Russia hosted the 2014 Winter Olympic Games in Sochi, but did you know that it’s the country that wins the gold medal for diamond production?”

Alrosa mined 34.4 million carats of diamonds last year, well ahead of De Beers’ total of 27.9 million, which most people equate the world’s leader in diamond production. In fact, Alrosa has relegated De Beers to “silver medal” status for the past three years.

There is an asterisk next to Alrosa’s King of Diamonds status, however. The majority of diamonds mined in Russia are relatively small compared to the stones found in Botswana and South Africa, where De Beers does most of its mining. Which means that for now, De Beers remains the leader in diamond sales, taking in about $6 billion last year, compared to Alrosa’s $4.8 billion.

Eight Russian diamond crystals, 1.05 ct total weight, Yakutia. Courtesy of Thomas Hunn Co.

If Alrosa is not a household name like De Beers, it’s because from 1960 to 1992 the first diamonds were mined in Mirnyi, a remote area in Siberia.

Diamond mining in Mirnyi is not for the faint of heart. The town is located in eastern Siberia. Winter days get six or less hours of sunlight. Temperatures are typically well below zero (-35°C is not unusual). Jet engines and explosives are used to melt the permafrost.

Until the 1990s, Russia had regarded its diamond operations as a top state secret. The country, then known as the Soviet Union, sold most of its diamonds through De Beers. After the Soviet Union broke up, the government in Moscow, in cooperation with the province of Yakutia where Mirnyi is located, created Alrosa to mine and market its trove. And, about seven years ago, Alrosa began selling Russia’s diamonds on its own, without De Beers’ help.

View of diamond mining operations in the Siberian craton of the Republic of Sakha (formerly Yakutia). This view is looking down into the open pit.

Alrosa says it will be mining diamonds for a very long time, claiming reserves of 970 million carats. To put it into perspective, that’s five times the yearly production of the entire world. Alrosa is aiming to keep its gold metal status by ramping up production in 2014. But don’t count out DeBeers, as it still remains the source for large diamonds.

To keep the Winter Olympics conversation going, you now have some interesting bit of trivia you can share: the diamond industry is not dominated by De Beers. And the gold medal for diamond production goes to Alrosa.

But here’s the real point: Every diamond is unique. A dazzling flawless stone and a cloudy included one can come from the same mine. So can a brilliantly colorless one and another whose color is “light.” There will be super stones that will fetch millions at auction, and tiny dark ones that are destined for industrial use.

A GIA grading report will let you know the characteristics of the diamond that’s caught your eye. And that lets you buy with confidence and peace of mind.

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With the current popularity of period pieces—fueled in part by films and shows like The Great Gatsby and Downton Abbey–there is a rising interest in vintage fashion and jewelry. The Edwardian period lasted from 1900 to 1915, when England was flush with power and wealth. For the landed gentry (land owners who could live entirely off of rental income), the Edwardian Era was a period of prosperity and privilege; however, class divisions were equally stark.

The Victoria Baths in Manchester had separate entrances for first-class males, second-class males, and females. The Titanic, the most luxurious and largest ocean liner of its time, further illustrated this divide with its First, Second, and Third Class cabins. The arts in Great Britain, including jewelry design, served a definite purpose during the Edwardian Era to reinforce the class system.

Unlike Art Nouveau jewelry, which in part was a backlash to the Industrial Revolution, Edwardian jewelry drew inspiration from King Edward VII and his admirers, who wanted todistinguish themselves visually from those belonging to lower social classes. As GIA instructor Robert Ackermann puts it: “Jewelry was a preferred way to show one’s rank in society. Only the upper classes could afford it, and they advertised their wealth and position by wearing exquisite works.”

In jewelry, garlands and triumphal laurel wreaths belonging to a conqueror’s crown were common design themes. These regal motifs represented the might of the British Empire and the importance of the wearer. Stately tiaras, pendants, necklaces, and chokers not only captured the style of the day but also carried symbolic weight. For example, it was rude for a lady to wear a taller tiara in the presence of a woman of higher rank. Here’s an example of a diamond, silver, gold, and tortoise shell tiara.

Diamonds, pearls, platinum and symmetrical design defined Edwardian jewelry. Diamonds were abundant due to the discovery of mines in South Africa during the 1880s, and England’s aristocracy quickly fell in love with the glittering gemstone. Symmetry in jewelry design evoked power, stability, and status. Pearls were often showcased in a piece of jewelry. Whether a pearl was dropped in a bed of diamonds or set in platinum, Edwardians considered this combination to be the height of sophistication and elegance, as seen in this pearl, diamond, and cat’s eye alexandrite cabochon pendant.

Although many of the customs and class divisions of the Edwardian Era belong to the distant past, the international success of Downtown Abbey proves that we continue to be captivated. To see just how much Edwardian Era jewelry continues to impact contemporary design, check out this video.

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With the return of The Great Gatsby, which is in theatres now, we’re reminded of the Roaring Twenties, a time of prosperity in the United States. Skyscrapers sprung up in major cities, jazz rang out from speakeasies and Charles Lindbergh made the first non-stop transatlantic flight. It was a decade known for automobiles, radios, telephones, skyscrapers, and flappers.

The role of women was also changing. Entering the workforce en masse during World War I, women gained their right to vote in 1920. During this time, women wanted a new style, something that complemented their modern mentality and new freedom. Enter Art Deco, a style that celebrated the machine age and symbolized the opulence and advancements synonymous with the decade.

Patsy Ruth Miller, and American film actress.

Art Deco jewelry evoked elegance and sophistication. Departing from the soft curves of the earlier Art Nouveau movement, Art Deco featured linear lines and geometric patterns such as arcs, circles, triangles, squares, and rectangles. These stylistic choices reflected the futuristic feel of this progressive society as seen in these platinum, emerald, sapphire, and diamond chandelier earrings.

Art Deco chandelier earrings made with platinum, emeralds sapphires and diamonds. Measures approximately 3 1/2″ long.

Jewelry featured platinum and white gold as well as bold color contrasts, a stark contrast from the pastels of Art Nouveau jewelry and colorless stones of Edwardian jewelry. Some popular Art Deco colored gems included emeralds, sapphires, onyx, coral, jade, and rock crystal quartz as well as diamonds and rubies, which can be seen in this jewelry set by Mauboussin, circa 1930.

Art Deco carved ruby and diamond necklace and earrings by Mauboussin circa 1930. Image courtesy of a private collector.

Design elements from ancient cultures also played a large role in Art Deco design. Robert Ackerman, instructor of Jewelry Manufacturing Arts at GIA Carlsbad says that: “Art Deco artists were simultaneously taking from the past and looking to the future. This was a unique combination, and created a distinctive style that gripped the imagination of the public.” Inspiration was taken from artists like Michelangelo and Rembrandt but also from Egyptian art and architecture, as seen in this belt buckle, circa 1920.

1920 Piel Freres belt buckle. Image courtesy of Ginger Moro.

Because of technological advancements, the 1920s became a time for sophisticated jewelry design. New steel tools cut gemstones more accurately, electric engines mechanized polishing wheels used for faceting, and abrasives allowed for finer trimming.  These innovations made it possible for jewelers to create pieces with complex designs such as the one seen in this platinum, sapphire and diamond pendant.

Art Deco platinum, sapphire and diamond pendant/brooch, circa 1925. Courtesy of Frank Goodman & Son, Los Angeles, CA.

Though nearly a century has passed since its birth, Art Deco is still very much alive and well. The influence of Art Deco can be seen in the recent Tiffany & Co. catalog and high-end jewelry stores. In fact, Rolls-Royce recently released a statement saying, “In homage to this golden age we have created three Rolls-Royce Art Deco cars…these highly bespoke motor cars are inspired by the timeless designs, colours and motifs of the movement.”

Art Deco jewelry promises a bright future and for that we will be forever enamored. F. Scott Fitzgerald hit the nail on the head when he penned: “Gatsby believed in the green light, the orgiastic future that year by year recedes before us. It eluded us then, but that’s no matter— tomorrow we will run faster, stretch out our arms farther. . . So we beat on, boats against the current, borne back ceaselessly into the past.”

If you are interested in seeing the contrast between Art Deco and Art Nouveau jewelry design, check out “Art Nouveau Jewelry”.

Header image courtesy of Frank Goodman & Son, Los Angeles, CA.

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Though diamonds and other gemstones have been collected and coveted for many centuries, it has taken almost as long for diamond cutters and jewelers to learn how to reveal a gemstone’s inner beauty.

As early as the 1300s, European stone cutters were changing crystals by polishing their faces so that no natural irregularities of the original crystal remained. While this type of polishing and cutting did allow light to reflect off the outer surface, the fire and brilliance remained hidden inside. Small changes introduced over the next few centuries made diamonds more interesting, but still hid the potential of diamonds to return light as we know it today.

As times and fashions changed, sparkly fashion accessories became all the rage, especially in 17th century Europe. Fashionable women actually preferred imitation stones as they sparkled more than the diamonds of the times; glass with silver paint on the back became a preference to actual diamonds or other gems.

As a result of the changing times, jewelers and gem cutters needed to find better ways to cut diamonds to keep up with the fashion trends. Diamond cutters in Europe, used different angles and a variety of facet arrangements to create the early versions of the brilliant cut.

However, for the next few hundred years, there was still no agreed-upon standard for evaluating the beauty of a diamond by its cut. Buyers had to trust the word of their jeweler or diamond cutter, whose knowledge of diamond quality and cutting standards may or may not have come from a reputable source. As a result, diamonds were regularly sold without standards to accurately evaluate them.

The lack of standards was apparent in early 20th century advertising which would often misrepresent the qualities of diamonds being sold. The Jeweler’s Circular-Weekly, a reputable trade publication, ran a series of articles on what quality factors a diamond should have. Articles such as these helped raise trade awareness and eventually public awareness that diamonds and diamond quality could be misrepresented to the public. Conferences were organized with well-known gemologists to address these issues. Yet, with no clear standard in the diamond industry, and no formal schools for gemological education, change and awareness came slowly

Recognizing the need for diamond and gemstone standards, the Gemological Institute of America was created in 1931. The creation of GIA would completely change the way both jewelers and the gem-buying public would think and learn about diamonds and other gemstones.

Coming up:
The History of GIA and the 4Cs of Diamond Quality – Part 2
Robert Shipley Becomes a Gem Expert

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Some diamond cut’s never go out of style, especially when they boast a royal heritage and have been redesigned and reinvented. Such is the case with the popular Asscher cut.

The Asscher cut was first developed in 1902 by Joseph Asscher, and became popular in the Art-Deco movement and following World War I. Although similar to an emerald cut, the Asscher cut’s 58 facets are larger and wide-set (three rows on the top, three rows on the bottom), and the stone is nearly octagonal in shape. Joseph Asscher saw an opportunity to better use rough diamond crystals to his advantage, therefore retaining more weight than the stone could with other styles of cutting.

Asscher Cut Earring

Because of the shape of the stone and the way the facets are cut, Asscher cut stones retain a classic appearance with a better balance of scintillation than a similar emerald cut, while still exhibiting a quieter aesthetic than a modern brilliant style cut.

Although the original Asscher cut is mostly seen in Art-Deco style jewelry from the early twentieth century, two very important (and world-renowned) gems carry the Asscher name. Originally cut from the same 3,105 ct. rough diamond by Joseph Asscher and Abraham Asscher, the Cullinan I diamond and the Cullinan II diamond are two of the most famous stones in the world. The pear-shaped Cullinan I, at 530.20 cts, sits atop the royal scepter in the British crown jewels, and the cushion-shaped Cullinan II (317.4 cts.) lies in the British imperial state crown.

Over the last ten years, it seems as though mentions of Asscher cut diamonds in popular bridal media has increased in the United States, which may be due to Edward Asscher’s redesign of the diamond. After visiting the GIA’s International Gemological Symposium in 1999 and realizing that the Asscher cut was still popular in the United State, Edward Asscher (grandson of Joseph Asscher, who created the original cut) returned to the Netherlands with an idea to craft a new, more dynamic species of Asscher cut diamonds, with even more brilliance and shine than before. The Royal Asscher cut diamond boasts 16 more facets than the original Asscher cut’s 58, allowing the diamond to catch light much better. Edward Asscher added two additional rows of eight facets each to the bottom of the stone, and subsequently making the rows narrower, he was able to keep the classic feel of his grandfather’s original cut while making the stone’s appearance more dynamic. With both the Asscher cut and the Royal Asccher cut, these angles and proportions used are critical to the beauty and brilliance of the diamond.

Nowadays, both the original Asscher cut and the Royal Asscher cut diamonds are popular, either in vintage jewelry stores or as new stones. Asscher cuts can often vary slightly in cut, proportions, and angles, as the cutter of the diamond decides the ultimate details of their rendition of the cut. However, the Royal Asscher cut boasts an international patent, meaning that the Royal Asscher Company limits the range of angles that can be used in cutting the diamond and is the only company allowed to cut a Royal Asscher stone.

The post The Asscher Cut: A Cut of Royalty and Reinvention appeared first on GIA 4Cs Blog.

Queen Elizabeth ascended the throne 60 years ago this month. When she was coronated a year later, she wore the ultimate symbol of royal authority – the Imperial State Crown.

This is the quintessential crown. Set with 2868 diamonds in silver mounts, it has an open work gold frame and is fitted inside with a purple velvet cap and ermine fur headband. The jewels mounted on the frame are breathtaking.

At the front of the crown is the Cullinan II – a cushion-shaped 317.4-carat brilliant, the second largest stone cut from the Cullinan diamond. Above it set in a cross paty sits the “Black Prince’s Ruby” – which is not a ruby at all but an irregular 170-carat cabochon red spinel. At the back of the crown is the Stuart Sapphire, a 104 carat oval-shaped sapphire . Along the headband, these 2 stones are separated by 8 step-cut emeralds and 8 sapphires, between 2 rows of cultured pearls.

Crown Creator: Garrard & Co (jeweller), Creation Date: 1937

There are 2 arches above the headband and velvet cap. At the base of the 3 remaining arches, the crosses are mounted with step-cut emeralds. The arches are molded as oak leaves with diamonds and seed pearl acorns. As the arches reach up and over the velvet cap, underneath the intersection, it is mounted with 4 drop-shaped pearls called Queen Elizabeth’s Earrings. The base of each arch is separated by 4 fleur-de-lis, each set with sapphires, rubies and diamonds.

The top piece on the crown is an orb called a “monde”, of fretted silver, pavé-set with small round brilliants. The cross paty above it is set with “St. Edward’s Sapphire,” an octagonal rose-cut sapphire. Engraved small metal plaques have been placed behind the Black Prince’s Ruby and the Stuart Sapphire to commemorate the history of the crown.

Photo courtesy of Royal Collection (c) Her Majesty Queen Elizabeth II

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Learn how GIA was involved with this remarkable diamond.

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Shimmering with an internal fire all its own, diamond is one of the world’s most sought-after and adored gemstones. Those born in the fair month of April are lucky enough to call this scintillating stone their “birthstone,” a symbol of clarity and strength. Diamond is so strong, in fact, , that its name comes from the Greek “adamastos,” or “invincible.”

A diamond’s quality is evaluated by the 4Cs: color, clarity, cut, and carat weight.

Color refers to the absence of color in a diamond. The less color in the stone, the more desirable and valuable it is.

Clarity measures the amount, size and placement of internal inclusions, and external blemishes. Grades run from Flawless, with virtually no imperfections, to Included, with a significant number of imperfections.

Cut refers to the proportion and arrangement of the diamond’s facets and the quality of workmanship. The amount of brilliance, sparkle and fire in a diamond is determined by cut.

Carat weight refers to a diamond’s weight. Most often, the higher the carat weight, the more expensive the stone.

Diamonds have remained a staple in historical and modern culture, adored by everyday girls and movie stars alike. Elizabeth Taylor’s famous book, My Love Affair with Jewelry, is filled with diamond images and memories; in December 2011, one of her larger diamonds sold for a record $11,842,500 at auction. The 50-carat stunner was sold after only four minutes of bidding. In 2006, actress Ellen Barkin’s post-divorce auction of the GIA-graded diamond gifts her husband had given her yielded very large numbers, including a diamond hair pin that went for $4,800 and a diamond solitaire “thread” ring for $1.8 million.

Other leading ladies who fancy diamonds include Queen Elizabeth of England (also born in April), who frequently decorates her outfits with diamond necklaces and other beautiful pieces of diamond jewelry. Red carpet events in the U.S. and around the world are replete with starlets donning diamonds from earrings to necklaces to surprising accessories. Actress Nicole Kidman once wore dueling diamond cuffs on each wrist, with 375 carats of diamonds on each, worth over $2,000,000 combined.

Diamond holds center stage for pop culture and historical jewelry references. Perhaps this is because the inherent strength and beauty of a diamond is unmatched. The famous phrase “Diamonds are a girl’s best friend” just might ring true for you; and those born in the month of April rejoice in being gifted with a diamond stone to celebrate.

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As it turns out, in the New York jewelry district on Maiden Lane, neighboring buildings were painted yellow—and these buildings faced the windows from which dealers judged color in the north daylight! Several dealers said they would need to vacate their offices because of the colors—so they pooled their funds and offered to repaint the offending buildings.

Thanks to John M. King, Ron H. Geurts, Al M. Gilbertson, and James E. Shigley for the story in Color Grading “D-Z” Diamonds at the GIA Laboratory, Gems & Gemology, Vol. 44, No. 4.

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Early attempts to synthesize diamonds date all the way back to the nineteenth century. But the process of duplicating the extreme heat and pressure under which natural diamonds are formed was elusive. In 1955, General Electric overcame these technological barriers and produced small, industrial-quality stones – the first synthetic diamonds. Since then, the processes of synthesizing diamonds have gotten better and better.

Gem-quality synthetic diamonds have been available to consumers since the mid-1980s. While they represent a small segment of the market, they are becoming more widespread and increasingly difficult to detect when purchasing diamonds. GIA is at the forefront in meeting this challenge, giving a distinct report for synthetics so that there is no confusion in the marketplace.

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