Christie’s opened the week with its Magnificent Jewels on 11 November in Geneva, followed by the digital Jewels Online. Among the star attractions was the Mellon Blue, a fabulous 9.51-carat Fancy Vivid Blue diamond ring once owned by Rachel Lambert Mellon. With its VVS1 clarity, Type IIb classification, and blazing saturation, the stone typified the near-mythic rarity of top-tier blue diamonds. Its blend of historical provenance and gemological prestige positioned it as the crown jewel of Christie’s 2025 offering.

Phillips had a few stars of its own. Among them was the Vanderbilt Sapphire, a 42.68-carat sugar-loaf Kashmir sapphire set in a Tiffany & Co. brooch. Coming from the storied Vanderbilt family, the unheated stone impressed with its rich Royal Blue color and exceptional provenance. It soared to CHF 2,876,000 at Phillips’ Geneva sale, nearly triple its low estimate.

For collectors seeking potential and creative freedom, The Rainbow Collection—a trove of 300 unmounted colored diamonds—offered pure possibility. From vivid pinks to fiery oranges and steely greys, the assortment was both a designer’s palette and a connoisseur’s dream.

Christie’s digital counterpart, Jewels Online, further broadened the market. With over CHF 8.3
million achieved, the sale showcased signed pieces, vibrant gemstones, and accessible diamonds, welcoming newer collectors and offering seasoned buyers a more discreet, curated browsing experience.

On November 12, Sotheby’s Geneva presented a remarkable narrative of royal heritage and extra-ordinary gemstones across two consecutive sales: Royal & Noble Jewels in the afternoon and High Jewelry in the evening. With a combined total surpassing CHF 41 million, the day was steeped in both opulence and history.

The undisputed highlight was Napoleon’s Lost Diamond Brooch, dating to around 1810, centered with an 13.04-carat diamond and framed by nearly a hundred old-mine cuts. Said to have been abandoned in Napoleon’s carriage during his retreat from Waterloo, the brooch remained within the House of Hohenzollern for over two centuries. Its dramatic sale, reaching roughly CHF 3.5 million, nearly 18 times its high estimate, was a testament to the enduring magnetism of imperial provenance.

Further deepening the Napoleonic narrative was a 132.66-carat green beryl, believed to have been worn during Napoleon’s 1804 coronation. Modestly estimated yet monumental in historical value, the gem for nearly 20 times its high estimate.

A gentler, more romantic lineage appeared in the 13.86-carat light pink diamond ring of Princess Neslişah Sultan, while the natural pearl and diamond hair ornament of Kunigunde of Saxony celebrated 19th-century aristocratic aesthetics through its Sévigné-style reinterpretation.

Sotheby’s evening sale had earlier offered a contem-porary rarity with The Glowing Rose, a 10.08-carat Fancy Vivid Pink diamond of exceptional purity, but it was withdrawn from the sale.

Together, Christie’s, Phillips, and Sotheby’s delivered a tapestry of jewels spanning centuries, from imperial relics to modern masterpieces. Rare colored diamonds dominated demand, royal provenance fueled emotional bidding, and online formats expanded accessibility. Geneva’s Fall 2025 auctions were not just sales—they were a celebration of the enduring allure of jewels.

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Amid a notable resurgence in Chinese buyer attendance, the International Colored Gemstone Association (ICA) Pavilion emerged as a vibrant hub for colored gem specialists, hosting 33 exhibitors. This report weaves their collective experiences into a tapestry of resilience and recalibration, illuminating the pavilion’s role in a post-pandemic gem trade landscape.

Sales Performance: Steady Gains with Cautious Optimism

The ICA Pavilion’s ledger painted a picture of measured progress, with roughly two-thirds of the exhibitors reporting improvements over the March 2025 edition, although tempered by tight budgets and uneven traffic. Slow starts were commonplace, and many noted a sluggish opening, with momentum building on days 4 and 5, although the overall tone skewed positive compared to prior September shows.

Exhibitors who fared well highlighted a 10-30% uptick in sales, often exceeding expectations through a blend of repeat business and fresh inquiries. One described it as “much better than the last two years,” crediting Hong Kong’s tax-free allure for high-end niches. Another called it the “best show in 3-4 years,” securing 4-6 potential new clients amid calibrated emerald sales. High-end opal specialists saw “reasonably good” results, with sales outpacing March despite global headwinds. First-timers in the pavilion reported solid debuts, including 25% new clients for Mozambique rubies.

Stability marked the middle ground, with several achieving parity or slight gains, such as a 5% dip in Chinese sales that were offset by U.S. and Russian volume. However, challenges persisted: about one-third encountered declines of 20-30% from last September, citing a 95% drop in purchasing power and difficulty covering costs. “Challenging” was a recurring refrain, with some struggling to close deals amid diamond market slumps and generational disconnects. Follow-up business post-show emerged as a silver lining, with one noting “a lot happens after the event,” including Singaporean conversions. Comparisons to Bangkok loomed large ─ many viewed the September Hong Kong event as superior for high-end competition, although a few eyed the Thai fair for its holiday appeal and lower costs.

Buyer Demographics: A Broader, Budget-Conscious Mosaic

Buyer diversity enriched the pavilion, but caution defined the vibe. Chinese visitors rebounded strongly from March, comprising 80-85% for some, with higher budgets yet persistent tight-fistedness ─ exhibitors lamented Alipay transaction freezes over 50,000 RMB, even as intent remained high.

Japanese and European contingents grew, alongside Russian attendees (notably for high-end opals), as well as Indians, and Southeast Asians (Malaysia, Indonesia, Philippines, Viet-nam), though the latter often window-shopped without converting.

New client ratios varied, amounting to 20-40% for many, skewed toward Europeans and Russians, while others relied 60% on loyalists. U.S., Middle East, Iranian, Taiwanese, Thai, Australian, and Israeli faces dotted the aisles, but absences stung. There were fewer locals, no Taiwanese in one case, and scant Southeast Asian buyers.

Tight budgets dominated, with a 10-20% spend reduction, yet big-ticket Europeans and post-show follow-ups provided ballast. One exhibitor quipped about a “95% decrease in purchasing,” underscoring a global squeeze, while another celebrated exceeding expectations thanks to Vietnamese and South Korean windfalls.

Product Trends: Calibrated Classics Amid Niche Surges

Demand crystallized around practical, calibrated gems, reflecting buyers’ thrift. Zambian and Colombian emeralds (1-5 cts, US$300-$3,000/ct, no oil) led, alongside Brazilian alexandrite (US$3,000-$6,000/ct), unheated Burmese ruby (US$6,000-$100,000/ct), as well as Mozambique Paraiba (big stones, steady pricing).

Following these were aquamarine, morganite, spessartine, tanzanite, spinel, and tourmaline (lagoon, pink/blue) with calibrated sizes (below 2-3 cts) and commercial grades (US$5,000-$6,000) dominating for jewelers and designers.

Opals bucked the mid-range slump, with prices edging up. The high-end (US$50,000+) and low-grade commercial (1-2 cts, US$3,000/ct) thrived, fueled by Russian growth and Malaysian/Philippine uptake. Ruby beads, Sri Lankan/Burmese sapphires (3-5 cts, US$100,000-$1M), and Cambodian zircon (10+ cts, US$200-$1,000/ct) saw niche interest, although no broad trends.
Prices held firm or rose slightly (e.g., opals steady-up), but sourcing hurdles ─ such as 50% cost hikes ─ squeezed margins. High-end jewelry traffic surged, with fashion houses scouting fine cuts and clarity (US$500-$100,000 range), signaling a premium pivot.

Exhibitor Feedback: Proximity, Promotion, and Post-Show Polish

The ICA Pavilion earned kudos for efficiency and organization ─ better than March and last year ─ but critics honed in on logistics and support. Booth proximity irked some: “too close to Brazilians,” with pleas for face-to-face layouts over back-to-back. Promotion gaps loomed large ─ “ICA doesn’t do promotion” ─ prompting calls for enhanced exhibitor services, targeted marketing to pinpoint generational wants, and clearer market positioning amid confusion over addressed demographics.

Bangkok comparisons fueled debate: HK’s niche high-end edge versus Thailand’s convenience was discussed, although many dismissed the rival for lacking tax incentives. Positives abounded, however, such as smooth operations, networking with industry leaders, and Instagram live experiments yielding Japanese traction. Synthetics stayed sidelined, but post-show follow-ups underscored relationship-building’s primacy. Most exhibitors stated they plan to return next year, with a handful wanting to try the March and/or Bangkok shows.

Conclusions

September’s ICA Pavilion pulsed with guarded hope, outshining March’s gloom through diverse buyers and calibrated demand, even as budgets pinched and new faces proved elusive. The Chinese resurgence and high-end resilience hint at stabilization in a $121 billion market trajectory, yet exhibitors crave sharper edges to cut through competition.
Images are courtesy of the author.

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The 38th edition of the IGC gathered leading researchers, laboratory directors, and specialists in gemology and gem science from around the world. True to its tradition, the conference maintained a scientific focus, prioritizing research and discovery over commercial interests.

The program was organized into thematic sessions encompassing the full spectrum of gem-related disciplines: the history and curation of gemstones, pearls and amber, general gemology and research, corundum (sapphires and rubies), jade, and diamonds.

After the opening remarks, Dr. Jayshree Panjikar (IGC Executive secretary) offered a brief history of the IGC, followed by the Opening Session, Gemmology and Greece. Several experts, including the author, who also represented ICA, explored the mineralogy of Greek gemstones, ancient jewelry, gem education in Greece, the art of glyptography, and the gems and lewels of Greece’s Royal and prominent personalities.

Session 1: History and Museums, chaired by Karen Fox, featured talks by experts on the history of selected gemstones and their mining, as well as museum collections featuring gems and jewelry from world-renowned collections, including fancy-color diamonds, historic emeralds, and traditional garnet cutting techniques.

Pearls and Amber were featured in Session 2, chaired by Dr. Michael Krzemnicki. Presentations described advances in pearl cultivation, new classification schemes, and inclusion studies in amber as well as amber from Myanmar.

Session 3: Gemmology 1, chaired by Dr. Ahmadjan Abduriyim, focused on mineralogical research topics such as pink fluorite, mineral pigments in jasper, and a review of Fe-Ti charge transfers and their application to minerals and gems.

Session 4: Gemmology 2, chaired by Dr. Karl Schmetzer, and featured a discussion on zoisite and its many colors, blue rose quartz, and pink-orange gem quality euclase from Brazil.

Chaired by Dr. Pornsawat Wathanakul, Session 5: Gemmology 3 included presentations by experts on typomorphic features of tourmalines of the Malkhan pegmatite field, studies on how colored gemstones crystallize at depth in East Africa, hessonite garnet, Hurlbutite from Myanmar, as well as glass imitations of larimar.

Session 6: Gemmology 4, chaired by Prof. Dr. Stefanos Karampelas, featured speakers on a variety of topics relating to spinel origin, emerald enhancement, and the Salininha emerald deposit in Brazil, among others.

Dr. Ulrich Henn chaired Session 7: Corundum 1, and welcomed several speakers with presentations on noble gas in corundum, age dating and origin, and age determination of yellow sapphires.

Session 8: Corundum 2, chaired by Dr. Jayshree Panjikar, continued with presentations on Greenland rubies, blue sapphire from Brazil, and transparent brown sapphire.

Session 9: Corundum 3, chaired by Shane Mcclure featured five presentations discussing heat treatment detection, trace element studies, effects of gamma irradiation on corundum, the challenges of detecting treatment of ruby and sapphire in the Thai market, and Padparadscha sapphires and heat treatment.

Session 10: Jade, chaired by Thye Sun Tay, showcased three presentations on comparison of green Fei Cui from Myanmar, Guatamala, Italy, and Russia, as well as origin determination of purple jadeite, and finally a description of dyed purple jade from Myanmar.

The IGC conference wrapped up with Session 11: Diamonds, chaired by Prof. Dr. Emmanuel Fritsch. Among the topics were diamonds from the Argyle Mine in Australia, gemological characteristics of diamonds with yellow and red luminescence, identification of melee synthetic colored diamonds, diamonds from Thailand, diamonds from Myanmar, and nitrogen aggregates in yellow HPHT and CVD synthetic diamonds.

During the event, the group took an excursion to the Lavrion Mines and Cape Sounion, two of the significant sites in ancient Attica, connected historically by the rich silver and lead mines of Lavrion that funded Athens.

Complementing the technical program, the Pre-Conference Excursion visited geologically and archaeo- logically significant sites across Northern and Central Greece, including Meteora, Mount Olympus, and Vergina.

The Post-Conference Tour led participants to beautiful Santorini, where the visit combined geological study with archaeological exploration and cultural sightseeing.

Established in the 1930s, with its first formal meeting held in 1952, the IGC has upheld a long-standing tradition of scientific excellence and international collaboration, inviting delegate participation from gemological institutions worldwide.

The IGC 2025 in Athens continued this tradition, and provided distinguished gathering at the forefront of gemological science, showcasing a variety of cutting-edge research, methodological innovation, advances in treatment detection, and the integration of gemology with heritage, geology, and technology. The city of Athens, with its unique blend of ancient heritage and modern academic infrastructure, provided a fitting and inspiring setting for this landmark event.

For more information on the IGC Athens event, visit the IGC website: https://www.igc-gemmology.org

The post The International Gemmological Conference (IGC) appeared first on Incolor Magazine.

Continuing the same topic, Riccardo Luppo from Sapienza University of Rome discussed heat treatments used to enhance the color of Paraiba tourmaline and the diagnostic signals used in treated stones. Finally, Francesco Izzo, from Naples University Federico II, showcased his research on the non-destructive characterization of tourmalines using FTIR.

During the same session, Alberto Scarani from Magilabs presented his hybrid solution for a new possible method in diamond color grading, which aims to overcome difficulties, such as cost and limited availability, in finding suitable diamonds for the Master stones series. He proposed a hybrid Master series composed of both synthetic and natural diamonds, specifically suggesting lab grown diamonds for high colors (E-G) and natural diamonds for yellowish shades that exceed the G color.

The second session focused on coral, seemingly the main character of the day, beginning with Rui Galopim de Carvalho who spoke on nomenclature and the distinction between precious and common corals. He also addressed the issue of sustainability in fishing and the trade of this precious gemstone – a jewel of Italian gems. The topic of coral was then explored from a different perspective by Anna Di Cosmo, Professor of zoology at the University of Naples Federico II, who presented the zoology and biology of coral, emphasizing the importance of interdisciplinary collaboration.

Her talk highlighted the development of a certified Animal Genetic Traceability (AGT) test based on DNA barcoding to identify Mediterranean red coral, Corallium rubrum, while set in jewelry, thus helping to promote sustainability and transparency in the coral supply chain. This method supports conservation efforts and helps restore public trust in the ethical use of precious corals.

Cristina Del Mare, member of the CIBJO Coral Commission and curator of the Jewelry Museum of Vicenza, discussed about the red coral of the Mediterranean, highlighting how the sustainable management of Corallium rubrum supports both environmental conservation and preservation of the cultural heritage of Mediterranean communities, especially in southern Italy. She presented red coral as a model of integrated sustainability that balances innovation, tradition, and intergenerational responsibility.

To conclude this important topic, Lorenzo Turrizziano from Naples University talked about the supply chain of coral from sustainability to governance, analyzing it through an ESG (Environmental, Social, and Governance) lens, balancing marine conservation, cultural heritage, and economic development in order to have an ethical future for the red coral sector. This section’s message was on the importance of raising awareness about responsible sourcing and biodiversity protection in high-jewelry markets.

The conference reconvened in the afternoon after a brief lunch break, which proved to be another excellent networking opportunity, beginning with a session dedicated to the vast world of diamonds, examining both the scientific and ethical viewpoints. Michele Macrì from Sapienza University of Rome discussed the evolution of diamonds, offering an ironic and entertaining chronological division inspired by names of geological eras and periods. He began with the earliest phase – when only Indian diamonds were known – and explored the initial relationship between humans and diamonds, including the origin of the word diamond, derived from adamas, which reflected the ancient belief in the stone’s magical strength and power. Macrì then went through key historical sources, including Plinius’ Naturalis Historia, highlighting symbolic artifacts such as the three-rough-diamond ring that is the symbol of Lorenzo il Magnifico.

Macrì’s speech continued with the discovery of diamond deposits in Brazil and South Africa, which dramatically increased supply and triggered a diamond boom. This surge was amplified by powerful marketing campaigns, with Hollywood and celebrities such as Marilyn Monroe, portraying diamonds as a girl’s best friend as well as the famous media campaign of Diamonds Are Forever that branded them as eternal symbols of love, turning them into essential social status markers.

This growing demand led to the need for standardized pricing, marked by the influential work of Martin Rapaport and the introduction of the Rapaport Price List. The talk concluded with a look at the present day situation and the emergence of synthetic or lab-grown diamonds, signaling a new chapter in the ongoing evolution of this precious stone.

The next talk shifted the focus to a broader perspective with Melissa McElvain Scarani, who discussed the importance of expertise and evaluation in the jewelry market, which must be conducted by certified pro-fessionals and reported with transparency and pre-cision. Afterwards, Bruno Martinez examined the Italian diamond investment scandal involving inflated prices and bank complicity, exposing regulatory and informational failures that led to very high consumer losses. It advocated for a renaissance of transparency and ethics in gem trading.

The afternoon shifted the discussion on diamonds to a more scientific level with Professor Fabrizio Nestola from Padua University. He presented his study on fibrous diamonds, introducing the audience to lithospheric, super-deep, and fibrous diamonds, which could potentially be the most primitive.

Professor Nestola introduced his new MADAM project that allows the study of nanometric fluid inclusions in these diamonds, potentially the very fluids that generated them, thanks to a new micro-diffractometer capable of structural (XRD) and chemical analysis of nanometric inclusions. Initial studies suggest a possible genesis of diamonds from carbonatites, a theory that will be further explored by the MADAM project.

Continuing the scientific thread, Professor Matteo Alvaro from Pavia University of Pavia discussed thermobarometric studies on diamond inclusions, which provide infor-mation on their formation depths, as well as elastic barometry, focusing on the distortion and mechanical behavior of inclusions within diamonds. Alvaro also introduced his desire to establish a first-level university master’s course in gemology, an initiative that, if realized, would be a wonderful asset for aspiring gemologists, offering specialized education that would be very important for navigating the complexities of our field. This program would not only elevate the professional standards but also create a new generation of highly skilled and knowledgeable experts.

The final session of the day focused on the charac-terization and science for a transparent market. Gioacchino Tempesta from Bari University presented his study based on the LIBS technique to analyze trace and light elements in gem-quality topaz, demonstrating the potential to distinguish geographic origins, despite its minimally invasive nature.

Marco Torelli from Masterstones followed, presenting the challenges in distinguishing natural from synthetic quartz, especially amethyst and citrine varieties, with an accessible tool for evaluating polarization response when standard spectroscopic or microscopic methods are inconclusive. He also touched upon the extensive industrial use of synthetic quartz, for example, in the watch industry, due to its piezoelectric properties. Nicola Precisvalle from IGI Antwerp delivered a highly engaging presentation on amber, particularly succinite (Baltic amber), expertly combining scientific insights with intriguing anecdotes about the gem. His study applied a multi-analytical spectroscopic approach to characterize succinite from Palmnicken, revealing new insights into its composition, thermal behavior, and geographic origin.

The first day concluded with Sara Monico, PhD student at Milan University, who presented her study on chrysocolla, a complex partially crystalline material, using advanced techniques, both chemical and structural, on samples from Italy and the USA, providing a result with new insights into its structure and composition.
The day then transitioned into an unforgettable visit to the Coral Museum in Torre del Greco near Naples and the Liverino Collection. We had the incredible privilege of a private, guided tour led by Enzo Liverino himself. He passionately conveyed the artisanal tradition that has been a part of his family’s coral trade since his childhood. The museum houses samples of exceptional beauty and uniqueness, from magnificent branches of precious coral to exquisite coral cameos, sacred objects, and armour crafted from coral and hard stones, and even ornamental coral skulls. The intricate detail of the engraved objects was truly breathtaking. We also had the opportunity to see historical artisanal machinery for drilling and processing coral. It was a magical, wonderful, and deeply emotional experience, providing further opportunities for networking and relaxed conversation.

The evening continued next at the Coral Museum, where a dinner was held at Enzo Liverino’s country estate at the foot of Mount Vesuvius. This unique and enchanting occasion was both sophisticated and informal, imbued with a strong sense of Italian identity, complementing our earlier visit to the Coral Museum. Freshly baked pizzas from a wood-fired oven with local mozzarella created a relaxed atmosphere that promoted positive connections, exchange of ideas, and contacts. What struck me most was the evident sincerity of everyone present and their genuine interest in gemology. It underscored that this is a rare sector in which it is really important to have people driven by passion and a desire for understanding and transparency.

The second day began with a visually stunning presentation by Luciano Soprani from Taglieria Pietre Preziose, who spoke about the future of microphotography in gemology. He demonstrated its immense power for identifying synthetic gems and treatments, as well as for revealing crucial information about inclusions, textures, and color zoning.

He also showcased the winning photographs from the “Soul of Gemstones: From Earth to Light” com-petition, allowing us to admire the magnificent works of Muhammad Ayub, Giovanni Pace, and Francesco Protopapas. The same morning followed a session dedicated to the supply chain, from mining to laboratories, to cutting facilities, and then to the final piece of jewelry. The first speech was by Vincent Pardieu, field gemologist and consultant at VP Consulting, who emphasized the critical importance of gem traceability. He advocated for a reliable and documented collection of samples with verified origins, stressing the need to study trace elements to create an international database that allows gem laboratories to precisely indicate a specific geographical origin of gems.

The creation of this database relies on field gemology and the direct sampling of materials from precise, verified locations. Pardieu’s powerful message was that, while the jewelry world is increasingly prioritizing traceability and legal aspects, the genuine and sincere knowledge of a gem, its context, and its formation should remain paramount, preventing the industry from settling into a mediocrity where economic interest prevails. For a gemologist, the sincere pursuit of knowledge must be the driving force.

Following this thought-provoking talk, Rocco Gay from Petramundi underscored the importance of providing a gem pedigree to ensure transparency regarding origin, sustainability in mining, cutting, processing, and gemological data. In essence, he highlighted the need for transparency and knowledge throughout every step of the supply chain, from mine to finished jewelry.

Later, we heard Marco Calabrò, lawyer with a passion for gemology, who delivered a particularly insightful presentation on the power of certification. He explained the subtle yet crucial differences between a certificate and an attestation, advocating for transparency and correctness in the precious stone market. He related how minor differences in nomenclature can lead to significant problems and discussed common frauds and misconceptions in the gem world, such as those surrounding Bohemian rubies and the Black Prince’s Ruby in the British Crown Jewels.

Equally compelling was the journey shared by Marco Tironi of MT Mine Group (Mineração Turmalina Ltda). He explained how he became a producer by acquiring tourmaline mines in Brazil, highlighting the inherent difficulties in ensuring consistent production, economic viability, and control over sustainability, acquisition of titles, adherence to regulations, and the creation of dignified working conditions. He then showcased exquisite tourmaline specimens, among the results of his efforts.

The morning continued with Stefania Coppola, from the University of Naples Federico II, presenting some recent studies that have redefined lapis lazuli as a polymineralic rock dominated not only by lazurite but also by sulfur-rich hauyne and other sodalite-group minerals, with true lazurite being extremely rare. This updated definition impacts gemological identification and valuation, emphasizing the need to consider the full mineral composition rather than a single mineral.

Domenico Romanelli from Gem Tech Gemological Institute presented his study that evaluated the stability of natural and synthetic rubies and sapphires, both treated and untreated, under typical phases of jewelry craftsmanship that can stress gemstones, such as heat, galvanic baths, ultrasonic cleaning, acid exposure, and physical damage. He showed how synthetic corundums generally show greater resistance, while treated stones, especially if impregnated or glass-filled, are more vulnerable. This emphasized the importance of treatment identification.

After this speech, Flavio Butini from the International Gemological Institute in Rome talked about how gem laboratories play a crucial role in detecting alterations which often reflect evolving treatment and synthesis techniques. His speech cited some recent examples, including treated, stabilized, coated stones, and imitations, highlighting the importance of accurate identification and terminology to protect customers.

Continuing the focus on gemological laboratories and their importance, Ludovica Faldi and Loredana Prosperi, from the Italian Gemological Institute in Milan (IGI), discussed the importance of gemological reports, which provide objective identification and characterization of gems using scientific terminology, emphasizing the need to distinguish between scientific data and analysts’ opinions to ensure transparency and trust in the communication of gem information.

The conference concluded with the presentation by Marilisa Yolanda Spironello, from Catania University, who discussed her interdisciplinary study, com-bining historical analysis and non-invasive Raman spectroscopy to identify and differentiate precious stones and imitations in Sicilian devotional jewelry from the 18th to 20th centuries. Her work highlighted how gemological diagnostics can reveal social, economic, and cultural aspects behind this production and use of sacred objects, aiding in their accurate attribution, conservation, and valuation.

The conference also offered the opportunity to attend a poster session, composed of three posters by young students. The first poster was Miriam Alberico’s study (University of Naples) about Ethiopian and Australian opals’ hydrophane behavior, using XRD and SEM-EDS, showing reversible changes that affect transparency, switching from opacity to transparence when exposed to water.

Another interesting poster was presented by Gabriele Alparone, from Catania University, dealing with the use of portable Raman spectroscopy to identify and catalog 59 colored gemstones from a private collection destined for the University of Catania’s Museum of Mineralogy, Petrography and Volcanology. With this technique, he managed to have an accurate identification supporting the authenticy and quality control of gems in both museum and commercial contexts.

The third topic featured Francesco Izzo’s (University of Naples) poster about non-destructive gemstone identification using external reflectance FTIR spectroscopy, highlighting the method’s properties and its value for heritage and gemological research. By analyzing 192 spectra, the study accentuated how ERFTIR can reveal key mineralogical properties, such as color, inclusions, anisotropy, and water content, offering a valuable tool for both heritage science and gemological research, especially for beginners. The work also discussed the method’s advantages and limitations, while providing guidance for proper spectral interpretation.

As I reflect on these two extraordinary days, the depth of knowledge shared, the innovative research presented, and the genuine passion radiating from every speaker and attendee left an indelible mark. For a young professional just starting out, this conference was more than an educational event: it was an affirmation of the richness and intellectual vitality of our field.

The opportunity to learn directly from leading experts, to engage in meaningful discussions with seasoned professionals, and to witness firsthand the cutting edge of gemological research are invaluable. The experience broadens perspectives, ignites new ideas, and builds a crucial network of contacts to support and inspire careers.

So, to every aspiring gemologist, to all recent graduates pondering their next step: seize every opportunity to attend conferences, workshops, and industry events. Step out of your comfort zone, engage with the speakers, ask questions, and connect with your colleagues. These gatherings are not just about acquiring knowledge, but they are about becoming part of a community driven by curiosity, dedication, and a shared love for the captivating world of gems. Your journey in gemology will be infinitely richer, more rewarding, and more impactful if you embrace these chances to learn, connect, and grow. This conference truly underscored that in gemology, knowledge is power and connection is key.

The post The VII National Gemological Conference appeared first on Incolor Magazine.

Beyond its dazzling displays, the museum chronicles the 170-year history of the House of Gübelin, a name synonymous with innovation, scientific excellence, and a deep passion for gemology.

Established in 2023 to commemorate the centenary of the Gübelin Gem Lab, the museum serves as both a tribute to this legacy and a celebration of the natural wonders that have inspired it.

At the core of the museum’s exhibition stands the remarkable Gem Wall installation, an artistic and scientific masterpiece. Comprising 174 gemstones from Gübelin’s extensive reference collection of more than 30,000 specimens, the wall displays a kaleidoscope of colors and shapes.

The stones are arranged in a honeycomb pattern—an elegant nod to the hexagonal crystal structure common to many minerals. Each gem tells its own story, reflecting the geological diversity of the Earth and the meticulous craftsmanship of the gemologists who study and classify them.

Nearby exhibits shed light on the pioneering research of Eduard Josef Gübelin (1913-2005), one of the most influential gemologists of the 20th century. His groundbreaking work established the scientific foundations of modern gemology and continues to inspire contemporary research and practice.

The museum’s narrative also delves into the geological formation and origins of the Big Three precious stones—rubies, emeralds, and sapphires. Through a combination of interactive exhibits and scientific insights, it explores the immense natural forces that shaped these gems over millions of years.

The exhibition also highlights the latest technological advancements of the Gübelin Gem Lab, including the Provenance Proof system. This pioneering platform—home to the world’s first blockchain for colored gemstones—promotes traceability and transparency across the global gemstone and jewelry industry, exemplifying Gübelin’s commitment to integrity and innovation.

Complementing the museum’s exhibitions is the distinguished Gübelin Academy, that offers specialized education in colored gemstones. The Academy provides a refined and immersive environment where gemstone professionals and enthusiasts alike can deepen their knowledge and appreciation of gemology.

Through this integration of science, art, and education, the Gübelin Gem Museum stands as a beacon of excellence—illuminating the beauty, complexity, and enduring mystery of gemstones. (www.gubelin.com)

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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.

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With this article, we would like to give more insight into the history of this working group and, more importantly, our publicly accessible Information Sheets and our most recent advancements in harmonization of nomenclature and report wording that was achieved at our latest meeting in 2025 in Basel, Switzerland.

The History and Structure of the LMHC

The LMHC was formed as a direct response to the global market’s demand for consistent reporting standards. The precursors to the LMHC were the InterGemLab Group (1986) and discussions within the GILC (Gemstone Industry & Laboratory Conference of the ICA).

The decisive move to establish the LMHC occurred after a GILC meeting in Basel in May of 2001. Kenneth Scarratt was asked by Roland Naftule and Ronny Totah to form and chair a new group of international gemological laboratories to harmonize report nomenclature.

The GILC meeting had requested this formation, specifying that the new group should be (1) exclusively composed of lab representatives, (2) with a limited number of members, and (3) working in laboratories operating on the international market.

The initial members in 2001 included Gübelin Gem Lab, GIA Gemological Institute of America, CISGEM Laboratory from Italy, SSEF Swiss Gemmological Institute, and AGTA Gemological Testing Center (GTC). The Gemmological Association of All Japan GAAJ-ZENHOKYO, and GIT Thailand joined shortly thereafter.

Today, the LMHC is comprised of representatives from seven major international gemological laboratories: the Central Gem Laboratory (CGL, Japan), CISGEM Laboratory (Italy), DSEF German Gem Lab (Germany), GIA Gem Laboratory (USA), The Gem and Jewelry Institute of Thailand (GIT, Thailand), Gübelin Gem Lab Ltd. (Switzerland), and Swiss Gemmological Institute—SSEF (Switzerland).

The LMHC strictly maintains its independence, as it does not maintain formal relationships with special interest groups or trade organizations. The committee regularly meets to discuss gemological issues and to update or add to the contents of the Information Sheets.

LMHC Standardization Activities: Information Sheets

The LMHC focuses its standardization efforts on its Information Sheets (IS), which mandate specific language for reports on complex materials and treatments.

Until today, the LMHC has published on its website (www.lmhc-gemmology.org) a total of 17 Information Sheets, most concerning report language for colored stones, one for pearls, and a general one about gemological reports. This effort is designed to create a general understanding and philosophy for proper nomenclature and disclosure for gem laboratories and to suggest “preferable” language to be used in the gemstone and pearl trade.

LMHC Information Sheet, in Short

0: Gemmological Laboratory Reports. This Information Sheet provides essential overarching guidance regarding the content and legal claims of gemological reports.

1: Corundum with Residues from the Heating Process. It standardizes the nomenclature used to describe heat treatment in corundum where a degree of healing along fissures has occurred and residues from the heating process remain within healed fissures and cavities.

2: Corundum – Lattice diffusion of foreign elements other than hydrogen. This document standardizes the nomenclature for corundum that shows indications of heating accompanied by diffusion of a chemical element(s) from an external source to modify or create color.

3: Corundum with Glass-Filled Fissures and Cavities. This Sheet standardizes the nomenclature for corundum where the clarity has been enhanced/modified by the filling of fissures and/or cavities with glass. This treatment usually applies to low quality stones.

4: Corundum – Padparadscha sapphire. It defines a padparadscha sapphire as a variety of corundum from any geographical origin whose overall color appearance is a subtle mixture of pinkish orange to orangey pink with pastel tones and low to medium saturation when viewed in standard daylight. For any corundum of padparadscha-like color, a color stability test is mandatory (see Information Sheet No. 16).

5: Emerald. This Sheet standardizes nomenclature for emerald, defined as a beryl mainly colored by chromium and/or vanadium showing medium to strong green saturation. It provides standardized report wording for fissure filling and cavity filling using colorless to near-colorless oils, resins, or wax.

6: Paraiba Tourmaline. It defines Paraíba tourmaline as a blue, bluish green to greenish blue, green, or yellowish green tourmaline, mainly colored due to the presence of copper (Cu) and manganese (Mn) of whatever geographical origin.

7: Corundum – No indications of heating / Indications of heating. This Sheet standardizes the reporting of corundum that shows “no indications of heating (NH).”

8: Gemstones Where Color Authenticity is Undeter-mined. It addresses gemstones that are commonly heated and/or irradiated, but where treatment is typically not determinable, and how this should be addressed on reports.

9: Description of Color-Change in Gemstones. It standardizes the definition of color-change (main hue in standardized daylight differs from that in standard incandescent light). Alexandrite is defined as a chromium-bearing variety of chrysoberyl showing a color-change, typically from a “cold” hue (e.g., greenish) in daylight to a “warm” hue (e.g., reddish-purplish) in incandescent light.

10: Amber and Copal. This Sheet standardizes the nomenclature for natural fossilised resin (amber) and sub-fossilised resin (copal) showing indications of heating, with or without pressure.

11: Jade and Related Materials. This updated Sheet clarifies that Jade is a trade name that encompasses aggregates primarily composed of nephrite, jadeite, omphacite, or kosmochlor. The sheet includes a definition for Fei Cui, a historic Chinese name for a structurally tough ornamental aggregate composed solely or principally of any combination of jadeite, omphacite, and kosmochlor. It standardizes the classifi-cation of treated pyroxene jades using trade terms like ‘A-jade’ (no impregnation), ‘B-jade’ (bleached and impregnated), ‘C-jade’ (dyed), and ‘B+C-jade’ (dyed and impregnated).

12: Organic Fillers (Oil, Resin, Wax) in Gemstones. This Sheet standardizes nomenclature for the use of colorless or near colorless organic fillers (oil, resin, wax) in fissures, fractures, and/or cavities of any gemstone.

13: Hydrophane Opal. This Sheet defines hydrophane opal as opal that absorbs liquids to the point of affecting its appearance and potentially its weight due to considerable porosity.

14: Cobalt Spinel. This new Information Sheet stan-dardizes nomenclature for blue spinel containing traces of cobalt.

15: Tanzanite. This new Information Sheet standard-izes terminology for Tanzanite, defining it as the vanadium-bearing blue to purple color variety of the mineral zoisite.

16: Color Stability Testing of Gemstones. This new Information Sheet standardizes the method used to test the color stability of gemstones.

And finally,
Pearl Information Sheet #1: Submissions Containing Multiple Natural and/or Cultured Pearls. This Sheet standardizes the examination policies and the report wording to describe natural and cultured pearls when strung in strands, necklaces, bunches, or lots.

Updates and New Information Sheets in 2025

At the latest meeting of the LMHC working group in Basel in May 2025, significant progress was achieved and new Information Sheets (IS#14 – #16) and updates on existing Information Sheets were drafted and finally approved in October 2025 by all LMHC group members.

The most important topic of discussion and harmoniza-tion was about the color stability testing of gemstones (see new IS#16). The new information sheet stan-dardizes the method used to test the color stability of gemstones. It addresses issues where certain color centers are unstable, potentially resulting in the fading or shifting of a gemstone’s color following prolonged exposure to daylight. This phenomenon is specifically observed in certain padparadscha sapphires, fancy sapphires, spodumene, sodalite, or zircon.

The harmonized testing method involves three main steps: (1) careful initial color grading, (2) exposure to a strong light source for a minimum of three hours to examine for “deactivation”, and (3) subsequent color grading. An activation test using UV light is also suggested to check if the color instability is reversible (reversible photochromism or tenebrescence). As such, this testing method is even applicable by any member of the trade and not necessarily requires lab equipment.

Further additions included a new Information Sheet about cobalt spinel (IS#14) and tanzanite (IS#15). The committee also finalized significant updates to LMHC Information Sheet #11 (Jade and Related Materials) and IS#13 (Hydrophane Opal), including easy-to-use methods to separate opal from hydrophane opal.

The Importance of Collaboration and Consumer Confidence

The LMHC’s ongoing work, including the recent unanimous approval of the three new Information Sheets (IS #14, #15, #16) and significant updates to IS#11 and #13, underscores the committee’s commitment to scientific rigor and market transparency. The collective ownership of the LMHC documents, with rights jointly reserved by all seven member laboratories, highlights the essential nature of collaboration between labs.

We are convinced that a harmonization of report language directly serves the interests of the entire gemstone trade. By ensuring consistency and clarity in gemological lab reports, the LMHC establishes a shared language that allows dealers, manufacturers, and retailers to transact based on objective, scientific terminology. Ultimately, the LMHC’s efforts are essential for safeguarding consumer confidence in gemstones, as it was the vision 25 years ago when this working group was initiated by the trade.

The LMHC encourages all members of the trade to consult the new and updated Information Sheets on their official website: www.lmhc-gemmology.org

Authors’ Affiliations

¹Swiss Gemmological Institute SSEF, Basel, Switzerland, michael.krzemnicki@ssef.ch;
²Department of Environmental Sciences, University of Basel, Switzerland;
³Faculty of Geosciences and Environment, University of Lausanne, Switzerland;
⁴DSEF German Gem Lab;
⁵Central Gemmological Laboratory, CGL, Japan;
⁶Gemological Institute of America, GIA, USA;
⁷Gübelin Gem Lab, Lucerne, Switzerland;
⁸Gem and Jewelry Institute of Thailand, GIT, Bangkok, Thailand;
⁹CISGEM Laboratory, Milan, Italy.

All images are courtesy of LMHC.

The post The Laboratory Manual Harmonisation Committee (LMHC) 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.

Throughout history, amethyst has been engraved, sculpted, faceted, tumbled, and even eaten! (Not recommending that, though.) Once associated with royalty, this purple wonder was considered a high value gem due to its purity and beautiful color, even having, at one time, the same value as ruby and sapphire. Traces of its use in jewelry date back as early as 3000 BCE in ancient Egypt.

The Gemstone

Amethyst is the purple/violet variety of the quartz family. Its color ranges from pale lilac (called Rose de France in the market) to a deep saturated purple. It’s a 7 on the MOH’s hardness scale and is considered a gem with good tenacity and durability in general.

Its name comes from the Greek word amethystos meaning not drunken. The humorous name originates from what people believed to be one of its powers, i.e. that the stone could ward off intoxication! Interestingly, Greek legends associated amethyst with Dionysus, the god of wine and pleasure.

Its crystalline structure is rhombohedral, generally an elongated asymmetrical prism with twin pyramids on each side if unbroken in the rough. It can also be seen as a hexagonal prism or with hexagonal angular color zonings.

Amethyst is a gemstone with pleochroism, meaning that, depending on the viewing angle, the gem can display different hues/colors. In displaying two colors (dichroic), one hue can be more reddish, while the other can be more bluish.

The gem owes its stunning purple/violet-ish hues to trace amounts of iron and natural radiation within the Earth. Most of the citrines and prasiolites sold today are, in fact, heated amethyst. Whether this heating is natural or caused by man, the difference is generally indistinguishable. It doesn’t take a very high temperature, only about 470-750o Celsius is needed to change its color. And, if so desired, it can then get its purple color back with irradiation.

Ametrine a gemstone that is half citrine (yellow) and half amethyst (purple) and is the result of natural heating. Its color may fade over time with prolonged exposure to light and heat, causing it to be not as stable as we might think.

Amethyst can be found in large sizes and in plentiful quantities in many countries, namely, Brazil, Uruguay, Canada, Morocco, India, Mexico, Namibia, Siberia, Russia, and Sri Lanka. In Canada, the gem is sourced mainly in Thunder Bay, Ontario, but can be found in smaller quantities all over Canada.

The most desired qualities today are those gems with deep saturated purples in different hues. Siberian amethysts imbued with a deep purple color, with red and blue flashes, were among the most prized and expensive varieties. Alas, the Siberian stock ran out decades ago, making these gems so rare that the only ones to surface are from old stock.

A relatively new source of amethysts that showed up a few years ago in Tucson is Morocco. These gems have red hair-like inclusions of hematite, and hourglass-shaped color zonings. Moroccan amethysts are considered a breath of fresh air for those who want something a little more out of the ordinary for their birthstones.

Depending on its origins (Africa or Uruguay, for example) amethyst can have slightly different hues, i.e. a more purplish color or a more violet-ish color.

Imitations, Synthetics, and Confusion

Even though it’s considered a very affordable gem-stone in the jewelry market, amethyst has many impersonators. Glass and plastic are the most well-known. Some confusion also occurs with natural gemstones such as faceted purple fluorite, scapolite, spinel, sapphire, tanzanite, and iolite, to name just a few.

Lab-grown (synthetic) amethyst quartz is also widely used and is hard to differentiate from natural amethyst.

Synthetic quartz is used not only in jewelry but is an important part of everyday life. It is used to make lenses, prisms, timekeepers, UV windows, semiconductors, medical devices, tools for harnessing solar energy and detecting radiation, and in myriad aspects of scientific and aerospace research due to its piezoelectric properties.

While it might not be the bright amethyst we see in jewelry, it’s still impressive to see what can be done with quartz in general, not only the purple variety.

Differentiating synthetic amethyst from natural amethyst when it is cut (faceted or cabochon) is a complicated and costly task. Therefore, it is important to trust the supplier and their sources.

If the stone has a few inclusions, it may become easier for gemologists to differentiate it under the microscope. Otherwise, it’s almost impossible to discern. Inclusions are like a fingerprint.

Treatments and Care

There are few treatments used on amethyst since it’s an inexpensive gemstone, although, as stated above, it can be heated, irradiated, and dyed (rarely) to change its color.

Under artificial light, amethyst can appear darker than reality. Prolonged exposure to heat can also alter the color of the stone, so it’s unwise to solder or repair a piece of jewelry with the amethyst still set in it.

GIA suggests avoiding thermal shocks, as it can fracture and stress the gem. But ultrasonic and steamer procedures are generally safe, if we avoid high heat and then ice water right after. Important historical pieces are worth repairing with a lapidary artist, but smaller ones are often not worth the cost of repair.

February’s Birthstone

Not only is amethyst the birthstone for February, but it is also the gem of choice for the sixth wedding anniversary! It was officially added as February’s birthstone in 1912, when the American National Retail Jewelers Association (now known as Jewelers of America) created a standardized list of birthstones.

Before 1912, the assignment of gemstones to specific months varied widely by culture and region. Amethyst became the official choice for February likely due to its prominence and appreciation in history.

Amethyst jewelry is a popular gift for babies born in February as well as for women of any age to celebrate their birthdays.

Mining Amethyst

Brazil is the world’s leading source of mined amethyst and amethyst geodes. Some of the most significant deposits were found in Marabá and Pau d’Arco at the end of the 19th century.

Today, Minas Gerais is an important source of amethyst geodes, but the biggest production of the purple gem is in the state of Rio Grande do Sul in southern Brazil. This area is especially known for both its gem-quality crystals and decorative geodes.

Each of these areas represents a distinct geological setting, which results in different mining techniques being used. A large portion of the amethyst from these areas is heat-treated to produce citrine.

Buyers typically purchase amethyst directly from tunnel owners and then cob the material—in other words, they remove unwanted matrix and damaged portions—either at the mining site or at another location to prepare the gem as rough.

In Rio Grande do Sul, the amethyst occurs in vugs or geodes, which are cavities lined with mineral crystals within basalt. Sometimes the amethyst completely fills the cavity; other times it simply lines the inner surface.

This helps the mine owners and dealers decide whether to keep their discovery as a geode specimen or whether to remove the crystals for cutting for the jewelry market. The crystal quality, color and shape also play a role in their decision.

Purple Glory

With its rich history, amethyst continues to captivate the jewelry world even after centuries of admiration. From its origins as a gem of royalty and spiritual significance to its modern role as a February birthstone, this quartz variety remains timeless. Its accessibility, durability, and unique qualities ensure that amethyst retains a special place in the hearts of gem enthusiasts, gemologists, and artisans alike.

Its ongoing appeal demonstrates that even in a world of ever-changing trends, classic gemstones like amethyst can still surprise and inspire. For those who seek elegance, history, and a touch of mysticism in their jewelry, amethyst remains a gemstone with a regal allure.

The post Amethyst’s Regal Allure appeared first on Incolor Magazine.

For generations, spinel was the unsung hero of royal treasures, mistaken for its more famous cousin, the ruby. But in recent decades, it has emerged from the shadows, reclaiming its rightful place among the world’s most captivating gemstones. To rediscover spinel is to rediscover the story of beauty overlooked—and of resilience rewarded.

A Royal Impostor, Revealed

History remembers spinel as both muse and mystery. In the jeweled histories of Asia and Europe, few stones have played such a dramatic double role—adored by monarchs, misidentified by gemologists.

The most famous example lies atop the British Imperial State Crown, the so-called Black Prince’s Ruby. This deep crimson gem, gifted to England’s Edward of Woodstock in the 14th century, is not a ruby at all, but a large, unheated red spinel—its glow undimmed by seven centuries of history. Likewise, the Timur Ruby, inscribed with the names of Mughal emperors and now housed in the British Museum, is another magnificent spinel of royal descent.

Centuries before modern gemology, ruby and spinel were indistinguishable by eye. Both were mined from the same gravel beds of Central and South Asia, their colors overlapping in fiery shades of red and pink. It was only in the 18th century, with the advent of crystallography, that scientists finally separated them by their atomic structure. By then, spinel had already left its mark—not just on crowns, but on history itself.

A Spectrum of Fire

If ruby evokes passion and sapphire represents serenity, spinel embodies joy. The gem is unconfined, luminous, and endlessly diverse. It is one of the few gemstones that appears in nearly every hue that Nature can create.

The reds and pinks, long celebrated from Burma’s storied Mogok Valley, range from delicate rose to vivid crimson. The lavender and lilac tones of Sri Lanka whisper elegance, while the cobalt blues of Vietnam’s Luc Yên region possess a brilliance that rivals fine sapphire. In recent years, the electric Jedi Spinels from Tanzania’s Mahenge—stones so vibrant they seem lit from within—have captivated collectors and designers alike.

Gemologically speaking, spinel’s beauty is rooted in its purity. It is almost always untreated, a rarity in today’s gemstone market. Its natural fluorescence gives certain colors—especially the hot pinks and reds—a glow that feels almost supernatural under sunlight. Spinel may have been misunderstood, but it has never been modest.

The Mines and Their Magic

Each spinel deposit tells a story, a narrative not just of geology, but of people and place.

In Myanmar, miners still search the gravels of Mogok, where legends say that rubies and spinels were once guarded by mythical serpents. The spinels from this fabled valley are pure and vivid, often with a silky, glowing warmth that seems to radiate from beneath the surface.

Sri Lanka, known as the Island of Gems, offers a softer palette—pastel pinks, lilacs, and grays that carry a sense of refinement. Here, traditional river mining continues as it has for centuries, with families passing down both skill and reverence for the Earth.

Tanzania’s Mahenge gave the world something entirely new in 2007: a neon-pink spinel of extraordinary brightness. Dealers called them Jedi Spinels for their vivid, uncorrupted color—a playful term that has since entered the gemological vocabulary.

And in Vietnam’s Luc Yên and Madagascar’s remote deposits, a new generation of miners and gem cutters are adding colorful new chapters to spinel’s story, including blues and grays, proving that Nature’s palette is still far from exhausted.

The Modern Renaissance

In the last decade, spinel has undergone a transformation worthy of its mythic past. Once relegated to the margins of gem collections, it has now become one of the most sought-after colored stones among connoisseurs.

Several forces have driven this renaissance. First, the market’s growing appreciation for untreated, natural gemstones—those whose beauty comes directly from the Earth—has given spinel a distinct advantage.

Second, its remarkable color range and Mohs hardness of 8 offer jewelers creative freedom: from fiery reds that recall Burmese rubies to vibrant blues to cool grays that echo moonlight.

At international trade shows, from Hong Kong to Tucson, one can feel the shift in perception. Collectors, who once asked for sapphires, now pause at the sight of a vivid Mahenge pink. Designers seek out spinel for bespoke creations, drawn to its clarity and unpretentious elegance.

There is also an emotional aspect. Spinel feels authentic. It is a gem without pretense. In a market crowded with enhancements and marketing-driven prestige, its honesty resonates with a new generation of buyers who value transparency and individuality.

Why Spinel Matters Today

Collectors fall in love with spinel not because of its fame, but because of its feeling. There is something inherently joyful about holding a gem that glows without help, that doesn’t need enhancement to shine, that connects Nature’s wonder with human artistry.

Spinel also carries a quiet symbolism. Its resilience mirrors the human spirit—enduring centuries of mistaken identity, only to reemerge stronger and more admired. It teaches us that legacy is not defined by recognition, but by integrity.

As the world of fine gemstones continues to evolve, spinel stands as a bridge between past and present, between the royal treasures of Asia’s empires and the modern atelier’s bench. Its story is not just about mineralogy or market trends; it is about rediscovery, patience, and the enduring allure of truth revealed.

A Legacy Reborn

To understand spinel is to understand the evolution of connoisseurship itself. What was once considered “lesser” is now revered for precisely the qualities that make it unique: its purity, its character, its refusal to conform.

In a way, the rediscovery of spinel mirrors the journey of fine jewelry today—away from uniformity, toward individuality; away from status, toward substance. It is no coincidence that some of the most discerning collectors are now turning to spinel as the ultimate expression of understated luxury.

Every era has its gemstone muse. For ours—an age that values authenticity, story, and soul—spinel feels perfectly timed. It is the gemstone of revival: ancient in lineage, modern in spirit, and radiant in every sense of the word.

The post Rediscovering Spinel: A Legacy Reborn appeared first on Incolor Magazine.