Winners Announced at Inaugural 'JNA Jewellery Design Competition'

Some of the finalists for the JNA Jewellery Design Competition

The winners of a new competition dedicated to design were announced Thursday during the June Hong Kong Jewellery & Gem Fair.

The name of the awards program is the JNA Jewellery Design Competition for 2018/19.  The winners were named at a press event during the fair’s opening day attended by officials representing Informa Markets and JNA magazine, and corporate sponsors, Crossfor Co Ltd, Platinum Guild International (PGI) and the Tahitian Pearl Association Hong Kong (TPAHK).  The competition celebrates artistry, innovation and excellence in jewelry design and production.

Organizers and sponsors of the JNA Jewellery Design Competition during the announcement of the winners at the June Hong Kong Jewellery & Gem Fair

The winners of the JNA Jewellery Design Competition 2018/19 are as follows:

* Dancing Stone Category – New Fashion Tech - “Heptagram” by Mami Ochiai of Japan

* Platinum Category – Platinum Attitude - “Star Lingers” by Liang Fan of China

* Tahitian Pearl Category – Asymmetric Perfection - “The Leonidas Man” set by Alessio Boschi of Italy

The winners will be featured at an awards presentation during at the September Hong Kong Jewellery & Gem Fair. Each winner will also receive a cash prize of $2,000, and have their creations showcased at the June and September Hong Kong Jewellery & Gem Fairs.

The Leonidas Man by Alessio Boschi, one of the winners of the JNA Jewellery Design Competition

The competition’s judging panel was led by jewelry designer Fei Liu, who served as chair. He was joined by jewelry designer Robert Tateossian, visual artist Bradley Theodore, and publisher and editor-in-chief of the JNA group, Christie Dang. The three category judges were Hidetaka Dobashi, founder and CEO of Crossfor, Suzanne Wong, senior product manager of PGI, and Ida Wong, general manager of TPAHK.

The winners were selected out of 15 finalists across three categories, and evaluated against the criteria set by the organizers as well as the entries’ adherence to the respective themes. Of the 15 finalists, five were from China; three were from Taiwan; with the rest from Bulgaria, Egypt, Iran, Italy, Japan, Malaysia and the U.S.

The competition drew 2,588 entries from jewelry designers and students from 39 countries and regions.

Portland Jewelry Symposium Focuses On 3D Printing And Other Technologies

Peter Smith delivering the keynote at the Portland Jewelry Symposium. Photo by Lena Knofler

The Portland Jewelry Symposium celebrated its 10th anniversary but there was no time to wax nostalgic at the most recent gathering. Instead it was time to focus on the future of the industry. This future consists of the use of technology in general and more specifically the continued growth of 3D printing technology.

“It just seemed like so much evolution was going on with technology we should focus on the future so everybody can sit here for a day-and-a-half and think about the next 10, 15 years for their businesses,” said Teresa Frye, who founded the symposium.

Teresa Frye, founder of the Portland Jewelry Symposium. Photo by Lena Knofler 

Frye, owner and president of TechForm Advanced Casting Technology, a platinum manufacturer, said her business is 95% digital. She is dependent on designers who create the pieces that she manufactures. Because of this she said she is most interested in how designers will adapt to new ways of creating jewelry without losing the human aspect of the artistry and design.

“It’s so easy to look at the robots and say that has nothing to do with my craft, it’s so cold and sterile. Yet we can’t avoid it,” she said. “It’s crucial to our survival that we pick the elements of technology that are going to help us to not just survive but to stay at the top of our game and I think that’s the challenge for the industry because we really are so traditional.”

One of several 3D printers on display. Photo by Lena Knofler

She says there is no one answer, designers, manufacturers and retailers will have to adapt various elements of technology in ways that will enhance their businesses.

“Our customers value the handcrafted nature of what we do, yet we’re going to have to give up some of that. All the top brands know that they have to select the elements of technology that are going to help them to remain competitive yet they can’t lose their soul in the process. And I still don’t know the answer because it really lies with the designers as far as the aesthetics of what we’re creating and how to not lose that in the process.”

This year’s symposium, with the theme “Future Think: Innovate, Create, Thrive,” was held October 1 and 2 at the Sentinel Hotel in downtown Portland, Ore. Approximately 150 independent retailers, manufacturers, designers and others in the jewelry trade attended this year. The attendance was a new record for the symposium. In addition, it has grown from a regional gathering in the northwest United States to a national event. Frye said one of her challenges is to manage this growth while maintaining its intimate, informal and friendly atmosphere.

3D Printer models. Photo by Lena Knofler

3D printing was the hot topic this year and they were the top item on display among the vendors at the event. The technology is being used regularly to produce jewelry molds that are used for casting. Costs of the machines have dropped significantly over the years and they are smaller and easier to use. Their easy entry point has opened up jewelry design to a broader group of people. For example, retailers can now create custom designs for their customers with greater efficiency and speed.

The vast majority of 3D printing is being used to create resin models for casting. However, the newest generation of 3D printers can now print jewelry using precious metals. As one vendor told me the process hasn’t been perfected yet and isn’t a viable replacement for current uses.

But it doesn’t take an expert to know that the technology will get better. Frye, who is well adept with technology and how it is used in manufacturing environments, sees this as well. She says it brings questions on how it may change jewelry design.

“I’m thinking about this next evolution of 3D printing,” Frye said. “Is jewelry going to start looking all the same because we’re letting the technology dictate the designs? That’s the challenge for the industry and I fully expect there will be many designers who are going to overcome that challenge but there may be inherent limitations with the technology. There is probably going to be a multitude of solutions and what we’re trying to do here is to get that conversation going. We have the technology experts here talking about what’s out there and then we have the networking with real world jewelers who will challenge them. That’s when you have the really interesting conversations.”

Kevin Abernathy discussing manufacturing technology. Photo by Lena Knofler

Kevin Abernathy of BIS Ventures, in his presentation on trends in digital manufacturing, said that 3D metal printing is the next big thing and that artificial intelligence, robotics, cloud computing and other technologies are becoming commonplace in the world’s largest companies and will soon be commonplace in the jewelry industry.

Abernathy, whose company consults with jewelry manufacturers on their automated and digital technology, said he was an early adapter of 3D printing and computer numerical control (computer automation of machine tools). Because of these technologies, he said “vendors can help you navigate the minutiae of the design in your mind.”

Bench demonstrations. Photo by Lena Knofler

Abernathy assured those in the audience that although these technologies will continue to grow, there is no need to be fearful of losing your job.

“At the end of the day it takes a human, an artist putting that love into a piece of jewelry,” he said. “No machine will ever replace that and no robot will ever do it.”

The keynote address for the symposium was delivered by Peter Smith, jewelry industry consultant and author, who discussed the future of traditional jewelry retail, which he says, is actually brighter than it is being portrayed.

“This fear that somehow we’re losing business to online is just not based in reality,” he told the audience.

Kristi Broussard of Stuller demonstrates a detector for lab-grown diamonds. Photo by Lena Knofler

Instead, he argues what is happening is a transformation of the retail business combining the bricks-and-mortar experience with the convenience of eCommerce. He stresses that it’s retail stores that will continue to drive the business.

In most cases, he says, retailers who are losing customers are doing so because they are not providing a high-quality store experience. He said the landscape of the retail industry can be broken down to convenience and price sensitive stores, such as Costco and Wal-Mart; and stores that focus on experience, such as Apple, Starbucks and Tiffany & Co.

Jewelry retailers cannot compete with price so they have to create stores that provide a better experience for their customers. It includes reevaluating everything about the store, from the lighting to the music to the scent (which can be purchased) in a way that creates a story about the retail experience they want to deliver.

Chris Ploof of Laminated Metals describing his products. Photo by Lena Knofler

Smith also encouraged retailers to streamline their product offerings and focus on what sells and to build eCommerce websites in order to create a well-rounded retail experience.

Sherris Cottier Shank, an award-winning gem artist and master gem carver, had a bit of warning for those jumping into technology head first. She challenged retailers and others in the jewelry industry to think “beyond mainstream” when specifying jewelry.

“All of this automation is really great but remember there are other people out there beyond mainstream,” she said. “Take the time to talk to them and find out what they like.”

Shank, calls herself an “odd duck” in the jewelry industry because what she likes in gemstone jewelry is rarely displayed in stores.

“If I were to walk in most jewelry stores today I would turn around and leave. Most jewelry stores would have nothing that interests me,” she said. “There are others like me and I know this because they contact me out of the blue.”

She began her career as a bench jeweler but discovered that she loved the art of gemstone carving. A self-described “girl who plays around in the dirt,” she sometimes goes to the mines to select her gems. She said dealers have mixed reactions when selling to her.

“I’m very careful when I select rough and the sellers either love me or hate me. They usually give me a pad and let me select my own (stones),” she said.

Shank, known for her signature carvings, has received numerous awards. Several of her pieces are on display in museums, including National Gem & Mineral Collections of the Smithsonian and the Boston Museum of Fine Arts. She also works with exceptional jewelry artists who mount her gems into jewels.

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Last Chance To Register For The Portland Jewelry Symposium

The 2016 Portland Jewelry Symposium, networking prior to the keynote presentation

The Portland Jewelry Symposium is celebrating its 10th Anniversary and it isn’t looking back on its success. Instead, the forum’s theme this year is “Future Think: Innovate, Create, Thrive.” 

Teresa Frye, founder of the Portland Jewelry Symposium and owner and president of TechForm Advanced Casting Technology, has created the theme and planned the two-day program to discuss new technologies and artistic trends, and how to stay current in a rapidly changing industry. 

The symposium will be held October 1 and 2 at the Sentinel Hotel in downtown Portland, Ore. It is designed to benefit custom jewelers, designers and retailers. The registration deadline is here so please follow this link to register. 

Presentations will include the following: 

Peggy Jo Donahue, who assembled a panel discussion on “Promoting Custom Design on Social Networks,” which includes award winning designers Calla Gold and Lisa Krikawa.

Jennifer Caban from Olympus IMS will discuss using “XRF Technology to Identify Precious Metals” at the bench and in the retail environment.

Kevin Abernathy will speak about evolving “Trends in Digital Manufacturing.”

The symposium continues to take on social and environmental responsibility. This year, Monica Stephenson of ANZA Gems will speak on “Taking the First Step to a Responsible Future.”

This year symposium also includes a session on “Succession Planning and Exit Strategies” by Becka Johnson Kibby from The Edge Retail Academy.

Symposium registration includes the Keynote address and networking dinners. Lunch and refreshments during the full-day session on October 2. Additional tickets for dinner guests are also available for purchase.

To register, please visit the Portland Jewelry Symposium website.

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The Portland Jewelry Symposium Celebrates 10th Anniversary With Future-Focused Program

Peter Smith, CEO of Vibhor, will give the keynote address

The Portland Jewelry Symposium will celebrate its 10th Anniversary with the theme “Future Think: Innovate, Create, & Thrive.” 

The annual event, being held on October 1st and 2nd in Portland, Ore., will kick off with a Sunday night keynote dinner and address by jewelry industry veteran, Peter Smith, CEO of Vibhor and a columnist for National Jeweler, The Jewelry Book, and the World Diamond Magazine. He will share thoughts from his acclaimed 2016 article in National Jeweler, “What Will Become of Retail Jewelry Stores?”

“Given the rapid evolution we are experiencing in both retail business models and manufacturing technologies, it is very timely for the Symposium to take a deep dive into the innovative business models of tomorrow” says PJS Founder, Teresa Frye, owner of TechForm, which specializes in high-temperature platinum casting. “Beginning with our keynote Aadress and continuing across all presentations and bench demonstrations, we endeavor to create a sense of the visionary at this year’s event.”

Rounding out the "Future Think" program will be talks by digital manufacturing expert, Kevin Abernathy of BisVentures; Peggy Jo Donahue will moderate a tech-savvy panel featuring custom jewelers Calla Gold, Wendy Brandes, and Lisa Krikawa; retail business specialist, Becka Johnson Kibby of Edge Retail; responsible sourcing authority, Monica Stephenson of idazzle and Anza Gems; and specialist in XRF analytics technology, Jennifer Caban of Olympus.

Other presentations feature goldsmith and inventor Phil Poirier of Bonny Doon Engineering, designer Annie Koenig of Annie K & Motorhead Jewelry, gemstone carver Sherris Cottier Shank of Gemscapes, and bench expert Kristi Broussard of Stuller. A full line-up of the sessions and schedule can be found on the PJS website. 

Sponsors for the event include TechForm Advanced Casting Technology, Stuller, Platinum Guild International, Solidscape, Rio Grande, MJSA, Johnson Matthey, Otto Frei, Instore Magazine, Metalsmith Magazine, United Precious Metals Refining, Envisiontec, Hoover and Strong, Cad Blu, Red Sky Plating, A3DM Technologies, and the Santa Fe Symposium. 

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Alex Soldier Designs Princess Grace Award Given To Queen Latifah by Prince Albert II and Princess Charlene of Monaco

Prince Albert II and Queen Latifah who is holding the Prince Rainier III Award created by Alex Soldier

New York-based jewelry artist Alex Soldier designed the Prince Rainier III Award that was given to Queen Latifah during the 2016 Princess Grace Awards Gala, held at Cipriani's 25 Broadway in New York City.

Prince Albert II and Princess Charlene of Monaco presented the award to the famous singer and actor for her philanthropy across many charities

The Prince Rainier III Award created by Alex Soldier

Soldier is known for his handmade jewels and art objects. The lean statuette incorporates symbols representing all three disciplines that were close to the heart of Grace Kelly, princess of Monaco, and lauded by the foundation: theater, dance and film. It is composed of connected symbols denoting these three art forms. The modern streamline award also features an abstract version of the American flag and the PGF-USA logo in a repeated pattern. It’s made primarily of platinum-plated silver with black obsidian and Swarovski crystal accents. The metalwork displays a special texturing technique that is signature to Soldier’s style. He created smaller versions of the award, which were presented to each Princess Grace Awards winner to wear as a pin.

The award was named in honor of Prince Rainier III who helped begin the Foundation more than 30 years ago to honor his wife, Grace Kelly’s legacy.

The Princess Grace Foundation-USA—which awards grants in the form of scholarships, apprenticeships, and fellowships to emerging talent in theater, dance and film—commissioned the New York-based artist to create the award in 2009 to present to a celebrity in the arts each year who has made it his or her personal mission to give back. The design has been used ever since.

Alex Soldier White Swan earrings worn by Queen Latifah

Alex Soldier’s jewels were also in full view during the event. Latifah wore Soldier’s White Swan Earrings. The form of the center stone resembles a swan's head, and the elongated diamond bar is curved into the shape of its neck. The Limited edition drop earrings are made with a white topaz center stone, white quartz and white diamonds.

Jewelry designer Alex Soldier (right) attends the 2016 Princess Grace Awards Gala with his daughter Maria, Alex Soldier brand’s creative director. (Photo by Dimitrios Kambouris/Getty Images for Princess Grace Foundation)

Soldier attended the event with his daughter Maria, Alex Soldier brand’s creative director. She wore several Alex Soldier jewels, including the Aster Flower centered with a large, faceted lemon citrine Astra with yellow sapphire and white diamond accents and detailed metalwork. It can be worn as a brooch, pendant, ring or a cuff. She also wore the Swirl cuff with rhodolite garnets; and Royal Earrings made of blue topaz, lemon citrine and rhodolite garnets set in 18k white gold.

The Alex Soldier Aster Flower jewel centered with a large, faceted lemon citrine with yellow sapphire and white diamond accents. It can be worn as a brooch, pendant, ring or cuff.

Other event highlights: Leslie Odom Jr. and Camille A. Brown received the Princess Grace Statue Award. Naomi Campbell served as the evening’s host and NYC Ballet principals Tiler Peck (Princess Grace Award Winner) and Robert Fairchild performed.

Alex Soldier Swirl cuff with rhodolite garnets

Established more than 30 years ago by Prince Rainier III to honor his wife Grace Kelly, princess of Monaco, the Princess Grace Foundation-USA’s annual gala celebrates the outstanding accomplishments of emerging artists in theater, dance and film in the presence of the royal family of Monaco.  

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Portland Jewelry Symposium: A Forum For Innovation In The Jewelry Industry

Jim Tuttle of Green Lake Jewelry Works, Jennifer Dawes of Jennifer Dawes Design and Travis Isaacson of Lashbrook, spoke about their personal experiences with selling custom jewelry. Photo by Anthony DeMarco

Jewelry professionals who attended the ninth annual Portland Jewelry Symposium received a great deal of information on the technology, craft and artistry of jewelry making. They discovered ways to improve their business and their digital media results; and they learned about the responsibility associated with the making and selling of jewelry. 

The event held Sunday and Monday in Portland, Ore., was attended by 125 jewelry professionals (primarily independent business owners) from 12 western states and Canada, including designers, manufacturers, metalsmiths and retailers. Its focus this year was responsible sourcing (as I have written about previously: link and link) but in the eight sessions on Monday presenters exchanged ideas on a number of topics ranging from the highly technical to the wildly creative. 

The more technical presentations included Jim Binnion, an expert on metalsmithing and goldsmithing techniques who discussed his process for developing a new method for preparing 3D acrylic photopolymer patterns for investment casting, a complicated but important topic with the recent proliferation of 3D printers in the jewelry industry.

Teresa Frye, founder of the Portland Jewelry Symposium, provides an overview of what jewelers should known about precious metals metallurgy. Photo by Anthony DeMarco

Teresa Frye, founder of the Portland Jewelry Symposium and owner and president of TechForm Advanced Casting Technology in Portland, presented a technical overview of what jewelers should known about precious metals metallurgy. This includes discussions on porosity, microstructure, mechanical strength, and the effects of alloying elements.

Frye said she started the symposium nine years ago to fill a need in the northwest United States primarily for independent jewelry retailers, designers and manufacturers. The event has steadily grown over the years. Frye said the symposium prides itself on being a non-commercial venue for jewelry professionals.

Jewelry designer Chris Ploof describes the creative process during his presentation on Mokume Gane. Photo by Anthony DeMarco

It was modeled after the Santa Fe Symposium, founded more than 30 years ago by Eddie Bell, director of technology for Rio Grande, Inc., perhaps the largest jewelry industry supplier of tools, equipment and know-how in the U.S. Frye has participated in the event as a presenter and attendee for many years. 

The Santa Fe Symposium is international, attracts some of the largest jewelry companies and is the closest thing to a scientific process in the jewelry industry. Large manufacturing representatives present highly technical white papers on new findings in jewelry making production. The non-commercial networking aspect among these professionals is cited as one of the key reasons for its success. 

Frye says the Portland symposium is a bit different in that it is geared toward smaller companies and is bit broader in terms of presenting highly technical white papers with artistic and business presentations. It received the blessing of Eddie Bell and Rio Grande is one of its major sponsors, providing bench jewelry demonstrations.

Frye expressed confidence that the Portland symposium will continue to grow. 

“There’s a national need for this type of non-commercial event in the type of setting with a more intimate environment than a tradeshow.”

Several attendees said the non-commercial networking environment is one of the best parts of the annual gathering. 

“You don’t feel like you’re in an environment where you’re being sold. You are able to relax a little and enjoy the people who are here,” said Jennifer Shaline a bench jeweler at Beaudet Jewelry, Eugene, Ore. The self-claimed “too junkie” was also at the show headhunting for full-time employees. This is her second time at the event. 

Networking had a direct impact on jewelry designer Ali Peret of Troutdale, Ore. He was specifically looking to find information on 3D jewelry design. The schedule didn’t have this topic this year but during networking he met a 3D jewelry design instructor from the Gemological Institute of America. 

“This is exactly why I come,” said Peret, who has attended the symposium a few times in the past.

Andrea Hill describes how to adapt Lean Manufacturing to small jewelry operations. Photo by Anthony DeMarco

Andrea Hill of Hill Management Group, a consultancy for the jewelry industry, presented a tutorial on Lean Manufacturing, a systematic method for the elimination of waste within a manufacturing system. This system was developed in Japan and is flexible enough to use for a variety of manufacturing processes, including those in the jewelry industry.

“It’s a system that trains an organization to look at itself from the outside in and to make all improvements accordingly,” Hill told the jewelers. “It provides value through the eyes of the customer by designing your business and processes around your customer.”

She added, “This core concept of lean is very accessible to the small business and if you’ll embrace you’ll see benefits in your business.”

Hill has been a longtime presenter and attendee of both The Portland and Santa Fe Symposiums. 

“Teresa (Frye) does a really good job,” Hill said after her presentation. “She packs a lot of content into a day.” 

She adds that’s there is no other place in the northwest United States where such a diverse group of jewelry professionals can get together in such a supportive environment. 

Chris Ploof explains the true worth of what someone buys from a designer. Photo by Anthony DeMarco

Jewelry designer Chris Ploof of Leominster Mass., gave a presentation on the history of the Japanese art of Mokume Gane and described techniques to produce the distinctive design in a modern jewelry workshop. 

It was one of the more entertaining and informative presentations on such a difficult topic. It included a chart on the artist process that read: “Work begins; F#*k off; panic; All the work while crying; Deadline”

Mokume Gane is a technique that produces a wood-like grain in metal. It’s done by fusing several layers of different colored precious metals together then manipulating it in a way that a pattern resembling wood grain emerges over the surface. There are several techniques are used to produce a variety of effects.

Three jewelry designers (Jim Tuttle of Green Lake Jewelry Works, Jennifer Dawes of Jennifer Dawes Design and Travis Isaacson of Lashbrook), spoke about their personal experiences with selling custom jewelry.

Lake Giles of Thinkspace Jeweler of Portland, which creates cloud-driven website management systems and internet marketing services for jewelers, told attendees how they can successfully manage their own website Search Engine Optimization (SEO) without hiring consultants. 

“There are better ways to advertising digitally,” he said. “Google ad words, Pandora radio, Facebook, email marketing lists. They all have their pros and cons. SEO is frequently less attractive than these other channels.

He also encouraged jewelers to use social media (perhaps the only industry on earth that needs such encouragement). 

“At least create those accounts, claim those business names on social media sites shows your biz is alive,” he said. 

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The Personal And Social Benefits of Responsible Sourcing At Portland Jewelry Symposium

Stewart Grice of Hoover & Strong speaks about Responsible Sourcing to approximately 125 jewelry professionals. Photo by Anthony DeMarco

As mentioned previously, the ninth annual Portland Jewelry Symposium put an extra focus on Responsible Sourcing, a voluntary commitment by companies to take into account social and environmental considerations when managing their relationships with suppliers. 

In addition to the keynote by Bennett Freeman on Sunday, two other presenters opened the eight sessions Monday with their takes on the benefits of Responsible Sourcing. 

The two-day Portland Jewelry Symposium discusses innovations in technology and artistic trends.Teresa Frye, who founded the symposium, says the responsible sourcing of materials for jewelry making is one of the most important current topics for the industry. This year, she said she placed an emphasis on this topic. This year, approximately 125 independent jewelry professionals including retailers, designers and manufacturers attended the event. 

The first, Stewart Grice, VP of Mill Products at Hoover & Strong, a jewelry manufacturer and refiner of precious metals, took the audience into two artisanal mines in Peru, where the company sources its Fairmined gold for its jewels. Among its products, the North Chesterfield, Va., based company produces more than 30,000 eco-friendly and responsibly sourced mill products and finished jewels under the Harmony brand name. They include products sourced with Fairmined gold and silver. 

There’s a premium paid for jewels made with Fairmined gold but in return retailers and end users get gold that is ethically mined without life-threatening chemicals (like Mercury) and the extra money goes toward making the lives of miners and their families better. 

Grice argues that customers are willing to pay the premium if it is explained how Fairmined gold works. “When you buy Fairmined gold this money is invested in community,” he said.

In the case of the two Peruvian mines in Aurelsa and Iquira, this premium is used to improve the safety of the mines, provide power and water to the communities, medical care, cell phones, proper food and even recreational activities, including a soccer pitch in which Grice says may be the highest such field in the world. 

In explaining the harsh conditions at the mine prior to this initiative he said, “These guys were shooting at each other, now they’re playing soccer.”

Only about 15 percent of all independent mines in Peru are regulated by the government, Grice said. The vast majority of mines operate illegally.

One of the requirements of Fairmined gold is that the artisanal mine must be government regulated. This provides an added bonus for the Peruvian people as these mines now contribute to the tax base.

Jewelry designer Toby Pomeroy. Photo by Anthony DeMarco

Jewelry designer Toby Pomeroy, the second presenter, is a pioneer in using responsibly sourced materials in his jewels. In his presentation, “A World Without Design,” he used his own experiences as an example of how a purpose-driven life can lead individuals to find what truly motivates them. 

“In an absence of an inspired context, our lives will not be inspired,” he said. “It will not leave us fulfilled and inspired and not leave other people fulfilled and inspired.”

The Corvallis, Ore., based jeweler talked about his inspirations as a jewelry designer and in his life that led him to making many life choices, including his most important career choice: working with sustainably sourced materials. He is now a world leader in the production of environmentally sustainable and socially responsible jewelry. His launch of “EcoGold” and “EcoSilver” set a new standard, defining ethical luxury. 

In 2006, he learned about the “No Dirty Gold” campaign, which educates people about the impacts of irresponsible gold mining. He learned about the poverty stricken metal miners who work in dangerous conditions and how it contrasted with the beautiful jewels he sells. He thought about closing his business.

“I can’t keep making jewelry knowing the destruction of wide scale mining,” he said. “We’ve been prospering on the backs of miners. For millennia the jewelry industry has been prospering on the backs of other people.”

Pomeroy went to Hoover & Strong to see if the company could purify previously used scrap gold and silver separately from newly mined metals. The company came through but added a 3 percent surcharge for the effort. For the second order the surcharge was dropped. In addition, Hoover & Strong also decided that it was going to develop this business. 

Once seeing that it was doable Pomeroy decided, “This is the direction we’re going.” The jewelry and process was branded as “EcoGold” and “EcoSilver.”

It turned out to not only to be a good ethical move, but a superb business decision as well. After a story appeared about this new use of recycled gold in a trade magazine the consumer press followed, giving his business a great deal of publicity. 

Pomeroy created a pair of hoop earrings, called “Eclipse” made entirely with recycled metals. The elegant, casual and lightweight earrings are flat and wider at the bottom with a rough hammered texture and touch of fair trade diamonds. It then features a subtle bend as it moves up to the ear. The earrings were an instant success. The small store received so many orders for the earrings that he had to develop a way to machine manufacture them without losing the quality, which he did. 

“They loved the shape,” he said. “I just couldn’t make them fast enough.”

Pomeroy seems to be most proud of accidentally starting a movement in the jewelry industry toward responsibly sourced materials.

“Over 100 brands are now using Fairmined gold,” he said. “We’re really causing a revolution in the jewelry and mining industries. Anything is possible.” 

This is the second of three stories about the Portland Jewelry Symposium.

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Wallace Chan’s New Book Takes Readers Inside His Jewels

"Wallace Chan Dream Light Water" is now available in the US. It contains 86 of his sculptural jewels in extreme close-ups and in their actual size

It’s my belief that 100 years from now Wallace Chan won’t be known as a jeweler or jewelry artist, but simply as an artist. He will be considered among the best of his time, if not longer. That his groundbreaking gem carving and faceting techniques and his jewelry making skills will be taught at art schools and gemology schools around the world.

The China native and now Hong Kong-based jewelry artist who grew up in extreme poverty is already successful beyond his wildest imagination among the most elite in the world in money and taste. His notoriety will likely grow with the January 28 release of the book “Wallace Chan Dream Light Water,” designed to open up the process of his techniques to the public.

Wallace Chan with Sarah Coffin, a curator at Cooper Hewitt Museum (left) and Cherry Rao

On the day of the book’s release Chan gave a lecture at the Cooper Hewitt, Smithsonian Design Museum in New York. The book contains photographs of 86 of his sculptural jewels in extreme close-ups and in their actual size. Even at $280 each, the museum’s allotment of the 380-page tome sold out before Chan took the stage.

Chan discussed his quest for knowledge even though he was too poor to receive a formal education.

“I started from reading books I could not understand to wanting books I could not afford and today I have made a book of my own,” Chan told an audience of jewelry and art professionals and enthusiasts at Cooper Hewitt. “I have met a lot of challenges along the way.”

From concept to publishing, the book took seven years to make, Chan told the audience, or as he told me previously, “nothing comes easy” for him.

Vividity brooch centered with a rare elbaite tourmaline

Chan also brought one of his more famous creations with him as an exhibit for the event: “Vividity,” a colorful brooch centered with a rare elbaite tourmaline.

Chan told me in October when he first came to New York to promote the book that he chose to photograph the jewels in extreme detail in order to reveal the techniques he uses so others can learn from them—such as his use of gems as prongs instead of metal, how he manipulates precious metals, and his approach to faceting jade.

“Books are just like jewelry,” Chan told the audience through his editor and translator, Cherry Rao. “They are embodiments of human cultures and emotions. With this book I hope to show you a world that you cannot see—a micro world of jewelry where you can find the hidden truth, goodness and beauty in the gemstone and the craftsmanship.

A close-up view of the Now and Always necklace featuring the "Wallace Cut"

The book cover is a photograph of his most famous gem carving technique: The Wallace Cut, where he creates a reverse image in the back of a gem using cameo and intaglio carving techniques that result in a multiple-dimensional trompe l’oeil effect when seen from the front of the gem.

“On the front you can see five faces but actually I only carved one face at the back of the stone and the four more faces you see are actually the result of reflections that was created by precise calculations and faceting,” Chan said.

A close-up view of the Fluttery Ragtime Brooch

“It was reverse thinking combined with reverse carving motions. What you see on the right I actually carved on the left and what you see that is deep inside the stone was actually carved shallowly and by design.”

A full view of the Fluttery Ragtime Brooch

It took Chan two and a half years to master this approach to jewelry carving, which he first revealed in 1987, and another six months to build the tools, which include dentist instruments adapted for gem carving. He then had to carve while the gem was submerged in water because the carving tools generated too much heat that could damage or crack the gem. Not to mention burn his hands.

An extreme close up view of Parure Plum Flowers in Snow

“As I was carving in water it meant I could not see the details so I was doing the carving stroke by stroke,” he told the audience. “I had to carve one line and then I had to take it out of the water and check it to see if it is okay. I put it back down into the water to do another stroke. It was a long process but I entered a stage where my eyes, my heart my hands were moving as one. By that time I could carve in the water for two or three minutes without looking or checking.

“It was the craziest period in my life. At that time I was completely lost in the magic of light and shadow.”

A full view of the Fluttery Ragtime Brooch

Chan’s reputation transcends jewels and goes into art. He is a sculptor by training and still creates many traditional works of sculpture as well as large glass etchings. Sarah Coffin, a curator at Cooper Hewitt who led the lecture, asked Chan about his artistic approach to his jewelry designs.

“Painters use paint, musicians use notes and I use gemstones to create,” Chan said. “Jewelry is the same as paintings or music. It is a form of expression in art. For more than four decades gemstones have been the most important language I use to communicate with nature and the universe. The carvings, sculptured gemstone cuttings or jewelry creations use gemstones as my medium … and through creation I become one with nature.”

Heart in Bloom brooch

The book, Wallace Chan Dream Light Water,” published by Rizzoli, is co-written by Juliet de La Rochefoucauld, a gemologist, jewelry historian, author and lecturer. The 380-page 11-in. by 15-in. book contains 260 color photographs and illustrations. It retails for $280. Demand has already proven to be strong as the allotment at the Cooper-Hewitt museum sold out during Chan’s lecture Thursday.

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