From its opening chapters, the authors demonstrate a deep command of the subject, weaving together archaeological evidence, historical accounts and drawings, as well as technological details and advances to show how humans have transformed rough minerals into objects of beauty and value.

Among the book’s main strengths is its chronological clarity. The early chapters explore the rudimentary polishing techniques of ancient civilizations, revealing how limited tools produced enduringly elegant forms. As the narrative moves into the Middle Ages and Renaissance, the authors highlight the innovations that accompanied the development of better abrasives and more precise cutting instruments. These sections are particularly vivid with diagrams and illustrations to help the reader visualize the evolution from simple cabochons to the earliest faceted stones to the designs still in use today.

For aficionados and/or students, the authors provide detailed instructions and information—pavilions, size, facets, etc.—on fifty antique designs, thus making these historic cuts accessible to gemcutters today. They also provide beautiful photos of the actual historic cuts and modernized versions of the same cut.

As stated in the book’s beginning, the authors strived to make the designs as simple and easy to use as possible… [The designs] have been compiled from photos, drawings, notes, museum collections, and more, and then adapted into 21st century faceting diagrams… Many of the designs have been forgotten today, but all of them have something to teach us.

These two pages describing the Cheapside Trap Cut, along with its detailed cutting data, are representative of the type of information and images offered in the book. For this particular cut, the authors describe it as follows: This design comes from the Cheapside Hoard from 17th century London. It is one of the simpler designs for colored stones that we see represented in the Hoard. In this pattern, we can clearly see the evolution from the Table Cut with only four facets and a table on the crown to something more creative and complex. Adding four corner facets introduces triangular elements and yields a lozenge-shaped table. This produces a softer more elegant look than the blocky, rigid Table Cut and paves the way for the fuller brilliant pattern later refined in the subtly different French Cut.

Below are a few examples of the historical cuts and diagrams in the book.

Skipping ahead a century or so, and many examples in between, is an interesting discussion—along with suggestions to prospective cutters, of the Old European Cut, which the authors describe as a very symmetrical cut that is great for beginners and advanced cutters alike. Once you spin a perfect round (or facet them in), the biggest challenge is making all eight crown main facets exactly the same size. The girdle line and table shape will help you see and achieve a perfect balance. Once you get the mains balanced, the breaks and stars need to be consistent in size, but otherwise will fall nicely into place.

The last section describes the story of Rose Cuts, starting with the Early Flower Cut, one of the earliest faceted designs offered in the book, with its design dating back to Roman times. The narrative follows the evolution of this cut into various shapes and number of facets and concludes with the pear shape, originally documented in 1594, with an example from the early 20th century. The example shown below is the Trihedral Rose Cut, described as a variation of the rose cut for triangular flat round… Early cutters found that internal reflections on the simple three facet design created the illusion of nine facets, which inspired them to apply similar trihedral faceting to rounded octahedral and other shapes, such as the hexagon.

The Historic Teachings of Gemcutting is important not only as a historical survey but also as a celebration of an enduring art. It offers depth without dryness, technical insight without alienation, and a compelling vision of gemcutting as a craft shaped by culture, science, and the timeless human pursuit of beauty.
Whether one reads it out of academic interest, artistic curiosity, or a simple fascination with sparkling gemstones, this book leaves a lasting appreciation for the people and ideas that shaped this remarkable tradition.

All images are courtesy of Justin K Prim and Victoria Raynaud.

The post The Historic Teachings of Gemcutting appeared first on Incolor Magazine.

Dealing in Stones & Stories

Amarjeet Grewal is the President and Co-Owner of KORITE Ammolite Ltd., the premier mine-to-market producer of Ammnite fossils and Ammolite gemstones, found only in southern Alberta. With over three decades of experience, Amarjeet has helped define the global story of this rare and extraordinary gemstone. Originally from Kolkata, India, Amarjeet’s journey to Canada shaped her resilience and drive to succeed in a field where few women had ventured. Beginning her career at KORITE, she quickly distinguished herself through expertise in operations, merchandising, and global sales, helping elevate the company into an internationally recognized name synonymous with authenticity and quality. During this time, she also guided innovative jewelry designs, influencing how Ammolite is presented in modern collections and strengthening her impact across the entire supply chain. In 2021, Amarjeet ventured out on her own, advocating for the

Ammolite industry and expanding her work into brand building, sustainable practices, and collaboration with Indigenous communities and Ammolite partners—further deepening her commitment to authenticity and responsible sourcing. Now back at the helm of KORITE, Amarjeet oversees every stage of production—from mining in southern Alberta to designing fine

Ammolite jewelry—ensuring the company continues to set the global standard. Her leadership ensures that each gemstone is showcased to its full potential, with creative design and ethical sourcing at the forefront. To Amarjeet, Ammolite is more than a gemstone—it’s a story of transformation, resilience, and natural beauty, born from Canadian Ammonite fossils found only in southern Alberta, where time and pressure transformed ancient life into living color. Through her work, she continues to share that story with the world, celebrating color, heritage, and authenticity in every facet. (korite.com; amarjeet@korite.com)

My chosen gemstone: I would be Ammolite. Its brilliance is ever-changing—no two pieces are alike—and that individuality speaks to me deeply. It doesn’t compete with other gemstones; it stands in its own light, reflecting every color of the spectrum. Its energy embodies trans-formation and resilience, formed over millions of years to reveal its iridescent beauty.

Ruth Benjamin-Thomas comes from a long line of traders, explorers, and diamond miners, people whose curiosity and pursuit of beauty run deep. Her fascination with color began early, inspired by the African beadwork of her heritage: pieces that told stories of women, identity, and belonging. “They weren’t precious in the traditional sense,” she reflects, “but they were deeply personal.”

In 2000, Ruth joined her husband, Justin, in his family’s wholesale opal business, a venture that evolved into Black Opal Direct, one of the world’s leading online destinations for opal education, sales, and storytelling. Opal captivated her entirely; its color, its unpredictability, its soul. Through years of travel, she has met miners, cutters, and merchants who share her devotion to the art of making beauty tangible. Her commitment to the gemstone industry and to the exceptional women within it led her to establish ICA GemWomen, an informal network of female ICA members who meet and collaborate at events from Tucson to Hong Kong.

As President of the Australian Opal Association, Ruth also contributes to the CIBJO Opal Guide, helping to spread knowledge and appreciation of this mesmerizing gem around the world. Today, through Black Opal Direct and her jewelry collection, Kindred Color, Ruth continues to explore the intersection of color, history, and craftsmanship. Each piece is, in her words, “a love letter to those who wear their confidence like a jewel.” (blackopaldirect.com)

If I were to be a colored gemstone, I would be an Opal of course! Like opal, I’m colorful, unpredictable, and a little unconventional at heart!

Vicki Bokros is a pioneering force in the Australian opal industry, with more than 30 years of experience across mining, cutting, wholesaling, retailing, and jewelry design. Her career began on the Gold Coast at age 19, when a chance meeting with an opal dealer sparked a lasting fascination with gemstones. In 1991, she traveled to Lightning Ridge for what she thought would be a brief buying trip, but a life-changing decision to spend her last $500 on a rough opal nobby—later named the Southern Princess—set her on a new path, leading to full-time wholesale work and eventually successful retail ventures.

Vicki spent 13 years living in a rudimentary miner’s camp, enduring harsh outback conditions and learning every aspect of the male-dominated opal mining trade. She became one of the few young Australian women active on the international wholesale circuit, including regular appearances at the Tucson Gem & Mineral Show from 1999 onward. As founder of Down to Earth Opals, she envisioned and built a world-class opal gallery that has become one of Lightning Ridge’s most successful and respected enterprises, known globally for outstanding quality, service, and passion. She is a qualified gemologist, registered opal valuer, former president of the Australian Opal Centre, and a dedicated volunteer and philanthropist within her community.

Choice of colored gemstone: Black Opal. Rare, valuable, mysterious, resilient, and forever changing, it is unmistakably Lightning Ridge. It embodies everything Vicki’s journey represents—rarity, resilience, and brilliance, with a depth of character revealed only through patience and skilled hands. It is the stone that first captured her imagination and drew her to Lightning Ridge, inspiring her to build a life and career her family once thought impossible for a young woman in a male-dominated mining town. (DownToEarthOpals.com.au)

Choice of colored gemstones: I would be Black Opal. It is rare, valuable, mysterious, resilient, forever changing, and unmistakably Lightning Ridge. It embodies everything my journey represents—rarity, resilience, brilliance, with a depth of character revealed only through patience and skilled hands. It is the stone that first captured my imagination and lured me to Lightning Ridge to pursue a life that my family thought was impossible for a young woman in a male-dominated mining town.

For the past twenty years, Manuela Soares has been leading entrepreneurial initiatives in Brazil, combining a passion for innovation with a deep commitment to sustainable business practices.

Holding a degree in Business Administration from IBMEC, she has built a career as a successful entrepreneur and startup investor, actively supporting ventures that promote social and economic development.

As the second generation of a family deeply rooted in the gemstone industry, Manuela continues a legacy of craftsmanship, authenticity, and integrity.

Currently, she serves as the Chief Strategy Officer at ArtOuro & Gemas, a renowned Brazilian company that has operated in the colored gemstone cutting and jewelry production sector since 1986. In this role, she focuses on long-term strategic growth, international market expansion, and integrating sustainability across the entire value chain.

Beyond corporate responsibilities, Manuela is committed to strengthening the gemstone ecosystem in Brazil. As Director of the Gemstone Chamber within the SindiJoias Ajomig System, she advocates for small-scale gemstone miners, ensuring fair representation in policy and regulatory discussions.

Additionally, Manuela serves as a Board Counselor at Wylinka, a non-profit organization dedicated to fostering innovation and entrepreneurship by transforming knowledge into impactful solutions.

Throughout her career, Manuela Soares has been guided by a profound belief in authenticity, transparency, and the human stories behind each gemstone—honoring the people, traditions, and sustainable practices that bring these natural treasures from mine to market.(artouro.com.br/gemas)

If I were to be a colored gemstone, I would choose to be Tourmaline, a truly colorful gemstone that reflects Brazil’s natural beauty, creativity, and resilience. Its vibrant energy and diversity of color symbolize how authenticity and innovation can illuminate even the most traditional industries.

Claudia Hamann is the CEO of Claudia Hamann Edelstein GmbH, a renowned gemstone company that she co-founded with her husband in 1990 in Germany.

With more than three decades of experience in the trade, Claudia has built a reputation for exceptional expertise, integrity, and passion for the beauty of natural gemstones. She studied gemology at the German Gemmological Institute (DGemG) and has been a Fellow of the German Gemmological Association (FGG) since 1989. In addition, she is a Fellow of the Italian Gemmological Institute (IGI), reflecting her deep commitment to continuous learning and international collaboration.

A long-standing member of the International Colored Gemstone Association (ICA) for over 20 years, Claudia has served as ICA Ambassador for Germany and later as an ICA Director, contributing actively to the global gem community.

As a respected professional and a mother of two daughters, Claudia embodies balance, leadership, and dedication. She is passionate about fostering transparency, ethical sourcing, and the empowerment of women within the gem and jewelry industry.

Through her vision and steadfast commitment, Claudia Hamann continues to inspire others—proving that expertise, authenticity, and heart are the true gems that shape a lasting legacy in the world of colored stones. (claudiahamann.com)

If I could choose to be a gemstone, I would be a Blue Zircon—also known as Starlight from Cambodia. It shines with a brilliance that rivals the stars, its fire magnified by a remarkable refractive index. Rare and radiant, its deep blue hue mirrors the vastness of the sky, yet it is ever-changing, metamict in nature, a reflection of the subtle transformations we all undergo. And, as my birthstone, it carries a personal resonance, a jewel uniquely aligned with the rhythm of my own life.

Ashoo Sinchawla is a Director of Bangkok-based SANT Enterprises, which she has built over the past 40 years alongside her husband, Santpal Sinchawla. Together, they have transformed their family-run gemstone venture into a respected industry leader through strategic vision, disciplined management, and a deep commitment to integrity.

Her leadership philosophy centers on transparency, uncompromising quality standards, and a people-focused approach that empowers teams to excel. Her strategic insight has helped expand the company’s global presence while maintaining SANT Enterprises’ dedication to artisanal mining traditions and sustainable sourcing practices—values that continue to define the brand’s reputation.

Aside from her role within the company, Ashoo serves on the Board of the International Colored Gemstone Association (ICA) and she contributes actively to the Communication, Congress, and Ambassadors sub-committees, where she helps foster global dialogue, strengthen international partnerships, and support the advancement of communication across the gem sector.

Ashoo describes leading the business alongside her husband while raising a family as both demanding and deeply rewarding. Balancing professional responsibility with home life has required perseverance and flexibility, yet it has also laid the foundation for a strong generational legacy now carried forward by their son, Anurak Sinchawla.

A familiar face at major trade shows around the world, Ashoo has long represented SANT Enterprises on the global stage, engaging with clients, colleagues, and partners while championing the values that define the company’s success. (SantEnterprises.com)

Her chosen gemstone: Blue Sapphire because it evokes timeless elegance, protection, and confidence, which make it a treasured stone that soothes, inspires, and connects me to beauty.

Bénédicte Lavoie discovered her passion for gemstones through Pierres de Charme Inc., the company her mother, Martine Lavoie, founded in 2012. Guided by her mother’s mentorship, she developed an appreciation for craftsmanship, ethics, and the stories behind every stone. Martine, now retired, remains a constant source of wisdom and inspiration, passing on years of experience in sourcing exceptional gems and building trusted relationships across the globe.

After completing a Bachelor’s degree, Bénédicte pursued gemology and earned the prestigious FGA designation (Fellow of the Gemmological Association of Great Britain) with merit mention. Her path in the gemstone world has taken her across the globe, from Madagascar and Brazil to Sri Lanka, India, Australia, Thailand, and many more. Each journey has shaped her understanding of the trade and strengthened her respect for the people and stories behind each stone. Her time in Thailand in 2018 marked an important step in her career, where learning the art of lapidary deepened her technical understanding and refined her attention to detail.

In 2023, she joined the Board of Directors of the International Colored Gemstone Association (ICA), contributing to several committees promoting education and transparency in the industry. Calm, observant, and quietly driven, Bénédicte brings a modern perspective to a timeless craft, where authenticity and beauty go hand in hand. (PierresDeCharme.com)

If I were a gemstone, I’d be a Color-Change Sapphire—a little unpredictable, quietly versatile, and always revealing a new facet depending on the light. I adapt easily to different situations without losing my core, and I’m drawn to depth, nuance, and authenticity, much like the gems I work with every day.

From childhood, Sally Patel has been captivated by stones and color. Her mother remembers how she would slip away during family outings to gather pebbles in every shade, arranging them into small, shimmering collages. Even then, Sally viewed color as a language—a way to express feelings and capture moments of light. As she grew older, painting became her creative outlet, deepening her understanding of how tones convey joy, peace, longing, and emotion. She had no idea that this early love of color would eventually lead her to the gemstone that would define her life: the Australian Opal.

After migrating to Australia in the late 1980s, Sally adapted to a new home while raising her children. In 1989, after a routine school drop-off, she wandered into an opal shop in Brisbane. There, a Lightning Ridge black opal caught her eye—alive with fire, depth, and shifting brilliance. That moment marked a turning point. Her fascination became a lifelong pursuit. She traveled through Queensland’s opal fields—Lightning Ridge, Winton, Yowah, and Koroit—learning from miners and discovering the stories within each stone. This passion grew into True Blue Opals Pty Ltd, now respected globally for authenticity and ethical sourcing.

Sally’s journey expanded worldwide as she visited mines across Africa, Asia, Latin America, Canada, and the USA, always sourcing gems with integrity. A portion of every sale supports Destiny Rescue and the Million Women Movement, reflecting her commitment to giving back. Guided by color and compassion, her story—featured a few years ago by GIA—continues to inspire collectors and gem lovers alike. (trueblueopals.com)

If I were to be a gemstone, I would be Opal. It makes a statement of uniqueness because no two are the same, yet its unites all colors into one gem. Each opal has a story, as we all have.

After years in diverse jewelry-related roles, Monica Stephenson entered the colored gemstone sector following a 2014 trip to East African mines for a documentary. Determined to address the education and resource gaps limiting local participation in the gem trade, she founded ANZA Gems in 2015. The company advances development in Kenya and Tanzania by purchasing gemstones responsibly and dedicating 10% of sales to education and entrepreneurial programs in mining communities.

Building on a successful Gemological Institute of America (GIA) pilot that delivered artisanal gemstone education to the Tanzania Women Miners Association, Monica helped launch Moyo Gems in 2018 with Pact, TAWOMA, AWEIK, and commercial partners. Moyo provides fair, transparent market access for women artisanal miners in Tanzania and Kenya. Several times a year, it hosts Market Days in rural areas of Tanga and Taita-Taveta, connecting miners directly with international buyers.

ANZA Gems then has the rough cut by women faceters in the United States or by a small network of artisanal faceters in Chiang Mai, Thailand, supporting women across the supply chain. Monica believes that gender equality uplifts entire com-munities by educating miners, creating pathways from miner to broker, cultivating women faceters globally, and championing designers who feature responsibly-sourced gems.

Based in Seattle, Monica is the past President of the Board of the Community for Ethical Jewelry (formerly Ethical Metalsmiths), serves on the Board of Directors of Gem Legacy, and sits on the Advisory Board of the Black in Jewelry Coalition. She continues advocating for inclusive growth in gem communities. (ANZAGems.com)

My chosen gemstone: I would have to say a Mahenge Spinel. There is something truly electrifying about the color, and it’s also a little enigmatic—not well known but coveted by collectors.

Lauriane Lognay, FGA, AJP, GIA, PJA, is a gemologist who earned the Fellowship of the Gemmological Association of Great Britain in 2016. She is also a graduate of the École de Joaillerie de Montréal (EJM), where she completed her formal jewelry training. Complementing her studies, she holds diplomas in gemstone and jewelry appraisal, along with specialized certifications in pearl, colored gemstone, and diamond grading.

A trained lapidary artist, Lauriane brings together tech-nical precision and artistic sensibility, allowing her to approach gemstones from both scientific and creative perspectives. In 2012, at only 21 years old, she founded Rippana Inc., a Montreal-based company offering fine gemstones, lapidary, and professional appraisal services. Her work is internationally recognized, and she travels regularly to sourcing regions such as Tanzania, Myanmar, and Madagascar where she personally selects high-quality rough and cut gemstones. These journeys deepen her understanding of the industry and strengthen her relationships with miners and local communities.

Beyond her entrepreneurial work, Lauriane serves as President of the Administration Committee of the EJM. In this role, she is committed to supporting the evolution of jewelry education across Canada. Passionate about sharing her expertise, she also writes about gemology and jewelry for professional and consumer publications, offering insights that inform and inspire both professionals and enthusiasts. Lauriane’s broad expertise and commitment to excellence continue to make her a respected voice in the global gem and jewelry community. (RippanaGems.com)

As for being a gemstone, I would choose Spinel any day! It is one of the brightest gems, on par with sapphire and ruby in their best quality, but not as ostentatious. Simple in the rough, but with the biggest potential once cut. A jack of all trades, colorwise.

Katherine Kovacs entered the gemstone trade in 1992, joining her family business, K&K Export-Import Co., founded by her father in 1968. From modest beginnings, the company has grown to offer an extensive selection of natural colored gemstones from Australia and the world.

When she began, there were few women in leadership roles in the industry. She was fortunate to be mentored by generous and knowledgeable people and she drew inspiration from women whose professionalism and clear insight helped shape her path. Their example continues to motivate her, and she is proud to see greater visibility for women today through initiatives such as ICA’s GemWomen group.

After university, she studied gemology with the Gemmological Association of Australia (GAA) and has served the GAA for more than 25 years in roles including Federal Secretary, Chair of Gem-Ed, and Federal Chair. Since joining ICA in 2011, Katherine says it’s like a large family built on integrity and shared values. She became an Accredited Ethical Member and remains passionate about promoting this across the trade as well as offering a personal approach to every client relationship.

In 2025, she was proud to be appointed the first female Director from Australia to the ICA Board. Helping to strengthen the integrity and future of the industry is her way of giving back to a remarkable community.

If I were a gemstone, I’d hope to be the one that makes you stop and say, “I’ve never seen anything quite like that before.” Something unexpected that captures your attention. Each of us is unique, rare in our own way, and I’d like to think that would be reflected in the gemstone I’d be.

Miriam “Mimo” Kamau has risen from humble beginnings to become one of Kenya’s most influential figures in the gemstone industry. Born into a disadvantaged family in rural Kenya, she was forced to abandon her dream of higher education after her father’s death in 1994. As the eldest child, she worked as house help to support her family before securing a job as a receptionist for a U.S. gem dealer in Nairobi—a role that launched her global career.

Recognizing her growing fascination with gems, her employer encouraged her to learn the trade. Through determination and self-funded studies, Mimo completed professional training in Kenya and South Africa, gaining expertise in gemstone identification, processing, cutting, and marketing. Over 25 years, she became a respected dealer and miner, despite operating with limited access to technology. Her resilience—working in harsh mining environments—earned her admiration from both men and women in the sector.

The founder of Mimo Gem Traders and Mining, she is also co-founder of AWEIK, an ICA Board member, President of the Colored Gemstone Africa Association, and one of the UK’s 100 Inspirational Women in Mining. Committed to community transformation, her leadership in such projects as the Kamtonga and Mnegwa water initiatives, school improvements, and educational programs has brought lasting change to mining communities. Guided by strong personal values and inspired by her family and mentors, Mimo continues to champion women in mining, sustainability, and the empowerment of future gemologists. (mimogems.co.ke)

Her chosen gemstone: Kijani Green Tsavorite. In Swahili, ‘Kijani’ represents a vibrant, hopeful green, and is the the highest praise for green hues. GUILD Lab adopted this term—that I coined. In its tsavorite color grading system, tsavorites (regardless of origin) with sufficiently high saturation and optimal brightness may have the ‘Kijani Green’ rating, the pinnacle of color quality.

Helen Plumb began her gemological career at the tender age of five, when her mother discovered her removing rhinestones from pieces of costume jewelry. A fascination with minerals carried her from school to Durham University, where she graduated with First Class Honors in Geological Sciences, before moving to Aberdeen to work as an Exploration Geologist for British Petroleum.

In her spare time, she studied for the Gem-A qualifications and was awarded the Tully Medal in the Diploma exams. Helen’s travels with a major oil company soon gave her the chance to put her gemological training to practical use, and before long she was buying gems for colleagues and their friends. When business meetings began to be interrupted by customers wanting to purchase gems from her, she decided to take the plunge, leave the oil industry, and devote herself full time to dealing in gemstones.

Twenty years later, she owns a beautiful shop from which she supplies gemstones to members of the jewelry trade, artisanal goldsmiths, investors, and private clients. The business also specializes in creating one-off pieces of custom-made jewelry. Her son Matthew and her husband Nick work alongside her, and together they travel the world visiting mining communities to learn more about the gems they sell at Just Gems.

Helen supplies all varieties of natural gemstones, with particularly popular choices being opals and British gemstones such as Derbyshire Blue John and Whitby Jet. Her shop—locally known as the Cotswold Gemporium—offers more than 65 different varieties of gems. (just-gems.co.uk)

If I were to be a colored gemstone, I would choose to be a Crystal Opal from Lightning Ridge, New South Wales, Australia. Formed in shallow, stable settings through diagenesis, these gems suit my sedimentary petrology background. Their diaphanous quality, shifting with skin or fabric beneath, gives them a chameleon-like charm, while brilliant flashes of color create a personality unmatched by other gemstones. Fine opals are costly and often underappreciated in the UK, so I give frequent educational talks to inspire greater admiration and sales.

Yongjie (Jane) Chen is an opal specialist, author, and educator who has spent more than fifteen years advancing the appreciation of Australian opal culture in China. Originally trained in computer science, she immigrated from China to Australia in 2006, where she was deeply moved by the unique beauty and mystery of opal. This fascination inspired her to study the gem extensively, visiting major mining regions across Australia to explore its origins and characteristics.

As one of the first Chinese scholars to systematically introduce opal to Chinese audiences, Jane has played a pioneering role in building cultural and academic bridges between the two countries. She authored two highly regarded books—Appreciation and Collection of Opal (2011) and Identification and Selection of Opal (2015)—which remain key references in the field. Through lectures, exhibitions, and collaborations with museums and jewelry organizations, she has earned recognition as a respected voice in the global gemstone community.

Jane Chen believes that opal, with its ever-changing play-of-color, symbolizes individuality and diversity—qualities she celebrates through her brand, Miraculous Opal. Her lifelong mission is to promote understanding, education, and cultural exchange through the captivating world of opal. (RedNote: chenyjane, @opalbyjane, chenyjane@gmail.com, WeChat: opalJaneChen)

If I were to be a colored gemstone, I would be an Opal, because it embodies diversity, emotion, and light within a single stone. Each opal tells a unique story—sometimes quiet, sometimes fiery—just like every woman’s journey in the gem world.

Xu Tianyin (Trisha) is an accomplished professional in the field of jewelry and gemology. She earned her Bachelor’s degree in Jewelry Design from the China University of Geosciences (Beijing) and later pursued a Master’s degree in Contemporary Jewellery Design, Silversmithing, and Related Products at Birmingham City University in the United Kingdom.

In 2011, she was awarded the prestigious fellowship (FGA) of The Gemmological Association of Great Britain (Gem-A), a recognition that firmly established her expertise and credibility within the gemological community. Her career in the gemstone industry has been deeply shaped by an enduring admiration for the beauty of Nature, which gradually evolved into a specialized passion for natural gemstones. Through years of academic research, creative exploration, and professional practice, Trisha has cultivated a thorough understanding of the global jewelry value chain.

Over more than a decade, she has acquired wide-ranging experience across mining, trading, design, manufacturing, and retail, enabling her to bridge artistic creativity with commercial strategy. In recent years, Trisha has focused her research on colored gemstones and broader jewelry industry trends. In 2023, she expanded her scope into sustainable supply chain management, becoming a United Nations-certified ESG senior strategy advisor (CIFAL Shanghai, UNITAR). In this role, she guides companies toward ESG compliance and readiness for public listing.

Today, she combines gemological expertise, cross-cultural design vision, and sustainability principles to promote responsible sourcing and transparent supply chains, advancing the jewelry industry toward a more ethical and sustainable future. (Trisha.xu@hotmail.com)

My chosen gemstone: I would be Alexandrite or Color-Change Sapphire. What I truly admire abut this color-changing phenomenon is the gem’s character, its ability to maintain an inner radiance and adaptive wisdom, no matter how abruptly the surrounding light may shift.

In 2003, Cissy Jia secured her first full-time position as an IT technician for a jewelry wholesale company in Australia (Wellington Jewellery). It was during this time that she encountered Australian black opal for the first time and developed an immediate, lasting fascination with it.

What began as a personal passion for collecting opal soon grew into a small part-time trading venture, created simply to maintain the cash flow needed to continue acquiring stones. By 2013, Cissy’s commitment to the opal industry had evolved into a fully established wholesale and export business, Opal Story Pty Ltd. She began purchasing directly from miners and supplying both domestic and international jewelry business owners. On the buying side, she aimed to build genuine, long-term relationships with miners by creating win-win situations. If a transaction brought her significant profit, she believed in being generous to the same miner in future dealings.

On the selling side, she traveled extensively, participating in jewelry shows around the world to open new markets and understand regional preferences. Through honest operations, consis-tent effort, and careful study of each client’s needs, Cissy gradually built a loyal global network. She feels profoundly fortunate to have transformed her passion for opal into a thriving career.

Her chosen gemstone: Black Opal because it is unique, a true marvel of Nature. It displays all the spectral colors as if rolling all the other gemstones into one. Each black opal is an example of natural art.

Alice M. Muthama is a second-generation Kenyan entrepreneur and a prominent voice in Africa’s colored gemstone sector. Representing Rockland Kenya Limited—one of East Africa’s largest and most established gemstone mining and exporting companies—she continues a family legacy spanning decades. Rockland Kenya Limited is renowned for producing ruby popularly known as the John Saul Ruby.

Raised in the trade, Alice has a deep understanding of the gemstone value chain and a strong passion for colored stones, industry development, and unlocking Kenya’s mineral potential. She actively promotes a mine-to-market philosophy, advocating for transparent, ethical, and globally competitive value chains that drive sustainable industry growth.

From 2015 to 2021, she served as a Board Member of the International Colored Gemstone Association (ICA), distinguishing herself as one of the few African women to hold this position. She is also a Founding Board Member of the Association of Women in Energy and Extractives (AWEIK), where she served from 2016 to 2018, championing women’s leadership and participation across the extractives sector.

Alice is guided by the conviction that gemstones should equitably benefit everyone across the value chain—from mining and processing to cutting and jewelry making—ensuring that the sector remains profitable, sustainable, and capable of transforming lives. She holds an LLB in Law and an MA in International Public Relations from Cardiff University, building on this diverse foundation to strengthens her work in policy, communication, and international trade. (info@jnmholdings.co.ke )

If I were to be a colored gemstone, I think I would have to be a Ruby. Beyond my personal connection to it, ruby just feels like the perfect reflection of womanhood—bold, full of life, protective, resilient, and quietly powerful. In many ways; ruby feels like home.

Sabrina Leong never set out to be a gem dealer, but as anyone in the trade will tell you, colored gemstones have a way of drawing you in. Over the past decade, that fascination has become a profession built on trust, instinct, and an unwavering respect for what Nature creates.

At Mahenge Gems, she specializes in trading and marketing some of the world’s rarest and most coveted stones—from cobalt spinels and lush tsavorites to the vivid hot pinks that have made spinel great again. Her work is part science, part storytelling, and part serendipity—finding beauty in the unexpected, and connecting with those who recognize its worth. The company also places importance on ethical sourcing and treating their customers with respect.

Mahenge Gems is an Ethical Accredited Member of the International Colored Stone Association (ICA), the first of its type in the colored stone sector. “Being a gem dealer isn’t glamorous in the way outsiders might imagine,” muses Sabrina, “It means long flights, tough negotiations, and a surprising amount of Windex, but it is also deeply rewarding. It is the thrill of discovering a gem that you know is special, and having the quiet satisfaction of seeing it appreciated by someone who truly understands it.” (www.mahenge.com)

If I were to be a colored gemstone, I would choose Cobalt Spinel. A rare gem, it is rather electric with a spicy temperament and well-loved in spite of eye-visible flaws.

Fiona J. Tan is a Canadian GIA Graduate Gemologist, ICA member, jewelry entrepreneur, and modern-day gemstone explorer whose fascination with Earth’s rarest treasures began in childhood, traveling with her father across remote landscapes in search of ancient chalcedony and agate. These early journeys sparked a lifelong devotion to uncovering not only gemstones but the human stories and cultural heritage they carry.

Today, she operates two jewelry stores in Western Canada while raising three children, balancing motherhood with a global mission to protect, study, and honor extraordinary mineral wonders. For over a decade, Fiona has traveled beyond conventional gem corridors—from Alberta’s Bearpaw Formation, the sole source of gem-grade Ammolite, to Australia’s opal fields, Colombia’s emerald highlands, the Dominican Republic’s larimar and blue amber sites, and the sacred turquoise belts of the American Southwest. She has built deep relationships with artisanal miners, indigenous communities, and master cutters, learning that gemstones embody not only beauty and rarity but memory, history, and spirit.

A voice in gem education, Fiona co-authored and translated the first comprehensive book on Ammolite and introduced this Canadian treasure to Asian audiences through live-streams and international media. Her recent collaborative research on Canada’s ancient Auralite-23—among Earth’s oldest gemstones—was published in Gem-A’s Journal of Gemmology, marking a significant contribution to contemporary mineral scholarship.

Rooted in science, ethics, and reverence for Nature, Fiona illuminates the deeper truths of rare gemstones—the earth they come from, the cultures that protect them, and the people whose lives intertwine with their discovery. Her work inspires a profound understanding that precious stones are not mere adornments but chapters of the planet’s story, carried through light and time. (gemworldglobalinc@gmail.com)

My chosen gemstone: Auralite-23®, a crystal born from Earth’s ancient heart and carrying the quiet memory of deep time—shaped by pressure, endurance, and cosmic touch, yet within its rugged iron-rich exterior rests a luminous and tender core. In many ways, its story mirrors my own path as a woman in the gem world—strong when needed, gentle by choice, resilient in challenge, and radiant in spirit.

Zoe Michelou was born in France and spent ten years in Bogotá, Colombia, where her father introduced her to the world of gems at a young age. Though she grew up surrounded by the industry, her passion emerged at 17, when she began traveling with him to mining regions and international gem shows. These early journeys shaped her eye for gemstones and ignited a deep commitment to the craft.

While completing her business degree, she undertook a four-month internship in Thailand with one of the country’s leading high-end jewelry manufacturers. After a decade in Paris, she relocated to Thailand, completed her studies at GIA and Gem-A, and later contributed to mine-to-market strategies alongside a prominent Nigerian tourmaline and sapphire miner. Her father, Jean Claude Michelou—an authority on Colombian emeralds with more than 40 years of experience—encouraged her to start her own business and eventually became her partner. Following his passing in 2021, she continues to uphold his values of ethical sourcing, transparency, and dedication to the people at the source.

Although her roots lie in Colombian emeralds, she now supplies fine sapphires, spinels, tourmalines, and garnets to clients worldwide. What she cherishes most about this industry is the people behind each stone. Traveling to remote mining areas, discovering diverse cultures, and observing different ways of working have provided her with invaluable knowledge. For Zoe, gems represent far more than money or sparkle; they carry stories, traditions, and the hard work of communities whose livelihoods depend on the craft. She states that “supporting these communities is one of the greatest privileges of my career.” (ImperialColors.com)

My gemstone: Emerald. Not just because of my Colombian roots or that green is one of my favorite colors, but because they carry a quiet magic. When you look inside a fine Colombian emerald, its inclusions, ‘the Jardin,’ feel like poetry. They’re tiny landscapes, each one telling a story millions of years old. Colombian emeralds have a glow reminiscent of the lush mountains of the Boyacá region. Their green feels alive, as if they hold a piece of that land within them. What I love most is that emeralds embrace their imperfections. Their internal worlds are not flaws; they are identity, history, and character.

On the Cutting Edge

Women gem cutters and carvers have long brought artistry, precision, and intuition to the world of gemstones. Once a field dominated by men, gem cutting and carving—or lapidary—has increasingly become a space where women are shaping new standards of craftsmanship and creativity. From selecting rough stones to mastering intricate cuts that reveal each gem’s hidden brilliance, women lapidarists blend technical expertise with an innate sense of beauty and balance.

Their growing presence in the trade not only highlights changing industry dynamics but also celebrates the power of diversity and innovation. Whether creating their own style or reviving traditional techniques with modern flair, more feminine voices are entering the field and demonstrating that they are on the cutting edge.

Victoria Raynaud has wanted to become a gem cutter since the age of twelve. Growing up at the foot of France’s Jura Mountains—a region once renowned for its gem-cutting tradition—she found inspiration in the few remaining traces of that heritage, preserved mainly in museums.

At fourteen, she began an apprenticeship in Geneva, where she learned the precision and discipline of Swiss lapidary craftsmanship. After five years of cutting gemstones for prestigious European watch and jewelry houses, she continued her studies in Montreal, earning her FGA diploma in gemology.

Her career then led her to Bangkok, where she joined Vincent Pardieu’s origin determination research team at GIA. There, she contributed to refining laboratory methods for gemstone analysis and co-authored several gemological publications. Later, she moved to Bahrain to help establish the fabrication department at the newly founded DANAT Gem Laboratory, where she also taught introductory faceting courses.

In 2024, she and her husband, Justin K. Prim, founded Magus Gems, a cutting studio and showroom in Lyon, France. The studio focuses on precision gem cutting, education, and historical research. That same year, they launched Faceting Apprentice, an international school dedicated to teaching both modern and traditional cutting techniques.

In 2025, they published The Historic Teachings of Gemcutting, a book that revives and documents centuries of European faceting knowledge. Today, she continues to combine craftsmanship, gemological expertise, and education to bridge the artistry of the past with the innovation of the present. (MagusGems.com)

If I were a gemstone, I would be a Spinel. The gem is refined, resilient, and quietly brilliant. Once overlooked, spinel has reclaimed its place among the great gems, much like the traditional craft of faceting that I work to revive. Balancing precision with artistry, it reflects my approach to gem cutting: timeless, disciplined, and true to the stone’s natural beauty.

Born in Butte, Montana—home to some of the world’s greatest mineral mines—award-winning gem carver and jewelry artist Naomi Sarna grew up surrounded by minerals, gems, and fossils. This early exposure shaped her lifelong fascination with natural beauty and form.

Central to her art is the interplay of light, shadow, movement, and texture, along with bold, expressive color. While she describes carving as technically straightforward, she considers the creation of art—the vision behind each piece—the true complexity of her work.

Influenced by the flowing, sensuous lines of the Pre-Raphaelite and the Art Nouveau movements, Naomi transforms raw materials into sculptures, and has earned 23 Spectrum Awards in gem carving and jewelry design, as well as global recognition at China’s prestigious Zi Gang Bei Jade Exhibition, winning a Silver Medal in 2019 for Winter Bird, Spring Greens (white jadeite) and a Bronze Medal in 2017 for her nephrite Mossy River.

Working from her New York studio, Naomi’s creations have entered the Smithsonian’s Permanent Collection of American Gems and numerous private collections. Her first solo exhibition, Stone in Motion, debuted at New York’s Wilensky Mineral Gallery, where she also participated in Gemstone Masterpieces.

She was commissioned by the Maine Museum of Gems & Minerals to craft a piece celebrating the 50th anniversary of the Big Find. A member of the American Jewelry Design Council, Naomi Sarna’s pendant Fresh Breeze was featured at the Alfie Norville Gem & Mineral Museum in Tucson. (NaomiSarna.com)

If I were to be a gemstone, it would be Beryl. It comes in several colors, and encompasses Aquamarine, Heliodor, and Morganite. Those gems feel good and I love carving them.

Fascinated by rocks and crystals since she was a little girl, Michelle Mai spent her elementary school recesses prying minuscule garnets from crushed playground gravel. In her teens, she made beaded and wire-wrapped jewelry, later working for five years at a retail bead store.

That interest in gems and jewelry took a backseat while she earned a degree in biochemistry and began her career as a protein scientist in the food and biotech industry. In her late twenties, Michelle began searching for a new hobby and decided to combine her interests in rocks and jewelry by learning lapidary—starting with cabbing at a local club, then acquiring her own faceting machine and teaching herself gem cutting with the help of online resources and mentors. She quickly fell in love (some would say, became obsessed!).

In order to fuel her own magpie tendencies, she began selling some of her gems through social media and, as that gained traction, she founded her business, MVMgems, in 2019. Since then, Michelle has been steadily grinding away and has cut over 4,000 stones. She now primarily works with retail clients, both by commission and through direct sales.

She cuts both natural gems and synthetic materials, mostly using her own faceting designs, which are characterized by botanical and chemistry-inspired motifs, often featuring intricate crowns or frosted facets, and always aiming to create a beautiful play of light. (@mvmgems)

If I were to be a gemstone, I would choose Garnet. It comes in an incredibly versatile range of colors, is reasonably durable with great optical properties, and has appeal to both the everyday wearer (almandine, rhodolite) and the esoteric collector (blue garnet, white grossular).

Maggie Klinedinst is a Baltimore, Maryland-based lapidary artist and jeweler who finds working with her hands to be both meditative and essential for balance and joy. For over two decades, jewelry design has grounded her through life’s fluctuations, offering a creative outlet that merges artistry with precision.

In 2022, she discovered the lapidary arts and was immediately captivated. Learning to cut and shape gemstones herself deepened her connection to her materials and appealed to her mathematical side. She works primarily with earth-mined stones, embracing the creative and technical challenges that come from each gem’s unique structure and inclusions.

Her fascination with lapidary began at the Gem Cutters Guild of Baltimore where she has served as Vice President since 2024. Through her work, Maggie often celebrates the city she has called home since 2008. One example is her Baltimore Series that highlights the iconic Stoop Marble, a locally quarried material once used for the dazzling white steps that grace the city’s row homes.

Her focus on faceting seeks to reveal the inherent beauty, brilliance, and individuality (inclusions and all!) within each stone. Maggie’s artistry has been featured in Gem Guide, and she is a regular contributor to Rock & Gem Magazine, where she shares her passion for gemstone cutting and encourages others to explore the joy and precision of the lapidary arts. (MaggieKlinedinst.com)

As for a gemstone: I think I would want to be Spinel. It’s durable, reliable, comes in a range of beautiful colors and is more of a ‘if you know, you know’ type of gemstone. They have some of the best sparkle, and the silky ones have an ethereal quality about them.

For over four decades, Helen Serras-Herman has been carving gemstones, creating one-of-a-kind miniature sculptures and contemporary jewelry in 18K and 14K gold and sterling silver. Each carved gem is signed, reflecting her artistic vision and storytelling approach.

Inspired by her travels to mines and ancient archeological sites, as well as her Southwest surroundings and Greek heritage, Helen’s work often portrays mythological figures, gods, and nymphs. Her passion lies in gems with vivid colors, unusual patterns, and natural inclusions that tell geological stories—materials such as ocean jasper, larimar, turquoise, azurite, and exotic opals.

Born in New York City in 1956 to Greek parents, Helen was raised in Athens and studied sculpture in West Berlin (1976–1983). Returning to Athens, she transitioned from large-scale sculpture to gem carving under English master Nik Kielty Lambrinides (1983–1988), a period that also saw her earn a Gemmology Diploma from Gem-A.

In 1988, Helen founded the Gem Art Center and dedicated herself fully to gem sculpture and artistic jewelry. Her international background and deep appreciation for cultural symbolism continue to shape her distinctive style.

A member of the AGTA, the Gemmological Association of Great Britain, and the Gem Artists of North America—where she served as President in 2002–2003—Helen remains an influential voice in the gem art community. She released her book Carved Gems – Inspiration & Expertise during the 2022 Tucson gem shows and contributes frequently to professional magazines. (GemArtCenter.com)

As for my gemstone: With the ocean in my soul, I would probably be a Larimar, with different shades of blue, interlaced with white veins, occasional sprinkles of native copper flecks and red hematite dendrites, all of which create beautiful scenes with layering stories.

A dedicated lapidary artist, the passion of Émilie Gagnon shines through every cut and facet she creates. Her journey into the world of gem cutting began during her jewelry design studies, where she first discovered the artistry of working with precious materials.

It was, however, an introductory gemology class that truly captured her imagination. Learning about the science, the history, and the natural beauty of gemstones deepened her appreciation and set her firmly on a new artistic path.

After graduating from the École de Joaillerie de Montréal in 2020, Émilie faced the challenge of breaking into the jewelry industry. The opportunity came unexpectedly when Rippana Gems—one of her favorite gemstone suppliers—announced an opening for a lapidary artist. Although the position required no prior experience, Émilie’s enthusiasm, curiosity, and determination distinguished her from other candidates.

Following a successful interview and trial day, she was accepted into an intensive three-month training program that would launch her career as a professional gem cutter. More than four years later, Émilie continues to refine her craft at Rippana Gems, where she transforms rough stones into dazzling works of art. Her work reflects both technical precision and artistic vision, qualities that have become her hallmark.

Beyond her professional practice, she also shares her expertise with the next generation of jewelers by teaching faceting classes at the École de Joaillerie de Montréal. Through her teaching, Émilie inspires students and enthusiasts alike to discover the brilliance hidden within every gemstone, carrying forward her passion for the craft. (RippanaGems.com)

If I were a colored gemstone, I would choose Tourmaline. They come in such a vast range of color, and the pleochroism just make them more interesting to me.

At 20 years old, while pursuing her undergraduate degree in Industrial Design at Lawrence Techno-logical University in Michigan, Jenna Sloane discovered gem faceting on Instagram and decided to teach herself how to cut stones and, in 2023, she began faceting full-time after completing a five-day course with Boyd Fox just to ensure that her skills were proper and sharp.

Always drawn to hands-on creativity, Jenna finds motivation in inspiring other artists through her gemstone work. Now based in Oceanside, California, she is completing her Graduate Gemologist (GG) diploma through GIA’s distance learning program. Though she had long admired her mother’s jewelry collection, Jenna initially found the jewelry industry intimidating due to its size and competitiveness. However, once she started cutting gems, she realized that the field offered endless opportunities—there would always be fingers, chains, and piercings ready for adornment. This insight made her dream of becoming an independent artist feel like it was within reach.

Combining her love of product photography with gemstone artistry, Jenna launched her Instagram account, @sloanestonez, where she shares her creations. She is gradually expanding her inventory with self-cut stones while continuing to offer gemstone repair services. Restoring gems to their original brilliance or cutting them directly from rough material remains her top priority. Jenna’s work is celebrated for its thoughtful orientation of inclusions and her preference for modified brilliant cuts. She also often incorporates star motifs into her designs, adding a signature sparkle that reflects her unique artistic vision. (@sloanestonez)

If I were to be a gemstone, I would choose hot pink Spinel because it is unique, spectacular, and bright. These are all traits that I aim to have myself. While it isn’t the gem for everyone, those who appreciate it are typically just as passionate as I am about gemstones.

Kory Pettman‘s career in the gem and jewelry industry is a journey from independent goldsmith and designer in her 20s and 30s to a globally focused gemstone faceter and expert in her 50s.

Based in San Antonio, Texas, she blends a sculptor’s eye with technical skill, actively participating in mining around the world, faceting fine gemstones, and creating custom jewels. Renowned for her particular passion for Montana sapphires, she routinely visits all of the state’s mines to gain an intimate understanding of their geology, unique characteristics, and the people dedicated to uncovering them.

Identifying as “equal parts girlie-girl and tomboy,” she finds joy in the grit of mining fieldwork and the delicate precision of cutting. For Kory, transforming raw earth into wearable art is profoundly satisfying, utilizing skills honed across her entire career, from mining and rough assessment to faceting and jewelry production.

In her cutting studio, she treats each gem as a new artistic challenge, one guided by intuition rather than strict adherence to traditional styles. “What really fires me up is creating contrasting and unconventional cuts with unique optics,” she says. Kory meticulously experiments with odd symmetry, extinction, split facets, and color saturation to produce dynamic designs, striving for perfect meet points and achieving a mirror-like polish up to 100k PCD.

Her expertise recently led to an important observation on an unusual sapphire from Montana’s French Bar deposit, an insight that has inspired a forthcoming Gems & Gemology feature article, co-authored by Pettman and other Montana sapphire experts. (@korypettmangems)

As for a gemstone, I have two: Color-Change Montana Sapphires, because they effortlessly shift hues depending on the light; and Chivor Colombian Emeralds that glow with lush, vibrant green with interesting inclusions.

From SKETCH to SPARKLE

Women jewelry designers are redefining the art of adornment with creativity, craftsmanship, and vision. Blending tradition with innovation, they transform precious metals and gemstones into powerful expressions of identity, culture, and emotion. Their designs go beyond beauty—they tell stories of empowerment, resilience, and individuality.
From fine luxury pieces to bold contemporary creations to exotic bespoke jewels, women are shaping trends, challenging norms, and inspiring a new generation of artisans. With every piece they craft, they celebrate not just elegance and artistry, but also the strength and spirit of women who bring their creations to light, from the starting sketch to their resplendent sparkle.

Caroline Chartouni’s journey as a jewelry designer is a testament to a lifelong passion for creativity and craftsmanship. With a family legacy spanning three generations in the fashion industry, she was immersed in the world of artistry and design at an early age—a heritage that laid the foundation for her original expression and pursuit of excellence in fine jewelry.

Educated in Fine Arts, Interior Design, and Fashion Design in Paris, Caroline refined her artistic sensibility and developed a deep admiration for composition, color, form, and the timeless beauty of gemstones. Her multidisciplinary background shapes her artistic vision, uniting the elegance of fashion with the precision of fine jewelry. While creativity is deeply rooted in her DNA, her formal training sets her apart as a designer who masterfully blends traditional craftsmanship with innovative techniques.

A passionate traveler, she sources the finest gemstones and infuses each design with their storied origins and rare character, thus ensuring that each creation reflects authenticity and respect for the craft. A celebration of Nature’s most precious treasures, her work is carefully curated and meticulously crafted into something magnificent. More than mere adornment, it is a story brought to life through form, color, and emotion.

It embodies a dialogue between heritage and modernity, celebrating individuality and the belief that true excellence lies in simplicity, authenticity, and elegance. (CarolineC.com)

For my gemstone, I’d choose Paraiba Tourmaline, a pulse of neon blue light, rare and impossible to ignore. I feel like this gem, which dances between calm seas and electric skies, full of color and energy. I shine like the Mediterranean Sea at sunrise, alive and full of quiet strength. Paraiba is a reflection of who I am at my best, with a hope to inspire, uplift, and leave a trace of beauty wherever I go.

Some women are born into the gem and jewelry industry, while others may marry into it. For noted designer Paula Crevoshay, however, the path that led her there was both unexpected and transformative.

From a very young age, she was certain she would be an artist, dedicating herself completely to learning, practicing, and experimenting with her craft. Her life took an extraordinary turn, however, when she married George Crevoshay, a brilliant scholar who received a Fulbright Scholarship and a grant from the American Institute of Indian Studies, allowing the couple to spend four and a half years in India. While George immersed himself in translating ancient Sanskrit texts into Tibetan and contributing to a Sanskrit–Tibetan–French dictionary of Dharma terms, Paula continued to explore her artistic passions in a vibrant new cultural setting.

Then, George’s own journey shifted dramatically after a trip to Pagan in Burma where he met an American investor touring ruby mines. George tagged along with him and was smitten! Captivated by the world of gems, he decided to become a gem dealer himself. Fluent in many Southeast Asian languages, he could negotiate directly with miners, have the stones cut in Bangkok, and then sell them in America.

When Paula saw the dazzling piles of colorful gemstones that began to fill their home, inspiration struck. To her, these were not mere jewels—they were art supplies. She realized she could sculpt in gold and paint, not with oil but with colorful gemstones, fusing her artistic vision with the beauty of the natural world. (Crevoshay.com)

If I were a gemstone, I’d be an Opal, sparkling with easy grace and charm. Like an opal’s dazzling play of colors, I’d flash a bit of fiery red passion one moment, then cool blue with the next. My iridescent glow would dance in the light, reflecting every mood and moment—never dull, always a surprise. Opals are bold yet dreamy, a little mysterious, and totally unique, just like me—ready to light up any room with a kaleidoscope of color!

For over 30 years, designer Katey Brunini has created fine jewelry that captures the power and grace of Nature. Her work juxtaposes precious metals, diamonds, pearls, and rare gems with organic materials like wood, bone, and coral—yielding a collection that is both raw and refined.

Founded in 1992, her brand, K. Brunini Jewels, has achieved global acclaim and numerous awards, including from the Women’s Jewelry Association, American Gem Trade Association, Couture Design Awards, World Gold Council, and the Interna-tional Cultured Pearl Association.

Katey’s creations are showcased in fine stores, art galleries, and museums worldwide, including Art Basel, Carnegie Museum, San Diego Museum of Natural History, University of Arizona’s Alfie Norville Gem & Mineral Museum, and the Smithsonian-affiliated Headley-Whitney Museum. Her work appears in books such as The New Jewelers by Olivier Dupon, Jewelry’s Shining Stars by Beth Bernstein, and Bejeweled: The World of Ethical Jewelry by Kyle Roderick.

Over the decades, her designs have been featured in The New York Times, Vogue, Forbes, W Magazine, Harper’s Bazaar, Town & Country, Allure, Marie Claire, Cosmopolitan, and Robb Report. Brunini’s poetic, organic forms are infused with magical realism, color, texture, and symbolism.

Her Shapes of Strength collections include Twig, Vertebrae, DNA, Skipping Stones, Spider Web, Spirit Animals, Body Armor, and Brutalism. K. Brunini Jewels is a proud member of the Jewelers of America, WJA, ICA, GIA Alumni, and the American Jewelry Design Council. (KBrunini.com)

Her chosen gemstone: Opal because it is mercurial and ever-changing in a delightful manner.

From an early age, Pearl Ng has been captivated by art and fascinated by rocks and crystals. In high school, she began creating jewelry, selling pieces to friends for fun.

With her sights set on Industrial Design, she attended the Rhode Island School of Design, where she discovered a natural affinity for metals—the precision of technique balanced by the freedom and artistry of sculptural form. After graduating, she entered Product Design and later moved to New York to work in point-of-purchase design, creating displays for luxury global brands. There, she learned to express identity through materials and form.

Her curiosity for craft led her to explore couture, shoemaking, millinery, and leatherwork, and later to study silversmithing and sculpture during her Master’s Degree at NYU. She then began acquiring gemstones to refine her jewelry making skills and collaborated with craftsmen in New York’s Diamond District to create bespoke pieces. Those formative years taught her to merge storytelling and design with the intimacy of refined handcraft, deepening her understanding of fine jewelry processes.

In 2005, she moved to Hong Kong to launch Pearly, producing silver collections alongside bespoke fine jewelry. Her brand evolved over the decade, emphasizing bold gemstone use, and later relaunched in London, showing at London Fashion Week. Discovering GIA by chance, she completed her Graduate Gemologist degree, began visiting mines, and expanded into gem brokering—shifting her focus entirely to bespoke fine jewelry.

Since relocating to the UK in 2020, she has been rebuilding her business, collaborating with top artisans to create exceptional handmade jewelry, maintaining her lifelong passion for colored gems and dedication to trans-parency and mine-direct sourcing. (PearlyBespoke.com)

If I were a gemstone… Naturally, I’d be a Pearl! Having lived (or rolled) around the world since a young age, I’ve organically built a shiny career through grit and patience. I’m thickening my nacre and perfecting what I do still, one day at a time, and hoping to build a mirror-like AAAA finish with rainbows. A special thanks to mother-of-pearl for my birth name, which is miraculously well suited for this business and my tiny frame.

An experienced gemologist, gem hunter, jewelry artist, and gemstone investment advisor with over 30 years of experience in the global jewelry industry, the journey of Paloma Sanchez began as a GIA Gemologist and evolved into a lifelong pursuit of uncovering Nature’s rarest treasures.

Guided by respect for the Earth and a passion for artistic innovation, she travels the world in search of one-of-a-kind, collector-grade gemstones and mineral specimens. In December 2008, after 15 years working with prestigious international watch and jewelry brands, she founded Paloma Sanchez, The Art of Jewelry—a fusion of art and gemology. The first gallery opened in Beijing, followed by a presence in Paris and Dubai.

Sanchez’s work has earned international acclaim, including being named among the 30 Best Jewelry Designers in the World at Baselworld 2013, winning First Prize for her Medusa Sting necklace at the International Opal Jewellery Design Awards (now the Australian Opal Awards) in 2019, and receiving two Silver Awards at Italy’s A’ Design Award & Competition in 2023.

Most recently, she was honored with The Living Trace Award—equivalent to the Lorenzo il Magnifico President’s Award—at the XV Florence Biennale in partnership with the Cluster Contemporary Jewellery Fair (London). Committed to ethical sourcing and sustainability, which guides her work, Sanchez has led initiatives supporting women in African mining regions since 2016, striving to ensure that every gem she works with embodies dignity, respect, and opportunity. (PalomaSanchez.com)

If I were to be a gemstone, I would be an Opal—a gem of light, fire, and inner power. No other gemstone captures so many colors and mysteries within. It changes with its surroundings, yet always retains its fire. To me, it embodies creativity, passion, transformation, and the courage to reveal every shade of one’s soul.

Anushka Jain is the founder and creative director of Anushka Jain Jewellery, a Jaipur-based demi-fine brand redefining how modern women wear and experience silver. Born into a gemstone family, she also works with her father, Rupesh Jain, at Arham Gems & Jewels—one of Jaipur’s renowned emerald houses specializing in fine Zambian emeralds. This early immersion in gemstones shaped her understanding of beauty, precision, and authenticity within the jewelry world.

At just 19, Anushka launched her namesake label with a mission to blend India’s heritage craftsmanship with contemporary global minimalism. What began as a passion project has grown into one of India’s fastest-growing young jewelry brands, celebrated for its high-quality 925 sterling silver and gold vermeil pieces that are skin-safe, durable, and timeless.

Straddling both gemstones and finished jewelry, Anushka brings a rare dual perspective, from sourcing at the mines to crafting the final elegant piece. Under her direction, each jewel undergoes over 120 hours of meticulous artisanal work by more than 15 skilled craftsmen, upholding exceptional workmanship and ethical integrity.

Beyond design, she champions transparency, education, and emotional connection in jewelry, inspiring a new generation to look beyond trends and embrace lasting beauty. Anushka represents the evolution of modern Indian jewelry, an evolution rooted in Jaipur’s gemstone legacy, yet defined by a global, contemporary aesthetic. (AnushkaJainJewellery.com)

If I were to be a colored gemstone, I would be an Emerald because it symbolizes renewal, depth, and resilience. It’s not loud, yet it holds captivating power. Like the journey of building a brand, emeralds take time to reveal their true clarity—imperfect yet precious, just like growth itself.

Shahina Hatta is a second-generation gems and diamond dealer who founded her Fine Jewelry Collection and Bridal Concierge Service in 2014, following more than a decade of experience in the wholesale and retail precious stones and diamond industry across Hong Kong, Macau, and Vancouver. She earned her Graduate Gemologist Certification from the Gemological Institute of America (GIA) in 2007.

After her studies, Shahina joined her father, Chang Hatta, at Hatta New World Co., Ltd., where she gained invaluable expertise under his guidance in sourcing and handling rare and exquisite gemstones. Driven by a passion to make the world of fine jewelry more transparent and approachable, Shahina established her brand in order to offer clients personalized diamond education and a stress-free buying experience.

She approaches every project with genuine care—personally curating the finest colored gemstones and diamonds, designing bespoke pieces, and overseeing master gold-smiths as they handcraft each unique creation. Every piece she delivers marks a meaningful milestone in her clients’ lives.

Shahina’s Fine Jewelry Collection reflects her own sense of style—classic, timeless, and effortlessly elegant, with a playful emphasis on color. Each piece is designed for versatility, allowing for endless mix-and-match possibilities hat transition from everyday wear to special occasions. (BespokeByShahina.com)

Her chosen gemstone: I love all colored stones but I will narrow it down to Cat’s Eye Chrysoberyl and Paraiba Tourmaline. As a complex and multi-faceted individual, I love Cat’s Eye because it’s a powerful gemstone with a wonderful balance of femininity and masculinity. I also identify with Paraiba Tourmaline because it possesses such a beautiful and happy Cerulean blue that exudes happiness and peace, which I feel is another part of my persona.

Born in Malta, Tayma Page Allies grew up in the Caribbean and West Africa, absorbing a spectrum of cultures as vibrant and varied as the gemstones she personally sources today. The rich and vivid cultures of her childhood ignited her love of color and bold designs.

In 1990, while organizing the first fashion show in China for a French fashion house, Tayma discovered a natural flair for jewelry design that would soon define her path. In 1991, she founded TAYMA Fine Jewellery in Hong Kong, which has become known for its collectable, high quality, and striking colored gemstone creations.

Over the years, she has pioneered the introduction of extraordinary gems such as Paraiba tourmaline, watermelon tourmaline, and Mandarin garnet to Hong Kong, captivating collectors worldwide with their rarity and intensity. Every piece of her jewelry is one-of-a-kind, handmade in Hong Kong by master goldsmiths whose skills bring Tayma’s vision to life.

From the electric brilliance of Paraiba tourmaline to the hypnotic fire of opal, each gem tells a story through color, reflecting Tayma’s philosophy of living life in color. “I’m a collector, and I’m always looking for the unusual, the rare and the collectable. It’s just what appeals to me and my passion, it’s what makes my heart skip a beat,” she says.

Renowned as Hong Kong’s leading gemstone collector and connoisseur, Tayma has consistently championed the local goldsmiths and gem-setters, proudly collaborating with and supporting Hong Kong artisans as a commitment to giving back.
(TaymaFineJewellery.com)

If I were a colored gemstone, I’d choose to be a fabulous, flashing, neon Paraiba Tourmaline, reflecting my colorful island life upbringing in Malta, the Caribbean, West Africa, and Hong Kong.

As a child, Rain Lee loved the arts. When it came to higher education, she attended the University of California in Santa Barbara, earning a degree in Economics, but also took classes in fine arts.

Upon returning to China, she realized that her heart just wasn’t in economics but rather in jewelry design. Her mother, a jade aficionado, realized Rain’s potential when her daughter was asked by several people to help design their own jewels. Rain’s efforts were so successful that she launched out on her own, creating one-of-a-kind and bespoke pieces, earning awards in several competitions along the way.

She says that there are two components to her design philosophy. First is inspiration from history, primarily mythology. Second is the art form, especially mixing two or more types to create original pieces. Among her first examples is Medusa’s Secret, a re-interpretation of the ancient Greek myth, and a 2024 winner of four JMA International Jewelry Design Awards.

To create it, Rain worked with factories in Panya to improve upon a special electro-coating process of gold, which allowed for both dark colors and a matte effect on the gold’s surface. “This technique also allows highly saturated colors—even two or more colors on the same piece,” she explains, adding that the process is so painstaking that she practically lives at the factory for weeks on end to get just the right tones.

Rain also works in titanium for special orders as well as with more traditional gold, colored gems, and diamonds. She is also a certified appraiser, as well as holding other industry positions. (YSLFINEJEWELLERY@hotmail.com; WeChat: yushuli1996)

My chosen gemstone: Paraiba Tourmaline. Its luminous color evokes tropical waters, suggesting vastness, clarity, and mental expansion. I’m also drawn to astrology, where Neptune and Uranus share this blue-green symbolism.Neptune represents imagination and artistic sensitivity, while Uranus signifies innovation and seasonal variation. Paraiba mirrors these traits, blending imaginative depth with creative novelty. For me, this gemstone holds special significance, symbolizing my own creative philosophy.

Elke Berr is the founder and director of Berr & Partners SA, a distinguished wholesale gem com-pany established in 1986, and the creative vision behind Elke Berr Créations, which captures the true essence of each gemstone—transforming it into a captivating story of its own.

Following in her father’s footsteps, Elke studied gemology and art in Germany. Her passion soon led her to Geneva, Switzerland where she became a skilled buyer for a prestigious jewelry house before embarking on her independent journey as a globe-trotting gem hunter at the age of 24.

Traveling across the world in search of extraordinary stones, her explorations of mining sites and encounters with artisans became a boundless source of inspiration for her jewelry. With several decades of experience in the gem industry, Elke began a new chapter in 2003 when her deep expertise laid the foundation for Elke Berr Créations.

For the first decade, she collaborated discreetly with renowned high-end jewelry houses, designing and crafting pieces of exceptional quality behind the scenes. A turning point came in 2013, however, when she expanded her creative horizons and launched her collections under her own name.

Today, Elke Berr Créations stands as a tribute to exceptional gemstones and masterful craftsmanship. Her avant-garde yet feminine aesthetic unveils the unique character of every stone—each possessing its own personality and untold story. Her enduring commitment is to bring those stories to life through artistry, emotion, and refined elegance. (ElkeBerr.com)

Her chosen gemstone: Spinel because it embodies discreet elegance and inner strength. It comes in an impressive array of colors, from vibrant reds and pinks to deep blues, each shade revealing a different facet of its personality, since I, too, have many different facets of my personality. I especially love Burmese spinel as I had the opportunity to buy them directly from the market in Mogok, which meant adding adventure and personal memories.

Rhea Poddar’s connection with gemstones has been lifelong. Born into a family deeply rooted in the art of gemstone carving, her childhood was filled with their allure. She still remembers being eight years old, coming home from school only to lose herself in the intricate carvings displayed at her parents’ gemstone exhibitions.

After graduating from NYU, where she studied Economics, she began helping with her family’s carving business during the pandemic. Immersing herself in that world rekindled her fascination and inspired her to change course. She decided to explore the gem industry in depth, enrolling at the Gemological Institute of America in Carlsbad, California.

The experience deepened her admiration for the ancient geological processes that created gemstones while broadening her understanding of the global gem trade.

When she returned to India, Rhea was filled with a renewed admiration for traditional craftsmanship. Over time, her desire to blend the art of carving with the beauty of jewelry gave birth to Deshya—a brand that makes the intricacy of artisan craftsmanship wearable and contemporary. Inspired by Nature, architecture, antiques, and the stunning palette of gemstones, she hopes to celebrate the rare and radiant spectrum that lies far beyond the conventional rubies, emeralds, and sapphires. (DeshyaOfficial.com)

Her chosen gemstone: Perhaps a Spinel—it comes in a spectrum of colours, much like my changing moods. Often mistaken for other gemstones, such as ruby, the spinel possesses an exquisite brilliance of its own—a reminder that first impressions rarely capture one’s true light.

The post Women in the Colored Gemstone Industry appeared first on Incolor Magazine.

Pearl Ng’s life has spanned not only the globe but has also incorporated a range of disciplines in art, culture and jewelry. Born in Hong Kong, she spent several years in Australia before moving to the United States for well over a decade before moving back to HK to start her business. Now living in the UK, she was recently chosen to showcase her work at the prestigious Goldsmiths’ Fair exhibition in London. To learn more about her unique and somewhat circuitous trajectory into the world of fine jewelry, including how she decided to straddle the two worlds of design and gem trading, InColor caught up with Pearl, who is also an ICA Director, at her studio in Brighton and Hove.

Interview conducted by Cynthia Unninayar

InColor: Pearl, you’ve built a colorful career shaping dreams into reality through your jewelry designs. What initially drew you to design jewelry?

Pearl Ng: Designing jewelry and working with gems has been my raison d’ȇtre. My life experiences led me to fine jewelry. My first foray began in San Francisco when my high school art teacher and artist, Dana Hart-Stone, took me to Native American powwows and taught me seed beading. He also introduced me to the legendary 1960s bead shop Yone that had an incredible selection of beads from all over the world. Owner Hermon Baker taught me about beads and the supplies needed to put them together. Soon I was making jewelry and selling it at school. Back then, I was still engrossed in art and design, and did not think that making jewelry could become a life profession.

You chose to go to Rhode Island School of Design (RISD) after high school graduation. Is this where you started your interest in serious jewelry design? 

Not initially. RISD was my dream school to study industrial design. I worked on product design and experimented with many mediums such as glassblowing, filmmaking and textiles, but I was only exposed to vessels-making in the jewelry department. I was good at working with metals and won first place in a Dansk-sponsored flatware competition. I encountered minerals quite by accident while one day working as a teaching assistant. The painter Victor Lara showed me a piece of giant amber embedded with hundreds of ants that he had traded a painting for. I was gob smacked! He introduced me to Sal Avella at Apple Valley Minerals, who taught me all about minerals and I began collecting large specimens, which surprisingly stand toe-to-toe with some of my top purchases from Tucson.  After graduation, I was hired by my Industrial Design professor to work at his firm in Providence on consumer products such as Speedo goggles, Victorinox pens and lawn chairs. Later the company changed its focus to the medical field, so I worked as a designer in point-of purchase display in New York City. The projects mainly involved cosmetics luxury brands such as Marc Jacobs and MAC. This is where I learned to channel the soul of a brand into form, color and expression. On my lunch break, I often visited the luxury department store Bergdorf Goodman, seeing what’s new in the jewelry section. Transfixed by the top jewels and everything luxury, that’s when it clicked, and I began changing my career to become a bespoke maker. I left my job and went to NYU for a Master’s Degree in Art Education, where I studied sculpture and silversmithing, along with other design courses at Parsons, while continuing to make jewelry in New York’s Diamond District. 

After you returned to your roots in Hong Kong, is this where your jewelry focus crystalized? 

When I arrived in Hong Kong, I worked as a lecturer at Hong Kong Art School teaching BFA in Branding, 3D-Design and Packaging Design, which supplemented my income while I began my company Pearly. In 2006, I visited my first Hong Kong Gems & Jewellery show, which opened a whole new universe. I did bespoke in the back end while creating collections that did well editorially, which led me to relaunch my brand in London Fashion Week in 2012. In 2015, Pearly was featured in the major fashion magazines Elle and Vogue, as well as in several trade publications. I was invited by retailers like Harrods to showcase my work. By then, I had finished my GIA Diamond course on a half-scholarship and decided to complete my Graduate Gemologist (GG). I rebranded into a bespoke-only business and started becoming a broker for other designers and the trade alike. Since I was now straddling both the worlds of gem dealer and jewelry designer, I found myself creating larger pieces as well as making a name for Pearly as a color gem specialist for bespoke jewels. In 2020, I decided to elevate my business and moved to the United Kingdom.

Your focus on colored gems is distinctive. Why do you gravitate towards them, and do you have favorites? 

Natural colored gems are my canvas – they allow me to weave narratives and emotions into my designs to build stories. They are the focus and provide a link to Nature’s amazing work. Recently, I created a ring with a 27-carat morganite from my collection, which won a prestigious Goldsmiths’ Craft & Design Council Award in 3D Design and Precious Jewellery. I also love emeralds with a vibrant jardin, as much as the neon glow from stones like Paraiba, canary tourmaline and Jedi spinel. Saturated juicy colors like spessartite garnet and green jadeite captivate me. Having spent my early teens in Australia, opal holds a special spot in my heart with its rainbow colors, which I also can see in white spinels and of course, diamonds. It’s all about scintillation, physics and how color fills you with emotions.

As most of your pieces are custom-made, what are your main design directions and inspiration?

Nature has been my primary muse for almost my entire design life. From organic forms of fruits to the geometric precision of a fern, I’m fascinated by their architectural structures and patterns. I also draw inspiration from art, fashion and film. For my custom pieces, I start with the wearer, taking into account who they are, their stories and desires. As an example, a client wanted a birthday gift for his wife who paints and makes pashminas in Tibet. With their modest budget, I proposed a modern cut citrine, whose yellow tones evoke Tibetan saffron robes of monks, accented with baguette diamonds, and Sleeping Beauty turquoise beads, which are found in ancient Buddhism religious objects. Set in platinum with baroque scrolls symbolizing scriptures, with Tibetan gold bead accents, I then added yellow diamonds and an engraved mantra as private details on the back. On a different note, another husband with a larger budget, wanted a top quality unheated ruby for his London fashionista wife. I chose a fun heart-shaped ruby with top color and visible fine rutile. Set in black rhodium-plated 18K gold, the stone was further enhanced with matching-color small rubies. With bespoke, it all depends on the client and which gem has the starring role.

Your dual approach blends design and gemology seamlessly. How does this duality influence your creations? 

I moved into the gem business with over a decade of design experience behind me, yet it took some time to refine the relationship of design to supply chain, from mine to finger, so to speak. Being a gemologist and a designer allows me to bridge the gap between stone and design. Understanding the intricate properties of each gem helps to inform how I showcase its glory, thus ensuring beauty and style with durability and wearability. Color is mainly the feature, but it is important to know if a particular gem will fit a client’s criteria and lifestyle.  I look at gems not only for color and quality, but I also consider reflective index, harmony and contrast, the angles that they will be viewed, how to highlight the star.  A lot of considerations are at play in creating the design, so being conversant in gemology became a necessity for my work.

What sets Pearly apart in the jewelry market, beyond just the designs? How do you ensure ethics, responsible sourcing to ensure your gems and manufacturing processes align with responsible practices? 

True luxury is about the very best – the best material, the best craftsmen, the best design. But it is also about how it is made, lovingly, from the heart. Pearly is driven by creating the very best. Fresh out of GIA, I flew to Sri Lanka almost immediately to see a sapphire mine – I just had to see it. This was my first step in learning about responsible sourcing, which continues to be a focus of my work to this day, with integrity at the core. I’ve cultivated long-term relationships with partners who share my commitment to sustainability and ethical practices. Whether sourcing from the mines or working with trusted cutters, responsible stewardship is nonnegotiable for me. It has helped keep my supply chain short and transparent. My goal is to continue to take an active part in the gem sector. Having access to the source is one of the strengths of our colored stone industry where the trajectory can often be traced. This intimate approach, coupled with my commitment to create the very best, is what distinguishes Pearly in the crowded world of fine jewelry.

How do you see the future of colored gemstone jewelry evolving? 

Colored gemstones will continue to redefine fine jewelry, offering diversity and personalization beyond traditional diamonds. As consumers realize how truly rare and unique colored gemstones are, demand will grow. For the younger generations where sustainable practices are an important part of purchasing decisions, colored gems offer a clear choice. On a more specific level, we are seeing inroads of colored gems into the bridal market. Traditionally, the value of an engagement ring lies in the sentiment of a diamond, nurtured through symbolism. But when people understand more about colored gems, their history, provenance and how they are helping communities, I think people will opt for something more layered than a diamond, something more romantic, in a way. I might also add that the huge surge and then decline of lab grown diamonds in recent years will likely attract more shoppers who are looking for other types of precious gems.

 Lastly, now that you are back in the UK, what excites you most about the upcoming projects and exhibitions for Pearly?

Being in the UK has put my work in a new direction. Bespoke is still my focus because I enjoy working with people and sourcing on an individual basis. Having said that, I am now working towards high jewelry, with pieces that truly represent the ultimate luxury, detailing the journey from mine to consumer. In addition to my bespoke fine jewelry, I am thrilled to have been selected to exhibit in the prestigious Goldsmiths’ Fair, happening September 24 to 29. It’s an iconic and highly competitive exhibition, and I am delighted to be part of this revered group in the British jewelry scene. It’s a testament to Pearly’s evolution and recognition within the industry. Moving forward, I’m eager to expand my presence while staying true to my values of quality gems, craftsmanship, creativity and ethical sourcing, while telling Pearly’s multi-faceted story.

All images are courtesy of Pearly.

The post From Rough to Remarkable appeared first on Incolor Magazine.

The history of brooches dates back thousands of years, with early examples found in ancient civilizations such as Greek, Roman and Egyptian. Initially used as functional fasteners for garments, brooches evolved over time to become symbols of status and wealth. During the Middle Ages and Renaissance periods, brooches were often adorned with precious gems and intricate designs, worn prominently by nobility and clergy. By the 18th and 19th centuries, they became more accessible to the middle class with the advent of industrial manufacturing techniques. This democratization of brooches expanded their popularity, allowing them to be worn by a broader spectrum of society. They were also popular in the early 20th century, especially in the Art Nouveau and Art Deco periods. And in the 21st century, brooches are more popular than ever.

One of the most appealing aspects of brooches is their versatility. Unlike many other forms of jewelry that are confined to specific parts of the body, brooches can be worn in myriad ways. Traditionally, they are pinned to lapels, collars, or scarves, adding a touch of refinement to formal attire. However, modern fashion has embraced brooches as versatile accessories that can be worn on hats, bags, or even as hair ornaments, offering endless possibilities for personal expression. Men are also increasingly wearing pins/brooches again in a wide variety of designs and colors. Beyond their decorative appeal, brooches often have deep symbolism and sentimental value or they can evoke whimsy and fun. Brooches can also commemorate special occasions such as weddings through generations. Adorned with symbols, such as flowers, animals or religious motifs, they also convey personal beliefs or cultural heritage. Brooches come in a variety of materials, ranging from classic metals such as platinum, gold and silver to more contemporary materials, e.g acrylic and resin. Gemstones add a pop of color and sparkle. Vintage brooches from different eras are prized possessions, each telling a unique story through its craftsmanship and style. Brooches continue to enchant and inspire, bridging the gap between past and present with their timeless elegance and versatility. Whether cherished as heirlooms, statement pieces, or symbols of personal style, brooches remain an enduring testament to the artistry and craftsmanship of jewelry design. As fashion trends evolve, one thing remains certain – the beauty of a well-chosen brooch will always endure.

Photos are courtesy of the company/brand listed unless otherwise indicated.

The post Beauty and the Brooch appeared first on Incolor Magazine.

Jean Claude Michelou was a fearless, one-of-a-kind adventurer and pioneer in the high-stakes world of colored gems. Be it working in the turbulent Colombian emerald trade or braving guerrilla warfare in Afghanistan, he helped change the game regarding ethics, sustainability, and education in the colored stone industry.

Jean Claude Michelou and I first met in 2007 in Dubai at the ICA Congress and got better acquainted during the following mine tour in East Africa. I had been invited to go on this trip by then ICA Executive Director Barbara Wheat to cover the event as Editor-in-Chief of an international jewelry magazine covering global trends in jewelry and gems. Little did I know at the time that I would be asked, some months later, to take over as Managing Editor of InColor, working for Barbara and Jean Claude, while continuing in my other position.

Over the years working with Jean Claude—JC for short—and our many hours of discussions, it was clear that his life’s trajectory was unlike that of most people, even those who travel the world in the gem trade. Thus, this article is intended to honor his memory, his work with InColor, and to explain a bit about this remarkable and sometimes complex individual and his journey—a journey that helped change and reform the global gem industry as well as the people whom he met and inspired along the way.

The following is a brief glance at his story, told through the words of his family and some of his many close friends…

Ahmad Shah Massoud, known as the Lion of Panjshir, was a powerful guerrilla commander during the Afghan resistance against the Soviet occupation (December 1979 to February 1989). In the 1990s, Massoud led the government’s military wing against rival militias and then, following the rise of the Taliban, he led the primary opposition against its regime. The one area of Afghanistan that never fell to the Soviets nor to the Taliban was the Panjshir Valley (until 2021).

Surrounded by the rugged Hindu Kush mountains, this area has been known for centuries for its beautiful gemstones and, despite the wars, conflicts, and other dangers, a few gem dealers ventured there to seek its treasures. Massoud sought out one of these individuals, a man who was known for his emerald expertise—Jean Claude Michelou.

In 1991, accompanied by his good friend and mentor, a Belgian national named Roger [last name withheld], Jean Claude left for Afghanistan. But there was no easy way to get to there. Eventually, they ended up on a Red Cross/journalist flight from Paris. Kabul was by no means safe, and bombs could be heard exploding near the hotel. After arrival, they were taken to the Panjshir Valley by associates of Massoud, where they met the larger-than-life Lion.

JC commented about this visit: “We all got along fine. I was shown a lot of emeralds, visited the mines, and discussed with Massoud how we could do business together, despite the dangerous situation in Afghanistan.” The two men stayed a month in the country, grew a beard, and dressed like the locals, staying in the homes of some of the welcoming people of Panjshir.

Jean Claude said that he really enjoyed the trip to the Panjshir Valley, calling it an “epic” experience despite the evident risks.

So how did a business-educated Frenchman end up in such a dangerous place during those perilous times? Let’s go back a bit.

Jean Claude Michelou was born 7 October 1948 in Vanves, a small commune in the southwestern suburbs of Paris. His father and grandfather were butchers, but as a young man, he was uninterested in following in their footsteps. After graduation from the lycée (high school) at age 15, he attended business school in Paris (the ECCIP) before leaving for London at age 18.

“My father really enjoyed his life in London and quickly learned English,” comments his daughter, Zoe Michelou. “To support himself, he worked in restaurants and bars. He had many female friends and enjoyed the nightlife. He even played guitar and was part of a band.” It was not all fun and games, though. On a serious side, he studied at the London College of International Business, earning a Master’s Degree.

Called back to do military service in France, Jean Claude opted instead to do civilian service in Mexico. While there, he learned Spanish and taught economics and business at the University of Mexico. He married a Mexican-Lebanese woman and ended up staying seven years. Her parents wanted him to quit teaching and join the family’s clothing manufacturing business, but he declined. This ultimately led to a divorce.

JC then took a job with the sporting goods brand, Spalding. After a year, he was promoted to Regional Director for South America and sent to Brazil, Chile, and Peru. It was on one of his Brazilian trips that he met Roger, who was in the emerald business. Roger became a mentor and one of his closest friends, like a brother.

“My father was intrigued by the stones, and Roger taught him how to buy and sell,” adds Zoe. Starting small, but losing money at first, Jean Claude persevered. Not long after, he began trading Brazilian gems in Europe and the U.S., and did so well that he quit Spalding.

JC then moved to the Dominican Republic for business and, on a trip to Colombia, he met and fell in love with a Colombian woman. The two returned to Santo Domingo, before later moving back to Colombia permanently in 1977.

Colombia – Home for 36 Years

Once in Colombia, JC wanted to buy and sell Colombian emeralds, but at that time, however, it was not so easy. To make ends meet, he went into the restaurant business for several years to make enough money to start. It wasn’t long after that he met Victor Carranza, the so-called Emerald Czar, one of the most powerful players on the Colombian emerald scene. Carranza helped him buy larger parcels on consignment to sell abroad. Jean Claude traveled to the mines nearly every weekend to obtain rough, and business was flourishing. Some of his best clients were the Korean and Japanese dealers who came to Bogota in the 1980s.

“I met Jean Claude in the late 1980s through a mutual friend,” recalls Ricardo Mazalan, an AP photojournalist from Argentina, who was there for a soccer tournament and, like JC, ended up staying. “I remember the first time I went to his large home in the traditional La Candelaria neighborhood, a few blocks from the main square. He had purchased two houses, renovated them, and combined the two into one beautiful traditional home.”

Mazalan traveled with Jean Claude throughout Colombia. “I visited the Muzo and Cosquez mines with him at least four times, and we also traveled around the country to learn about its culture and its people. Jean Claude loved Colombia, especially the mountains in the south. He was well known in the expat community and became the go-to contact for foreigners looking to purchase emeralds or do other business in Colombia. He was very street-wise and knew how to help people deal safely in a business that was, at that time, rife with danger.”

Another close friend was Gilles Trequesser, a Reuters correspondent for Latin America in the mid-1980s to mid-1990s who often stayed at JC’s home during his trips to Colombia. They met in 1986 and Trequesser quickly became part of the expat gang that often congregated at the large La Candelaria home. “JC was a great source of information to us journalists, who covered the Colombian scene during this difficult decade. We also knew what we could report and what was off-the-record in terms of some of the major personalities in the emerald business and beyond.”

A Reuters photojournalist covering the world story, which Colombia had become in the 1980s, was Zoraida Diaz, who met JC through her close friends Trequesser and Mazalan. “My memories of Colombia are incomplete without Jean Claude Michelou. His beautiful Spanish-colonial house was a magnet for those of us— photographers, journalists, artists, emerald enthusiasts, and even diplomats—who needed an oasis from the mayhem of the 1980s and early 1990s. His parties were legendary, as was his zest for life and friendship.” Diaz even recalls an image of Jean Claude with his record player, acting as the DJ for his weekend gatherings.

Diaz also reported on emeralds and met Victor Carranza, who gave her rare approval to visit and photograph his mines in Quipama (Muzo). During these trips, she took pictures of the many guaqueros—artisanal miners who searched for emeralds in the rivers and in the tailings from the large mines. She also recalls the danger for journalists and those involved in the emerald trade. “On the lower floors of the Reuters building were many emerald dealers, and one day, a guy was shot right in the elevator. Those were scary times, but Jean Claude knew his way around, had lots of drive, and survived the times.” She adds that the last time she saw him was in Paris in 2011, when she took this photo of him and Trequesser.

A gemstone dealer, who became part of JC’s extended family (and Zoe’s godfather), and kept in close contact over the years, was Francesco Salvia, from Italy. “One of my friends arranged for me to meet Jean Claude in Colombia to purchase emeralds,” he reminisces. “He kindly met me at the airport in Bogota, and at baggage claim, there was a gun fight right in front of us. Then, later at his office, there was another gun battle in the square. This unsettling introduction was only the beginning of many times during those tumultuous years that I felt unsafe in Colombia.”

Salvia stayed at JC’s home on many of his trips to Colombia and remembers fondly the good times enjoyed by local friends and expats alike. “While the week was all serious work, the weekends became a great party. JC loved music, all kinds, especially jazz and rock ‘n roll.” Salvia also introduced Jean Claude to colored gemstone traders in Thailand, after which JC began selling colored gems in addition to emeralds.

Because of JC’s reputation as the go-to person for information on Colombia’s emerald scene, he was approached by several TV and film producers. In 1988, he was featured in the documentary, L’Émeraud de Colombie by noted French filmmaker Patrick Voillot. That same year, a major French television channel, TF1, featured him in a four-part series on Colombian emeralds entitled La Fièvre Verte on its magazine-format show 52 sur la Une.

Interestingly, the series ends with him removing a pistol from his pocket when he arrives home after work. Other videos also show him carrying a holstered gun, even when greeting people in his office—further testament to the times during the 1980s and early 1990s, as well as a reaction to having been robbed on several occasions. “We all wore guns,” he would say. “It was normal, then.”

La Fievre Verte brought more than added fame to Jean Claude. A woman who had worked for the press agent for the film, Audrey Dauman, returned a year later with her cousin Nathalie Noymiss on vacation. Salvia explains, “Audrey became my girlfriend, while Jean Claude fell in love with and married her cousin. The wedding was a civil ceremony at the French Embassy, with a nice reception in the evening.” (JC’s marriage to his Colombian wife lasted for about eight years, after which they divorced.)

Reminiscing about those unforgettable years, Nathalie says that Jean Claude showed her and Audrey around Colombia for nearly a month in 1989. “At that time, there were no tourists because of all the risks, but JC knew how to get places. We had a wonderful time.” She also “fell in love with Colombia.” Some months later, on a trip to France, Jean Claude met up with Nathalie again and, in 1990, she returned to Colombia to marry him.

In 1991, following the end of the emerald wars of the 1980s, the situation began to normalize in Colombia and, over time, much of the drama of that era became but a memory.

JC’s business grew as did his reputation for being the man to see for emeralds. He was also a big advocate for Colombia, and continued to help people wanting to trade there.

To return to 1991, where we started this narrative, JC made the first of two trips to Afghanistan, returning just before the birth of his and Nathalie’s only child, Zoe, in October. He and Massoud discussed how the Afghans could do business with Europe and other parts of the world and made some contacts for them.

JC took the Panjshir emeralds back to Colombia where he showed them to Carranza. While appreciating their beauty and similarity to Colombian stones, the Emerald Czar was firm that JC should not sell them in Colombia. Heeding the warning, JC took the green gems to Asia and Europe, where he bought rubies, sapphires, and other stones, and brought them back to Colombia.

Zoe notes that, on her father’s second trip to Afghanistan in 1993, he sold the Panjshir emeralds through dealers in France who had buyers on the Place Vendôme. “That trip was much shorter than the first,” recalls Nathalie. “He became quite sick with a bacterial infection and returned early. “It took three months for him to recover.” [The 1993 meeting with Massoud was noted in Jean-Christophe Notin’s book La Guerre de l’Ombre des Français en Afghanistan: 1979-2011, along with comments from JC about the estimated production and sales of emeralds from the region.]

During the 1990s, Jean Claude encouraged his wife, who was a trained surgical nurse, to try her hand at jewelry design, using the stones he sourced from around the world. Earning a G.G. from GIA and an equivalent certificate from Canada, Nathalie became a gem expert and a successful designer in her own right, selling under her maiden name.

“In 1994, tragedy struck,” laments Nathalie. Their good friend and mentor, Roger, was tortured and killed in Brazil during a robbery of his gemstones. “This brutal slaying and its mysterious circumstances had such a profound effect on Jean Claude that he seriously considered leaving the gem business.” In time, though, he slowly recovered from the shock and decided to keep going.

A different kind of shock came in 2000. “JC had a heart attack,” explains Nathalie, adding that they returned to Paris for treatment, and began a period of travel between Colombia and France. Eventually, the marriage faltered, and he and Nathalie divorced in 2005. “He had earlier sold the lovely home in La Candelaria in 2003, something we both regretted,” she adds.

In 2009, because of more serious health reasons, JC moved permanently back to Paris, although he returned to Colombia often in addition to travel to Pakistan, Sri Lanka, Africa, and Asia. That year, he reminisced that he “spent only 65 days at home, the rest on flights and in hotels.”

Aside from business, Jean Claude visited Colombia often to spend time with his three children who were there, Nathalie, Vanessa, and Yannick, with whom he maintained a very close relationship. Zoe also accompanied him on these trips, and the four children are still all very close to each other, even though they now live on four separate continents.

The eldest daughter, also named Nathalie, was born in Santo Domingo. She recalls that JC was very attentive to his children, even after the divorce from her mother. “He taught me about music and regaled us with the many adventures he had during his amazing travels. He was a free spirit, spontaneous, and he loved Colombia.”

Vanessa, the second daughter says that even after JC left for Europe, “he always had a warm place in his heart for Colombia. As we were growing up, he wanted to be in our lives, even though we did not live together.” The family had reunions in both Colombia and in France over the years. “We were planning another when Covid hit. His passing hit me very hard. I am still not over it. It is just so sad, as he was starting a new chapter of his life in Thailand.”

JC’s son Yannick noted that he worked hard, but his children came first. “When I was young, I had some heart issues, and my father took me to France where the doctors at the hospital saved my life.” Even when he was 7 or 8 years old, Yannick knew that his father was someone important as people would approach him on the street. “They wanted to show him their emeralds and get his opinion about something or other,” he recalls. “We did not always agree on things, but he was always there for us.”

His daughter Nathalie adds that her father’s favorite place was the beautiful high desert called Páramo de las Papas, near the town of San Agustin in the southern part of Colombia. It is there that he wanted his ashes to be scattered and where his four children will carry out his last wishes.

International Participation

Guillermo Galvis, President of Colombia’s Emerald Exporters Association, has known Jean Claude for more than two decades. “Jean Claude became friends with everyone in the emerald industry. From his start as a dealer, he went on to help the sector open up internationally. He not only brought in buyers, but he promoted Colombian emeralds overseas and helped develop a gem lab. He co-founded the First Emerald Congress in 1998, bringing in global players. He was truly a bridge to the world, always thinking about the next step.”

Years later, JC was again instrumental in helping Galvis organize the World Emerald Symposiums in 2015 and 2018, “and he had even started working on the next one,” sighs Galvis. Among the speakers, JC brought in representatives from the Organisation for Economic Co-Operation (OECD) and the Responsible Jewellery Council (RJC), in keeping with his determination to put the global emerald industry on a path to corporate social responsibility (CSR) and sustainability. “JC was one of our compadres. With his passing, we feel like we’ve lost one of our own,” laments Galvis.

[As a side detail… During the 2018 World Emerald Symposium, Jean Claude celebrated his 70th birthday and his daughter Nathalie organized a party at a friend’s lovely home in his old La Candelaria neighborhood. All of us invitees had a wonderful time and got to meet Nathalie and some of his Colombian friends.]

In 1983, a group of gem traders created the International Colored Gemstone Association (ICA), to address the challenges facing the gem industry and improve communication within the trade. Feeling that this organization could elevate the sector, JC joined in 1986, and was the Ambassador to Colombia for many years. Taking an even more active role, he served as Vice President, first under Joe Menzie, ICA President from 2003 to 2007, and then under successive presidents, as well as a board member for 18 years. “Jean Claude was a close friend and often controversial, but pushed what he thought was best,” comments Menzie. “At the end of the day, he earned a lot of respect for getting things done. He didn’t just talk the talk. He walked the walk.”

During his tenure, Menzie implemented a strategy to bring the ICA Ambassadors into the conversation talking about their specific markets and how this information could benefit the trade.

Barbara Wheat, former ICA Executive Director, recalls this era. “JC and I contracted Ya’akov Almor and his company to create the ICA Gazette to spread this information.” Later, drawing on her publishing experience, Barbara worked with him and Jean Claude to transform the Gazette into InColor, in keeping with the ICA’s mission of promoting colored gems. JC also served as Chairman of the Communications Committee for several years.

Menzie adds that “JC advocated—often with opposition—for members of ICA to be aware of social issues. He often fought with the Board of Directors to get money for worthwhile projects.”

“Jean Claude was the conscience of ICA,” states Bryan Pavlik, a close friend for more than a quarter century. “He was always there to give advice, or help, or say when things weren’t right.”

“For the past few years, I have worked continuously with JC on a couple of projects,” says Ioannis Alexandris, CEO of Gemolithos and current Chairman of the ICA Communications Committee.

“He had a strong personality and a sharp mind, and was never afraid to give his opinion. We all know about his expertise in the gem industry, but we should also know that he was ahead of his time in spirit and vision, which resulted in him trying to eliminate some dusty and antiquated rules and attitudes,” adds Alexandris.

“In the early 2000s, the World Bank had meetings in Washington DC about conflict diamonds and issues involving colored gemstone mining,” continues Menzie. “Jean Claude and I went to these meetings, along with other stakeholders, to give our opinions.” Afterwards, both men consulted with the World Bank on concerns relating to sustainability, ethics, education, and child labor. The goal was to develop programs to address these issues. “JC soon became the go-to person for advising on solutions.”

In addition to working with Jean Claude in ICA, Pavlik also participated in various international initiatives with him, notably his World Bank projects in Nigeria. “Helping develop the mining sector in Nigeria was one of JC’s major activities for several years under the auspices of the World Bank,” adds Pavlik. “Just as Covid hit in 2020, he was planning another trip to the area.”

One of the people familiar with his work was Nigerian jewelry designer and advocate for the African jewelry industry, Amina Okpukpara. “I met JC several years ago because of a 2007 report he did on the Nigerian gem sector, which was shared with me by a Ministry of Mines director who also gave me his contact info. We developed a mentor-friend relationship. JC understood the African gemstone terrain and encouraged me in my various endeavors that could positively impact the African gemstone industry.”

Jean Claude’s dedication to improving the global gemstone industry extended to other international projects, such as consulting with the UN’s Interregional Crime and Justice Research Institute (UNICRI) and the OECD, among others, according to Stephan Reif, a gem dealer and close friend. JC even arranged for the ICA leadership to be invited to OECD meetings.

On the non-governmental side, Jean Claude served on the advisory board for the University of Delaware’s Gemstones and Sustainable Development Knowledge Hub and advised other groups on supply-chain concerns. In 2019, JC was also appointed to RJC’s Standards Committee because of his advocacy for ethics in the industry.

Many invitations also came JC’s way to visit private mining and cutting operations, pearl farms, and other exotic places related to the gem and jewelry world. He often traveled to them with Catherine Munier, his companion for the last six years.

“I met Jean Claude in 2014 and could not have imagined, at the time, of all the places around the world that I would be traveling to with him,” says Catherine Munier. “From navigating canals in France to visiting peridot mines and Apaches in Arizona, from the gem markets of Beruwala in Sri Lanka to the Pink City of Jaipur, from the shows in China and Hong Kong to the pearl farms in Mexico, there was never a dull moment.”

She continues that “Jean Claude was always curious and adventurous. We shared the same love of wine, food, museums and, of course, music.” Catherine moved with him to Bangkok in 2018, and was with him when they both caught Covid. She was unable to see him in his last moments or even attend the memorial service held at the Bangkok hospital because she was being treated in a separate section. She understandably laments the all-too-short time they spent together. His passing has indeed left a hole in her heart.

InColor – ICA’s Flagship

InColor was indeed one of JC’s favorite achievements. He felt it was a magazine “that went beyond being an association magazine to be a vehicle of information for the trade and even the public,” as he often said. To learn about his relationship to the magazine—how it evolved and the struggles he faced to keep it going—the very informative interview conducted by Vincent Pardieu and Justin Prim on 5 March 2021 is available on Field Gemology’s YouTube channel:

Known for his gem expeditions around the world, Pardieu recalls that he met JC in 2005 while working for the AIGS lab in Bangkok. “We became immediate friends. He had a lot of information about what was going on in the trade, knew many contacts, and encouraged me to go into the field. It was around this time that InColor was started, which provided great insight into the industry with writers who offered different perspectives.”

InColor was different from other magazines in that it offered a balance between mining, gemology, jewelry design, book reviews and more. JC brought in a variety of contributors. Among them was journalist and blogger, Richa Goyal Sikri. “Since JC’s passing, I have stopped myself on numerous occasions from picking up the phone and sending him a text. I still can’t believe he’s gone. He leaves behind an incredible body of work, which I know will continue to educate and inspire us and future generations.”

Another contributor was French gemologist and blogger Marie Chabrol. “I met Jean-Claude first by phone in 2007 and then in person some years later at the gem gathering Gemmologie à Poil, held in the small French town of Poil. When he asked me to write something for InColor, I thought it to be a really big challenge, but I am grateful that he pushed me to go out of my comfort zone.”

Poil was the meeting point for many gemologists and enthusiasts in Europe. Marie-Laure Cassius-Duranton recalls spending time with JC and Catherine at the gathering. “Every year, we all stayed in the same hotel and breakfast was a special occasion when we listened to Jean Claude for hours talking about the industry. He had exceptional energy, enthusiasm, intelligence, and generosity. I’m grateful for having had the opportunity to write for InColor. I was aware of his health problems, but he was so full of life that he seemed invincible.”

In 2017, Jean Claude co-founded Imperial Colors with daughter Zoe, who had moved to Thailand in 2013. He moved to Bangkok in 2018. “It was good to be in Bangkok. It is the natural place to be for gemstones,” JC explained.

JC and Zoe frequently traveled to Pakistan and partnered with a mine in Swat to bring emeralds to Bangkok for cutting. They also organized a cutting facility in Sri Lanka, where they trained ten people to cut the rough they received in Bangkok. “He was not just a father but a mentor. I loved traveling with him and will always remember the numerous adventures we had on our trips. He was passionate and lived life to the fullest, not fearing anything. He always tried to find solutions and make things right in his own way.” Zoe is indeed carrying on his legacy in the gemstone business.

In 2020, Jean Claude decided to retire from InColor after 15 years as Editor. But he did not retire from the world of gemstones. He continued his activities with international agencies, with Imperial Colors, and was working on an emerald book with Gaston Giuliani, a Colombian emerald expert (and frequent InColor contributor).

For Giuliani’s second book Émeraudes, tout un Monde, “Jean Claude wrote his final article on the emeralds of Pakistan, just before passing away,” Guiliani says with great sadness. “JC was serious, organized, passionate, and irreproachable in his business as well as in his friendships. He was a man of the field, a veritable adventurer of the modern age, always ready to help others.”

These sentiments are echoed by Pascale Savigny, the ICA Ambassador to France, “JC was never stingy with his good advice, his kindness, and his generosity. I was happy to share some good times with him, and these memories will remain with me forever.”

While Jean Claude may have lived dangerously, there was one danger that he could not avoid. He passed away 3 May 2021 in a Bangkok hospital from Covid-related causes, while Zoe was stuck in quarantine after quickly returning to Thailand from overseas. JC’s good friend Prida Tiasuwan, owner of Pranda, kept in constant contact with her and the doctors. After his passing, Tiasuwan presided over the memorial service at the hospital.

As Wilson Yuen, a former ICA President, remarked: “Jean Claude was a great friend and there are no words to describe his loyal contributions to the gem industry and to InColor. He truly deserves a posthumous Lifetime Achievement Award.”

[The last contact I had with Jean Claude was just before he was transferred to intensive care. His spirit was optimistic, so it was a terrible shock to learn of his passing. The sad news traveled quickly. Posts flooded in on social media and hundreds of people around the world sent condolences to his family.]

Jean Claude Michelou was indeed a fearless, one-of-a-kind adventurer and pioneer in the gem industry. He will be missed.

• ICA President Clement Sabbagh Pays Tribute to Jean Claude Michelou
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• About InColor Magazine
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• The Unmasking of Beatrice Matiash

The post Living Life Dangerously appeared first on Incolor Magazine.

Lorenz Bäumer could have become an engineer. That is what his degree is in. He could have become a marketing executive. He is surely a master marketer. He could have become a movie star. He has the looks, talent and charisma. Instead, Lorenz Bäumer became a world class designer of high jewelry.

“Jewelry should be more than art. It should be an experience,” muses the designer. A visit to his art-filled and ultra-chic Paris salon Bäumer Place Vendôme, located at 19 Place Vendôme, a few meters from the Hotel Ritz—and this is quite evident.

For that experience, many of his clients fly in from all over the world. And like any true artist, it is important to him that they have a connection to his work. He will spend hours discussing (mostly listening) to potential clients before he ever agrees to create a piece for them. With no less than five of his creations on display in the Louvre’s Musée des Arts Décoratifs (three under his own name and two under a major brand), it is understandable why he is so particular.

How has this experience changed, if at all, during the pandemic? “The boutique remained open, but we did less business because people did not venture out so often,” he answers. And, the downturn offered the time “to create new styles and also redecorate the salon.” While custom pieces are a large part of his business, he adds, “We did more custom jewelry during this period than ever, but things are returning slowly to normal. We also kept in personal touch with our established clients around the world.”

“It is important to know and understand our clients,” he says. “Jewelry must perfectly fit the individual who will wear it, so it is important to learn what their favorite colors and gemstones are, about their lifestyles—who they are. Only then will it become more than just a work of art, but something that is truly a treasured experience.”

Bäumer has taken his “experience” philosophy to its pinnacle. A stroll through the Place Vendôme, with its upscale brands ranging from haute couture to haute horlogerie, you realize that it is the perfect setting for his salon. Stepping inside, it is instantly apparent that this is not going to be an ordinary shopping experience.

Glancing around, you know that you are in the presence of a talented artist, as Bäumer’s creative expressions are not limited to his exquisite jewelry. He has personally designed an all-encompassing environment of sensory experiences for his customers as they sit and relax while exploring with him the myriad possibilities that await each new creation.

“My studio is a very important part of my overall success,” he readily admits. “No detail can be overlooked, from the way clients are greeted to their final goodbye.” And indeed, when you spend time with Lorenz (as he prefers to be called), you realize just how adamant he is about that statement. From his genuinely charming personality to his uncanny sense of marketing to his genius for creating pieces that masterfully combine a strong sense of individualism and wearable elegance with just a touch of whimsy, you understand his success.

Contrary to many designers, Lorenz is not from a family of jewelers. After his degree in engineering, he turned to designing furniture. Jewelry ultimately caught his fancy, but without the money to create upscale pieces, he began by designing costume jewelry. “I started at the very bottom,” he says, “and learned both the craft and the business, always with an eye towards creating my own brand.” Each time he made a little extra money, he would pour it back into his business, gradually creating more and more important pieces, and attracting more and more customers, many of whom now collect his work.

A wide variety of materials are incorporated into his pieces. He especially appreciates colored gems that form the basis of many of his elegant haute joaillerie, but he is just as likely to design a sumptuous ear of corn that features diamonds and pearls or a vegetable bracelet with gemstone peas, grapes and all types of other legumes, or a whimsical scarab featuring titanium.

Lorenz often gets his inspiration from Nature. His love of surfing and the sea inspired the Aqua collection with pieces evoking the fluidity of waves swirling around a diamond or pearl or gem-studded sea urchins and other marine creatures. Back on land, the designer’s Enchanted Garden collection unveils its magical flowers in an array of gemstones and colored lacquer.

Taking his art to a different sensory level—that of smell—Lorenz designed the Olfactive collection, with a special titanium material created to retain the scent of perfume. Drawing on his engineering background, he plays with movement and volume in the Architecte collection. Inspired by Cole Porter’s Night and Day song, his Architecte Night and Day ring features a beautiful reversible opal—the sun on one side and the moon on the other.

One of the designer’s “crowning” achievements was in 2010, when he was approached by Monaco’s House of Grimaldi. Prince Albert II and Princess Charlene asked him to create a diamond tiara for her upcoming wedding. The result was Ecume de Diamants, which translates poetically as Ocean Spray. With its asymmetrical and fluid design, it evokes a breaking wave, and is both modern and extravagant, while paying tribute to the bride’s love of water.

Lorenz’s love of water also led to his “We Care” initiative. On one of his surfing trips in 2003, he discovered the island of Sumba in Indonesia. Beyond the splendid landscapes, he was immediately attracted by the smiles of the children who welcomed him. Their radiant faces, despite the difficult living conditions, never left him. “Every child, wherever he or she lives, represents the future of our planet, and they all deserve to grow up in the best possible conditions to be the actors of tomorrow’s world.”

Thanks to close cooperation with the Sumba Foundation whose main mission is to make life easier for the Indonesians on the island of Sumba, while respecting their culture and traditions, Maison Bäumer supports access to education for the island’s children. Inspired by Sumba’s cultural heritage—their sculptures, the pictures on their houses but also the weaving of their baskets—Lorenz designed a unique collection of silver pendants. The jewelry is made in the villages using their ancestral know-how. Each pendant sold provides seven children with school supplies for a year. Since the beginning of this project, Maison Bäumer has been supporting more than 20,000 children in cooperation with the Sumba Foundation.

Baumer-vendome.com. Images are courtesy of Lorenz Baumer.

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The post Lorenz Bäumer – Creating a Treasured Experience appeared first on Incolor Magazine.

Sapphires from Montana have seen growing interest over the last few decades by a multitude of jewelers—not only in the U.S. but around the world—who feature the colorful gems in their collections. Montana sapphires are also attracting young brides who want to have an ethically sourced stone in their engagement ring. To learn more about the area and how mining fared during the pandemic, we spoke with Warren Boyd, Director of Marketing, Potentate Mining LLC, which has been active in Rock Creek since 2016.

Although much attention is paid to Montana sapphires today, they are not new. The first gems were discovered in 1892 by M.H. Bryan who was prospecting for gold on the West Fork of Rock Creek. He was intrigued by the shiny pebbles and scooped some up for his grandchildren. When they turned out to be sapphires, miners began to find them in abundance in the area. These American gems were then displayed at the Paris Exposition in 1902. One of the first jewelers to feature them was Tiffany & Co.

Sapphires are mined in several areas in Montana. Small-scale production is carried out in alluvial benches in the Missouri River, with a total of 3 tons of sapphire extracted since discovery. Mining, also alluvial, has currently dried up at Dry Cottonwood Creek as the area has been fully reclaimed.

Unlike the other regions, the sapphires from Yogo Gulch are found in hard rock. Most of Yogo gems are blue, with a very uniform, intense color, and they don’t require heat treatment. Up to 2014, about 3.5 tons were mined, although currently there is no production. Yogo sapphires appearing on the market today are from mine tailings or estate pieces, and very rarely are found in larger sizes.

The most prolific sapphire mining area is Rock Creek, where historically 91% of production in Montana has occurred. More than 65.8 tons of sapphires were mined from the early part of the 20th century to 2014. The gems are found in heavily weathered volcanic rocks and secondary concentrations in small gulches. This very rich deposit covers more than 3500 acres, of which 90% of this area is owned by Potentate Mining, which began significant production starting in 2016.

In addition to commercial mining, Potentate sells its rough sapphires to the local tourist operations through its CSR policies. Thousands of tourists visit these local operations—supported with sapphires from Potentate’s operation—so they can wash gravels to recover their own sapphires. Families arrive from all around North America to screen and pan gravel for these colorful gems.

So how has this all changed during the pandemic? “The smallscale producers at the Missouri River continued to operate,” says Warren Boyd. “And, we kept our commercial operations going, too, but with a smaller staff. But no visitors or tourists were allowed.” In 2019, Potentate commissioned a new plant, which allowed for less staff and increased volume, so that in 2020, the company was able to still produce about 80%-90% of what it did in 2019.

“Mining is seasonal,” adds Boyd, “It starts in late April, with processing in late May, until late October, thus summers are focused on production and winters are for sales.” Because Potentate sells almost all its gems as rough, Winter 2020 posed some logistical challenges in terms of getting the gems to clients. He notes that the company cuts, however, some of its gems, about 0.5%, that are very high-value stones.

Yet, he noted that Potentate’s customers, who had their stones cut in India and Sri Lanka, had a very hard time, since these cutting centers were working at only 30-40% capacity. For those who cut their stones in New Jersey, there was no slowdown as robots did most of the faceting.

For this 2021 season, Potentate doubled its staff, and is working double shifts. “Finding staff has been an issue,” he confides, “because of the government aid to workers. The company, on the other hand, did not receive any money from the government.”

In keeping with its target of environmental protection, it added a new water recycling plant that allows the miner to recycle up to 90% of the water. “We are the only colored gemstone operation in North America that uses water clarifiers,” he smiles.

The colors of the sapphires that come out of the mines in Rock Creek are generally blue-green, teal and greenish blue, while rarely, they find shades of padparadscha, orange, pink and even a few rubies. The largest North American colored gemstone producer, Potentate has many years ahead to produce these beautiful and ethically sourced sapphires from Rock Creek.

Photos are courtesy of Potentate Mining unless otherwise indicated.

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The post North America – The Ethically Sourced Sapphires of Rock Creek, Montana appeared first on Incolor Magazine.

From the late 19th century through the first decade of the 20th, Southern California was the principal source of tourmaline in the world. In the 21st century, some mines not only continued commercial mining but also opened to the public who could try their luck on a fee-dig basis. One in particular is the Oceanview Mine. How did they manage during the pandemic? To find out, we caught up with Jeff Swanger, the mine’s owner at his Chief Mountain property near San Diego.

Over the last 125 years or so, many amazing gemstones have come out of Southern California. Gem quality tourmaline was first reported in 1872 at the Columbia Mine, and commercial mining began in 1898 with the discovery of tourmaline-rich pegmatite deposits that turned into the Himalaya Mine.

An early big boost to California mining came from China, where carving-grade tourmaline was in high demand. The lovely pink and red varieties of the gem were especially appreciated by the Empress Dowager Cixi, who controlled the Chinese government during the late Qing dynasty. As a result, many of the pieces that are on display today in the Treasure Gallery in Beijing’s Forbidden City came from mines in Southern California. Sales to China continued until the Chinese revolution in 1911.

As tourmaline was discovered in Asia, Africa, and Brazil, gem production in California began to fade. Yet, the 1950s saw a renewed interest in the glorious past of California’s gems. Starting in the 1970s and through the late 1990s, tourmaline was found in amounts close to the levels of the big boom of the early 20th century. Some deposits brimmed with magnificent rubellite crystals and some even had peach-colored morganite attached to them. They are among the most unusual and valuable mineral specimens ever found.

This resurgence in mining over the last couple of decades has been mostly at the highly mechanized mines of Oceanview, Pala Chief, and Elizabeth R (all three purchased in 2000 by Jeff Swanger), which produce a variety of gems. In 2005, significant quantities of morganite were discovered at the Elizabeth R Mine. In 2007, remarkable deposits of beryl—morganite and aquamarine—were found in the “49er Pocket,” named in honor of Swanger’s 49th birthday. Some crystals were even next to each other on the same specimen, and a few were bi-colored. From 2010 to 2012, the Oceanview Mine also produced several hundred kilograms of fine kunzite, including several notable crystals, while in 2011, the Pala Chief Mine produced hundreds of kilograms of straw yellow spodumene (triphane).

A year after purchasing the entire Chief Mountain where the three mines are located, Swanger opened the area to the public in 2001 on a fee-dig basis, so that rockhounds and other gem aficionados could try their luck at finding the elusive treasures. “The Oceanview Mine is open all year around, three days a week, and can accommodate 500 to 600 people a month by reservation,” explains Swanger. “We provide tour guides and the equipment for sorting and washing the gems.”

The Pala Chief Mine is open twice a month from October to June and is for those intrepid souls who bring their own tools and want a more rugged experience as they hike around the old mining dumps on the side of the mountain, looking for tourmaline, kunzite, morganite, aquamarine, quartz, garnet, and more.

Swanger lives in one of the two homes on the 60-acre mountain property, and enjoys a panoramic view of the San Luis Rey River basin. The site also includes The Miner’s Inn, perched on the top of the mountain, with spectacular views of Pala Valley and nearby Tourmaline Queen Mountain. Other facilities include an office, gift shop, equipment storage, and an area for visitors to sift through the dump piles that the miners haul out of the mine. Guests also get a jeep tour of Chief Mountain to see the famous Pala Chief and other historic mines.

Oceanview Mine not only attracts gem aficionados and collectors from all over the world, but also prominent members of the trade. “We have had gemologists and groups from GIA, Gem-A, Guild, and other labs and organizations as well as professional dealers come visit the mine,” he adds. “It is also popular with charter schools, which sometimes bring as many as 100 students, who have found some amazing gems over the years. The schools, however, stopped coming during Covid.”

While the schools temporarily stopped their trips to Oceanview during the pandemic, other visitors came out in force. “We didn’t close the mines during the lockdown and none of our miners or other employees got Covid,” he says. “We were anticipating a general slowdown in visitors but, unexpectedly, just the opposite happened. Last year was our busiest year ever. With so many indoor activities and businesses closed, people looked for ways to spend more time outdoors. Among our guests were parents with children of all ages, who came to spend a fun day on a mining site, hoping to find that perfect gem.”

When asked about the other mines in the area that also have fee-dig operations, Swanger responds, “They have all closed. We are the only ones left.” For this 40-year mining veteran and gem expert, he, too, is thinking about hanging up his miner’s hat. “We recently put the property up for sale,” he confides. “It’s been a lot of work and great fun, but the time has come to retire.” Until, then, there is no doubt that many delighted people will dig for gems in Southern California.

Images are courtesy of Oceanview Mine unless otherwise indicated.

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The post North America – Digging for Gems in Southern California appeared first on Incolor Magazine.

When life gives you a Monday, dip it in glitter and sparkle all day. For Beatrice Matiash, this is not merely a posting on her very popular Instagram account, but a way of life. To learn how her company, Tashka by Beatrice, not only survived but actually thrived during the pandemic, we caught up with her in her New Jersey office.

Even as a small child growing up in Brooklyn, New York, Beatrice had an affinity for color—lots of color. “Where I grew up, many people wore black or dark clothes, and I thought they should accessorize with color,” she reminisces. “I have always loved color. Color is happy and it makes people happy. There is strength in color.”

But “happy” colors are only part of her story. She was also attracted to fashion and design. So, it’s not surprising that the young woman attended New York’s Fashion Institute of Technology, for a B.A. in Fashion Buying and Merchandising. She also took classes in designing jewelry, handbags, and “a little of everything.”

After graduation, she joined Federated Merchandising (now Macy’s Inc.) working in product development for dress accessories—mostly scarves, sunglasses, and hats. “It was a tremendous experience working with graphic designers to create colorful patterns for scarf layouts. I also loved working closely with the factories, sourcing materials, researching trends and, best of all, seeing our products come to life.”

After a couple of years, Beatrice was hired away by DKNY where she worked as merchandise manager for handbags. “It was there that my passion for bags really began.” And where the seeds of her own company sprouted. On her own time, while commuting into the city to work, she began crocheting handbags in colorful Italian yarns. Soon, she was making them for friends and a few local stores. “One day, a large order came in, so I needed to find people to help me.” She turned to friends and family, and her company was formed—Tashka by Beatrice. “Tashka is the word for handbag in Hungarian,” she explains.

After a couple of years, Beatrice was hired away by DKNY where she worked as merchandise manager for handbags. “It was there that my passion for bags really began.” And where the seeds of her own company sprouted. On her own time, while commuting into the city to work, she began crocheting handbags in colorful Italian yarns. Soon, she was making them for friends and a few local stores. “One day, a large order came in, so I needed to find people to help me.” She turned to friends and family, and her company was formed—Tashka by Beatrice. “Tashka is the word for handbag in Hungarian,” she explains.

In the spring of 2000, she left handbags and launched her jewelry company, keeping the same name. “I wanted to design colorful jewels that one dresses for,” explains Beatrice. Set in gold and silver in unexpected color combinations, her designs range from polished to playful, while her gems range from muted pastels to bright primaries. These demi fine pieces were often limited editions and one-of-a-kind. In addition to jewelry, she drew on her fashion roots to begin making special fabrics with gemstone motifs. Among the first items to “accessorize her jewels” were gembrellas—umbrellas featuring striking and dramatic gem patterns.

Sales were mostly wholesale through trade shows and a network of retailers. She also did trunk shows on high-end cruises for four years. Her website targeted stores and included a catalog but no pricing as retailers warned that her products would be dropped if she sold directly to clients from the site.

Yet, she could feel the industry was changing. More stores lowered their wholesale opening orders and others demanded memo. “We were not prepared to place our jewelry on consignment. It was something we could not do.”

Then the pandemic hit. “We were paralyzed for several weeks,” she laments. “There was so much uncertainty and people could not find masks.” Since Beatrice had the gemstone-motif fabric, she quickly tooled up to make masks and advertised them on Instagram and Facebook. “We sold out immediately. Our first shipments went out in early April. We ramped up production and were shipping 50-100 packages a day for the first few months. It was crazy busy.” She came out with new designs every week to meet demand. “An unexpected surprise was that the masks were attracting new customers for my jewelry,” she says. Because so many people were hurt by the pandemic, Beatrice donated a portion of the mask proceeds to five charities to give back to those in need, especially children.

With retail sales having fallen off in the early months of the pandemic, Beatrice decided to leave wholesale behind and concentrate on direct sales. In September 2020, she launched her own e-commerce site. She also expanded her non jewelry business with other gem-oriented fashion items such as sweatshirts, aprons, scarves, leggings, pillows, handbags, bedding, hair accessories, and more. She even found a new way to replace face masks sales. “We recently launched eye masks, and they are doing well, too.”

Probably, the most popular fashion items are pajamas. “When we launched them, we sent them to several jewelry influencers, and each time they wore them, sales went through the roof. PJs remain one of our bestsellers.”

Every month, the company comes out with new items, including collaborations, which Beatrice is starting to focus on. “There are many dynamic projects on the horizon,” she adds, “one of which is custom artwork on our original gem backgrounds.” These include working with Cheery Designs to create custom hand-drawn pets on the gemmy backdrops.

Jewelry still remains an important part of her business. While demi-fine pieces continue to play a major role, she is moving upmarket with finer stones set in 18K gold. “Since the pandemic, we are doing more custom work. Clients come to us for special stones, which we have cut for them and then create the design.”

“It has certainly been a trying year for the world,” she sighs, adding “and I am super grateful that we were able to transition to e-commerce. Without a website and focusing on retail, we could not have survived the pandemic.”

Today, Tashka by Beatrice has not only survived but is thriving. Beatrice Matiash dipped the pandemic in glitter and her company sparkles brighter every day.

Tashkabybeatrice.com Photos are courtesy of Tashka by Beatrice.

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In China, jade is and always has been a cherished possession. With its soft luminescence and subtle translucency, this beautiful gemstone is considered to bring good fortune. Confucius described the properties of jade as embodying human virtues. Appreciation for this unique gem also extends to the West, and one of its greatest proponents is veteran jade expert, jewelry designer and collector David Lin. To learn more about how he transforms rough jade from Burma into exquisite jewelry, which is part of his Jades by David Lin story, I recently caught up with him in his office in Honolulu.

David Lin begins our conversation with the comment that his customers, mostly in the USA, have a great appreciation for jade, and some are even collectors. Yet, he sighs, many in the West don’t understand this remarkable gemstone or its fascinating history. He is on a mission to change all of that with the lectures he is asked to give to groups around the country as well as the beautiful jade jewelry intricate objets d’art that he designs and sells to a growing number of aficionados.

Born in Shanghai, David Lin learned the jade business from his father, T. S. Lin, a jade merchant from Southern China. “He was my teacher and mentor,” reminisces David, “and he taught me all about jadeite, from how to select the rough material, to cutting it, to designing the finished product.” What started as a hobby for the young man soon made him join his father in this second-generation family business. In 1969, the young man moved to the United States, while regularly traveling to auctions in Burma and the company’s factories and offices in China and Hong Kong.

“The art of using jade began in China more than 5000 years ago,” explains Lin. “Until at least the 13th century, the type of jade used was generally nephrite jade, which is an extremely tough stone that varies in color. Prior to discovering jadeite, the Chinese carved nephrite into ornamental pieces and tools for everyday use.”

Jadeite—considered by many to be the finest type of jade—has been “a part of Chinese culture since the late 18th century when the mines in the Hpakan area, the central jade tract in north-central Myanmar (Burma) were opened,” he adds. “For decades, these mines were inaccessible to foreigners and could only be visited by invitation.” But David was invited very early on in the 1970s by the Burmese government to attend the jade auctions where he purchased the rough stones.

Searching for great stones is exciting and Lin admits that his heart starts beating faster when he finds one. In addition to regular visits to the Myanmar jade auctions, his quest has taken him through the jungles and small villages of China, Thailand and beyond. “Jadeite has been found in many countries throughout the world, including the United States, Russia, Japan and Guatemala, but Myanmar is the principal source for premium grade jadeite,” Lin states.

When examining a piece of rough, how does he determine the quality? “At jade auctions, a buyer sometimes has only a small window, or shallow cut in the surface of the stone, through which to view the piece and determine its color, quality and texture. A large block of jade might also be cut in half, but even that does not reveal everything.”

Lin believes that it is only with a trained eye, gained through years of experience, that the right stone can be found. And, even for the most experienced, there is still a gamble. If he finds a stone that has unsurpassed color in the window, but has a crack line, he must determine how that crack line will affect the usability of the stone.

“My father used to say that the color does not travel through the crack line,” Lin recalls. “But I have learned from experience that there may be times when it does. There is a great deal to consider when buying a stone.”

David goes on to explain that the skin of the rough is another way to see the quality of the jade. “A good stone will have a certain texture and luster. If the color is beautiful, but the skin is not of high quality, then after you cut and polish it, the gem still won’t be as good as one that came from a mine with high quality rough and skin. Another factor is the stone’s hardness. If the intersection is too loose, it will shatter when you cut it.”

Once David has determined that he has found the right quality, the rough jade is sent to his factories in China to be cut by his highly skilled artisans and then transformed into beautiful jewelry.

“There are four primary factors which describe the importance of a jadeite piece—color, clarity, translucency and texture. As we search for the ideal piece, these qualities are of great importance. Other important qualities are thickness, size, shape and cut, luster and iridescence.” He points out that many jadeite stones have been treated to improve appearance and explains that a system has been developed to classify jade as: Type A (no treatment, only cutting, polishing and final waxing); Type B (soaked in chemical bleaches and/ or acids to remove impurities, followed by wax and resins impregnated into the bleached jadeite); and Type C (jadeite that has been dyed or artificially stained). “Detection of the treatment processes Once David has chosen the rough, skilled artisans take his designs to create jewels following the color patterns. This pair of tri-color jadeite earrings-to-be came from this piece of rough. often requires laboratory testing for identification,” Lin warns, emphasizing that he only uses Type A.

Does David have a color preference? “Imperial green jadeite has always been the most prized and sought-after stone by most Chinese. It reached the height of its splendor in 1784 during the reign of Emperor Qianlong, who was especially fond of imperial green jade from Burma. Only years later did people begin to appreciate the other colors. Changes in the chemical composition of the stone create a range of natural colors including green, lavender, red, yellow, gray, black, white and blue, which is in the lavender category and is the rarest color. Some of the most beautiful pieces consist of a combination of two or more colors in one piece.”

David Lin’s father is credited for introducing lavender jade into the United States at a time when green was considered to be the one true color. “High quality lavender jadeite is a rarity,” David explains. “The most common color is light and not translucent. Yet, even if light in color, a quality stone is translucent. A quality jade can also be deeper in color, while not as translucent. To have both─translucency and a darker color─is a stroke of luck.”

A good example of quality lavender jadeite can be seen in his fish earrings, which are both translucent and deep in color. “You can see how light plays within the lighter and deeper colors in the fish, really bringing it to life. The harmonious marriage of the jadeite’s color and its carving enhances the stone’s natural beauty in an effortless flow of color and translucency.”

Like his father who introduced lavender jade to America, David continued to carry this trendsetting torch and was among the first to introduce blue and gray jade. “Translucent gray and blue jades are among my favorite colors to work with.” He also works with black, lavender, white, red, multi-color and, of course, green jadeite.

What about design inspiration? “It all begins with the rough and visualizing the movement of color, in order to decide how to cut it,” muses Lin. He participates in all facets of the process, from the cut to the finished product. “The design makes itself visible as soon as the stone is cut,” he says. “I look for the elements of purity, integrity and simplicity. A simple design is often paramount because it shows the beauty of the stone and setting. It can hide nothing. The simpler it is, the more important is the quality of the gem and the workmanship.”

David is also mindful of his Chinese heritage and creates pieces that balance traditional Chinese motifs with modern designs. And, sometimes he incorporates antique pieces that he finds on his world travels. “My ultimate criterion is that the design, just like the stones, must have enduring beauty and elegance.”

In his quest for producing fine quality jadeite jewelry, David Lin is now joined by his daughter Katherine, as the third generation of the Lin family continues to relish jade, from rough to remarkable. Jewelry and carvings (and photos) by David Lin (jadesbydavidlin.com).

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The post Relishing Jadeite from Rough to Remarkable appeared first on Incolor Magazine.