The Rose Cut

I have a serious crush on rose cuts. But if you’ve been following any of my media for any period of time, you’ll have noticed this. There are rose cuts in two of my necklace designs, with the Ingenue being primarily based around the rose cut, they feature prominently in my Pétiller profile, and have even made an appearance in some of my custom designs. If they were easy to find, and I had unlimited funds, ALL OF THE ROSE CUTS WOULD BE MINE. Ok, so that’s not necessarily true, but I do love them, and I wish I could buy a lot more than I do.

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So the reason I’m writing about this today is because I’m a bit neurotic. Recently a client of mine bought some “hexagon rose cuts”, and she asked me why when I said they weren’t rose cuts. So this is a bit of an analysis of what a rose cut is, using the hexagon diamonds as an example of how to discern what isn’t a rose cut, and what is just a fancy marketing gimmick.

A lot of what designates a rose cut is the intent of the cutter.

Did the cutter intend for it to be traditionally cut, and the stone wasn’t shaped well? Or did the cutter actually intend to cut a rose cut?

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Facet Diagrams & Facet Structure

Rose cuts were often used as accent stones in antique jewelry. They have a simplistic cut that is a flattish dome, with triangular facets arranged in a hexagonal pattern, with a point on top. There is not a flat table facet on top of the stone, and there is no pavilion, the way Old European Cut or Modern Round Brilliants are cut. Rose cuts are typically round, but can be found in other shapes, such as pear, cushion, oval, etc.

Equiangular Hexagon

I am particularly strict in my evaluation of rose cut diamonds, and I insist that they have the equiangular triangled hexagon on top. Sometimes, especially with modern cut specialty shaped rose cuts, the hexagon will be elongated to mimic the outline of the stone.  Like this modern cut pear:

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It’s still a rose cut, but the facet structure is a clue that it’s not antique!

Lack of a Pavilion

It’s easy to get confused with terminology for rose cuts, since they don’t follow the same cutting guidelines as traditionally cut stones. I tend to think of them as a traditionally cut stone that has had the pavilion cut off at the girdle, but with a point on the table instead of the table being flat.

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One of my very first gemstones was a peach spinel that had a rose cut table and crown, but with a traditional pavilion. Sometimes I miss that stone!

Faux Rose Cuts

Now, one of my biggest pet peeves has been popping up more and more lately and that’s taking a poorly, but traditionally cut stone (with a table, pavilion, culet, etc), flipping it over so it’s culet and pavilion face up with the table facing down, and calling that a rose cut. It is not a rose cut. You can determine these stones by looking at the facet structure, and seeing whether or not it is totally flat on the flat side, if it has a crown, and if the facets are almost equiangular AND triangular. Here is a helpful diagram to help illustrate the anatomy of a traditionally cut stone can look like.

You can see a comparison between the hexagonal traditional cut on the left, and the classic rose cut on the right. I can tell a few things from the hexagonal stone about the rough  – the stone wasn’t deep enough to cut it to ideal specifications and have optimal light return when it’s table up. So in a clever marketing move, they flipped it over and marketed it as a “hexagonal rose cut”.

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With these hexagonal stones, they were not originally intended to be rose cuts, and that is obvious once you take a closer look at the pavilion facets:

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They have the equiangular center facets, but if you look closer, the facets that aren’t in the center are trapezoidal in shape, rather than triangular.

Interestingly, when I flip the stones over, and have the table/flat side up, you can see the huge difference, and clearly discern what the original intent of the cutter was. The hexagons show light return bouncing off the pavilions, minus the windowing in the middle, while the rose cut is essentially transparent:

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Double Sided Rose Cut

Double sided rose cuts are very rare, and are often given different names, depending on the knowledge of the seller or owner. As you can see from the diagrams above, they are structured as if two rose cuts were put flat side against flat side.

Rose cuts come in all different flavors, and they’ve been enjoying a sort of resurgence into popularity with celebrity interest in them as well as antique jewelry coming back into fashion. You can expect to see more from me as well, but that is mostly due to my everlasting love for them, rather than following the trends!

Side note: Thanks to Jennifer Aniston for giving the rest of us some giant rose cut goodness to ogle when she’s out and about.  (Yes, her engagement ring is a giant rose cut diamond!)

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New York, New York

A touch over two years ago I posted a blog entry about a planning a specific project:

https://thegemstoneproject.com/2014/11/28/new-york-city-inspired-ring/

Well, it evolved. I will get to that in a second.

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Grand Central Terminal

The first time I ever went to New York City was when I was 18 years old with my parents for a business trip for my dad. I remember walking the streets wearing furry Steve Madden shoes and having a doorman compliment them. I fell in love with the city in that trip, between the Empire State Building, the flagship stores, the food, the energy and life of the city. I didn’t know it at the time, but only a few short years later, I would be going to school slightly upstate from the city.

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It wouldn’t be until I went to NYC via train from upstate that I would first experience Grand Central Terminal in all of it’s glory, between the Oyster Bar, the marble floors, the tile ceilings, and the glorious teal ceiling bedecked with celestial gold in the main hall. For me, with the Grand Central ceiling, it was love at first sight. Every time I would take a trip to the city via MTA, I would be delighted to experience it’s beauty once again, and I would look forward to seeing that ceiling every time.

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So, since I don’t get to do that regularly anymore, I had to base a piece of jewelry around it.

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My starting point, as is often the case, was color. I had a copper bearing precision cut teal tourmaline from Barry Bridgestock that was absolutely the color of the ceiling.  I knew from very early on that I had to have yellow gold, as the zodiac symbols all over are painted in a golden color. It was only later that I would decide that the piece would need to have white gold as well, which was a difficult conclusion for me as I’m typically not a fan of mixed metals.

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In planning the rest of the elements of the design, I took into account an incredible number of details from around GCT, from the arches of the hallways, to the color of the walls and the floors, to the incredible iconic pendant chandeliers. I evaluated every single one of the zodiac symbols, the detail of the arches, the Tiffany glass of the clock, the golden clock in the middle of the terminal, the detail of the windows. Essentially, the entire building is one very large piece of functional art, each detail has had painstaking work put into it by artisans of years past. There is some sad irony in the fact that most people who witness it never take the opportunity to enjoy those details.

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I started out thinking that it would be a ring. I soon found out that between the stone size, the ring size and the sheer scope of my vision for it, a ring that size would be essentially unwearable on a regular basis.  So I ended up changing it to a necklace. And of course I took the opportunity to use a stone that I have an infatuation with – a rose cut diamond. This time around, I decided that it should be prong set with a hexagonal surround, to echo the geometry of the iconic graphic feel of the Art Deco era.

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For a while I considered something that had to do with my zodiac sign, my husband’s zodiac sign and my daughter’s zodiac sign, but that became too complicated and didn’t end up making any sense design wise. So I simplified,

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I considered adding a detail from the arches (also seen on SNL’s GCT set) to the eventual outer halo, but nixed that idea as it became too busy. I also considered having no negative space, with just the contrast of diamonds and metal color to guide the design, but again, cited the busy-ness of the design for utilizing negative space rather than adding more to an already complex concept.

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I ended up with just a thin outer diamond halo to provide some structure for the centerpiece of the piece, and I chose a octagonal shape for it inspired by the octagonal frames around the medallion detail on the large arches on either end of the building. (Bottom left corner in the below image.)

Grand Central Terminal Ceiling
Grand Central Terminal Ceiling

I originally designed the star’s diagonal points to stretch all of the way to the halo, but after thinking, and evaluating the actual stars of the GCT ceiling, as well as looking at the Art Deco stars, I realized that while it may be less stable, shortening the diagonal points would be better for the over all aesthetic, and echoed the compass like shape of the actual GCT stars.

Grand Central Terminal Taurus Detail
Grand Central Terminal Taurus Detail

Elevating the star and the stone just a touch was the finishing detail. I used fancy yellow diamonds on the yellow gold and single cut white diamonds on the outside halo, in keeping with the Art Deco era.

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It is not very often that I create jewelry for myself anymore. This isn’t a piece that I will probably wear often, but it is a small, sparkly tribute to a city that I love, and the Art Deco masterpiece that lies within it.

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Gem Blast: Holiday Edition

It has been a crazy week, with a family birthday plus Thanksgiving and then ten completed projects when I was expecting 5, plus a bunch of gems.  I have more on the way, and with the holidays gearing up, things are just bound to get crazier!

So this week, I’m just going to post a handful of my favorite pictures that I’ve been taking in the past couple of weeks! Some of this will be a preview for new items to come – some will probably hit etsy before they get to the website, due to holiday shopping demands

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Be on the lookout for new things to come! For additional pictures of some of these pieces, check out my Repertoire page.  And don’t forget to check out Facebook for all of my etsy promo codes.(Hint: there is one for today! After all, it’s Cyber Monday!)

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Ombré du Soleil

They just wanted to be made. – Elle

I had posted these on instagram the other day, just a small macro shot, and immediately got requests to see more. Well, the thing about that is that these are ridiculously difficult to photograph for one simple fact – they are huge.

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A couple years ago, when we were still in California, I had an overseas collector send me a great number of stones to sell on consignment. That’s the reason my etsy shop was initially opened. There were a handful of stones that I knew immediately that I didn’t want to sell – I wanted to create something with them.

My starting point in this particular project was the largest pair of spessartites. They just glowed, in an almost unearthly way, with this ridiculous neon orange that photos don’t really do justice, as orange is one of the hardest colors to photograph accurately.

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Now, this collector had sent along literally about 40 carats of spessartites, including a handful of smaller round oranges with fantastic color, and a pair of bezeled round spessartite earrings.

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Spessartite, as with most gemstones and colors, goes through bursts here and there of popularity and trendiness. Unfortunately, just as I got this package, spessartite was hitting a slow spot, so most of the loose gems that I had never even hit the market. Instead I started to have big dreams for them, all brought upon by the incredible color of that large pair. I created a sketch of the initial idea, which included using the bezeled studs as is and then later amended it to add a few details, involving a change to the stud.

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About six months ago I went to visit my favorite gem shop and one of the first things on my mind to pick up were gems that would fit the ombré  color scheme I had dreamed up.  I needed to find exactly the right graduation of color and size to match cohesively with the overall concept. Luckily I was able to find that in some sapphires from Madagascar.

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As soon as I had all of the stones collected, I sent the picture to a friend.
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And a couple months later, she asked me when I was going to make the earrings? Why hadn’t I made them already? I had all of these beautiful stones, why not make use of them already? So I turned around that week, and sent them off to the jeweler, along with a picture of the sketch.
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As I mentioned before, the sketch went through a couple of revisions. The final version ended up being so large that the entire thing wouldn’t fit on one page of my sketch book, so I had to improvise a little bit, and drew the stud separately from the rest of the earring. A quick note: I draw everything at 5x scale.
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 So, lets talk specifics of the finished product.
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The bottom 5 stones are spessartites, the top three in the bottom section are sapphires. The top stone (the stud) is a spessartite and then the rest (second stone in the stud and then the little connecting section) are all fancy yellow diamonds.
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These are definitely more hefty than I usually make, but the one thing I wanted out of these is that I wanted to have that heft, and I didn’t want them to feel cheap. I feel like they easily could have gone the costume jewelry route, but the setter managed to avoid it, keeping the walls between the stones quite thin, and the edges from stone to outside rim thin in most areas . The largest stones are 7mm and very deep so we really had to have a lot of metal to hold them all in place.
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The settings are open in the back to let in a ton of light, even though they are bezeled. The emphasis for this project was really on the stones, the ombré effect and the concept of light. Seeing as how it took about two years to find the right stones in the right sizes, tones and saturation to I really wanted to not detract from the concept as a whole and keep the ombré effect in the metal that’s holding the stones together. As you will see in the images below, the color of the stones change from one image to another – the most accurate devices for color viewing are Apple products, iphone, ipad, Mac computers, and images with the brightest colors and least amount of brown are the closest to real life.
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14 grams of 18kt yellow gold

.16 carats of yellow diamonds
.41 carats of yellow sapphires
14.13 carats of orange garnets

14.7 total carats

They measure just over 2.5 inches long.

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Everyone keeps asking me, “why did you make these? Are they for yourself, or to sell?” and my answer has been, “They just wanted to be made.”

At the moment, I don’t know what the future holds for them. But absolutely something bright.

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Design Thoughts & Questions

Just a sample of some of the questions I ask myself while working on a project.

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Does it have purpose?

What does it make you feel?

Is it risky?

Is it beautiful?

Does it flow with the other elements?

Is it functional?

Is this element both beautiful and functional?

Does it look like something I’ve seen somewhere else?

Is there a structural entity that could be more attractive?

Does this need to be here?

Does it need more structure to withstand time and wear?

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Is the wearable/comfortable?

Could someone wear this every day? Or is it an occasional wear item?

Where would the wearer wear this?

How does this interact with the wearer?

Does it move?

Could it move?

Should it move?

How should/could it move?

What are the stones? Are they especially fragile?

What kind of hazards would this likely come into contact with? Is there anything to be done design wise that would better protect it?

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What color metal looks best with the stone?

What color metal looks best with the design?

Would this design work for other stones?

Would this design work for other shapes? How?

Does this stone have any special issues I should try to compensate for or enhance?

Is this idea too fantastical?

Is this idea too boring?

Is this idea classic?

Will it stand the test of time? Or is it trendy?

What kind of surprise elements can I add that the average observer wouldn’t notice, but would make the piece special, and still keep with the feeling of the piece as a whole?

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One of a Kind

I spent the last week in Albuquerque, New Mexico – the place where I was born and raised. Taking almost an entire week completely off from jewelry and getting back to my roots, spending time with family and friends was one of the most refreshing things I could have done at this point and it gave me some new perspective on things that I’d been dwelling on and feeling stagnant on for too long. I guess that standing in the middle of a thunderstorm in the mountains will help do that to you.

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One of the things that I enjoy the most about gemstones is that they are all unique and one of a kind. Sure, you can get some that look similar to others, but they will always have unique characteristics, whether it’s in the form of color, inclusions, cut, whatever. No two are identical.

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Working with various colored stone vendors has shown me that I’m not alone in loving gems for this very reason – colored stones are always so different, and sometimes they can totally surprise you with what you fall in love with.

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So this, my most recent blog, and the first blog in a long time is an ode of sorts to the one of a kind, and an indication on where I am heading creatively. I’m going to take a step back from feeling like I’m treading water coming up with stock designs, and taking a flying leap into the water and swim like my life depends on it – making pieces as unique as the stones they hold.

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More to come.

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The Vivant Ring

One thing I sometimes struggle with is keeping it simple. Sometimes I find myself adding details and thinking, “This is perfect!” and then going back and thinking, “Why did I add so much?!” I always try to remember that Coco Chanel quote:

“Before you leave the house, look in the mirror and take one thing off.”

Wise words from an impeccably fashionable woman. So while the Vivant necklace is a modern take with Art Deco appeal, I decided to keep the Vivant ring an echo of some of the details from the necklace, and lend towards classic simplicity.

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The stones chosen for this setting were chosen to add a little bit of drama via color, with a neon pink Mahenge spinel, and two antique Old Mine Cut cushions (because antique cuts in diamonds are my favorites!) as the perfect classic accents.

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Typically one of my favorite views, because it shows off so many details of a ring setting, and how they flow together. 

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The ring ends up at 2.64ctw of diamonds (antiques are .99ctw, melee are .10ctw) and spinel (1.55ct) and was made of 18kt white gold. This setting will be available (and tremendously adaptable!) for your own stone or stones, of any shape and size. I am also able to source stones, because pairs are not exactly easy to find sometimes!

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And ending with the fluidity of the shank, and the slight split shank transition.

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Building a Gemstone Collection

Over the past several years I have built a wonderful collection of jewels with a client of mine. She started out pretty slowly, but about 5 years later, through a lot of time, trial and error and wading through a pool of contacts, she has managed to build one of the most beautiful and thorough collections I’ve ever seen (in a collection that’s not in a museum, at least!).

One of the most important factors we learned in building her collection is that sometimes stones will pop out at you at the most unexpected times. You may have been searching for a fantastic blue sapphire, and stumbled on the perfect ruby instead. I would absolutely jump on the ruby rather than keep pursuing the sapphire. Bump the sapphire down a notch on the priority list, but keep an eye out for it. In other words, when opportunity knocks, answer the door.

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Beyond making opportunistic buys, it’s important to have a plan moving forward as you build your collection.

Strategies for building a stunning gemstone and/or jewelry collection:

  1. Make a list of the gems/jewelry you absolutely want. Try your best to order this list according to your personal priorities (see 2-9).
  2. Keep in mind this list is going to grow and change as your expectations and desires change.
  3. Color. What colors do you want? What colors would you wear? Is there any special significance to colors/types of stones?
  4. Hardness. Are you hard on your rings? Do you need to be limited to the very hardest stones? How does that limit you color-wise? Are you willing to wear something sparingly in order to have that color in your collection?
  5. Some of the best overall collections I’ve seen have a full variety, a rainbow of color. But some collections have a concentrated color group – a friend who is a huge fan of blue green for instance, may build a small army of blue-green stones in a variety of shades, while other colors in their collection may appear sorely neglected.
  6. Know yourself. What makes you get butterflies in your stomach? What makes you gasp in delight? Is it a certain variety of stone? Or a certain color?
  7. Keep budget in mind and know where you want to make concessions. Things like cut and clarity can help stretch the budget.
  8. Keep your setting budget and wants in mind. Sometimes people balk at spending more on a setting than on a stone. Know what your priorities are! For some people (myself included!) the setting costs and the stone cost ratio doesn’t matter, it’s the end piece that has to make your heart sing.
  9. Do you want fewer more expensive items or a larger number of cheaper items?
  10. Try to finish some of your pieces. You can go down a rabbit-hole of buying gems or settings and never complete anything (unless, of course, your goal is to collect gemstones and settings!).

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Just keep in mind that beautiful collections don’t necessarily grow overnight. Gemstones are often very hard to track down, especially as you reach for more high end or rare stones. Building a collection takes time and requires patience, but is well worth it in the end.

In the event that building your collection hits a wall, feel free to reach out to me for help with new rocks to overturn or who knows – one of my contacts may have just what you are looking for!

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Original Find Mahenge Spinel

I mentioned in last week’s blog post that I had wanted to post an evaluation of this stone in it’s place, and had to scramble to post something else instead. Which ended up being great because it kind of leads into this post, because it also has to do with the gemstone personal shopping that being in this business entails.

Again, a huge thank you to Mayer & Watt for their ever gracious nature and massive amount of patience. Which was very much appreciated, since the package got delayed for three extra days and we were all a bit freaked out. To say the least.

I don’t want to talk much in this blog, because the pictures really are the ones that need to do the talking, and I can’t say anything more than they can.

Brief background: This is an “original find” Mahenge spinel. That means that it was mined in about 2007, before the appeal of such a stone was really widespread and it’s broadly thought that the best stones were mined at the very beginning of the find.  This particular stone had been on a long term memo, roughly two years. Which means that it sat for sale for 2 years without anyone buying it. Well, as soon as it came back to Mayer & Watt, Geoffrey messaged me excitedly with a “Would any of your clients be interested in this?”

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Uh, YEAH they would! It’s a 3.62ct spinel that measures 10.2×7.8. It has eye visible inclusions, but what really pops out at you is the color, and retail pricing for a clean stone that is this color and size would get up to the lower-mid 5 figures.

Let me stop right here and say that if you’re not already, you should be looking at these images on an Apple device, iPad or iPhone because the colors are accurate for those pieces of technology, not really on the average laptop (trust me on this! I’m writing this blog on a laptop with factory settings and the color is not accurate at all!).

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Now, as you look at these pictures, please note that I am located in the Pacific Northwest and I have not seen the sun for over a week (fog, snow, and rain however…) so none of these pictures are taken in the sun, and I’m rather disappointed I won’t be able to see it in the sun!

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Now that I got that out of my system, here it is with an another “original find” Mahenge (and a small Burmese) that you may recognize:

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Finally, an another “original find” Mahenge spinel, from my personal collection, which has a very nice pink color, and is very well saturated:

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Looking decidedly desaturated next to this big oval.

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Realistically, this is the best color Mahenge spinel I have had the pleasure of playing with, and that includes hundreds of carats of them from when I was at JCK Las Vegas this past spring. It’s just that good!

I hope that this post finds you having a wonderful holiday season, and a very merry Christmas week!

Gender Inequality and the Jewelry Trade

I’ve been writing this post and it’s companion piece over a period of time. If you’ve read through my about me post you know that I have a bachelor’s degree in psychology, but what I haven’t mentioned is that my minor was sociology, and in both my major and minor, I concentrated in classes related to relationships, which included several classes on gender. In my studies I also took elective classes on both Social Control and Consumer Psychology, both of which have served me well and opened my eyes to thinking critically about the world around me, and specifically the world of jewelry.

This blog post is a continuation of the blog post I wrote that was an adaptation of a research paper written about diamonds and jewelry marketing for my Social Control class back in college. This one will feature more anecdotal personal experience. Rightfully so, this is a topic of which I am very invested in and very passionate about.

As a woman, every time I walk into a jewelry store, I watch the salespeople’s body language and how they react to me. Men see me as dollar signs, and don’t consider that I may have technical knowledge about jewelry. I talk to a man in a jewelry store and I feel like I am expected to say, “Oooo pretty sparklies! How much? Let me get my husband!” It is not unlike walking into a car dealership where I am treated as though I have no idea how a car works, or like I care what is under the hood.

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This dude looks so creepy.

Not long ago my family and I went shopping for a car, and almost every salesman (car salespeople are almost always men, interestingly) talking to me about the amenities, the leather seats, the colors, etc, and directed technical specifications at my husband. This was endlessly irritating because I’m the car “guy” in my house. So to shove them in their place, when my husband would ask a question of the sales person, if I knew an answer, I’d cut them off and answer the question. Now, I’m off on a little bit of a tangent, but I’m also the “jewelry guy” in a jewelry store. I don’t care about “Pretty sparklies!”, I want to know the technical specifications, origins, cut angles, treatment levels, lab reports, manufacturing types, etc. So, when I walk into a jewelry store with my husband, it’s like we won the lottery with how much attention we get. And they direct their attention to showing me the happy pretty sparklies, but direct the pricing information and technical specs at him. Which makes sense based on the traditional gender roles the industry has built it’s foundation on. But does it make sense for the reality of the equality in today’s market, and for the targeted marketing audience?

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Oh, how romantic!

Let me say a couple of things here. I have worked in sales. I have worked waiting tables. If you work in an industry that deals directly with the public, you learn eventually that you absolutely cannot judge a book by it’s cover. You will inevitably get screwed when a wealthy person looking to drop big bucks comes into your establishment looking like a homeless person, and you treat them like a homeless person. “But this is our most expensive model!” “Yes, and I want your most expensive model. Only now I want it from your biggest competitor.” But that’s just generalized basic customer service. I would like to target the jewelry industry a little bit more specifically.

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Are they trying to be facetious?

I recently spent some time in downtown Los Angeles, specifically in the diamond district there. A couple years ago I also spent some time in the diamond district in New York City. There were a few major similarities and a few major differences. The most obvious, and innocuous difference was the style of dress with LA being far more casual with most men wearing casual pants and short sleeved shirts, and NYC being definitely more formal, most men walking around in suits, despite the summer heat. The biggest similarity was the quantity of men. I visited stone setters, colored gem dealers, diamond dealers, and had numerous other men in the business coming by to chat or broker deals in DTLA. Out of everyone that I talked to and visited in DTLA, probably about 25 people, there were only three women behind the counters, and that included my tour guide. In the DD in NYC, I remember seeing four women behind the counter, and all of them deferred to the men they were working under at least once.

Why is the retail jewelry world dominated by men when the vast majority of the customer base is women? As I discussed in my previous blog post,  jewelry industry is built around and directly targeting women.

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Seriously? Sex sells, but ew.

“It’s a boy’s club.”

I’m here to tell you, dear readers, that it is, in fact, a boy’s club. It was only in April that JCK published their “Power Base List 2015” made up of 50 individuals and there were only 13 women on that list. 26%. That’s not even a third of the list. One of those people was Lupita Nyong’o, who has no direct ties to the jewelry industry as an actress, but affects the jewelry industry as a “tastemaker”.

It really gets to me when I hear stories about the industry, and in particular about women who are small business owners/operators/benches/designers/cutters who go to an industry show/convention/etc and are given little to no respect by the boys of the diamond boy’s club with lines such as, “Come back with your husband.” How extraordinarily insulting. When I heard that that line was directed at a dear friend, I seethed and was spitting mad. My wonderful savvy friend gave that man her thoughts right then and there, and proved to him that she didn’t need her husband to make a large financial decision.

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Ugh. Really?

The really sad thing is, this sexism isn’t limited to certain roles within the trade. In fact, a class action lawsuit was recently brought up against Sterling Jewelers (more commonly known as Jared: The Galleria of Jewels & Kay Jewelers) for women being paid less and passed over for promotion. The problem there, which is more of a read-between-the-lines issue, is that these were in sales and retail management, not in fabrication or executive control, where the lines of gender inequality are even more pronounced.

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woman jeweler

Data for jewelry workers is very difficult to put together because so many of it’s job descriptions fall within a larger designation, for example, “retail” and “fashion”. Another troublesome error is that some of these big name fashion designers, Vera Wang for example, are creating jewelry lines to capitalize on their name. So you come across a “fashion employee for Vera Wang” but unless you get specific, that person could be a dress maker, fashion model or a jewelry fabricator.

I was given 5 years of monthly Current Population Survey data (random sample data, thought to be representative, compiled by the Census). This is what I learned. Out of a total of 6,835,528 people surveyed only 1,184 were “Jewelers and Precious Stone and Metal Workers”, which is an incredibly small number, making the aforementioned laborers rare indeed at .017% of the population*. Now, what I’m really interested in is where the gender divide is. Surprisingly, 54.1% were women, 45.9% are men. Now, this number doesn’t give any information about what type of jewelers we are talking about, and my gut feeling is that the vast majority of these workers are beaders, precious metal clay workers, and artisans that are crafting and selling their own items on a small scale. The problem there is that those people would be considered “crafters” and not “fine jewelry manufacturers” and little credibility is given to these members of the trade.

Aujourd'hui encore, les campagnes publicitaires de la De Beers pour les diamants taillés sont signées du slogan 'A diamond is forever'.
Oh DeBeers…

Have you ever noticed that a majority of jewelry sales people are women? And a vast majority of the jewelry benches are men? Jewelry designers, pawn brokers, diamond brokers, diamond dealers, gemstone dealers, owners, diamond cutters, gemstone cutters, CAD artists, appraisers, CEOs of large companies, etc are almost always men. So my question becomes, if women are the target market for a vast majority of the jewelry that’s out there, why is the majority of the trade made up of men? Why are men directing an entire luxury industry whose target market is almost exclusively women? The marketing strategies mentioned in my first post target men as the actual active buyers of the products, while women end up being the passive consumers.

As society seems to be shifting, with more emphasis on making educated purchases, the jewelry industry is likely going to find itself in a bit of a rut.  Social norms are changing, there is less societal pressure to get married, and a less traditional view on gender norms, which has already started to reflect in jewelry trends. I have noticed that there has been a bit of a quiet uproar in the jewelry world, with numbers of people starting to buy gemstone engagement rings, and educating themselves on jewelry, where it comes from, who is making it. Women make up half of the world, and it’s an industry built for women. I think that women are educating themselves and liberating themselves from the traditional roles that the jewelry industry perpetuates. I know I’m not alone in my perspective, I see so many women who are in the jewelry trade and trying so hard to try to change it from the inside out.

CAD

The jewelry industry itself is not stuck in the 1950s. With diamond imaging technology, CAD programs, 3D printers, diamond optics tools, and more, jewelry has made some amazing technological advances that it has become reliant on. So why does the industry as a whole insist on traditional gendered values within the industry, as well as catering to the traditional roles through the target market? This is an industry that is aimed at women, that is fed by women, and it is currently run by men. I want that to change. I want to support women in small business so that they may grow to be women in big business and change the traditional, sexist values in this industry. There shouldn’t be such a strict gender divide, especially in an industry where women, even as passive consumers, control the market.

I’m not complaining that the jewelry industry is aimed at women. I’m a woman, and I love gemstones and jewelry. I think it is a big mistake that there are so few jewelry leaders who are female. I also think that the jewelry industry needs to rethink how gender biased it is. I see more and more women who are taking the bull by the horns and looking to change the industry slowly, by themselves. In general, this industry is finally starting to critically examine the business structure and finding that women can lead companies too, especially companies making products that are marketed directly at women.

What I don’t see, is enough of an uproar to start making a significant difference.

Proposal

* – Special thank you to my husband the social scientist for helping me find and make sense of the data. And another special thank you to a good friend, who happens to be a Sociology of Gender scholar, for giving me some great insight and helping put my thoughts into words.

Disclaimer: None of the photos viewed in this blog entry belong to me. All ownership rights belong to their respective owners.