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Year 5 Issue 3 April 2006
Platinum dreams - an encounter with tomorrow's classics
KARA designer jewellery show set for Paris
The Truth about Turquoise... A brief History
 
 
       
  Platinum dreams - an encounter with tomorrow's classics  
 

     Platinum is regarded on the contemporary jewellery scene as the epitome of all that is special. But this was not always the case. Only after the founding of Platinum Guild International (PGI) Germany in 1976 did consumers there begin to take notice of its unique attributes. Platinum has evolved during the past thirty years from a material for avant-garde designers to the embodiment of elegance and genuine values.

     There was no turning back after people recognized how special platinum truly is. In the 18th century, the veil of mystery lifted around platinum. It was recognized as the most sublime of all metals. Because platinum was so little known as a jewellery metal, it was not until the early 20th century that it celebrated its first gala debuts. Louis Cartier elevated it into the jewellery heavens. But platinum slipped into oblivion as the Art Deco era neared its end. War raged, and platinum's unique properties were forgotten.

     This changed with the founding of PGI (Germany) in 1976, an organization formed by a consortium of platinum producers, jewellery designers and jewellers with a goal to return platinum to its rightful place in the limelight of public attention. German, Austrian and Swiss jewellery makers responded enthusiastically to platinum's rediscovery. Niessing pioneered the articulation of platinum's characteristic look by giving a matte finish to the surfaces of platinum jewellery, and found an appropriately visible form for platinum's incomparable attributes, inventing the Niessing Spannring® in 1979. This modern jewellery classic relies solely on the inherent tension in the ring's band to firmly hold a diamond.

  
 

A: "GENESIS II" Platinum necklace, Pt 950, with pendant made of platinum & sapphire crystal, a pink sapphire & brilliant-cut diamonds, Bunz Collection, Dobel
B : Platinum ring, Pt950, with an aquamarine, Meister, Radolfzell & Wollerau (Switzerland)
"Arcus" platinum bracelet, Pt950, with two pave planes touching one another & made from 268 brilliant-cut diamonds, Henrich & Denzel, Radolfzell
C : "endless" collection: platinum necklace with pendant made of platinum & brilliant-cut diamonds; platinum earrings with brilliant-cut diamonds, both made of Pt 950, Helene M. Apitzsch, Heimstetten near Munich
D : "Platin-Farbreigen " ("platinum Colourful Round Dance") necklace, Pt 850,with eight coloured gemstones (aquamarine, morganite, smoky quartz, amethyst, rock crystal & three citrines), Georg Spreng, Heubach
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     Creations like this one made a formative impression on the jewellery landscape. Platinum inspired designers and manufacturers to further develop a formal idiom appropriate for the contemporary era. Creative minds initially focused on the sleekly geometrical basic forms which came to typify platinum jewellery - it soon epitomized minimalist design. Designer, Georg Bunz made another important contribution, discovering platinum in his quest for a timeless style. He has cultivated it ever since the founding of his atelier in 1975.

     The intimate liaison between platinum and purism dominated the 1980s, the "decade of design." The art of dispensing with inessentials gained a strong foothold in the world of jewellery design. Platinum was no longer regarded merely as a substrate to carry valuable gems - the beauty of metal itself came to occupy the focal point. In the 1990s, progress culminated in serener, more voluminous and more luxurious designs. The purist approach to design underwent variation - soft, romantic elements augmented and enriched often generously proportioned forms. These have now been joined by a classically elegant element and by the quest for authenticity and the trend toward genuineness, nobleness and purity.
  
 
     Platinum has now become a favourite material for goldsmiths and jewellery makers. Trendsetters in the world of contemporary jewellery also appreciate platinum as a perfect partner. Renowned for his extravagant and lavishly colourful designs, Georg Spreng, said, "It is an absolutely timeless metal that will continue to weave its enchanting spell for many years to come."

     With a combination of savvy design and high material value, platinum is the ultimate jewellery metal with a breathtaking diversity - a glamorous partner for coloured gemstones, diamonds and pearls. Formerly only a privileged metal for unconventional creations, platinum has now become the preferred material for engagement and wedding rings. Today's platinum is an encounter with tomorrow's classics,

www.preciousplatinum.com.
  
   
  KARA designer jewellery show set for Paris  
 


     The new edition of "KARA, les Journees des Joailliers Createurs" (KARA, the Days of Jewelry Creators) is in preparation. From 12th to 15th May, 2006, in the prestigious environment of the Bourse de Commerce on the rue de Louvre in Paris, KARA will once again welcome a clientele sensitive to the art of the creation of beautiful jewellery. KARA, the designer jeweller's show is organized by VecteurExpo. It is held twice a year in the spring and the autumn.

  
 
A) From KARA 2005, designed by Lisi Lopez.            B) Designed by Jean Boggio, from KARA 2005.
C) From KARA 2005, designed by Patrice Fabre.       D) Designed by Antoine Camus, from KARA 2005.

     With over 15,000 visitors expected for the event's second edition, a number that has increased by 40% in a year, KARA bears witness to jewellery consumers, lovers, and collectors interest for a specialist fair in the sector, bringing both French and international exhibitors into contact with a high-quality clientele.

     The commercial success of the November 2005 session of KARA and the unanimous verdict of the press both suggest significant growth potential, likely to make this event the European reference for the presentation of independent designer jewellers, with nearly 100 selected exhibitors.

     The organizers of KARA said their goal is to develop the event internationally, both in terms of exhibitors and its visitors from the general public, opinion leaders and key professional buyers. They will be embarking upon new direct marketing operations aimed at foreign visitors - 500,000 invitations will be sent to a targeted audience, along with actions in France, targeting customers with high spending power, as well as building partnerships with the press worldwide.

     The quality of its exhibitors, the creativity of the pieces on show, the general aesthetics and the profile of its visitors have already helped to make KARA a key event in the jewellery sector's calendar.
  
E) Designed by Daniela Baumgartner, from KARA 2005.    F) Designed by Scherle, from KARA 2005.
G) Designed by GWA, from KARA 2005.                            H) Designed by Anita Tan - Algems, from KARA 2005.
 
  The Truth abouf Turquoise... A brief History  
 
 
   Turquoise is found in many countries, but is most commonly associated with the Southwest US, China, and Iran, which is home to some of the finest quality Turquoise. First mined on the Sinai Peninsula (part of modern Israel) and transported to Western Europe through Turkey, Tur-quoise got its' name from Europeans who mistakenly thought that it was found in Turkey. The name comes from the medieval French word for Turkish, "turqueise."

Much older than Native American civilizations with whom the stone is most commonly associated, Turquoise was used in ancient Egypt, ancient Eastern and ancient Middle Eastern civilizations. Native Americans had as many different words for turquoise as there were languages spo-ken. However, many of the words translated into English as the "skystone," evoking the sky-blue shade of the stone most commonly found. They had been working in turquoise mines with stone mauls and antler picks for centuries before highest the arrival of the Europeans. Most often, in the Southwest, the stone was carved into beads (heishi), fetishes, or over-laid onto wood, bone, or shell. The Spanish brought to the Southwest their knowledge of silver and silversmithing. This was combined with Native American lapidary technology to produce a turquoise jewelry tradition that lives today. Native American jewelry, whether tradition or complementary, is the harmonious melding of seperate but complementary art forms.

What is turquoise?
   Turquoise stone is a hydrous basic phosphate of copper and aluminum which is formed as water trickles through a host stone for about 30 million years, gradually leaving a deposit. - if the mjx has more copper, the turquoise will be colored in the blue range; if more aluminum, in the green to white range. The addition of zinc yields a yellow-green color and hardens the stone even more. The yellow-green color has been found so far only in Carico Lake, Damali, and Orville Jack turquoise from Nevada.
 
 
Color of turquoise?
   Turquoise, like most stones, has a wide range of color and quality. It ranges from a deep sky blue or Robin's Egg Blue to Green, and yellowish green,and brown. While the bluest stones with the least webbing are usually the highest valued, individual taste will rank stones differently. Some prefer the stone to be blue with dark thick green with thin lines, reminiscent of webbing; still others prefer the earthy tones, lime green and earthen brown. Because Turquoise is formed through the oxidation of copper and Iron it is a relatively porous stone that should be carefully cleaned. Clean the stone with soap and warm water only.

What is the "matrix" in turquoise?
   Other colors that appear in a turquoise stone come from the host stone that the turquoise formed in, and are called "matrix." A black matrix is usually from iron pyrite; a gold-brown matrix from iron oxide, and a yellow to brown matrix from rhyolite. Matrix that is thin and evenly spaced over the surface of the stone is commonly known as "spider web" matrix. Spider web matrix usually enhances the col-lectibility and value of turquoise.

How is turquoise mined today?
Most turquoise mining operations are very small, some as small as one family. The mining sites, of course, are very isolated, and living and working conditions are primitive and sometimes dangerous. One advantage modern miners have over previous miners, who worked with hand tools, is a gas generator. To this the miner hooks up a saw with a diamond cutting blade and a machine with a grinding wheel. Using water to cool the cutting blade, the miner cuts away chunks of host stone to get to thetur-I quoise vein. Refined : extraction and shaping of the turquoise is done with the grinding wheel. Final shaping is done arid the piece is backed by epoxy to form a cabo-chon, a cut and polished stone ready for setting. Theepoxy backing helps to protect the stone against chipping and breaking when it is set in silver jewelry and worn. This is all very labor intensive and time consuming. Native American artisans may buy turquoise cabochons directly from miners, but most buy from jewelry supply stores or trading posts.

  
  What are the different "kinds" or grades of turquoise?

1. NATURAL turquoise means a stone with no alteration to its composition. Such stones are merely polished and cut into shapes before being mounted in jewelry. Natural turquoise remains porous, as all natural stone is to varying degrees, and may tend to change color over time as it is worn and handled.

2. STABILIZED turquoise means that the natural mineral has been chemically altered to harden the stone, usually by infusing epoxy or polystyrene into the porous surface of the stone. The stabilization process serves to "freeze" the color of the H stone so it will not change.

3. COLOR-TREATED, color-enhanced, or color-infused turquoise means that the natural mineral, usually too soft and pale to finish for use in jewelry, has been chemically altered to change the color of the stone (and often the hardness also). Dye is mixed with a stabilizing epoxy or polystyrene liquid and infused into the stone under pressure.

4. RECONSTITUTED turquiose is the name used for turquoise dust and chips that are mixed with plastic resins and compressed into a solid form so as to resemble natural turquoise.

5. IMITATION or SIMULATED turquoise is any synthetic compound (usually dyed plastic) which is manufactured to resemble turquoise, but which contains no actual gemstone.