

and chronograph pushers guarantees optimal

handling. The strap is made of rubber topped

Reprising renowned sights of ParisNothing typifies Paris more than the

Eiffel Tower and its Opera House, so

it is not surprising that French watch

brand Saint Honoré has named two

of its newest models after these well-

known tourist attractions.

Tour Eiffel Lady is a limited edi-

tion of 500 among the brand’s

1 885 pieces of the range. It has a

certificate of authenticity signed by

the Eiffel Tower Committee. Set in a 38

mm steel collector’s case (or alternative-

ly in rose gold, plated to 18ct), its bezel

is carved from a piece of the famous

tower, decorated with a “crois-

sillon” lattice design. There

is a choice of a white dial

or “Éclat Effect”. The

silver open dial echoes

the architecture of the famous tower. It

has an automatic movement and a per-

sonalised oscillating weight and crown,

as well as a sapphire glass and is water-

resistant to 30 m. There is a choice of

a white or brown crocodile-design

leather strap with an Eiffel Tower

pin buckle.

Opera Sailor is in a case of stain-

less steel or rose gold PVD in two sizes

– 33 or 37 mm – protected by a sapphire

crystal. The dial is white mother-of-pearl

set with six diamonds totalling 0,02ct.

Its quartz movement has a date display at

4 o’clock. Seven interchangeable

straps in violet, pink, blue,

white, orange, brown

and black all have

white over-stitching.

Breitling’s Avenger Banditby a supple, sturdy and light, high-tech textile

fibre exterior. These technical attributes make

the Avenger Bandit an authentic instrument

for professionals tackling daunting feats and

the most extreme missions.


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MARKETPLACE

JEWELS, PARTICULARLY THOSE OF THE AN-

tique variety, reflect the history of their era. Dur-

ing the reign of Queen Victoria, various styles of

jewellery were popular: early Victorian (roman-

tic), mid-Victorian (mourning jewellery, follow-

ing the death of her consort, Prince Albert) and

the more delicate designs of the late Victorian

era, such as cameos or pieces inspired by the

ancient Assyrian, Greek, Etruscan, Roman, Egyp-

tian, Gothic and Renaissance periods.

Perhaps the garland (or Edwardian) style,

which followed during the reign of Victoria’s

son and successor, Edward VIII, was a reaction

to these former designs. Even as the Prince

of Wales, he was an infamous playboy and

hedonist who surrounded himself with fast-

moving plutocrats for whom jewellery was an

important part of their lifestyle. During one visit

to Paris (and no doubt to Cartier’s Rue de la

Paix), he named Louis Cartier “King of Jewellers,

Jeweller to Kings”. After his coronation, he

continued his opulent, pleasure-loving lifestyle.

As its name implies, the garland style,

initiated by the third generation of the Cartier

family, was inspired by floral themes. Jewels

were designed to move and sway with the light,

flowing garments of gossamer-delicate pastel

fabrics and earrings were an iconic element of

the period. Fragile openwork and articulated

modules were typical features. The changing

necklines in women’s fashions towards the end

of the decade left no room for large pins and

brooches, placing increased importance on

necklaces. Larger pendants were often circular,

with garland and geometrical motifs, and small

brooches were worn in large numbers.

The importance of the dog collar had its

origins in a small scar on Queen Alexandra’s

neck, which was probably the result of an op-

eration during her childhood. She preferred

to hide it by wearing these choker necklaces,

28

A jewellery design of the early 20th century was the historic garland style. As its name implies, it typically featured garlands of flowers which were tied with ribbons and bows. It was flaunted by the nouveau riche and popularised by Danish-born Princess Alexandra of Wales, who became the Queen Consort of King Edward VII. Alice Weil reviews the history of the movement and the French jeweller who spearheaded it.


LITTLE GEMS

Inspired by a garden

which society ladies were quick to copy. Her ef-

fect on fashion was profound and the style she

set lasted for over 50 years. These tight-fitting

necklaces took the form of elaborate, pierced

platinum gossamer designs mounted on sim-

ple black velvet or moiré ribbon, with a buckle,

flowers and other designs at their centre.

Tiaras were essential for

the well-to-do and the use

of platinum enabled them to

be large and ornate, without

being heavy. They were set

off on an upswept hairstyle

known as the “Edwardian”

which, oddly enough,

returned to favour during the

1940s. The pervasive garland

style gave rise to these

headdresses with festoons

and loops suspended in

pendulous motifs. They led

to a bandeau worn across

the forehead, daintily set

with diamonds and secured

by a ribbon at the back of the

head. A design with a Greek

motif was popular. Some

tiaras had feathers attached

to them, replacing the 19th-century fashion of

wearing brooches as hair ornaments.

The bow and garland motifs were used in

rings with large centres, encircled by calibrated,

coloured cut gemstones or small diamonds. A

leading trend was rings stacked on each finger,

while larger, more substantial designs featured

an elongated outline pierced and pavéd with

myriads of diamonds and coloured stones,

adorning the fingers from palm to knuckle.

The narrower, feminine silhouette saw

buckles and slides employed to encircle the

waistline. The buckles could double as diadems

by the addition of a ribbon to

secure them around the head.

Combinations of jewellery were

worn together, as opposed to the

Victorian perjures (sets of four or five matching

items) worn together, despite being of different

designs. Since it was impossible to sew heavy

jewellery elements onto the gossamer fabrics,

as had been done previously, the use of

platinum and diamond jewellery allowed an

easy mix-and-match to accessorise garments,

whether for day- or eveningwear.

Earrings of the period developed from sim-

ple diamond studs at the beginning of the cen-

tury. These were soon eclipsed by fragile open-

work designs which co-ordinated better with

the fashions of the period; the garland style

featured long, glittering miniature wreaths and

articulated centre stones which swung from

the ear lobes. Fragile, gossamer-like creations

with delicate dangles were all suspended from

decorated ear hooks. The Edwardian elements

were present, including platinum openwork, di-

amonds and mille-graining, and were made to

sway with the flowing garments. They were an

iconic element of the period.

Bracelets, of which fewer

were worn than in Victorian

times, turned to delicate, ta-

pered designs with repeated

motifs, elongated forms or

links. The front section con-

tained beautiful gem-set

designs and were completed

by expanding and contract-

ing plain links that circled

the underside of the wrist –

a feature which made them

less expensive.

The “new” designs of the

Edwardian age had their roots

planted firmly in the 18th

century and were inspired by

the court of Versailles; these

were for customers who

desired aristocratically styled

jewellery. As a prime jeweller of the Edwardian

style, Louis Cartier encouraged his designers to

wander the streets of Paris observing 17th- and

18th-century architecture for inspiration.

The demise of King Edward in 1910 saw his

son and heir ascend the throne as George V.

He soon had weightier matters to preoccupy

him, with the onset of World War I in 1914. And

Louis Cartier found further inspiration for the

wristwatch, which was gaining popularity, from

his view of an American tank. That, in turn, led

to an enduring iconic timepiece of the House of

Cartier – the Tank watch.

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• Keyframe Animation • Advanced Ring Curve

• Random Gem Rotation • Pattern Studio

• 3D Printing Tools Included • 1000+ Design Elements Included

1. Image 2. Create 3D 3. Manufacture & Sell

IPC/

3612

/201

6

Specialist supplier of fine quality Tanzanite FoundationTM certified loose tanzanite and certified Tanzanite BlueTM jewellery.

[email protected] C +27 82 601 [email protected] C +27 83 231 8919

P.O Box 85084, Emmarentia, 2029 T +27 11 446 5900 F +27 86 614 7433

sajn march 2016

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