Jewelry Essentials

Jewelry
Essentials
1. Jewelry and Jewelry Sales
2. Selling Rings
3. Selling Necklaces, Bracelets, Earrings, and Pins
4. Designer, Branded, Custom, and Estate Jewelry
5. Watches and Giftware
6. Serving and Building Your Clientele
6/2019
Jewelry Essentials
Assignment 1 Jewelry and Jewelry Sales . . . . . . . . . . . . . . . . . . . . . . 1
Assignment 2 Selling Rings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43
Assignment 3 Selling Necklaces, Bracelets, Earrings, and Pins . . . . . 75
Assignment 4 Designer, Branded, Custom, and Estate Jewelry . . . . 103
Assignment 5 Watches and Giftware . . . . . . . . . . . . . . . . . . . . . . . 139
Assignment 6 Serving and Building Your Clientele. . . . . . . . . . . . . 175
For Further Reading . . . . . . . . . . . . . . . . . . . . . . . . 211

©
©2019 The Gemological Institute of America
All rights reserved: Protected under the Berne Convention.
No part of this work may be copied, reproduced, transferred, or
transmitted in any form or by any means whatsoever without the
express written permission of GIA.
Printed in the United States.
Welcome to Jewelry Essentials! This course is your introduction to the

wonderful world of jewelry. With the knowledge you gain from this course,
you’ll be able to:
• Discuss the qualities of gold, platinum, and silver that make them ideal for
jewelry use
• Explain the main jewelry manufacturing methods
• Recognize a wide variety of ring, necklace, bracelet, earring, and brooch styles
• Identify the characteristics of jewelry from different style periods and
display a general knowledge of designer and branded jewelry
Cover photos
• Demonstrate basic knowledge about the workings and operation of a
(top to bottom): timepiece and identify the watch types found at different market levels
Alexandra Hart/
Ralph Gabriner • Advise customers about the care and cleaning of their jewelry purchases
Maha Tannous/GIA
Public Domain • Use product knowledge along with features and benefits to sell jewelry
Robert Weldon/GIA
ethically with full disclosure
Valerie Power/GIA
iStockphoto
Jewelry and Jewelry Sales 1
Jewelry Basics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Features and Benefits . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Precious Metals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
Precious Metal Characteristics . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
Workability, Durability, and Metal Memory. . . . . . . . . . . . . . 10
Fineness . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
Gold . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
Gold Alloys . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
Platinum and Palladium . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
Silver . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
Alternative Jewelry Materials . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
Alternative Metals. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
Precious Metal Regulation and Quality Marks . . . . . . . . . . . . . . . . . 20

Regulations in the US . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
Regulations in Britain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
Regulations in Italy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
Regulations in Asia . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
Marking and Selling Plated Goods . . . . . . . . . . . . . . . . . . . . . . . 25
Manufacturing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
Jewelry Categories . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
Jewelry Manufacturing Methods . . . . . . . . . . . . . . . . . . . . . . . . . 29
Hand Fabrication . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
Lost-Wax Casting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
Die Striking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
Electroforming . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
Machining . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
Introduction to Jewelry Sales . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34

Seven Steps of a Sale . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
The Jewelry Industry . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36
What’s to Come . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38
Key Concepts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39
Key Terms. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
Questions for Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
1
Welcome to Jewelry Essentials Assignment 1. With the knowledge you gain
from this assignment, you’ll be able to:
• Discuss the qualities of gold, platinum, and silver that make them desirable
for jewelry use.
• Recognize international precious metal regulations and use of quality
marks.
• Explain the main jewelry manufacturing methods.
2
Jewelry and Jewelry Sales
Eric Welch/GIA
A store window displays a wealth of precious jewelry. This course will help you navigate
your clients successfully through the many choices the world of jewelry provides.

Flynn’s Jewelers is on the square in a small town within sight of the Rocky
Mountains. It’s located in a cluster of small shops that give the town its
unique character. Late one morning, a teenage girl approaches from the
sidewalk, focused on the jewelry in the window. She walks from the
window to the door. A little bell jingles as she enters.
“Good morning Mr. Flynn,” the girl calls to the owner, who is standing
behind a counter at the rear of the store.
“Why, good morning Darlene. How’s the family?” Mr. Flynn replies cheerily.
Darlene’s family has been coming to Mr. Flynn’s jewelry store since Darlene
was a baby.
“Everybody’s fine,” Darlene replies.
“Glad to hear it! Well, what brings you to town today?” says Mr. Flynn.
“I’ve come to spend my birthday money,” Darlene replies.
3
Jewelry Essentials
“Sounds like fun. What do you have your eye on?” asks Mr. Flynn.
“A gold chain like the ones in the window,” Darlene replies.
“Those are real gold,” he says. “Can your birthday money cover that?”
“Sure,” Darlene replies. “My grandparents and my mom and dad all gave
me money. They said I can spend it any way I want, so here I am.”
“Well, I’m happy to help,” Mr. Flynn says. “And I have plenty of gold
chains. Let’s take a look over here.” He comes out from behind the counter
and leads Darlene to a display case on his right. “If you show me the styles
you like, I’ll bring them out so you can try them on.”
After looking over the selection, she chooses a few of the chains to try on.
Mr. Flynn takes them out one at a time and watches as she drapes each
one around her neck. After trying on a few different chains and checking
her reflection in the mirror, Darlene nods and smiles.
“This one is just right,” she says. “I like it because it’s not too delicate and
not too clunky.” She fastens the chain around her neck again and swivels
slightly as she looks at it in the mirror.
“We learned about gold in science class. Is this pure gold?”
“It’s actually 14-karat gold,” Mr. Flynn replies. “That means 14 out of 24
parts are pure gold, and the rest is silver and copper. The other metals
make the gold stronger and harder, and reduce its cost.”
“It still looks like gold and shines like gold,” Darlene says. “And the price
is just right, too. I’ll take it. But don’t bother wrapping it. I want to wear
it right now!”
Mr. Flynn removes the price tag, rings up the sale, and wishes Darlene a
happy birthday. She thanks him and leaves the store wearing her new gold
chain, proud and beaming.
Jewelry Basics
n What two pieces of information should you know about the jewelry
you sell?
n What are the properties and uses of precious metals?
n What are some alternative jewelry materials?
Even before people began recording their own history, they were adorning
themselves with jewelry. When archeologists excavate humanity’s earliest
settlements, they often find jewelry items among the artifacts.
Shutterstock
Selling jewelry makes you part of some of the happiest and most exciting
moments in people’s lives. Jewelry’s beauty attracts attention and, like
Gifts of jewelry mark milestones in
peoples’ lives. As a jewelry sales
nice clothes, it feels good to wear. It also helps people express their
professional, you’re ideally positioned individuality. As a jewelry salesperson, you help people choose the
to help your customers choose the right jewelry that’s right for them. They benefit from your interaction because
jewelry to celebrate their special occasions. they leave your store with just the right piece.
This course contains the basic product information and sales techniques
you need to sell more jewelry and to advance in your chosen career. Each
assignment contains information you can put to use immediately, no
matter what your position in the jewelry industry.
4
Andy Lucas/GIA
Artisans from long-ago civilizations
prized precious metals for their unique
ability to be shaped into intricate
designs.
Vianna Joias
The bold colors of the gems in these
stylish rings complement the sleek
precious metal mountings.
Vianna Joias
The color, texture, and sparkle of gemstones and jewelry metals provide infinite
possible combinations that allow the wearer to express her individuality.
5
Jewelry Essentials 1
WilsonValentin/iStockphoto
This diamond ring provides a unique
combination of rarity and lasting value.
The main diamond is large and beautifully
fashioned, giving it dazzling interaction
with light.
KEY
CONCEPTS
Vianna Joias
To sell jewelry, you must know its
This necklace features topaz gems in autumn colors that complement the delicate
features and be able to explain the yellow gold mounting as well as the wearer’s skin tone. The necklace’s design allows
importance of those features to your them to shimmer and sparkle as she moves.
customer.
Features and Benefits
Feature—A characteristic or part of a To sell jewelry, you must know its features and be able to explain their
piece of jewelry. importance to your customer. A feature is a characteristic or part of the
jewelry. What that feature does for the customer is called its benefit. A
Benefit—The value a feature holds for benefit can be aesthetic, psychological, or practical. Each feature has at
a customer. least one benefit.
Features can also work together to create a combination of benefits. For
example, most people know that jewelry-quality diamonds are rare.
They’re also so hard that they can be scratched only by other diamonds.
They also have their own unique, sparkling interaction with light. These
are some of diamonds’ features.
Diamond rarity’s corresponding benefit is shared by other luxury products:
It contributes to the gem’s financial value, which offers diamond wearers
prestige and status. Diamond’s hardness-related benefit is durability,
which allows diamonds to retain their beauty and value over time. Sparkle
catches the eye and makes diamonds aesthetically appealing.
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Eric Welch/GIA
The bright reddish metal in these earrings is copper. Copper is
much less rare than gold and, unlike that metal, its shine will
dull with age.
Robert Weldon/GIA Eric Welch/GIA

Gold is a versatile metal that can be manufactured into all styles The pewter forming this rose brooch is a mixture of base metals
of jewelry. that includes tin and copper. Base metals are much more
common than precious metals and lack their special properties.
Precious Metals
The metals most often used in jewelry—gold, platinum, and silver—are Precious metals—Metals valued in
called the precious metals, and they’re appealing whether they’re used jewelry, specifically gold, platinum,
alone or to complement the gems in a piece. (Palladium—a metal with and silver.
properties similar to platinum—is also considered by many to be a
precious metal.) Base metals—Non-precious metals
such as copper, zinc, tin, nickel, lead,
The physical properties of precious metals make them ideal for use in and iron.
jewelry and often distinguish them from non-precious metals, called base
metals, such as copper, zinc, tin, nickel, lead, and iron. Heft—The weight or heaviness of an
object compared to its size.
Precious Metal Characteristics
Luster—The appearance of a
Each precious metal has its own unique characteristics, but they share material’s surface in reflected light.
certain qualities that make them excellent jewelry metals. Those qualities
are allure, rarity, workability, and durability. Their allure comes from their
heft, color, and luster. Heft is what makes jewelry made of gold, silver, or
platinum feel heavy for its size and gives jewelry a sturdy and stable feel.
7
Al Clayton/PNI/Allstock
As anyone who pans for gold knows, it
takes hours—sometimes days—of labor
to coax a very small amount of gold from
its surroundings. The same is true of all
precious metal mining methods.
Jeffrey Scovil
Gold is one of the three precious metals used in jewelry. This naturally formed gold
nugget was found in Placer, California.
KEY
CONCEPTS
Precious metals’ allure, rarity, workability,
and durability make them excellent for
use in jewelry.
James L. Amos/Corbis
This shiny bar of platinum weighs only 50 grams. Behind it is a 50-ton pile representing
the amount of ore required to produce 50 grams of platinum.
8
Gold is a bright and sunny yellow. Platinum and silver are both considered
white metals by the trade, even though platinum’s rich gray-white looks
KEY
quite different from silver’s gleaming white. But both are neutral in color,
CONCEPTS
which means they can complement any gemstone. Precious metals are expensive because
After color, one of the things people admire most about precious metals is they’re rare and difficult to extract from
their luster, or the way they reflect light. Silver is especially dazzling. Polished the earth.
pure silver shines more brightly than any other metal on earth. More than
90 percent of the light that strikes it is reflected back to the observer’s eye.
Gold’s beautiful luster is what attracted people to it in the first place. It
creates a rich background for the sparkle of beautiful gems.
Platinum, too, glimmers alluringly in the light, a perfect complement to Patina—Soft, rich surface
diamonds, pearls, and colored stones. Polished platinum’s luster can appearance that develops with age.
change over time, becoming softer and richer and achieving a subtle,
enchanting glow called patina.
The beauty of a precious metal’s luster depends largely on how well it’s
polished. All other things being equal, the better the polish, the higher
the luster. You can see this in a highly polished gold wedding band that
glows like an ember.
Precious metals are expensive because they’re rare and difficult to extract
from the earth. Gold is the rarest. It makes up only about four parts per
billion of the earth’s crust. Platinum is less rare, at about five parts per
billion, and silver is next, at about 75 parts per billion. To put these
quantities in perspective, iron makes up about 5.6 percent—about six
parts per hundred—of the earth’s crust. Since iron is relatively common
and easy to extract, it’s inexpensive.
Alexandra Hart/Adam Bujnowski

Even with a matte finish, the silver that makes up this one-of-a-kind necklace is
strikingly reflective.
9
GIA
Silver, like the ancient silver coins set in
this gold necklace, will slowly tarnish,
or discolor, when exposed to sulfur
compounds in the air.
Costantino Rota
Precious metals can be formed into intricate designs that are strong and retain their
shape. With care, this gold necklace might last many generations.
Malleable—Able to be shaped or Workability, Durability, and Metal Memory

bent without breaking.
Most jewelry metals are workable, which means jewelry makers can
Ductile—Able to be drawn into wire fashion them into almost any shape, and they retain that shape. A
or hammered into sheets without workable metal is both malleable and ductile. Malleable metals can be
breaking. shaped or bent without breaking. Ductile metals can be drawn into wire
Durable—Long-lasting, especially or hammered into sheets. All three precious metals are both malleable
without sustaining damage or wear. and ductile, gold more so than platinum and silver.
Corrosion—Deterioration by a Gold, silver, and platinum are also durable, meaning they’re strong and
chemical action. long-wearing. They’re resistant to impact, too. They also resist corrosion,
Tarnish—A mild form of corrosion meaning they stand up well when they’re exposed to chemicals in the
caused by contact with chemical environment. Silver does tarnish, however. Tarnish is a mild form of corro-
elements or compounds in the sion. A disadvantage that makes base metals unsuitable for jewelry use is
environment. that they don’t resist corrosion very well.
10
Alexandra Hart/Ralph Gabriner

Gold’s malleable nature means craftsmen can shape it into spectacular designs.
Shane McClure/GIA Shutterstock GIA

These gold artifacts are from a historical A subtle bloom of tarnish clouds the This item is marked to indicate its gold
shipwreck that was submerged for many shine of this silver. Gentle cleaning with content. The “750” means that there are
years in seawater. Because of gold’s the appropriate polish will soon restore 750 parts per thousand of gold in the alloy.
durability and corrosion resistance, they its appearance.
seem as good as new.
If a metal has “metal memory,” it tends to return toward its previous shape.
Of the three precious metals, platinum has the least metal memory. Once
platinum is bent, it tends to stay in position. This lack of metal memory
means that platinum has superior holding power. Gold and silver have
more metal memory than platinum.
Fineness
Fineness is a measure of a precious metal’s purity, and it’s based on parts Fineness—A measure of the purity of
per thousand. A metal that rates 1,000 is described as fine, or pure. This a precious metal.
means it has virtually no impurities, and it’s not mixed with another metal.
If a precious metal is 75 percent pure, its fineness is 750. A precious metal Fine—Virtually free of impurities or
that’s stamped “950” is very nearly pure. alloying metals.
Technically, there’s no such thing as a fine precious metal. Every sample Alloy—A mixture of two or more
has at least some impurities or is deliberately blended with another metal metals.
or metals to form an alloy.
11
ZDNY and Co. Inc.

The rich buttery color of these gold rings
hints at the purity of the metal they’re
fashioned from—almost pure 24K gold.
The metal creates a striking contrast
against the transparent gems mounted
in each piece.
R. Politi and D. Grieco Shutterstock

The maker of this necklace used the An array of gold items glitters like the burnished sun at a store in Dubai’s gold market.
ancient art of granulation to add special One of gold’s most alluring properties is its rich color.
texture to the burnished metal. This
substantial piece would feel weighty
around the wearer’s neck. Gold
Gold’s appeal comes mostly from its color, luster, rarity, and resistance to
corrosion. Gold is highly workable, so it can be used for many shapes
and styles of jewelry. It lasts a long time and retains its value. Its substantial
heft is related to its density. Gold is more than 19 times as dense as water.
This means it would take more than 19 times the volume of water to weigh
KEY the same as one ounce of gold. This gives gold a very substantial feel.
CONCEPTS
Gold is also appealing and exciting to the eye. Customers who are partic-
Gold’s appeal derives mostly from its ularly attracted to and excited by color often choose gold rather than silver
color, luster, rarity, and resistance to or platinum.
corrosion.
Gold Alloys
Gold is often the choice of customers Alloying gold increases its tensile strength and hardness. Tensile strength
who are particularly attracted to and is the maximum stretching force a metal can withstand before breaking.
excited by color. When used to describe a metal, hardness refers to how well the metal
12
Valerie Power/GIA
This necklace gets its unique and striking
appearance from a blend of different
colored gold alloys.
Chimento
Each of these 18K gold bracelets is alloyed to give it a different color. The type and
quantity of alloying metals determine the color of the karat gold, causing the
bracelets to be rose, white, and yellow.
KEY
CONCEPTS
Alloying gold increases its tensile
strength and hardness and makes it
less expensive.
In the US, 14K is the most popular
GIA & Tino Hammid GIA & Tino Hammid jewelry gold alloy.
Gold articles made in the US usually have The 18K mark on this jewelry piece
a quality mark and the manufacturer’s means the same as the 750 designation.
trademark. The best protection against 18K means that 18 parts out of 24 in the
underkarating is to buy only gold jewelry alloy are gold. "Verdura" is the maker's
that’s stamped this way. trademark.
resists scratching and denting. Alloying can also lower gold’s melting Tensile strength—Maximum
point, which reduces its cost. These factors broaden gold’s appeal by stretching force a metal can
making it easier for jewelers to work with, increasing its durability, and withstand before breaking.
bringing it within reach of more buyers.
Hardness—How well a metal resists
In the US and most other countries, people use the term karat to state scratching and denting.
gold’s fineness, which is based on parts out of 24. This means that pure
gold is 24 parts gold—or 24-karat gold. Gold that’s 75 percent pure—18 Karat—A unit of measure for the
parts gold and six parts an alloying metal or metals—is 18-karat gold. fineness of gold, based on a total of
Fourteen-karat gold is 14 parts gold and 10 parts another metal or metals. 24 parts, abbreviated “K.”
“K” is the abbreviation for karat, so you’ll often see gold jewelry stamped
14K or 18K.
Don’t confuse “karat” with the term “carat,” a measure of gem weight.
People in some countries spell both terms with a “c.”
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Karats and their Equivalents
Karat (gold only) 10K 14K 18K 24K
Percentage of precious metal 41.7% 58.3% 75% 99.99%
Parts per thousand 417 583 750 999
Verbal equivalent 10 parts gold, 14 parts gold, 18 parts gold, 24 parts gold
14 parts other 10 parts other 6 parts other
metals by metals by metals by
weight weigh weight
Ingredients of Typical Gold Alloy Colors
14K Yellow Gold, copper, silver, zinc
18K Yellow Gold, copper, silver, zinc
Green Gold, copper, silver (amount of silver increased)

Stuller
Because of its hardness, alloyed gold can Rose (pink) Gold, copper, silver (amount of copper increased)
take on a very high polish.
White Gold, nickel or palladium, copper, zinc
In the US, the most popular gold alloy used in jewelry is 14K. The alloy
always contains 58.5 percent gold, but the proportions of other metals—
usually silver and copper—vary. In other countries, 8K, 9K, 10K, 18K, and
22K to 24K gold are popular for jewelry.
Increasing the percentages of the other metals in gold alloys can result in
customized colors. Varying amounts of copper can give gold a rose or
even reddish color. Increasing the silver in a gold alloy can give it a green
color, and nickel and palladium can whiten it.
14
Valerie Power/GIA
Platinum prongs retain their strength
over time, making them ideal for holding
valuable gems like diamonds.
Platinum Guild International Joel Beeson/GIA

Platinum is usually alloyed with other platinum group metals for use in jewelry. This The designation “Plat.” on this band
creates a stronger metal than platinum alone and makes pieces like this platinum and indicates that it consists of 950 parts or
diamond necklace possible. more of pure platinum.
Platinum and Palladium

Platinum is almost as ductile as gold and silver, but it’s harder to scratch
than either. It dents more easily than gold but it’s harder to dent than silver.
KEY
Platinum takes a high polish, and it’s highly resistant to tarnish. It’s a little CONCEPTS
denser than gold and more than twice as dense as silver. Its density gives it Platinum is highly resistant to tarnish,
strength and a heavier feel than the other metals. It’s also less brittle than takes a high polish, and is harder to
gold alloy, so platinum prongs are less likely to break. This combination of scratch than gold and silver.
properties gives platinum durability and makes it an excellent jewelry metal.
Most platinum rates 900 or 950 on the fineness scale. The other 50 or 100 Palladium is a silvery white metal that
parts in a platinum alloy are often another platinum group metal, usually has recently become popular with
iridium or ruthenium, added to increase hardness. Cobalt and copper are jewelry consumers.
other metals commonly used in platinum alloys.
Platinum is sometimes plated with rhodium to give it a whiter finish. Plating Plating—Depositing a metal coating
involves covering a metal with a thin coating of another metal, using an electrically or applying it
electrical or mechanical process. Plating a metal can protect its surface, mechanically onto another metal.
enhance its appearance, or change its color.
Like platinum, palladium is a lustrous silvery white metal. The two metals
have similar properties, but palladium is not as dense as platinum. It’s been
used in jewelry since the 1930s, but has caught on with consumers only
recently. Palladium can be alloyed with gold to produce white gold, but
the alloy is more expensive than conventional alloys using nickel and silver.
15
Valerie Power/GIA Tiffany & Co.

These antique silver tribal bracelets from These polished silver cuffs show off that metal’s amazing reflectivity.
India have tarnished over time.
Valerie Power/GIA Rio Grande Tiffany & Co.

These two silver rings show the contrast Sterling silver jewelry like these rings Sterling silver is by far the most popular
between a tarnished surface and one can provide the white-metal look, but silver alloy in the world. It’s used in these
that’s been recently cleaned. still be more affordable than platinum bow and shell designs, which are
and white gold. accented with rubies and sapphires.
Silver
Silver’s bright, white shine and workability are its principal assets for
KEY jewelry use. Pure silver is too soft to be practical for jewelry, so it’s usually
CONCEPTS mixed with a small amount of copper. Copper hardens silver without
Silver’s bright, white shine and taking away its brilliant shine.
workability are its principal assets for Sterling silver is by far the most popular silver alloy in jewelry. It’s defined
use in jewelry. as being 925 parts silver and 75 parts copper. To be called “silver” in the
US, an alloy must be at least 92.5 percent silver.
Silver is about half as dense as either gold or platinum. What silver lacks in
heft, it makes up for in shine. Sulfur in air reacts with silver to form silver sulfide,
a common tarnish that can be removed with commercial silver polishes.
Electroplating—Using electricity to Silver gilt, also called vermeil, is a thin surface coating of gold on silver.
deposit a coating of precious metal, The original process used mercury, a highly toxic element. Modern
suspended in a solution, on another vermeil is created by electroplating, which uses electricity to activate the
metal. gilding process.
16
Valerie Power/GIA Etienne Perret Etienne Perret

This pendant uses iridescent shell as a Black ceramic provides an arresting Some designers have started using
backdrop for a blue topaz. The pendant background for colored diamonds. The ceramics in their jewelry collections. This
hangs from a silk cord rather than a diamonds in this bracelet and ring are set ring combines a peach-colored cultured
precious metal chain. into the ceramic with precious metals. pearl with a pink ceramic band.
Valerie Power/GIA Valerie Power/GIA

These attractive necklaces combine rubber cords, manmade glass, and beautiful Beautiful cultured pearls with gold
Australian cultured pearls for an eclectic look. accents are suspended from thick bands
of rubber. The contrast between the
pearls, the precious metals, and the
rubber’s texture is striking.
Alternative Jewelry Materials
Many contemporary jewelry designers choose alternative materials for
their designs. Non-metallic materials include rubber, silk, and leather or
leather-like imitations.
The rubber used in jewelry is almost always black cord of various
diameters. You’ll see it in bracelets, necklaces, and rings, often in combi-
nation with metals and gems. Black rubber used with highly polished
silver is particularly striking.
Braided leather and leather-like imitations are also often used as cord in The bright blue and purple shanks of
bracelets and necklaces. Woven silk is used as necklace cord and in wide these pearl rings are made of rubber. The
bracelets with jeweled clasps. You’ll also see watchband-like leather rubber runs through a precious metal
bracelets with clasps that combine gems and precious metals. mounting that secures the pearls.
17
Alternative Metals
Many modern jewelry designs are made of alternative metals such as
tungsten, titanium, niobium, and stainless steel.
Tungsten is especially popular for rings. The metal is blended with carbon
and a bonding metal, usually cobalt, to form tungsten carbide. Because
it’s extremely hard, tungsten carbide takes and retains a high polish. It’s
dark gray and highly resistant to scratching. One ring maker promotes
tungsten carbide rings as being “permanently polished.”
Tungsten carbide is about 15 times denser than water. That makes it about
75 percent as dense as gold and platinum, and 50 percent denser than
silver. While tungsten carbide has good heft, it’s not easy to work, so its
jewelry uses are limited.
Jewelry makers sometimes use pure titanium or a titanium alloy. These
materials are lightweight but very strong. Titanium is only about half as
dense as silver, so it doesn’t have the heft of the precious metals. It’s silver-
gray in color and often polished or brushed.
Pure titanium is hypoallergenic, meaning it won’t cause allergic reactions
or skin discoloration. It’s often used for pierced earrings and other body
jewelry. It resists scratching about as well as 14K gold. Alloying titanium
with small amounts of aluminum and vanadium increases its durability
and scratch resistance.
Titanium is difficult if not impossible to work, so jewelry pieces must be
mechanically cut, shaped, and assembled. Because the pure metal is
difficult to extract and manufacturing is labor intensive, titanium jewelry
is priced in the same range as precious metal jewelry.
Niobium is popular with custom jewelry designers and manufacturers
because it’s easy to work with and to color. Niobium can’t be soldered—
it’s joined with rivets or tiny screws—but its workability is comparable to
silver’s. In fact, any item a jewelry maker can create with gold, silver, or
platinum, he or she can create with niobium.
Eric Welch/GIA Eric Welch/GIA

The white metal in this man’s ring is The iridescent colors of this niobium necklace show it’s been anodized. Although
titanium. It’s a difficult metal to work other metals like titanium can also show the same finish, niobium is much easier to
with so items manufactured of titanium work with.
are expensive.
18
Harold & Erica Van Pelt Eric Welch/GIA

This flower brooch is set with 33 carats of purple sapphires, red This flexible necklace is made from gold-colored stainless steel.
spinels, and diamonds. Although it’s a large piece, it’s The necklace is designed to be formed into different shapes by
fashioned of titanium, making it lightweight and very wearable. the wearer.
Because niobium is hypoallergenic, it’s popular for body-piercing jewelry.

It’s almost as dense as silver, so while it doesn’t have the heft of gold or
platinum, it feels more substantial than titanium. Niobium is also much
harder to scratch than any of the precious metals and much harder to dent
than silver and platinum. It’s also extremely resistant to corrosion.
Niobium, tungsten, and titanium can be heated or anodized to produce Anodizing—An electrochemical
brilliant colors. Anodizing is an electrochemical process that results in a process that results in a protective or
protective or decorative coating on metal. Anodized niobium colors decorative coating on metal.
include navy blue, light blue, yellow, rose, bronze, pink, magenta,
midnight blue, and various greens. The color is so vivid that many people
think it’s enamel.
Stainless steel is an alloy. Its composition varies with its purpose, but to
be called stainless steel it must be at least 10.5 percent chromium. The
presence of chromium creates an invisible surface film that resists
oxidation. Most stainless steel alloys are strong and ductile, and all are
corrosion resistant.
The stainless steel alloy used to make jewelry is composed of iron,
chromium, and nickel. It’s more scratch resistant than any of the three
precious metals, but exceeds only silver in its resistance to denting. It also
takes a high polish.
19
Vianna Joias
This necklace features topaz gems in autumn colors that complement the delicate
yellow gold mounting as well as the wearer’s skin tone. The necklace’s design allows
them to shimmer and sparkle as she moves.
KEY Precious Metal Regulation and Quality Marks

CONCEPTS n What do quality marks reveal about a jewelry item?
Most countries have stringent standards n How do trademarks protect retailers?
governing the use of precious metals in n What factors determine the marks stamped on plated goods?
jewelry.
This section reveals how precious metals are regulated, marked, and tested.
This basic information will help you assess the quality of the merchandise
Quality mark—A stamp that indicates you sell. It will also allow you to confidently explain quality marks to your
the purity of a precious metal. customers.
The idea of quality marking originated in ancient Egypt and Rome, where
they often used official marks to indicate the purity of precious metal bars.
By the fourteenth century, the practice of marking precious metals with
official government-required stamps had spread throughout Europe. In
1363, England’s King Edward III decreed that all precious metal items be
tested and stamped for purity by the goldsmiths’ guild.
Today, precious metal regulations vary from country to country. Negative
tolerance—the difference between the fineness stated on the quality mark
and the actual fineness of the precious metal—is one area where there
are differences between countries.
20
The US permits a difference of 3 parts per thousand (ppt) on unsoldered

items and 7 ppt on soldered items. This means that a soldered 18K (750
ppt) gold ring can actually be as low as 743 ppt (750 minus 7) and still
be called 18K.
Denmark, Finland, Great Britain, Hungary, Italy, Switzerland, and Turkey
have some of the strictest requirements, and do not permit even the
slightest negative tolerance.
Germany, on the other hand, has one of the most lenient standards. The
difference can be as much as 10 ppt less than the quality mark indicates.
Regulations in the US
In the US, standards are established through a joint effort of government
and industry. The US Federal Trade Commission (FTC) is responsible for
interpreting and administering federal laws governing trade and encouraging
compliance with legally established fair trade practices.
Joel Beeson/GIA
With input from the jewelry trade, the FTC periodically issues guidelines This silver bracelet is marked with the
for conduct within the industry. The publication is known as Guides for the manufacturer’s trademark. The “sterling”
Jewelry, Precious Metals, and Pewter Industries. Government, consumers, stamp means it’s at least 92.5 percent
and industry organizations can sue manufacturers and retailers that pure silver.
violate the guidelines. The FTC designed them to evolve as new technologies
and practices emerge.
Trademark—A word, phrase, logo,
In the US, if a jewelry item is stamped with a quality mark, it must also symbol, or design that’s registered to
have a registered trademark to identify the manufacturer. In fact, the best identify the manufacturer of an item.
way for a jeweler to protect against underkarating fraud is to buy only
trademarked and quality-stamped jewelry. This won’t completely protect Underkarating—Misrepresenting the
a jeweler from legal action, but articles marked with registered trademarks precious metal content of a jewelry
are easily traced, so they’re less likely to be misrepresented. item.
KEY
CONCEPTS
In the US, a registered trademark must
accompany a quality mark.
The best way for a jeweler to protect
against underkarating fraud is to buy
only registered trademarked and quality
stamped gold jewelry.
In the US, the FTC administers federal fair trade practices. The full text of their Guides for
the Jewelry, Precious Metals, and Pewter Industries can be found through the FTC’s
Web site at www.ftc.gov.
21
The marking of US-manufactured jewelry varies with the jewelry metal.

Gold must be marked with the karatage and the manufacturer’s trademark.
Using the word “gold” alone when you describe an item that’s not made
entirely of 24K gold is a violation of the guidelines.
Silver can be stamped “silver” or “sterling silver” only if it contains at least
925 ppt (92.5 percent) of pure silver. “Coin silver” must contain at least
900 ppt (90.0 percent) of pure silver.
Platinum quality marks are based on the number of parts per thousand of
pure platinum in the alloy. The FTC states that it’s a violation to use the
word “platinum” alone unless the article contains at least 950 ppt (95.0
percent) of pure platinum. Typically, platinum jewelry sold in the US
contains at least 90 percent pure platinum.
If an item is 950 parts or more of pure platinum, it can be marked platinum,
plat., or pt. without stating the exact amount of platinum or the name of
the metal used as an alloy. If it’s between 850 and 950 parts, the mark
must include the number of parts per thousand of platinum, but doesn’t
have to list the alloying metals.
If a platinum alloy is at least 500 parts pure platinum, it must be marked
with the parts per thousand of pure platinum, followed by the parts per
thousand of each alloying metal (for example, 800Plat.200Irid. for an item
alloyed with iridium).
An item that contains less than 500 parts platinum can’t be stamped with
the word or any abbreviation for platinum.
You can view the FTC jewelry guidelines at: www.ftc.gov
Regulations in Britain
Britain’s strict quality assurance requires that every article of gold, silver,
and platinum with a quality mark be assayed by one of four government-
controlled offices. The regulators recently added palladium to this list.
This means that the fineness mark on any precious metal article
manufactured in Britain, including palladium, is verifiable.
British assay offices have the final word on whether a precious metal object
meets the standard. Any British-made article that fails to meet the standard
at the time of assay is crushed and returned to the manufacturer. Imported
articles that fail the test are also returned to the importer or manufacturer.
British Hallmarking Council
Hallmarks are sometimes used to
Each precious metal article must be stamped with a hallmark that indicates
commemorate special events. This its purity and origin. A complete British hallmark includes:
British Silver Jubilee Mark was used in • A sponsor’s mark that identifies the manufacturer, or sponsor, of the
1977 to celebrate the 25th year of Queen item by using initials of the individual or firm responsible
Elizabeth II’s reign. It was an optional
stamp on silver articles that weighed 15 • A standard mark that certifies the precious metal content
grams or more. Because of their rarity,
• The fineness, stated as karatage or as parts per thousand
special hallmarks like this can increase the
value of the articles they are stamped on. • The location of the assay office responsible for certifying the article
• The date letter, which shows the year in which the article was
hallmarked (this became voluntary as of January 1, 1999)
Hallmark—A British stamp that
indicates the purity and origin of a The British hallmark for gold includes all five stamps. Gold’s standard
precious metal. mark is a crown.
22

In a British hallmark, the standard mark indicates the type of
metal an item is made of. Each jewelry metal has its own
recognizable symbol. The crown is the symbol for gold. Sterling
British hallmarks are the equivalent of quality marks in the US. silver (92.5 percent pure) has the lion passant, while Britannia
Punches are used to stamp the standardized symbols on silver (95.8 percent pure) has a lion’s head “erased” (profile view,
precious metals. jagged at the neck) or a seated figure of Britannia. The cross-
and-orb symbol indicates 95 percent (or higher) pure platinum.
Eric Welch/GIA Paul V.A. Johnson/British Hallmarking Council

British quality marks are used to identify a jewelry piece’s The leopard’s head is the official symbol of the London assay
manufacturer, where it was assayed, its fineness, and the year office. When it’s used in a British hallmark, it means that the
it was hallmarked. London office certified the item. In the 1300s, before the London
assay office adopted it, the leopard’s head was used to identify
92.5 percent pure silver.
Silver and platinum are stamped with all but the fineness mark. That’s
because the standard mark indicates the type of alloy it is, and the alloy
type indicates the fineness.
Silver, platinum, and palladium have their own standard marks. The Lion passant—A lion walking with its
symbol for sterling silver (92.5 percent pure) is a figure of a lion walking farthest forepaw raised; Britain’s
with its farthest forepaw raised, called a lion passant. Britannia silver, mark for sterling silver.
which is 95.8 percent fine, has a lion’s head or the seated figure of
Britannia, a female figure that symbolizes Britain. Britannia silver—Silver that’s 95.8
percent fine, represented by a lion’s
Platinum that’s 95 percent pure or higher is symbolized by a cross on top head or the seated figure of Britannia.
of a round globe, called an orb. As of January 2010, the hallmarking of
palladium became compulsory in Britain. The standard mark for palladium
that’s 50, 95, or 99.9 percent pure is a figure symbolizing Pallas Athene,
the Greek goddess of war, wearing a warrior’s helmet.
23
Robert Weldon/GIA Joel Beeson/GIA

The country stamp on the back of this The back of this pendant shows a 750 (18K) gold hallmark and the three identity marks
yellow gold ring identifies it as a product required by the Italian government. “Chimento” is the manufacturer’s mark.
of Italy. There's also a stamp with identity
marks and a stamp indicating its gold
content in parts per thousand. The letters Regulations in Italy
“AR” indicate that the company is located By law, any gold jewelry sold in Italy must be at least 18K. Manufacturers
in Arezzo.
can produce gold that’s less fine, but solely for export. Italy requires that
gold objects weighing more than one gram (0.035 ounce, avoirdupois)
must have two stamps. The first indicates the gold content in parts per
thousand (750 indicates 18K, for example).
The second stamp has three identity marks. The first is the “Star of Italy,”
which identifies the manufacturer as an Italian company. Next is a number
that indicates the order in which the company applied for a stamp in its
province (for example, the number is 14 if it was the fourteenth company
in that province to apply). There are also two letters that indicate the
province where the company is located (for example, VI for Vicenza, MI
These identity marks include the Star of for Milan, AR for Arezzo).
Italy and a number indicating that the These markings are the absolute minimum required by Italian law. A
producer was the 267th company in the
province to apply for a stamp.
company is free to add any other identifying marks. It can be a company
logo, a model number, or the name of a product line.
These regulations apply only to Italian manufacturers producing and selling
within Italy. If an Italian company produces items for export, it must add
another stamp, depending on the destination country. Exports to the United
States, for instance, must be stamped with the word ITALY in English.
Regulations in Asia
In Japan, jewelry manufacturers submit their goods to the Mint Bureau,
an agency of the government’s Ministry of Finance. The Mint examines
the fineness of platinum, gold, silver, and platinum-and-gold items, then
stamps them with the Mint Certification Mark and a fineness mark.
Platinum items are also marked with a “Pt.”
24
The Mint Bureau’s fineness marks vary. There are marks for platinum in
850, 900, 950, and 1000 ppt categories; for gold in nine categories from
KEY
375 ppt (9K) through 1000 ppt; and for silver in 800, 900, 925, 950, and
CONCEPTS
1000 ppt categories. Precious metal plated goods are legally
Items made of platinum and gold combinations are marked with numbers defined by the thickness of the plating
that indicate the purity of both metals (for example, 750/900 Pt). and the fineness of the precious metal.
The Mint’s fineness mark is usually accompanied by a manufacturer’s
trademark.
In Hong Kong, the Customs and Excise Department administers gold
regulations through its Trade Descriptions Ordinance. The bottom limit
for gold alloy is 8K, or 333 ppt of gold.
Hong Kong jewelry items are stamped with special characters to indicate
purity levels. The finest gold—not less than 990 ppt, or 99 percent pure—
gets the designation of “Chuk Kam” The Chinese characters for “Chuk Pak
Kam” indicate platinum with a fineness of not less than 990 ppt.
Indonesia’s gold jewelry standards require a special mark along with the
manufacturer’s logo and karatage mark. The karatage is subject to confir-
mation by government and industry associations.
Marking and Selling Plated Goods

All the precious metals (usually in alloy form) can be used as plating, but
gold and silver are the most common. Among plated goods, thicker
coatings wear better and last longer. They also look more like solid gold
or silver than thinner coatings, giving a piece a richer look.
Plating thickness is measured in tiny units of measure called microns. A
micron equals one thousandth of a millimeter. An average human hair is
about 50 microns across.
The thickness of the plating and the fineness of the precious metal content
determine the legal definition of the finish. For example, an item must
have a half-micron layer of fine gold to be referred to as “gold plated.”
There’s a chart on the next page that describes the various types of plating.
The designer of this sterling silver

brooch took advantage of gold-plating
technology to enhance its appearance
with a two-tone look.
Valerie Power/GIA
Gold plating can give jewelry articles the rich look of gold at a fraction of the price of a
similar solid gold piece.
25
Types of Plating
Technique Description Quality Mark Example
Gold plate The item must be coated with 18K G.P. or
gold or a gold alloy of at least 2 microns 12K G.P.
10K, to a minimum thickness of
one-half micron. You can
indicate the exact thickness if
you also list the karat fineness.
Gold electroplate A gold or gold alloy of 10K or 18K G.E.P.

finer, with a minimum overall
thickness of 0.175 microns,
applied by an electrolytic
process. If the gold is fine
enough but not thick enough,
it’s called “Gold Flashed” or
“Gold Washed.”
Heavy gold A coating of 10K gold or finer 12K H.G.E.

electroplate with a minimum overall
thickness of 2.5 microns.
Gold filled A material with 10K or finer 12K G.F. or

gold alloy soldered or attached 1/40 12K G.F.
to a less costly metal. The
plating must make up at least
1/20 of the total metal weight.
If it doesn’t, the exact
percentage has to be listed.
Also called “Gold Overlay” or
“Rolled Gold Plate.”
Silver plate A base metal coated with a Can’t be called sterling or

layer of silver that must be bear a “silver” hallmark.
thick enough to provide a
durable covering. Also called
“silver coated.”
Vermeil Sterling silver base coated with Vermeil

gold or gold alloy of 10K or
finer. The coating must be
at least 2.5 microns thick.
FTC rules make retailers responsible for accurately describing the plated merchandise they sell. This table
shows common types of plating and their associated quality marks. These marks are examples of stamps
you might see—the actual stamp depends on the karatage of the alloy.
26
Robert Weldon/GIA
Style might refer to the category of jewelry piece, such as a pin or necklace, or it might
refer to the work of a particular designer. It’s also used to indicate jewelry from a
period in time.
Manufacturing
n What is the most common gem-setting style?
n What are the three main jewelry categories?
n What are the major jewelry manufacturing methods?
Although the word “style” is defined as “a distinctive and identifiable
form”—relating to an item’s structure, pattern, and shape—”jewelry style”
means much more than that. It might refer to the type of jewelry, such as
rings, earrings, necklaces, chains, bracelets, anklets, brooches, pins,
Setting style—The way a gem is
cufflinks, and tie tacks. Jewelry style can also refer to a look or design
secured in its mounting.
theme that represents a time period, or to designer, branded, or custom
jewelry. You’ll learn about these style variations in future assignments.
Mounting—Jewelry item with space
There are many jewelry setting styles, offering a variety of ways to hold for holding gems.
gems in place in their mountings. The most common setting style is the
prong setting, which consists of narrow metal supports that hold a gem Prong (claw) setting—Setting style
securely. In some countries, it’s called a claw setting. You’ll learn about consisting of narrow metal supports
many more setting styles in Assignment 2. that hold a gem in its mounting.
27
Convenience is helping online retailers

gain in popularity over traditional outlets.
They can provide customers with an easy
way to compare prices without leaving
the comfort of their homes.
Eric Welch/GIA
Many customers prefer “brick-and-mortar” retail stores because they provide personal
service. They also like to be able to touch and try on the jewelry they’re about to purchase.
Jewelry Categories
About half of US consumers buy jewelry every year. They make their
purchases in retail settings ranging from discount stores to luxury venues.
Retailing includes television shopping channels, Web sites, discount and
mass merchandisers, department stores, independent and chain jewelers,
and others.
In the US market, jewelry is divided into three categories:
• Fine jewelry
• Bridge jewelry
• Fashion or costume jewelry
Fine jewelry is made of 14K or finer gold, sterling silver, or platinum. If it
contains gems, they’re high quality and usually of substantial size. Bridge
jewelry is the category in between. It’s made of gold that’s less than 14K
or lightweight 14K, gold-filled metal or sterling silver, and with or without
lower-quality gems. Fashion or costume jewelry might be made of base
metals, plastic, wood, or other common materials, with or without sterling
silver or gold plate. If it’s set with gems, they might be laboratory-grown
or imitations.
28
Valerie Power/GIA Eric Welch/GIA

Bridge jewelry provides an expensive look with less costly gems, gold alloys, or silver. Fine jewelry combines excellent design
and craftsmanship with larger high-
quality gems like the aquamarine in this
No matter where customers shop and what categories of jewelry they buy, beautiful ring.
they have certain common motivations. Jewelry salespeople who under-
stand those motivations, genuinely like people, and know their products
can do a better job of serving their customers and enjoy great success in
jewelry sales.
Jewelry Manufacturing Methods

A jewelry piece can be a handmade one-of-a-kind item or one of
thousands of identical, mass-produced copies. On the following pages,
there are brief descriptions of the major jewelry manufacturing methods:
hand fabrication, lost-wax casting, die striking, electroforming, and
machining. Each method was developed to satisfy different design needs
and applications.
Lauren Stomel Associates

The cable in these assembled earrings
was machine-made, while the 14K yellow
gold accents were cast. The manufacturer
then soldered the pieces together. Without
this combination of manufacturing
Valerie Power/GIA methods, these relatively simple earrings
These cheerful colored glass pendants are examples of fashion jewelry. They’re inexpensive would require extensive hand labor,
to make and own and provide consumers with extensive and attractive choices. which wouldn’t be cost effective.
29
Mike Havstad/GIA GIA

This exquisite necklace features black opals, diamonds, and In the US, FTC guidelines state that hand-fabricated or
rubies. Its unique design as well as the nonstandard shapes, handmade jewelry must be made entirely by hand or with hand
large sizes, and high value of the individual gemstones made tools like these.
hand fabrication the best option for the manufacturer.
Hand Fabrication
In a truly hand-fabricated item, every element is formed, assembled,
joined, and finished entirely by hand or with hand tools. Flex shafts and
polishing wheels are considered hand tools because, although they’re
powered by electricity, they’re hand-controlled.
Because hand fabrication is time and labor intensive, the pieces can be
expensive, but the process has many benefits. For one thing, it offers
jewelers a great deal of creative freedom. It can result in complex designs
that might be impossible with other methods. It’s often used for creating
custom-designed, one-of-a-kind pieces, or to build pieces around gems
that would be difficult to set into pre-made mountings.
Lost-Wax Casting
Lost-wax casting can be used for mass production and one-of-a-kind
pieces. The casting process has several steps, starting with creating a wax
model of the piece to be cast. This is done either by hand or by injecting
the wax into a rubber mold. A plaster-like material called investment is
poured around the wax model.
30
This ring’s 14K yellow gold shank was

cast and its 14K white gold head was die-
struck. The two pieces were then soldered
together. The head was die-struck rather
than cast to give the prongs greater
holding power, a benefit that stems from
the greater density of die-struck metals.
Robert Weldon/GIA Lauren Stomel Associates

This 14K gold ring is a one-piece casting. It’s one of a kind, The shank and head of this 14K gold
made to order especially for an individual customer. It would engagement ring were both cast. To
also be possible to produce thousands of copies of the setting achieve the two-tone look, the white
by making rubber molds before setting the gems. gold head and yellow gold shank were
cast separately, then assembled.
When the investment hardens, the wax is melted away, leaving a cavity
that is then filled with molten jewelry metal. When the metal hardens,
the investment is broken away, leaving a rough jewelry piece that is then
finished and polished.
Lost-wax casting is a versatile process that can produce both simple and
complex designs. The technique can be used to produce large numbers
of identical pieces, making it both economical and relatively affordable.
Also, details show up well in cast jewelry.
Die Striking
Die striking starts with manufacturing a steel pattern called a die that’s
designed to create a particular jewelry item or component. Dies usually
have two parts: a punch and a mold.
A die-striking machine cuts blanks of jewelry metals to the sizes and
shapes needed for the jewelry item. A blank is then placed between the
punch and the mold and subjected to tremendous pressure. This shapes
and compresses the metal to produce a dense, durable product.
31
Joel Beeson/GIA The Newark Museum

The links of this 14K gold bracelet were Die-struck prong heads like these are Making precise dies for jewelry takes
die-struck, which allowed for precise more durable than cast heads. great skill. The method is ideal for
detail and light weight. Die striking also designs that require crisp, sharp images
results in a more durable product, which like these. These vintage steel dies were
means the design details of this bracelet manufactured in the 1920s.
will keep their sharp appearance.
Die-struck jewelry can be both strong and lightweight. It also requires less
metal and uses less time and labor for the finishing process. Because
multiple items can be made with the same die, die striking is economical,
too, making die-struck jewelry affordable.
Die striking makes crisp detail and sharp edges possible. A design can be
engraved into the die, making this method especially useful for producing
jewelry with a detailed pattern.
Electroforming
In electroforming, several wax copies are created and coated with a thin
layer of conductive paint. The copies are then submerged in an electrically
charged solution that contains precious metal particles. The charged
particles bond to the coating, building a metallic surface.
When the precious metal layer is the desired thickness, the manufacturer
removes the forms. A heating process melts the wax out through a small
hole in the rigid metal shell.
Stuller, Inc. Electroforming creates hollow jewelry that’s light in weight but has a
Many people love big, bold earrings. massive look. It’s also surprisingly durable, although not as durable as cast
Electroforming can make large earrings and die-struck items. Because it uses less metal than other methods, the
comfortably lightweight because the process can also result in lower-priced jewelry.
process allows them to be hollow. The
precious metal shell produced by electro-
forming can also be fairly complex and
display either a bright or a matte finish.
Stuller, Inc. Stuller, Inc.

These earrings were electroformed, which This puffed heart is an ideal design for
gives them a big, luxurious look while also taking advantage of electroforming’s
making them lightweight and comfortable. ability to show contours. Its light weight
This popular knot style can also be made is also a plus for a large pendant.
by other methods, such as casting and
die striking.
32
Machining
Machining begins with the melting of the precious metal, which is then
hardened into a solid form called an ingot. After drilling a hole through the
center and smoothing the outer surface, the manufacturer forces the ingot
through a series of shaping steps that condense and elongate it into a tube.
When the tube is the desired thickness, the manufacturer cuts blanks from
it that are slightly larger than the finished jewelry item. The blanks are
mounted on cutting or milling machines for trimming to the desired size
and shape. After that, the jewelry items are given a final polish. Richard Boyd
These rings were cut from tubes
Machined jewelry includes wedding bands, solitaire ring settings, and produced by the machining process.
more. It’s even possible to add a gem-setting step to the machining Machined products are typically harder
process. Because the metal is repeatedly condensed as it’s shaped, and more durable than similar articles
machining results in stronger, denser, and harder metal than would be made by lost-wax casting.
possible with casting.
Mark Mann Mark Mann

The machining process starts with the melting of the precious Once the metal cylinder—called an ingot—has cooled, it’s mounted
metal alloy, which is then poured into a cylindrical mold. on a lathe so the outer surface can be milled to make it smooth.
Mark Mann Mark Mann

The next step is to drill the ingot through its center and cut it The smaller ingots go through a series of shaping steps that
into shorter lengths. squeeze them into long tubes.
33
Valerie Power/GIA
If your store is tidy and well organized and your approach is polished and professional,
you’re more likely to succeed in jewelry sales.
KEY Introduction to Jewelry Sales

CONCEPTS n What are the seven steps of a sale?
Considering the customer’s point of n What’s the best approach to use to make a customer feel comfortable in
view and using a step-by-step system your store?
will help you succeed in jewelry sales. n What are some of the many links in the jewelry industry chain?
Imagine being a customer. You go into a retail store prepared to spend
some money. You know you’re going to buy something, but you’re not
sure exactly what. You’ve probably had both these experiences:
Experience No. 1—You look the merchandise over and have questions. You
need help from a sales associate, but there’s no one around. You finally find
a sales associate who seems preoccupied and not interested in helping you.
You persist, even though you feel as if you’re imposing. The sales associate
is sloppily dressed and poorly groomed. He has a surly manner, isn’t helpful,
and doesn’t know the merchandise well enough to answer your questions.
You lose patience and leave the store without buying anything.
Experience No. 2—A neatly dressed, well-groomed sales associate
approaches and engages you in a pleasant conversation that begins with
sincere interest in you. The talk turns to the merchandise you’re looking
over, and the sales associate politely answers your questions. She is knowl-
edgeable and shows genuine concern for you, your needs, and the
suitability of the merchandise. You make your selection and also buy an
additional item the sales associate suggests. You leave the store feeling
pleased and confident you’ve made the right choice.
When you put yourself in the customer’s place, it’s easy to see which experi-
ence you’d prefer. As a jewelry sales associate, considering the customer’s
point of view and using a step-by-step sales system will help you succeed.
34
Robert Weldon/GIA
Style might refer to the category of jewelry piece, such as a pin or necklace, or it might
refer to the work of a particular designer. It’s also used to indicate jewelry from a
period in time.
Seven Steps of a Sale

It’s obvious how sales success benefits a sales associate, but it’s not so
obvious how it benefits the customer. It helps the customer get the product KEY
she wants, the pleasure of shopping for and choosing the product, and CONCEPTS
pride of ownership. Selling is the process that helps a customer acquire Selling is the process that helps a
a product and the benefits it provides. customer obtain a product and the
People who study retail sales have developed a system that greatly benefits it provides.
increases the success rate. According to this system, there are seven steps
to a successful sale:
1. Approach the Customer
2. Exchange Information
3. Build Value
4. Create Desire
5. Trial Close
6. Close the Sale
7. Follow Up
35
During the approach and information exchange, you make the customer
feel welcome and comfortable and get to know what he or she wants.
Building value is where you begin to deepen the customer’s participation
in the sales process. Creating desire helps the customer develop an
emotional attachment to you and to the jewelry item.
Once you’ve successfully moved through these stages, you can try a trial
close. That’s where you test your customer’s readiness to buy. After that,
it’s just a matter of getting the customer to commit and closing the sale.
Finally, the follow up is an important step that keeps you involved with
the customer and helps you promote future sales.
Although no sale follows a script perfectly, this system provides a
framework for success. In later assignments, you’ll learn about these steps
in more detail.
The Jewelry Industry

The gems and jewelry in a retail store are part of a huge worldwide
industry. When a customer buys jewelry, the transaction might appear
simple, but by the time that sale is made, dozens of people and businesses
might have participated. They’re links in a chain that stretches from the
original sources of the gems and metals in the jewelry piece all the way
to the retail customer.
Eric Welch/GIA The emerald miner in Colombia, the gold miner in South Africa, the
Whether it’s a precious metal or a gem, diamond cutter in Israel, the designer in Italy, the wholesale representative
the industry starts with mining. This in Japan, the gemologist in the US, and many, many others are part of the
weary Colombian miner scours the black worldwide gem and jewelry industry. It’s an industry that blends art with
rocks for precious emeralds. commerce to satisfy people’s timeless desire to adorn themselves with
beautiful things.
KEY The jewelry industry’s scope allows lots of room for diverse talents.
CONCEPTS Whether you’re starting your professional life or changing careers, you
might be wondering about your place in the jewelry industry. If you begin
The retailing of gems and jewelry is only at the sources of gems and metals and follow them through to jewelry
one aspect of a huge worldwide industry. available for retail sale, you’ll find there are dozens of possible roles to play.
Andrew Lucas/GIA
Skilled cutters shape the hard-won rough emeralds into glittering gems.
36
Piaget
A designer is able to envision a superb emerald necklace with a
scattering of tiny diamonds to add sparkle and grace.
Eric Welch/GIA
Many jewelry pieces contain diamonds. India is the world’s
premier center of diamond cutting. Cutters there fashion as
many as nine out of every ten diamonds.
Piaget Piaget
Talented artisans bring jewelry designs to life. They unite the The final result is a shining testament to human artistry. It’s a
glittering gems with gleaming precious metals to make unique jewelry masterpiece that combines gems, metals,
wearable art. design, manufacturing skill, and honest human labor.
37
What’s to Come
You’ve already gained some very useful information in this assignment.
Much of it—especially the jewelry basics and sales steps—lays a foundation
for what you’ll find in upcoming assignments.
There’s a lot in this assignment that you can use right away. For example,
you might include information about precious metals or jewelry manufac-
turing methods in your next sales presentation. As you progress through
the assignments, you’ll add to your knowledge and find other valuable
information you can use almost daily.
In the next assignment, you’ll learn about popular ring styles, store
security, and Sales Steps 1 and 2: Approach the Customer and Exchange
Information.
Earn Your AJP Diploma

Your enrollment in Jewelry Essentials
shows that you’re committed to achieving
excellence and success in your profession.
Perhaps you chose this course to increase
your product expertise and improve your
sales presentations. Or maybe you’re
planning to continue your education and
earn the industry’s premier recognition
of accomplishment—a GIA diploma.
Either way, Jewelry Essentials can help you
reach your goals and advance in your
career.
Jewelry Essentials is a powerful and effective The Applied Jewelry Professional diploma shows
course that can stand on its own. It’s also your dedication to excellence in the jewelry
part of the Applied Jewelry Professional profession. It’s awarded upon completion of
(AJP) program, which also includes Jewelry Essentials, Diamond Essentials, and
Diamond Essentials and Colored Stone Colored Stone Essentials.
Essentials. Completing all three courses
helps you expand your knowledge and confidence. It also entitles you to add the
respected “AJP” designation after your name. This shows customers and employers
alike that you are a dedicated, competent, and trustworthy jewelry professional.
If you’d like to find out more about the AJP program, or about other GIA courses, you
can call GIA toll-free in the US at (800) 421-7250, ext. 4001. Outside the US and
Canada, call (760) 603-4000, ext. 4001. You can also send a fax to (760) 603-4153 or
email your instructor.
38
KEY
CONCEPTS
To sell jewelry, you must know its features and be able to Silver’s bright, white shine and workability are its principal
explain the importance of those features to your customer. assets for use in jewelry.
Precious metals’ allure, rarity, workability, and durability make Most countries have stringent standards governing the use of
them excellent for use in jewelry. precious metals in jewelry.
Precious metals are expensive because they’re rare and In the US, a registered trademark must accompany a quality
difficult to extract from the earth. mark.
Gold’s appeal derives mostly from its color, luster, rarity, and The best way for a jeweler to protect against underkarating
resistance to corrosion. fraud is to buy only registered trademarked and quality
stamped gold jewelry.
Gold is often the choice of customers who are particularly
attracted to and excited by color.
Precious metal plated goods are legally defined by the thickness
Alloying gold increases its tensile strength and hardness and of the plating and the fineness of the precious metal.
makes it less expensive.
Considering the customer’s point of view and using a step-by-
In the US, 14K is the most popular jewelry gold alloy. step system will help you succeed in jewelry sales.
Platinum is highly resistant to tarnish, takes a high polish, and Selling is the process that helps a customer obtain a product
is harder to scratch than gold and silver. and the benefits it provides.
Palladium is a silvery white metal that has recently become The retailing of gems and jewelry is only one aspect of a huge
popular with jewelry consumers. worldwide industry.
39
Key Terms
Alloy—A mixture of two or more metals. Lion passant—A lion walking with its farthest forepaw
raised; Britain’s mark for sterling silver.
Anodizing—An electrochemical process that results in a
protective or decorative coating on metal. Luster—The appearance of a material’s surface in
reflected light.
Base metals—Non-precious metals such as copper, zinc,
tin, nickel, lead, and iron. Malleable—Able to be shaped or bent without breaking.
Benefit—The value a feature holds for a customer.
Mounting—Jewelry item with space for holding gems.
Britannia silver—Silver that’s 95.8 percent fine, represented
by a lion’s head or the seated figure of Britannia. Patina—Soft, rich surface appearance that develops
with age.
Corrosion—Deterioration by a chemical action.
Plating—Depositing a metal coating electrically or
Ductile—Able to be drawn into wire or hammered into applying it mechanically onto another metal.
sheets without breaking.
Precious metals—Metals valued in jewelry, specifically
Durable—Long-lasting, especially without sustaining gold, platinum, and silver.
damage or wear.
Prong (claw) setting—Setting style consisting of narrow
Electroplating—Using electricity to deposit a coating of metal supports that hold a gem in its mounting.
precious metal, suspended in a solution, on another metal.
Quality mark—A stamp that indicates the purity of a
Feature—A characteristic or part of a piece of jewelry. precious metal.
Fine—Virtually free of impurities or alloying metals. Setting style—The way a gem is secured in its mounting.
Fineness—A measure of the purity of a precious metal.
Tarnish—A mild form of corrosion caused by contact with
chemical elements or compounds in the environment.
Hallmark—A British stamp that indicates the purity and
origin of a precious metal.
Tensile strength—Maximum stretching force a metal can
Hardness—How well a metal resists scratching and denting. withstand before breaking.
Heft—The weight or heaviness of an object compared to Trademark—A word, phrase, logo, symbol, or design
its size. that’s registered to identify the manufacturer of an item.
Karat—A unit of measure for the fineness of gold, based Underkarating—Misrepresenting the precious metal
on a total of 24 parts, abbreviated “K.” content of a jewelry item.
40
Questions for Review
n What two pieces of information should you know about the jewelry you sell?
n What are the properties and uses of precious metals?
n What are some alternative jewelry materials?
n What do quality marks reveal about a jewelry item?
n How do trademarks protect retailers?
n What factors determine the marks stamped on plated goods?
n What is the most common gem-setting style?
n What are the three main jewelry categories?
n What are the major jewelry manufacturing methods?
n What are the seven steps of a sale?
n What’s the best approach to use to make a customer feel comfortable in your store?
n What are some of the many links in the jewelry industry chain?
41
Selling Rings 2
Ring Styles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46
Popular Ring Setting Styles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48
Other Ring Styles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49
Engagement and Wedding Rings . . . . . . . . . . . . . . . . . . . . . . . . . 50
Other Diamond Ring Styles . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52
Colored Stone Rings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54
Gemstone Ring Cautions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56
First Steps of the Sales Process . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57

Preparing to Sell . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58
Sales Step 1—Approach the Customer . . . . . . . . . . . . . . . . . . . . 59
Consider the Situation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60
The Merchandise Approach . . . . . . . . . . . . . . . . . . . . . . . . . 61
The Friendship Approach . . . . . . . . . . . . . . . . . . . . . . . . . . . 61
I’m Just Looking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62
Sales Step 2—Exchange Information . . . . . . . . . . . . . . . . . . . . . . 64
A Sample Information Exchange . . . . . . . . . . . . . . . . . . . . . . 65
Store Security . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66
Burglary, Theft, and Robbery . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67
Shoplifting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69
Scams . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70
Key Concepts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71
Key Terms. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72
Questions for Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73
43
• Recognize a wide variety of diamond and colored stone ring setting styles.
• Explain the care requirements for diamonds and colored stones set in rings.
• Approach the customer and exchange information.
• Handle basic retail store security procedures.
44
Selling Rings
Mark Davis/Philip Zahm Designs

Rings are the most popular jewelry items. They can be found in a variety of styles at all market levels.
Selling Rings
The young woman walked into the store and asked Barry about a three-
stone amethyst ring she’d seen in one of his store’s window displays.
“That’s a very pretty ring, isn’t it?” Barry responded. “It’s a good value too.
Would you like to take a closer look?”
“Yes, I would,” the woman replied. “It looks like a ring my husband gave
me when we were first married. I lost it down a drain.”
“Oh, I’m sorry to hear that,” Barry said. “Sentimental value is hard to
replace, but we can try.”
He unlocked the case and took the ring box out. He introduced himself
as he placed the ring on the counter pad.
“I’m Barry Williams,” he said.
“My name is Jennifer,” she replied.
“Was your ring also set with amethysts, Jennifer?” Barry continued.
“Yes,” she replied, “but their color wasn’t as bright as these.”
45
“All three stones are the finest-color amethysts available,” he said. “As
you’ve noticed, their color is particularly rich and velvety.”
“They’re lovely,” she said.
As he handed her the ring, Barry explained that the amethysts were all
oval cuts and the setting was 18-karat gold. Jennifer slid the ring onto her
right-hand ring finger, then held it up to admire it.
“Oh, it’s so beautiful,” Jennifer said. “What are the weights of the stones?”
“The center stone is nearly three carats and the outer ones are about one
carat each,” Barry replied.
“It’s a lovely ring,” she said softly. Then she continued, “And I’d love to
replace that long-lost ring and surprise my husband. Are the settings secure?”
“You don’t have to worry about that. As you can see, each stone is held
in place by six prongs,” Barry said. “Also, we guarantee our jewelry under
normal wear, and we have an in-store repair service.”
“That’s good to know,” Jennifer said. She didn’t have to think about it for
very long. She smiled and said, “I’ll take it.”
Barry rang up the sale and entered Jennifer’s information in the store’s
customer registry. He thanked her and gave her his business card. He
asked if she’d like him to contact her with store specials and cleaning
reminders. Jennifer said she would like that, then left the store wearing
her lovely new ring.
Ring Styles
n What are the two main parts of a ring?
n What’s the most popular gemstone for engagement, wedding, and
anniversary rings?
n What are some best-selling ring styles?
As you learned in Assignment 1, setting style refers to the way a gem is
secured in its mounting. Setting styles can range from a simple prong
setting to an elaborate custom setting created to accommodate a special
gemstone. In addition to providing a beautiful background for a gem, the
main purpose of a setting is to hold that gem securely.

In a well-made mounting, the head holds This semi-mount features a cluster of
all the gems securely in place. blue diamonds. It would be the perfect
background for an emerald-cut
diamond, blue sapphire, or aquamarine.
46
Selling Rings
Parts of a ring
Head
Shank
Peter Johnston/GIA
KEY
CONCEPTS
A setting’s primary purpose is to hold a
Eric Welch/GIA
gem securely.
Semi-mounts offer great flexibility for jewelers and clients alike. They let the client
choose both mounting and main gem to create a unique piece.
No matter what the style, every ring has two main parts. The part that fits Shank—The part of a ring that fits
around the finger is called the shank, and the part that holds the main around the finger.
gem or gems is called the head.
Head—The part of a mounting into
Often, a jewelry retailer keeps a selection of semi-mounts, which are settings which the main gems are set.
with side gems in place but no center stone. A semi-mount adds versatility
by letting the customer choose a loose stone for placement in the central Semi-mount—A setting with side
position. gems and space for a center stone of
the customer’s choosing.
Semi-mounts belong to a category of small jewelry pieces called findings.
Findings might be partially gem-set, but they’re often plain jewelry-metal Findings—Small components used to
components that can be used for making or repairing all types of jewelry. make or repair jewelry.
47
Eric Welch/GIA
A white metal bezel secures this beautiful
sapphire cabochon in its mounting.

Four sturdy prongs hold the round Tiny metal beads grip the girdle of this
brilliant-cut diamond in place while round brilliant-cut diamond. It’s one of
smaller channel-set diamonds grace the two accent stones for a bold green
ring’s sides. tsavorite garnet.
Hoover & Strong

This stack of multicolored rings boasts
tiny, precisely spaced diamonds. Each one
is smoothly flush-mounted in the metal.
Hoover and Strong Eric Welch/GIA

Channel-set rows of small, perfectly The sides of this beautiful ring sparkle with tiny pavé-set gems. Even the prongs that
matched gems lend color and sparkle to hold the deep blue aquamarine are encrusted with diamonds.
these high-quality rings.
Popular Ring Setting Styles
As you learned in Assignment 1, the prong setting is the most common
ring style. Each prong in the setting is a narrow piece of metal, and a
setting usually consists of four to six prongs per gem. In some countries
like the United Kingdom and Canada, prongs are called claws.
Channel setting—Setting style with A channel setting features one or more grooves, or channels. The manufac-
gems held in grooves, or channels. turer cuts notches in the channel walls and sets the stones in rows, edge
to edge. The most durable channel settings also have reinforcing bars
along the undersides of the channels.
48
Selling Rings
In a bead setting, gems are recessed into holes drilled in the mounting. Bead setting—Setting style with
The bench jeweler uses a tool to push pieces of the surrounding metal up gems held in place by rounded
to hold each stone in place. Next, using a tool with a small cup at the beads, usually pushed up from the
end, called a beading tool, the bench jeweler shapes the jagged metal surrounding metal.
pieces into rounded “beads.”
Pavé setting—Bead setting with many
Pavé is a type of bead setting. In a pavé setting, the gemstones are placed small gems placed close together,
close together, often in a honeycomb pattern. It takes considerable skill to often in a honeycomb pattern.
create a quality pavé setting. The setter secures the gems in a metal surface
pierced with many tiny openings. Then, as in a regular bead setting, the Flush setting—Setting style with a
setter pushes up small bits of the surrounding metal to secure the gems. gem set directly into the metal with
A well executed pavé setting has the appearance of a sparkling field of gems. its table at the same level as the
In a flush setting, the gem is set directly into the surrounding metal, with metal surface.
the top of the gem—the table—even with the metal surface. Besides being
beautiful, the flush setting is very secure. And the gem is well protected Bezel—A thin metal strip that wraps
by the metal that surrounds it. around a gem to hold it in place.
A bezel is a thin metal strip that wraps around a gem to hold it securely Cabochon—A smoothly rounded
in place. Bezel settings can hold faceted stones, but they’re traditionally polished gem with a domed top and
used to hold cabochons, which are cut with smooth, unfaceted, domed a flat or curved base.
tops and flat or curved bottoms.
Invisible setting—Setting style with
Other Ring Styles grooved gems set between metal
Invisible settings are often associated with the pioneering work of design rails that hold them in place.
house Van Cleef and Arpels. They are the most difficult settings to accom-
plish well. In an invisible setting, each diamond or colored stone is grooved Illusion setting—Stone set within a
just below its girdle. The grooves help secure the gems between metal metal rim that makes the stone look
rails. Using this setting process, many gems can be placed together, with bigger.
no gaps between them. The result is a smooth, rich, seamless field of gems.
Tension setting—Setting with gem
In an illusion setting, the stone is set within a metal rim. The setting’s held in place by pressure between
purpose is to make a small stone look bigger. opposing pieces of platinum or karat
gold.
A tension setting fully displays a stone by making it look like it’s suspended
in space. The stone is held in place by pressure from two opposing pieces
of platinum or karat gold. The tension setting is most often used with harder
gems because the pressure it exerts tends to damage less durable ones.
Ambar GIA & Tino Hammid Maha Tannous/GIA

Small square brilliant cuts in invisible Illusion settings surround smaller gems, A fancy-colored brown diamond appears
settings create an uninterrupted display which are typically diamonds. From a suspended in an arc of platinum in this
of brilliance across this ring's surface. distance, the diamonds in this ring designer ring. Tension settings like this
appear larger. are best suited to tough gems like
diamond and corundum.
49
Hoover & Strong

The wedding band that matches this
solitaire is shaped to fit its contours.
Shutterstock
Wedding sets, or duos, come in an enticing array of styles to suit every couple’s taste.
Eric Welch/GIA Valerie Power/GIA
Engagement ring—Ring set with a The stones surrounding a solitaire don’t This solitaire boasts a 1.25-ct. center
gem, usually a diamond, given to have to be large to create a dazzling diamond between two matching 0.25-ct
signify an intention to marry. effect. Rows of tiny diamonds add a diamonds. Some trade professionals call
delicate touch to this mounting. this arrangement a three-stone setting.
Wedding ring—A ring, usually a plain
band, worn by someone who is Engagement and Wedding Rings
married.
The tradition of wearing both an engagement ring and a wedding ring
Wedding set (duo)—A pair consisting dates back to the 1800s. The concept of matched wedding and engagement
of a woman’s matched engagement rings, however, is a twentieth-century development. In retail sales, the
and wedding rings. matched pair is often called a wedding set, bridal set, or duo.
Solitaire—Jewelry piece with one The traditional engagement ring is a diamond solitaire, which consists of
main gem, typically a diamond. a single main gem. The wedding ring is a band of gold, platinum, or other
precious metal. The metal might be plain or decorated, and it might be
Wrap—A ring designed to dress up a set with diamonds or other gems.
second ring, which is often a solitaire.
The wedding ring might be designed as a wrap or a guard. The wrap supports
Guard—A ring worn to enclose and the ring on one side and the guard has two shanks that surround it
enhance another ring; also a bar completely. Both are designed to enhance the beauty of the engagement
secured across a ring’s shank to ring. There’s another type of guard that’s practical rather than decorative.
reduce its diameter and keep it from It’s simply a bar that’s secured across the shank to reduce a ring’s size and
sliding off. keep it from sliding off.
50
Selling Rings
Royalty-Free/Corbis
Whatever the style, a wedding set
symbolizes a loving landmark in your
clients’ lives.
Eric Welch/GIA
Not every solitaire setting features a round brilliant diamond. Some brides fall in love
with fancy cuts, like the pear shape in this ring.
A matched ensemble consisting of an engagement ring, a woman’s wedding Trio—Matched ensemble consisting
ring, and a man’s wedding band is sometimes called a trio. of an engagement ring, a woman’s
wedding ring, and a man’s wedding
In Japan and Western societies, the gemstones in women’s engagement band.
and wedding rings are most often diamonds. De Beers, the diamond
mining and marketing conglomerate, has successfully promoted that idea
for decades. Largely through De Beers’ powerful advertising and public
relations efforts, diamonds have come to signify milestones in people’s lives.
Not everyone accepts the diamonds-only idea for an engagement ring,
however. In 1981, Prince Charles and Princess Diana attracted international KEY
media attention when Diana proudly wore a sapphire engagement ring. CONCEPTS
The colored stone engagement ring honored a British royal tradition, and Engagement and wedding rings are
couples worldwide followed the couple’s lead. Their son, Prince William, most often set with diamonds.
inherited Diana’s ring upon her death and presented it to his fiancée, Kate,
when they became engaged in 2010.
51
Hoover & Strong

This eternity ring features a continuous
band of alternating diamonds and blue
sapphires.
Eric Welch/GIA
Variations on the classic solitaire remain very popular. This ring features a pale pink
diamond with matching accents.
Other Diamond Ring Styles

Anniversary band—Ring with a row Over the years, De Beers has developed several products to promote the
of gems of the same size and cut. use of diamonds in jewelry. The anniversary band is a popular gift from
husband to wife on a wedding anniversary. It’s set with a continuous row
Eternity ring—Ring encircled with a of diamonds or other precious gems, usually of the same size and cut.
row of closely matched gems. The gems can extend all the way or only part way around the band.
The anniversary band is a renamed and energetically marketed version of
the ancient eternity ring. It was called that because the circle is a tradi-
tional symbol of eternity. Today’s eternity ring features gems set all the
way around it. De Beers introduced the style’s new name in the 1970s as
a way to promote the sale of smaller diamonds to married couples.
Women have been wearing rings set with three stones for decades, if not
centuries. The gems might have been any combination of diamonds and
colored stones, or three of one or the other. In recent years, De Beers
52
Selling Rings
KEY
CONCEPTS
Modern three-stone jewelry is promoted
to represent the past, present, and
future of a relationship.

A row of matched round brilliant-cut This ring’s fancy yellow heart-shaped
diamonds catches the light in this classic diamond makes a stunning statement.
anniversary band.

A right-hand ring might feature a unique and Some designers showcase the unique
substantial diamond like this radiant-cut shapes of rough diamonds in their
yellow gem. Tapered baguette diamonds jewelry. This ring would make a unique
on the sides make a perfect accent. conversation piece.
adopted the three-stone ring as a diamond-promotion product. Its success

led to three-stone pendant and earring versions. The three diamonds are
the same shape, with the largest stone usually in the center. The stones
represent the past, present, and future of a relationship.
Another De Beers diamond-promotion product was the right-hand ring. Right-hand ring—A diamond ring
It was usually designed with the stones spread out rather than close promoted as a self-purchase and
together as they typically are in engagement and wedding rings. Part of the worn on a woman’s right hand to
original concept was that a woman would buy a right-hand ring for herself. signify independence and power.
Of course, women have been wearing rings on their right hands for
centuries, but De Beers and its advertising agency chose to portray the
right-hand ring as a declaration of the wearer’s independence. The
advertising copy nicely expressed the marketing concept: “Your left hand
says ‘we,’ your right hand says ‘me’.”
53
Philip Zahm Designs

The rich and varied hues of colored stones
provide a choice for every mood. Although
these rings have similar mountings, the
gem selection gives each one a richly
different look.

A fabulous rare blue tourmaline provides a suitable centerpiece for this high-quality
hand-fabricated mounting.
Colored Stone Rings

There’s an almost limitless variety of ring styles, and many feature colored
stones, often with diamond accents. The diamond three-stone ring that
you learned about earlier might have a colored stone set between a
matched pair of diamonds, or consist of three colored stones.
You might also see anniversary or eternity rings set with colored stones
instead of diamonds, or with a combination of colored stones and diamonds.
They’re ideal companions to colored stone solitaire rings.
Some rings are designed to dazzle the eye. One of those is the flashy,
Cocktail ring—A flashy, oversized ring,
oversized cocktail ring that was originally popularized in the 1940s and
often set with less-expensive gems.
1950s. To allow for impressive gem size and affordability, cocktail rings
are often set with less-expensive gems.
Cluster ring—Ring with a group of
small stones set closely together or a The cluster ring is also impressive, with a group of small stones or a large
large central gem surrounded by center stone surrounded by smaller gems. A ballerina ring takes its name
several smaller ones. and design from a ballerina’s tutu, with rectangular diamonds encircling
a larger stone, often a colored gem.
Ballerina ring—A ring that looks like
a ballerina’s tutu, with a central stone Designers might use colored stones in contrasting colors and shapes to
encircled by rectangular diamonds. create dramatic custom rings. For example, the bold green of tsavorite
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Selling Rings
Valerie Power/GIA
Cluster rings that consist of a large central colored gem encircled by matched
diamonds are among the most popular ring styles.
Robert Weldon/GIA Robert Weldon/GIA Vianna Joias

Geometrical grooves in the cut and a A circle of tapered baguette diamonds Bold colors and chunky styling give these
contrasting accent stone give this surrounds the lush green of an emerald designer cocktail rings a playful feel.
aquamarine ring the feel of an abstract in this classic ballerina setting.
piece of modern art.
garnet or peridot makes a striking statement when combined with a rich

Birthstone—Gem associated with the
red tourmaline or rhodolite garnet.
month in which a person was born.
Some colored stones are designated as birthstones and set into rings or
other jewelry styles. Each month of the year is associated with one or two Mother’s ring—Ring personalized
birthstones, and people born during that month can choose jewelry with children’s birthstones.
featuring the designated gem. Similarly, certain colored stones are associated
with the signs of the zodiac. A variation of the birthstone ring, called a Signet ring—A flat-topped ring that
mother’s ring, is set with children’s birthstones to honor the maternal role. might be engraved with initials or
Colored stones are also popular in men’s rings, where gems like jadeite other unique insignia.
and cat’s-eye chrysoberyl provide a strong, masculine look. The signet ring
is a type of man’s ring, with a flattened top surface that might be engraved Bypass (crossover) ring—Ring where
with initials or other unique insignia. the ends of the shank pass each other
rather than meeting at the head.
With a bypass or crossover ring, the ends of the shank don’t meet at the
head as they do in other rings. Rather, they pass each other, leaving space Hololith—Jewelry carved entirely
in between. The gems might be mounted on the shank ends or within the from a single gemstone, often jade.
space.
A hololith is a continuous band carved from a single gemstone, often jade. Saddle ring—Hololith with a
A saddle ring is a hololith with a decoratively carved top. decoratively carved top.
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Mark Davis/Philip Zahm Designs Eric Welch/GIA Eric Welch/GIA

Emerald is another beautiful stone that Although it might match sapphire’s The glory of this large amethyst is its
requires care during wear. brilliant blue, tanzanite is a softer gem color and unique cut. It’s a softer gem,
that requires caution when worn as a though, so care during wear is important.
ring stone.
Robert Weldon/GIA
Sapphires are tough, durable gems. This
fine example from the famous Kashmir
mines is a gem that can truly withstand
everyday wear.
Valerie Power/GIA
Cultured pearls are perennial favorites as ring stones, but many experts counsel
caution because pearls are softer than many other gems. With proper care, these
lustrous beauties will last a lifetime.
Gemstone Ring Cautions

Because of their position on wearers’ hands, gemstone rings are exposed
to more potential damage than necklaces and earrings. Gems in rings have
to be fairly hard, especially if they’re worn frequently. Durable gems like
diamonds, rubies, and sapphires are often used in engagement and wedding
rings because they can withstand being worn on the hand all the time.
You’ll also see softer gems like emeralds, pearls, opals, garnets, tourmalines,
or amethysts in rings, but they’re more vulnerable to damage, making them
less suitable for everyday wear. Certain stones are selected because their
colors complement outfits worn for particular occasions.
The flash of color that plays over a fine
Vibrant stones like tanzanite and peridot can be excellent choices for rings
opal’s surface as it moves makes it highly that are worn only occasionally. They provide the spectacular effect of a
desirable. It’s a softer gem, so advise your large stone without the expense of a comparably sized diamond. Colored
clients not to expose it to excessive wear. stones can also take starring roles in high-priced, one-of-a-kind rings.
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Selling Rings
Eric Welch/GIA
You’ll meet a wide variety of customers, all
in the market for jewelry that’s just right
for them. Try to adjust your approach to
suit their demeanor.
Valerie Power/GIA
As a sales associate, you project your store’s image and market position.
First Steps of the Sales Process

n What steps should you take to prepare for selling?
n Why is your first greeting essential to your later success?
n How do you obtain the information you need to sell to an individual
customer?
Just like an airline pilot doing a pre-flight check, you should do your own
pre-sales check before you meet customers on the selling floor. The check KEY
should include a review of your appearance, attitude, and knowledge. CONCEPTS
Your clothes, grooming, and accessories should be appropriate for your store Your appearance should be appropriate
and clientele. For example, a jewelry sales associate at Tiffany & Co. would for your store and clientele.
dress differently from a jewelry sales associate at Walmart.
Your attitude is also important. You should always be positive and cheerful,
but be careful not to overwhelm your customers by being overly aggressive.
Simply try to be supportive, friendly, and upbeat.
Start by trying to mirror your customer’s demeanor. If your customer has
a light and breezy attitude, try not to be serious and sullen. If your
customer is technically inclined, you don’t want to be airy and romantic.
If your customer’s pace is slow, try not to be hyperactive.
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Valerie Power/GIA
As you go through your day, check the
prices, weights, and styles of your store’s
jewelry pieces. You’ll benefit by having
this information at your fingertips.
Valerie Power/GIA
Get to know your store’s inventory. The more you know about what you have, the
higher your chances of matching your client’s needs with the jewelry in stock.
Preparing to Sell
There are several things you should know before you can put any sales
techniques to work. First, be familiar with your store’s basic procedures.
Learn how to use the cash registers and other equipment. Know how to
handle credit and debit cards, checks and cash. Learn your store’s policies
on guarantees, warranties, layaways, and returns. Be aware of any
additional services your store offers, like cleaning and repair, shipping,
and gift wrapping.
You should also know your store’s layout as well as the location of the
keys to locked cases. Keep current on sales, specials, and promotions.
Learn what goods you have in inventory, what is available by special order,
and how long it takes for an order to come in.
You should also become familiar with prices. It’s probably impossible to
memorize the price of every item in your store, but you should at least
know price ranges for the goods you have available.
It also helps to be familiar with your competitors and what they offer.
There’s only one effective way to get this information: Visit their stores. If
your competitors are sharp, they’re checking your store too.
Many jewelry purchases are based on romance and emotion, but there’s
no substitute for good presentation and product knowledge. It’s important
to be familiar with your products and how to handle and present them,
and always follow your store’s security policies when showing jewelry.
Handle the merchandise with respect.
When customers ask questions about gems, metals, styles, or anything else,
KEY you must be able to answer them with authority. If you don’t know your
CONCEPTS store’s merchandise, you risk losing sales, no matter how good your selling
Knowledge of your store’s merchandise techniques are. Customers who don’t have confidence in your product
is essential to sales success. knowledge won’t return to your store or send their friends your way.
Once you’ve taken these preparation steps, you’re ready to begin applying
the Seven Steps of a Sale.
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Selling Rings
Sales Step 1—Approach the Customer

What’s more natural than welcoming customers to your store and finding
out what they want to buy? Sales Steps 1 and 2—approaching the
customer and exchanging information—might seem simple, but they’re
actually the most important parts of the sales process. They set the stage
for everything that happens later. Done properly, they make the rest of
the process easier and increase your chances of making a sale.
You can’t possibly anticipate and prepare for every customer situation that
might arise. But many situations are fairly common, so it makes sense to
develop and practice ways to respond to them. You can do that by brain-
storming and role-playing with your fellow sales associates. Once you’ve
come up with approaches you think will work, try them with your
customers. Keep the methods that succeed and reject those that fail.
Also be aware that what works for another sales associate might not work for Eric Welch/GIA
you. Take notes and develop your own personal set of successful approaches.
Rather than being interested in technical
You don’t want to sound as if you’re speaking from a memorized script— information, many women want to spend
that sounds unnatural and makes customers wary. But if you understand the time developing a relationship with a
principles behind what you’re trying to do, the words and actions will follow. store or a particular sales associate.
Research shows that women generally want to develop a professional

relationship with the retail sales associate. Men, on the other hand, KEY
generally want to complete the transaction as quickly as possible and CONCEPTS
move on. Since there are more women professionals in the workforce
than ever before, and since women’s jewelry is increasingly a self- The approach and information exchange
purchase, you’ll want to adjust your sales techniques to address this are the most important parts of the
important, fast-growing market. sales process.
Almost everyone has a built-in resistance to being talked into buying
something. When you approach and start talking to your customer, the first Your goal during the approach is to
thing you have to do is overcome this resistance. For this reason, it’s important overcome your customer’s built-in sales
that your actions don’t generate a negative response from your customer. resistance.
Eric Welch/GIA
Many male customers are interested in specific technical features or details of a piece.
If the jewelry item meets their specifications, you might be able to complete the
transaction quickly.
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Andy Lucas/GIA
Find out as much as you can about your customer and her needs. Ask questions that
help you determine if the jewelry is for her or a gift for a loved one. You can also get
clues for possible jewelry purchases from the way a person dresses and acts.
Consider the Situation

As you approach your customer, there are three things to consider:
KEY yourself, your customer, and the circumstances.
CONCEPTS
No matter what the situation, you won’t succeed and be happy in your
Each customer and each situation work if you’re not being yourself. You can be flexible and adapt, you can
requires a different approach. play up parts of your personality and downplay others, but if you’re not
faithful to your true self, chances are you’ll fail.
Each customer is different. By observing your customer and mentally
noting any outward clues, you can customize your approach and increase
your chances of making a good first impression. Your customer’s gender,
physical presence, style of dress, grooming, accessories, and demeanor
should influence your approach. Your opening lines to a teenage girl, a
romantic young couple, a single man, and a grandmotherly woman should
certainly be different.
Your approach might be influenced by the market level of your store and
merchandise, how and where in the store the displays are located, what
type of merchandise your customer seems interested in, and whether or
not your store has an advertised or in-store sale or special promotion in
progress. It can also depend on the weather, the traffic, news events, or
any number of other factors.
Remember that most customers will try to resist salespeople. Even when
they’ve decided to buy, they want to be sure it’s their own choice, not
yours. Think of your own reaction as a retail customer. When a salesperson
approaches before you ask for help, you probably don’t welcome him or
her with open arms. You’re probably wary. You don’t want to be persuaded
to buy more than you want or something you don’t want at all.
Since most customers probably start out on the defensive, there are two
broad types of approaches you can take: the merchandise approach and
the friendship approach.
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Selling Rings
Robert Weldon/GIA Valerie Power/GIA Valerie Power/GIA

This fabulous tourmaline provides You can point out that this ring has an Using the merchandise approach, you
stunning red hues, but it’s more affordable unusual mounting, and the central gem might draw a client’s eye to the smooth
than a ruby of equivalent quality. A client has an interesting checkerboard cut. ruby cabochon that gleams like an
expecting a big price tag might be thrilled Both features might intrigue a customer. ember in this ring. The neat baguette
by the prospect of owning a piece like this. accent diamonds provide a potential
talking point, too.
The Merchandise Approach
Barry took the merchandise approach with Jennifer in the earlier scenario.
The choice was easy for him because she asked about the ring when she
came in. It was natural and appropriate for him to comment on the ring
and ask if she wanted to take a closer look. He empathized with her for
having lost the ring her husband had given her.
Barry sensed Jennifer knew something about gems and jewelry, so he
added facts about the amethysts’ color quality. When Jennifer asked about
the stones’ weight, Barry knew he had taken the right approach. Still, he
didn’t want to get too technical, so he complimented the stones’ color
using imagery that gave the ring romance and mystery.
In the end, Jennifer bought the ring, proving Barry had judged the
customer and the circumstances well, and had been correct in taking the
merchandise approach.
The Friendship Approach

If Jennifer had not asked about a particular item, Barry might have tried
the friendship approach. Its initial purpose is to reduce or eliminate a
customer’s resistance by establishing a person-to-person rather than a
salesperson-to-customer relationship.
This approach starts with your opening line. Always use a friendly greeting Open-ended question—A question
followed by an open-ended question. That’s a question that can’t be that requires a thoughtful, specific
answered with a simple “yes” or “no.” It encourages your customer to answer other than “yes” or “no.”
think about and respond to what you’ve asked, and it usually leads to an
exchange of information. It should be a non-business question. You want
to show sincere, personal interest and relate to your customer as if you’ve
found a new friend and you’re curious to know something about her or him.
A good greeting that includes an open-ended question might be something
as simple as, “Good morning! The mall is packed today. Where did you
find a parking space?” You might comment on something you noticed
about your customer: “Hello! I see you’re driving one of those new
hybrids. What made you choose it?” Or it could be a comment that compli-
ments the customer’s appearance: “Hi there. Where did you get that great
outfit?” The important thing is to start the customer talking.
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Eric Welch/GIA
If you show genuine interest in your customers’ needs and respond effectively to what
they say, you’re far more likely to match them to the jewelry piece they’re looking for.
Once you’ve engaged your customer in conversation, keep asking ques-

tions that follow her lead. The idea is to keep her talking. If given the chance,
most people’s favorite topic is themselves. By giving your customer free
rein, you can break down her defenses and get the information you need to
help her make a purchase. Be a good listener, and always make eye contact.
After talking with your customer and establishing a connection, you can
move toward doing business. One way to make the transition is by asking,
“What brings you into our store today?”
Occasionally, your customer will know or have a very good idea about
what she wants. This makes a sale fairly easy because your customer has
already decided to buy. All you have to do is guide her to the right
purchase. You might be able to direct your customer to jewelry that’s more
expensive than, or in addition to, what she had in mind, but you’re
basically helping her reach a goal she’s already set.
I’m Just Looking

Often, customers aren’t in your store to buy or aren’t sure what they’re
looking for. In either case, they might say “I’m just looking.” Variations
might be, “I’m just browsing,” “I just want to see what you have,” “I have
some time to kill,” or “I’m waiting for my husband (wife) to finish next
door.” These are a customer’s way of saying, “Go away, don’t bother me.”
Take-away—A two-part sales You can deal with these responses by using a technique called a take-away.
technique that removes a customer’s Its purpose is to remove the customer’s just-looking defense. It has two parts.
just-looking defense. First, you give your customer permission to look. Next, you pose an open-
ended question that essentially asks how you can help her look.
The exchange might go like this:
“Oh, nothing special. I’m just looking.”
“Looking is important. You might find a treasure. What kind of treasure
would you like to find?”
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Selling Rings
Or like this:
“I had some time to kill.”
“Well, jewelry-store browsing is surely a good way to kill time. Is there
something you’d like to find before the time runs out?”
There will always be those customers who really are just looking and do Turnover—Giving another sales
want you to go away. If they’re determined, there’s not much you can do. associate a customer you’re not
You might sense that you and a particular customer aren’t compatible. It’s compatible with.
inevitable that some people, for whatever reason, won’t like you. If you
sense that’s the case, you might try a turnover.
To do this, you say something like, “OK, I hope you enjoy looking,” and
walk away. Then you ask another sales associate whose looks and manner
are completely different from yours to approach the customer and start over.
Another effective technique to try with a customer who isn’t shopping
for a specific item is to show great enthusiasm about particular pieces in
your store. You might have some new merchandise, for example, or uniquely
designed pieces, or some items that contain gems that were recently in the
news. If you don’t act as if you’re trying to sell something, your customer
might share your enthusiasm and buy.
Eric Welch/GIA
It’s important to pay attention to your customers’ demeanor when they enter your
store. Don’t expect the same approach to work every time.
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Valerie Power/GIA
You should try to ask the right questions and listen carefully to your customer’s
answers. The information you gain will help you respond to her needs and provide the
jewelry she’ll want to buy.
Sales Step 2—Exchange Information

Most people don’t shop in a jewelry store every day. Many customers are
unfamiliar with gems and jewelry and don’t have a clear idea of what they
want. Your job is to help them narrow their choices and choose the jewelry
that’s right for them.
To accomplish this, it helps to ask open-ended questions, listen closely

to the answers, and respond accordingly. In the process, you’ll learn what
your customer’s tastes and needs are and determine her readiness to buy.
The more you know about her, the better you’ll be able to help her choose,
and the better chance you’ll have to sell her something at a higher price
or even sell her additional merchandise as part of the sale.
The more effectively you exchange information at this stage, the less time
it’ll take you to complete the sale. Start with broad questions and narrow
down to specifics. Find out what category your customer is interested in.
Does she want a necklace? A ring? A bracelet? Perhaps a set? Then, within
that category, what metal, what gem, what cut, what jewelry design? Then,
which specific item?
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Selling Rings
As a jewelry sales
associate, you
must find out as
much as you can
about your
customer’s needs.
You should also
provide them with
information that
will help them
select the jewelry
pieces that are
perfect for them.
Eric Welch/GIA
As you progress through the questions, try to respond to your customer’s

ideas, but also try to steer her toward the most expensive goods you sense
she’ll buy and leave open the possibility of additional sales.
A Sample Information Exchange

After Larry, a jewelry sales associate, approaches his customer, a middle-
aged woman named Cheryl, the information exchange might go like this:
Larry: Are you shopping for yourself or someone else?
Cheryl: I’m looking for a gift for my mother.
Larry: Is it a special occasion?
Cheryl: It’s my parents’ fiftieth wedding anniversary.
Larry: That is a special occasion. Would you like gifts for both your parents?
Cheryl: No, just something nice for my mom. My father has never worn
any kind of jewelry.
Larry: Is she especially fond of a certain gemstone or metal?
Cheryl: She’s always been fascinated by opals.
Larry: I can show you some very nice opal jewelry. The fiftieth is the golden
anniversary, of course, so perhaps yellow gold would be the best metal.
Do you think your mother might like an opal necklace?
65
Cheryl: Not really. The only necklaces she’s ever worn are pearl strands.
KEY What about a bracelet?
CONCEPTS
Larry: A bracelet might not be such a good idea. Opals aren’t hard and
When customers trust you and your durable enough to be worn on the wrist. But I can show you a lovely black
store, they’re more likely to buy from opal brooch. It’s beautifully designed in yellow gold.
you and to tell others about their good Cheryl: Oh, it is lovely! But its size tells me it’s beyond my budget.
experience.
Larry: Well, we do have these matching earrings. Do you think your mother
would like them?
Gems and jewelry are attractive to
thieves because most items are small Cheryl: They’re perfect! Although I still wonder if the price is too high.
and valuable. Note that Larry started by using the word “shopping” rather than the more
intimidating word “buying.” He didn’t ask how much Cheryl wanted to
spend, which is never a good idea because it’s too limiting, and he didn’t
dwell on price. Note also that he framed his questions according to what
the gift recipient, rather than the gift buyer, might like.
During this short exchange, Larry skillfully accomplished several things:
He determined that Cheryl was shopping for a gift for her mother’s fiftieth
wedding anniversary. He tried to include a gift for her father but found
that wasn’t his customer’s intention. He learned that Cheryl’s mother was
fond of opals. He suggested and got no resistance to yellow gold. He
learned that her mother probably wouldn’t want an opal necklace.
Objection—A temporary obstacle, He gave good reasons for discouraging an opal bracelet. He knew he had
raised by the customer, that delays or a very expensive black opal and yellow gold brooch and more affordable
even stops the sale. matching earrings in stock, so he offered the brooch first, knowing if she
refused it he could fall back to the earrings. Cheryl then raised a price
Word of mouth—Spoken information objection that might have delayed or even stopped the sale. Fortunately,
passed from person to person. Larry was ready to move to the next step, Build Value, and to respond to
his customer’s hesitation about price. You’ll learn about this step in the
Scam—A fraudulent business next assignment.
scheme or swindle. Underlying this exchange of information is a very important point: Larry
is establishing and building trust. When customers trust sales associates
and a store, they buy, they return, and they tell others about their good
experience by spreading favorable word of mouth.
Store Security
n What types of theft are jewelry retailers vulnerable to?
n How can you help prevent thefts and scams?
Gems and jewelry are particularly attractive to thieves because they’re
small and valuable. After all, it’s much easier to steal, conceal, and sell a
valuable diamond than, say, a luxury automobile.
As a beginning sales associate, you’ll probably work in a store where the
security system and procedures were established before you started, and
modified over time to be as effective as possible. Sales associates’ security
Joel Beeson/GIA
roles vary from store to store, and learning yours will be part of your pre-
It's good policy to keep everyone locked employment or on-the-job training. As you gain experience, you might be
out of your place of business before and able to suggest changes if you find areas where security might be improved.
after business hours--even delivery
personnel. You should also always ask for A retail store is vulnerable to several types of theft. These include burglary,
identification from people you don't know. robbery, smash-and-grab, shoplifting, and fraudulent schemes called scams.
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Selling Rings
Eric Welch/GIA
Most stores make sure that jewelry that exceeds a certain value is removed from
window displays and stored securely in a safe overnight.
Burglary, Theft, and Robbery

Burglars work when stores are closed. You see the results of the break-in
but not the burglars themselves. Most jewelry stores have alarm systems
and other security devices. A simple prevention measure is to empty cases
and window displays and store the items in a safe at night.
Smash-and-grab thieves rely on surprise and speed. They smash a store
window or display case, grab as much merchandise as they can, and flee.
They steal and disappear, sometimes in seconds.
Many stores use shatter-resistant glass to deter smash-and-grab thieves.
It’s one of several ways to prevent or minimize losses. Another method is
to spread the most expensive items around the store. That way, a thief who
breaks into a case won’t steal all the best pieces. Also, smash-and-grab
thieves tend to take what’s easiest to reach, so another deterrent is to keep
expensive items toward the back of a window display.
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Joel Beeson/GIA Eric Welch/GIA

Emptying window displays of merchandise helps discourage In-store security systems range from simple store safes to
thieves from breaking windows to rob the store at night. complex systems like this one. At night, the shelf in the display
cabinet lowers and a steel panel slides over the valuables so
they don't have to be moved.
Robbery is a face-to-face confrontation with a thief who is usually armed

and agitated. The Jewelers’ Security Alliance, a US organization dedicated
to the protection of jewelers and their businesses, suggests this behavior
in a robbery:
• Do what the robbers say
• Don’t do or say anything other than what the robbers tell you
• Don’t try to disarm a robber or reach for a weapon or alarm activator
• Assume the robber will not hesitate to shoot
• Expect to be threatened, bound, and locked up
• Stay calm
Statistics show that you’re five times more likely to be killed or wounded
KEY if you resist a robber. Trying to use a weapon against an armed criminal
CONCEPTS is both dangerous and ineffective. Don’t try to be a hero. Merchandise is
During a robbery, stay calm and obey replaceable, but your life and the lives of others are not.
the robber’s orders. The risk of a robbery increases when you’re opening or closing a store.
Most stores have procedures that can protect you, so always follow them.
The risk of a robbery is highest during Ideally, you should never have to open or close by yourself.
opening and closing. While you’re locking or unlocking the doors, someone should stand a
short distance away to watch for any suspicious characters in the area.
Then, when you first walk into the store, lock the door behind you. Do
the same when you’re preparing the store for closing at night.
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Selling Rings
Shoplifting
For every $1 lost to burglars and robbers, the jewelry industry loses $300
to shoplifters. As a sales associate, you’ll have more contact with shoplifters
than any other store employee has, whether you know the thieves are
stealing or not.
You can help protect against shoplifting by making sure you never leave
merchandise unattended. Always lock the display cases after showing and
replacing jewelry items, and keep the keys with you.
It’s also important to set up the displays so they’re easy to check. If a case
is crowded, it’s hard to tell if anything is missing. When you set up a ring
tray, fill every space, either with a ring or a placeholder that’s unique to
the store and easy to recognize. Arrange the rings in a geometric pattern
so anyone can tell at a glance if one is missing. It’s helpful to map the
displays and to keep the maps current.
Show only one item at a time when you’re helping a customer make a
selection. If you have several items out on a counter, it’s easier for a thief
to steal or switch an item, or to grab them all and run. And make sure the
same person who takes an item out of the case is responsible for returning
it. That way, there’s no doubt who’s handling a particular item, and it’s
easier to keep track.
Pay close attention to your customers. Make eye contact with and greet
everyone who comes into your store. Besides being a good sales technique, KEY
it discourages thieves because they immediately know you’re aware of CONCEPTS
them. Making a habit of this allows you to create a mental picture of
anyone who looks suspicious. Focus on features like gender, age, and A code word or phrase can help you
height rather than changeable things like clothes. If you have suspicions, alert your co-workers to suspicious
signal the other employees by using a prearranged code word or phrase. behavior.

Many jewelry stores have extensive inventories. Preventing Be sure to keep track of all the jewelry items you show a
losses from shoplifting is a major challenge. customer during a potential sale.
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Shutterstock
Make sure you follow your store’s guidelines for accepting credit card payments. It’s
one way of guarding against scams.
Scams
A scam is a fraudulent scheme used to make money by dishonest means.
It looks like a legitimate business transaction, but one of the parties
involved is being deceitful. Your store probably has very specific procedures
to help protect against scams.
Scams sometimes involve bad checks. Even if you verify a check with the
customer’s bank or use a bank’s instant electronic check verification
service, there’s nothing to stop a scammer from stopping payment. This
even applies to cashier’s checks, which many people think are foolproof.
Identity theft is a type of scam that has become quite common. You might
encounter a customer who represents himself or herself as someone else
and uses that person’s credit cards and forms of identification to illicitly
buy gems and jewelry. Immediately be suspicious of an unfamiliar
customer who is casually or quickly spending a great deal of money.
Asking for at least two forms of identification and checking them closely
is one way to protect yourself and your store.
Switching stones is another common scam. You might show a dishonest
customer an expensive ruby and wind up with an inexpensive garnet
because your customer distracted your attention and switched stones.
In this assignment, you learned about rings and the beginning stages of
the selling process. You also learned that store security awareness is an
important part of your job. In the next assignment, you’ll learn about
earrings, necklaces, bracelets, brooches, and pins, and then move on to
Sales Step 3: Build Value.
70
Selling Rings
The USA Patriot Act

Suppose a first-time customer comes into your store and, with no
comparison shopping or questions, buys the most expensive piece
in your inventory for cash. As you write out the receipt for $136,000,
the customer hesitates to give a name and address. Would you be
suspicious? Would you wonder if you were taking part in an illegal
transaction?
Since January 1, 2006, jewelry trade members have had to comply
with certain provisions of the USA Patriot Act that before that date
applied only to financial institutions. The purpose of those provisions
was to guard against terrorists and other criminals laundering illegally
gained cash by buying gemstones, precious metals, and jewelry, and
then converting those universally valuable items back into cash,
making the cash look legitimate.
The USA Patriot Act requires certain trade members to establish anti-
money-laundering programs within their businesses. The provisions
are complex and require close study to understand and implement.
The Jewelers Vigilance Committee put together a compliance kit
that—for a fee—guides trade members through the maze and
provides helpful forms. You’ll find details on their Web site at
www.jvclegal.org. As an alternative, you can check the US Treasury
Department’s Web site at www.fincen.gov.
KEY
CONCEPTS
A setting’s primary purpose is to hold a gem securely. Your goal during the approach is to overcome your customer’s
built-in sales resistance.
Engagement and wedding rings are almost always set with
diamonds. Each customer and each situation requires a different approach.
Modern three-stone jewelry is promoted to represent the past, When customers trust you and your store, they’re more likely
present, and future of a relationship. to buy from you and to tell others about their good experience.
Gems and jewelry are attractive to thieves because most items

Your appearance should be appropriate for your store and
are small and valuable.
clientele.
During a robbery, stay calm and obey the robber’s orders.
Knowledge of your store’s merchandise is essential to sales
success. The risk of a robbery is highest during opening and closing.
The approach and information exchange are the most A code word or phrase can help you alert your co-workers to
important parts of the sales process. suspicious behavior.
71
Key Terms
Anniversary band—Ring with a row of gems of the same Invisible setting—Setting style with grooved gems set
size and cut. between metal rails that hold them in place.
Ballerina ring—A ring that looks like a ballerina’s tutu, Mother’s ring—Ring personalized with children’s birthstones.
with a central stone encircled by rectangular diamonds.
Objection—A temporary obstacle, raised by the customer,
Bead setting—Setting style with gems held in place by that delays or even stops the sale.
rounded beads, usually pushed up from the surrounding
metal. Open-ended question—A question that requires a
thoughtful, specific answer other than “yes” or “no.”
Bezel—A thin metal strip that wraps around a gem to hold
it in place. Pavé setting—Bead setting with many small gems placed
close together, often in a honeycomb pattern.
Birthstone—Gem associated with the month in which a
person was born. Right-hand ring—A diamond ring promoted as a self-
purchase and worn on a woman’s right hand to signify
Bypass (crossover) ring—Ring where the ends of the shank independence and power.
pass each other rather than meeting at the head.
Saddle ring—Hololith with a decoratively carved top.
Cabochon—A smoothly rounded polished gem with a
domed top and a flat or curved base. Scam—A fraudulent business scheme or swindle.
Channel setting—Setting style with gems held in grooves, Semi-mount—A setting with side gems and space for a
or channels. center stone of the customer’s choosing.
Cluster ring—Ring with a group of small stones set closely Shank—The part of a ring that fits around the finger.
together or a large central gem surrounded by several
smaller ones. Signet ring—A flat-topped ring that might be engraved
with initials or other unique insignia.
Cocktail ring—A flashy, oversized ring, often set with less-
expensive gems. Solitaire—Jewelry piece with one main gem, typically a
diamond.
Engagement ring—Ring set with a gem, usually a diamond,
given to signify an intention to marry. Take-away—A two-part sales technique that removes a
customer’s just-looking defense.
Eternity ring—Ring encircled with a row of closely
matched gems. Tension setting—Setting with gem held in place by pressure
between opposing pieces of platinum or karat gold.
Findings—Small components used to make or repair
jewelry. Trio—Matched ensemble consisting of an engagement
ring, a woman’s wedding ring, and a man’s wedding band.
Flush setting—Setting style with a gem set directly into the
metal with its table at the same level as the metal surface. Turnover—Giving another sales associate a customer
you’re not compatible with.
Guard—A ring worn to enclose and enhance another ring;
also a bar secured across a ring’s shank to reduce its Wedding ring—A ring, usually a plain band, worn by
diameter and keep it from sliding off. someone who is married.
Head—The part of a mounting into which the main gems Wedding set (duo)—A pair consisting of a woman’s
are set. matched engagement and wedding rings.
Hololith—Jewelry carved entirely from a single gemstone, Word of mouth—Spoken information passed from person
often jade. to person.
Illusion setting—Stone set within a metal rim that makes Wrap—A ring designed to dress up a second ring, which is
the stone look bigger. often a solitaire.
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Selling Rings
n What are the two main parts of a ring?
n What’s the most popular gemstone for engagement, wedding, and anniversary rings?
n What are some best-selling ring styles?
n What steps should you take to prepare for selling?
n Why is your first greeting essential to your later success?
n How do you obtain the information you need to sell to an individual customer?
n What types of theft are jewelry retailers vulnerable to?
n How can you help prevent thefts and scams?
73
Selling Necklaces, Bracelets, 3
Earrings, and Pins
Necklaces and Chains . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78
Necklace Styles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80
Neck Chain Styles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82
Bracelets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84
Bracelet Styles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86
Cuffs and Bangles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89
Earrings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89
Earring Styles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91
Brooches . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92
Brooch Styles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92
Sales Step 3—Build Value. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94

Demonstrating Jewelry . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94
Emotional and Tangible Value . . . . . . . . . . . . . . . . . . . . . . . . . . . 95
Use a Positive Approach . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96
Key Concepts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100
Key Terms. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100
Questions for Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101
75
• Identify a wide variety of necklace and neck chain styles and lengths.
• Define bracelet, earring, and brooch styles.
• Demonstrate the operation of various types of jewelry clasps.
• Address the emotional and tangible aspects of jewelry value.
76
Selling Necklaces, Bracelets, Earrings, and Pins
Vianna Joias
Although rings are the most widely sold jewelry articles, necklaces and earrings are
also very popular. Tourmaline and peridot accent this coordinated suite.
Selling Necklaces, Bracelets,

Earrings, and Pins
Diana was smiling to herself as she entered the jewelry store. Alice, one of
the store’s sales associates, noticed her and approached her in a friendly way.
Alice said, “You look very pleased with yourself. What brings you into
our store?”
“I am,” Diana replied. “My boss gave me a promotion and a raise this
morning, and I’m here to find something nice to celebrate the occasion.”
“Congratulations! And I think I have just the thing that will help you do
that,” said Alice. She had quickly assessed Diana’s coloring, which was
nicely complemented by her choice of a tastefully cut business suit. She
also noticed that Diana’s only jewelry was a lovely pair of earrings with
small stones that looked like red garnets. These observations gave her an
idea of what would be suitable. She led Diana to a glass display case on
the opposite side of the store and pointed to a beautiful 18-karat gold
necklace set with a ruby cabochon.
Alice pointed out the highly polished gem. “It’s a ruby,” she said. “Isn’t
the color lovely?”
77
“Yes, it is,” Diana replied warmly. “But I’ve never owned a ruby. I’m sure
it’s much too expensive.”
Alice knew that this was a specific price objection that she couldn’t ignore.
She also knew that a good way to turn a price objection around is to
emphasize value.
“Actually, this ruby is an excellent value,” Alice said.
“Really?” Diana replied. “What makes it an excellent value?”
“The finest rubies are faceted, natural, and untreated,” Alice replied. “And
you’re right, they’re rare and very expensive. But this ruby is a cabochon
and it’s also heat treated. It has the look of a fine-quality ruby, but it actually
reduces your cost in two ways.”
“Two ways?” Diana asked.
“Yes,” Alice replied. “A cabochon is less expensive than a faceted stone.
And heat treatment permanently improves the color and clarity to give a
Israel Itzkowitz
good-quality ruby a fine-quality look.”
Each of these heart-shaped pendants
contains 21 square or radiant-cut gems, As Diana paused to consider this, Alice unlocked the case, took the
all expertly matched and set. necklace out, and laid it carefully on the counter pad. Then she suggested,
“Here, just try it on.”
Diana took the piece from Alice, draped it around her neck, and turned
to let Alice fasten the clasp. As Diana turned back around, Alice adjusted
the counter mirror so they both could see the necklace.
“Oh, the color is perfect for you,” Alice said. “Don’t you agree?”
“Yes, I like it very much,” Diana replied. “But I’ve been told to be careful
with some of my other jewelry—that gems can scratch or fall out of their
mountings. Can that happen with this ruby?”
“Ruby is the second hardest gem after diamond,” Alice replied, “so unless
you abuse it, it won’t scratch. And a high-quality bezel setting like this is
unlikely to fail. But if it does, it’s guaranteed—we’ll repair it free.”
Satisfied with Alice’s responses to her concerns, Diana smiled to herself as
she turned back and forth to admire her new necklace in the counter mirror.
Necklaces and Chains

n What are the most common necklace lengths?
n What has caused the increased popularity of cultured pearl strands?
Strand—A simple necklace typically n What are some popular chain styles?
composed of pearls or beads.
In simple terms, a necklace is an ornament worn around the neck. But a
Pendant—An ornament or gem necklace can take a variety of forms. It can be a strand of pearls or beads,
suspended from a strand, band, or a band of precious metal with or without gems, a chain decorated with
chain. gems or other objects, or an ornamental pendant suspended from a strand,
band, or chain.
Choker—A short, fairly tight-fitting Necklace lengths also vary. Neck chains are available in several standard
necklace that hugs the throat. lengths: 16 in. (40 cm), 18 in. (45 cm), 20 in. (50 cm), 24 in. (60 cm), 30
in. (75 cm), and 36 in. (90 cm). Other popular necklace lengths include
Collar—A wide necklace worn above the choker, a short, fairly tight-fitting necklace that hugs the throat, and
the collarbone. the collar, a wide necklace worn above the collarbone.
78
Eric Welch/GIA
This contemporary yellow gold and gem-set necklace
reproduces a traditional style from India.
Cultured Pearl Association of America, Inc. Vianna Joias

The pearl strand is a classic and flexible style that can coordinate This bold pendant showcases different quartz gemstones in rich
with a variety of outfits. These uniquely contoured pearls— earth tones. A rough leather strap completes the “earthy” look.
called baroques—are highly fashionable today.
Alexandra Hart/Adam Bujnowski Sylvia Bissonette

This handmade silver necklace has cast bronze accents. It’s a A choker is designed to fit tightly around the wearer’s neck.
collar style that’s worn above the collarbone.
79
Necklace lengths
16″ chain
18″ chain
20″ chain
24″ chain
30″ chain
36″ chain
Peter Johnston/GIA
Necklaces and chains come in several standard lengths for daytime to evening wear.
Necklace Styles
The pendant necklace is very popular with both men and women. The
pendant is often attached with a piece of metal called a bail. There’s also
a type of pendant that fits directly onto the chain without a bail. It’s called
a slide.
The diamond solitaire pendant necklace is a best seller in today’s market.
The diamond can be any size and shape, and it’s often prong-set, but might
be bezel-set.
Bail—The piece of metal that
attaches a pendant to a chain or The cultured pearl strand is another popular style. Its popularity has risen
strand. with increases in the number of types of cultured pearls in the marketplace.
The traditional cream and white colors of akoya cultured pearls have been
Slide—A pendant that attaches supplemented by deeply hued Tahitian and golden South Sea cultured
directly to a chain without a bail. pearls, and Chinese freshwater cultured pearls in exciting new hues.
Some necklaces consist of multiple strands layered or twisted together. A
Enhancer—A removable pendant bead or pearl strand might also feature an enhancer—a removable
designed to accent a strand of beads pendant that clips onto the strand to give it a different look.
or cultured pearls.
The station necklace features gems, beads, or cultured pearls at regularly
Station necklace—A necklace with spaced intervals on cord, chain, or wire. The intervals are called stations.
gems, cultured pearls, or beads Tiffany’s popular Diamonds by the Yard is a classic station necklace, with
positioned at regular intervals. round brilliant diamonds spaced along a gold or platinum chain.
80
The soft shimmer of pearls and a classically inspired yellow gold

mounting partner perfectly with bezel-set colored gems in this
double strand necklace. It’s accompanied by matching earrings.

Two diamond solitaires are paired in this delicate necklace. The In this contemporary interpretation of a station necklace, dark
larger diamonds’ yellow color adds interest to the piece. Tahitian cultured pearls punctuate a chunky white gold chain.
Susan Sadler Fine Jewelry Design Frank Centrilla Vianna Joias

A bold red tourmaline enhancer adds A parade of round brilliant diamonds Quartz gems range from strong purple
contrast and sparkle to a seawater blue range from small to large in this necklace. amethyst to the faintest rosy blush in
necklace made from tumbled rough This style is marketed as a journey this big, bold designer necklace.
aquamarine. necklace.
81
Vianna Joias
The market encompasses a great variety This unique necklace rests on the shoulders. An artisan fashioned each large link
of chain designs and finishes. Chain individually.
necklaces often combine different gold
alloy colors and textures.
Neck Chain Styles
Personal adornment with neck chains has a long history. They were
especially popular in the Renaissance and Victorian eras. Early artisans
fashioned chains by hand. Hand fabrication means each link must be
individually shaped, attached to the next link, and soldered shut, making
this a labor-intensive and expensive process.
Some of today’s designers still use hand fabrication to create unique chains
with intricate patterns, and links in unusual abstract shapes. Even so, most
modern chains are machine-made.
The unadorned chain comes in styles for both men and women. A typical
chain is a series of linked loops of metal wire, but it might consist of
connected balls or disks instead.
The curb link chain is a jewelry store basic. The style consists of oval links
that are twisted and then flattened so the chain lies flat. Curb link chains
are strong yet flexible, and they’re usually easy to repair.
Curb link chain—Chain style with
The figaro chain is a fashionable variation on the curb link chain. The
flattened oval links.
classic figaro chain consists of three short links between each pair of long
links. Other figaro styles have a similar repeating pattern, but the number
Figaro chain—Type of curb link chain
of short links varies.
with a repeating pattern of long and
short links. Rope chains usually consist of attached segments of two or more oval links
each. This classic style, which resembles woven rope, offers a substantial,
Rope chain—Solid or hollow chain opulent look, especially in wider widths. The links of a rope chain might
that usually has oval links and be solid or hollow, and they sometimes feature small flat surfaces that
resembles a woven rope. give them extra sparkle.
82
GIA & Tino Hammid Robert Weldon/GIA

The individual links in this hefty chain have a distinctive At the heart of this special necklace is an 18K gold chain. A
hammered finish. The texture contrasts nicely with the satiny tapestry of green garnets, tourmalines, peridots, and cultured
luster of the pearls. pearls hang like charms from its links.
KEY
CONCEPTS
Most modern chains are machine-made.
Shutterstock
Substantial feel and rich yellow color make this chain especially desirable. This
pattern of interlocking links is called herringbone.
Box chains are made up of angular links joined together by solid metal Box chain—A chain consisting of
squares. The combination gives the chain the appearance of a succession angular links joined by solid metal
of tiny boxes. squares.
At first glance, omega chains look like hoops of solid metal. Closer Omega chain—A flexible chain
inspection reveals tightly joined, diagonal segments that let the chain flex consisting of tightly joined diagonal
and conform to the shape of the wearer’s neck. segments.
83
Bracelets
n What is one of today’s most popular bracelet styles?
n Which bracelet types are rigid rather than flexible?
Bracelets are among the earliest adornments. In ancient Egypt, men and
KEY women frequently wore gold bands or twisted gold wire on their wrists
CONCEPTS and upper arms. Early bracelets were often decorated with figures of
Bracelets are among the earliest personal snakes or sphinxes.
adornments. Bracelets remained popular until the fall of the Roman Empire (476 AD),
when the long sleeves worn in the Middle Ages (476 AD to 1517 AD)
sent them into obscurity. Bracelets didn’t become fashionable again until
the 1800s.
©Getty Images, Mimmo Jodice/photography

Bracelets have been popular since the time of the Roman Empire. This gold bracelet
from Pompeii features a common motif—a serpent’s head.
©GIA & Tino Hammid/photography ©GIA & Tino Hammid/photography

In the 1800s, Victorian designers revived This is also a Victorian revival of Greco-Roman style, with a trio of classically inspired
many bracelet styles. This flexible bracelet carvings in layered agate.
is a reinterpretation of earlier Greek and
Roman motifs.
84
Robert Weldon/GIA Uwe Wruck

This 22K yellow gold and pearl bracelet features a safety chain A contemporary designer united the simplicity of older diamond
that provides extra security if the clasp accidentally unfastens cuts with smooth yellow gold settings for a sleek look. Each
or breaks. bracelet holds 18 old-mine cut diamonds, for a total gem weight
of almost 75 carats.
This bracelet showcases natural-color cultured pearls strung with multicolored

sapphires in 18K green gold mountings.
85

These playful and inexpensive silver bracelets incorporate chunky Rich purple enamel provides contrast for a striking yellow gold
tablets encrusted with glittering tiny crystals. Their iridescent abstract design. Except for the clasps, each link is identical.
appearance is caused by a thin metal coating applied in a They were produced using the lost-wax casting process.
laboratory.
Bracelet Styles
Some bracelet styles might be set with gems. Others might display the beauty
of precious metal alone. Some bracelets are flexible, while others are rigid.
A bracelet might be a simple chain worn around the wrist, and it’s often
paired with a matching neck chain. Chain bracelets are worn by both men
and women. Curb link chains, for example, are often used in traditional
men’s and women’s identification bracelets.
The typical length for a woman’s chain bracelet is about 7 in. (18 cm).
Bracelets might be made in other lengths to be worn around the upper arm
or ankle.
Tennis bracelet—A flexible bracelet The diamond tennis bracelet is one of today’s most popular bracelet styles.
set with a line of small matched gems, It’s a flexible band of precious metal set with small faceted gems—
typically diamonds. typically diamonds. The gems are matched in size and set in a line that
encircles the wrist.
The tennis bracelet is actually the classic straight-line bracelet with a new
name. It got that name from champion tennis player Chris Evert. Evert’s
diamond straight-line bracelet slipped off during a televised tennis match.
She stopped the match to retrieve it, calling it her “tennis bracelet,” and
the name became part of jewelry history.
86
Hamilton Jewelers
Large gems in pastel colors give this
bracelet style and heft. The piece is
accented with a diamond-set clasp.
Eric Welch/GIA
This upscale diamond line bracelet features colorless emerald cuts and larger yellow
radiant-cut gems.
Peter Krasilnikoff
Charm bracelets are still popular today. They’re easily customized by the wearer, who
can add charms to celebrate important life events.
Charm bracelets are decorated with one or more small ornaments, or Charm bracelet—A bracelet
charms, which might be beads or cast metal figures, and are sometimes consisting of one or more small
set with cultured pearls or gems. Many bracelets come with the charms attached ornaments.
already attached, but some allow the wearer to buy charms separately
and add them.
87
These flexible cuffs are crafted of stainless steel rather than

white gold. Both have 18K yellow gold end pieces, and one is
accented with diamonds.
Tino Hammid/GIA
These bracelets feature white gold and pavé-set diamonds. This flexible 18K yellow gold cuff in the crossover style is
enriched by scores of beautiful diamonds. It was produced by
jewelry design house Van Cleef & Arpels around 1945.
Hamilton Jewelers
This beautifully finished 18K yellow gold bracelet features a delicate scroll design
accented with clusters of tiny diamonds.
88
Shutterstock Valerie Power/GIA

These high-karat yellow gold bangles display an arresting degree To some consumers, silver is appealing because of the metal’s
of luster and color. antique appearance. It’s apparent in these tribal bangles from
India.
Cuffs and Bangles

Cuff bracelet—A C-shaped band that
Cuff and bangle bracelets are rigid rather than flexible. Cuffs can be wide
fits over the wrist or arm.
or narrow bands, and they’re C-shaped to fit over the wrist or arm. Popular
with the ancients, today they are often plain, brightly polished metal.
Bangle bracelet—A rigid, sometimes
Cuffs might have filigree or openwork designs. Filigree is designed with hinged, bracelet that slips over the
thin, intricately interlaced wire. Openwork is similar, with holes that allow wrist.
the passage of light, sometimes through a gem or gems.
A bangle bracelet can be circular or oval. It might also be a square or Filigree—A design made with thin,
other angular shape. Most bangles are made of precious metal, but they intricately interlaced wire.
can also be fashioned from jadeite, nephrite, or a combination of materials.
Jade bangles are often hololiths, carved from a single piece of rough. Openwork—A design with open areas
that allow the passage of light,
Women sometimes wear several bangles stacked together. Bangles can sometimes through gems.
slip on over the hand or open and close by means of hinge and clasp
mechanisms. Hinged bangles usually have short safety chains to keep Screwback—A device that secures an
them from falling off if their clasps open accidentally. Bangles, like cuffs, earring to an earlobe with a flat-
can be ornate or plain, with or without gems. ended screw.
Earrings
n What factors have influenced earring design and use over the years?
n Which earring types are popular today?
Earrings come in many shapes and sizes, and these face-framing ornaments
have been part of every culture. Earrings of ancient Greece—some repre-
senting boats, animal heads, or supernatural figures—are especially fine
examples of classical design. Over the centuries, earring design has
changed many times in response to fashion and hairstyles.
Earrings might be attached by a wire that passes through a hole pierced
through the earlobe or grip a non-pierced earlobe with a clip or screwback.
The screwback consists of a screw with a flat end that tightens against the
earlobe.
89
Claire Bersani
These classically inspired earrings
feature red garnet cabochons and
freshwater cultured pearls.
© Michael Good Constantine Rota

These earrings blend 22K yellow gold and Earrings provide a rich variety of styles to choose from. A cascade of tiny diamonds in
bronze for a totally unique look. They’re this pair adds grace and sparkle.
formed from flat ribbons of metal, which
are worked by hand into spirals.
Vianna Joias Tino Hammid/GIA Robert Weldon/GIA

A coordinated look can be achieved by Linked platinum rings set with round These earrings feature Tahitian cultured
combining earrings with a matching brilliants add drama to simple diamond pearls in enameled 18K yellow gold
necklace or pendant. The bold combina- studs in these earrings. mountings. They’re secured in the
tion of lighter and darker gem colors is a wearer’s ears by long curved wire backs.
contemporary jewelry fashion trend.
90

Hoop earrings are perennial favorites. Like pearl strands, pearl studs are classic These amethyst earrings show typical
This modern interpretation boasts 18K jewelry items. They can complement stud styling, with smooth metal posts
white gold mountings and natural pearls virtually any outfit. secured by removable butterfly clutches.
accented with tiny diamonds.
Eric Welch/GIA Valerie Power/GIA Hamilton Jewelers

These 18K white gold drop earrings Pearls are the perfect choice for drop Contrasting colored gems in pastel
feature two checkerboard-cut blue topaz earrings. This matched pair of South Sea shades and bolder hues create an eye-
gems and 0.59 carats of diamonds. cultured pearls shares 18K white gold catching display in these colorful
mountings with diamonds and marquise- earrings.
cut rubies.
Earring Styles
The hoop earring is one of the oldest types. The popular modern version Hoop earring—A dangling, circular
is made of tubing, solid wire, or a band that dangles in a hoop-like arc earring made from solid wire or tubing.
from the earlobe. Hoops come in many sizes and styles. They might be
all metal or set with gems. Stud earring—An earring with a small
Unlike hoops, stud earrings don’t dangle, but nestle against the earlobe. ornament or gem on a post, designed
A post passes through the pierced earlobe, and a butterfly clutch—also to nestle against the earlobe.
called a friction back—slips onto the post and locks the earring in place.
The post might also be threaded to screw into the clutch or be designed Post—The part of an earring that
to slide into a spring-loaded clip. passes through a pierced earlobe.
Stud earrings are sometimes plain metal, but many styles feature prong-
set or bezel-set gems or cultured pearls. Diamond stud earrings are very Butterfly clutch—A fitting that slips
popular, especially as wedding, anniversary, or birthday gifts. onto the back of a post to hold an
earring in place.
The addition of an earring jacket can enhance the look of a stud earring.
Earring jackets are detachable ornaments that surround or otherwise Earring jacket—A detachable
adorn stud earrings to create a different look. ornament that surrounds or
Drop earrings—earrings with one or more dangling ornaments—were otherwise adorns a stud earring.
popular during the seventeenth century and parts of the eighteenth
century. They were usually elaborate, made of enameled gold and richly Drop earring—An earring with one or
set with pearls or diamonds. Drop earrings are still popular today. more dangling ornaments.
91
Body Jewelry
People have been piercing their bodies and adorning
them with jewelry for hundreds, if not thousands,
of years. Even so, body jewelry is a fairly modern
addition to the jewelry trade. This unusual category
is more accurately described as body-piercing jewelry.
In Assignment 1, you learned that certain metals—

titanium, niobium, and stainless steel, for example—
are used for body jewelry because they are hypo-
allergenic. Manufacturers use these metals, often
accompanied by lab-grown or natural gemstones,
to design jewelry that wearers insert in pierced
navels, nipples, nostrils, lips, eyebrows, tongues, and This body jewelry clasp
features emeralds in white
other body parts.
gold. The wearer can
choose a charm to finish
The jewelry can be as simple as a post or as
the piece.
elaborate as a circle or two of metal embellished
with a bejeweled pendant or slide. Body-piercing
Body jewelry can be of fine
jewelry is also made from organic and manmade quality. This example
materials, including bone, coral, horn, amber, wood, features a 4.23-ct. tourmaline
glass, acrylic, and polyester. drop and a palladium clasp.
Brooches
n What is one of the oldest pin styles?
n What are some popular brooch design themes?
Brooch (pin)—Jewelry piece that Long ago, people used brooches, or pins, to keep their clothing in place,
attaches to a garment, often by a making them practical as well as ornamental. Today, buttons, zippers, and
hinged pin and catch. hook-and-loop fasteners like Velcro serve this purpose, and pins are worn
primarily as ornaments. In Japan, they still serve both purposes by
Stickpin—A long, straight pin with an decorating ladies’ ceremonial kimonos and also holding the folds of
ornamental top. clothing in place.
Tie tack—A short, ornamental pin that Brooch Styles

pierces and decorates a man’s tie.
One of the simplest and oldest pin styles is the stickpin. This long, straight
pin typically features an ornamental top with an animal motif or other
design, a gemstone, or a cultured pearl. The pin might have a safety catch
that grips the pinpoint at the other end. Women wear stickpins in scarves
or lapels. The version for men—sometimes called a tie pin—decorates a
man’s necktie.
A tie tack is a more modern version of the stick pin. It consists of a short
pin that pierces the tie and secures at the back with a safety catch. The
catch sometimes fits through a shirt buttonhole with a bar and chain that
hold the tie against the shirt. The tie tack is often set with a gem that
appears to float against the tie when the tie tack is in place.
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GIA & Tino Hammid Valerie Power/GIA Robert Weldon/GIA

This buckle brooch from the 1920s uses Green enamel lends color to the clover These graceful contemporary butterfly
colored gems to portray an Egyptian motif design of this crescent brooch. Tiny brooches feature a multitude of rare
against a diamond pavé background. Its diamonds at the center of each cloverleaf gems, including emerald, spinel, sphene,
wearer might use it alone or to secure a add a dash of sparkle. and natural pearls.
fashionable scarf or shawl.
Robert Weldon/GIA Valerie Power/GIA Eric Welch/GIA

Animal designs are common in pins and This bar-shaped brooch is from the early This brooch from the 1800s uses circle
brooches. This antique French example 1900s. At its center is a delicate pale blue and leaf motifs, both of which were
features a fierce eagle with outstretched sapphire. Bar brooches were popular for popular at the time. It’s accented with
wings. lapel wear or for securing a scarf. seed pearls and diamonds.
Van Cleef & Arpels Eric Welch/GIA Valerie Power/GIA

This spectacular stylized lion brooch Stickpins secure scarves or decorate This more natural interpretation of a lion
incorporates pink coral, amethysts, lapels. This example—in the Art Nouveau is crafted of high-karat yellow gold, which
emeralds, and diamonds. style—shows a woman’s head in profile, lends color and texture to the design. A
with a tiny diamond accent in her hair. scattering of tiny gems adds sparkle and
a touch of realism to the branch below.
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Robert Weldon/GIA Robert Weldon/GIA

A glorious velvety purple amethyst is at In this brooch, an orange flame of carved fire opal erupts from the dragon’s mouth.
the center of this Victorian gold and pearl The dragon’s head is engraved yellow gold. The designer used a wide range of gems,
“sunburst” brooch. It can be converted including green sapphires, tsavorite garnets, mother-of-pearl, and diamonds.
into a pendant.
As more women started entering the work force in the 1970s, the brooch
became a popular lapel ornament. Brooches come in a variety of shapes,
including circles, bows, flowers, geometric shapes, and even insect and
animal designs.
Brooches are styled with and without gems. Their designs can be sweet
and sentimental or bold and abstract. Some brooches, especially in estate
or vintage jewelry, have a dangling cultured pearl, pendant, or tassel. Most
brooches fasten to a dress or lapel by means of a pin and safety catch.
The jewelry styles you’ve learned about so far represent a small portion
of the constantly changing world of jewelry fashion. The best way to stay
informed about jewelry trends is by reading trade and fashion magazines.
Robert Weldon/GIA Sales Step 3—Build Value

This beautiful orchid brooch combines n What’s the best way to demonstrate jewelry for a customer?
24K yellow gold, platinum, yellow
sapphires, and diamonds. n What are the two types of value you can use in a sales presentation?
n How do you develop a positive approach?
KEY In the approach and information exchange steps, you met your customer,
CONCEPTS welcomed her to your store, and started a dialogue. You encouraged your
customer to talk. By doing that, you learned something about her and
Trade and fashion magazines can help what she’s shopping for. You eased or overcame her defenses, and you
you keep up with constantly changing began to build trust. You also helped her narrow her choices. Now it’s
jewelry trends. time to demonstrate jewelry, to build value, and to overcome any
objections she might have.
Demonstrating Jewelry
To build value, it’s important to demonstrate the jewelry rather than merely
show it. You should involve your customer in the demonstration by letting
her try the jewelry on. Give her a mirror so she can see how it looks. If
looking at the stone or stones through a loupe or microscope helps, give
your customer access to those tools.
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Valerie Power/GIA
Once a customer tries on a piece of
jewelry, she can start to imagine what it
would be like to own it.
Valerie Power/GIA
Once you’ve determined the kind of jewelry your customer is looking for, it’s time to
let her try on a few pieces.
Use your product knowledge to be sure your demonstration provides

plenty of information. This is where you introduce the jewelry’s features KEY
and benefits. Make sure to pair features with benefits. For example, CONCEPTS
extreme hardness is a diamond feature. Long wear and high resistance to Always pair features with their
scratching are its corresponding benefits. corresponding benefits.
People make buying decisions basetd on benefits, not features. Customers
want answers to the questions, “What’s in it for me?” and “What benefits People make buying decisions based on
does this product provide me?” benefits, not features.
Since you’ve exchanged information with your customer, you have some
idea of the benefits she expects from the jewelry she might buy. Therefore,
Tailor the feature and benefit
you can tailor the features and benefits you mention to meet your information to your customer’s needs.
customer’s specific needs.
A jewelry piece’s value can be both
Emotional and Tangible Value emotional and tangible.
The value of a jewelry piece can be both emotional and tangible, so it’s
important to address both. Since a jewelry purchase almost always involves
emotion, begin with that and follow with the jewelry’s tangible value.
For example, in the scenario that opened this assignment, Alice led with
the emotional value of Diana’s potential purchase by congratulating her
and suggesting that she had just the piece to commemorate her good
news. Alice gave the jewelry personal value for her customer by linking
it to her reason for buying.
Alice had noticed Diana’s hair and complexion and her attentiveness to
color coordination, so she chose a piece with a feature whose principal
benefit was its red color. Alice also concluded that because she was
wearing no jewelry except inexpensive garnet earrings, she probably
wouldn’t buy a very expensive piece.
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Eric Welch/GIA Eric Welch/GIA Valerie Power/GIA

This pendant bears an ancient Afghan When describing this piece, a statement The natural lines, textures, and precious
coin—possibly from the time of Alexander like “Isn’t this red tourmaline’s color metal colors of this beautiful pendant
the Great. It also features red spinel vivid?” might surprise and intrigue a would have direct appeal to anyone with
accent stones and an antique-style customer who’s expecting a ruby. a love for horses.
mounting. It makes a compelling story
to tell a customer with an interest in
archeology or past civilizations. She steered Diana toward a piece with an expensive look and greater
value than her garnet earrings, but that wasn’t likely to be so expensive
that Diana wouldn’t be able to buy it. After identifying the stone pendant
and its setting, Alice emphasized the emotional value of Diana’s potential
purchase. She did this by asking, “Isn’t the color lovely?”
Tag—Restatement of a benefit, Alice had restated the benefit of the ruby’s red color, then asked Diana a
posed as a question and designed to question designed to get her to agree. This is called a tag.
elicit agreement.
Alice then touched upon value, talking about affordability only when
Diana mentioned price. She built the enhanced ruby cabochon’s tangible
value by comparing it to what she knew would be a very expensive
untreated ruby. She used her product knowledge to firmly establish the
cabochon’s value and to convey the fact that Diana was getting a fine-
looking ruby at a good price.
To reinforce the necklace’s emotional value, Alice helped Diana try it on.
Finally, when Diana raised questions about the jewelry’s durability, Alice
used her product and store-policy knowledge to overcome those
objections.
Use a Positive Approach

Using the right words is important when you’re selling jewelry, particularly
when you’re building value. Words like “love,” “you,” and “your”
contribute to emotional value, while “guarantee,”“proven,” and “safety”
contribute to tangible value.
96
Valerie Power/GIA
If your customer falls in love with an inexpensive jewelry piece instead of the one you
expected, respect her choice. Building a relationship with the client is more important
than a single sale. She might buy a much more expensive piece next time.
You’ll be most successful when you sell each piece on its own merits.
Don’t fall into the trap of negatively comparing one piece with another KEY
or one gemstone with another. If your customer shifts her buying attention CONCEPTS
to a comparison piece that you’ve already portrayed negatively, you’ve You’ll be most successful when you sell
lost any chance of a sale. each piece on its own merits.
Also, don’t make negative comments about competing merchandise or a
competitor’s store. That only creates a gloomy, negative atmosphere that Avoid negative comments about
clouds your sales environment. competing merchandise or a
Unless price is so high that it removes a piece from consideration, price competitor’s store.
is less important to a customer who understands the emotional and
tangible value of the jewelry. With your product knowledge, you can help Price is less important to a customer
her see that she’s getting good value for her money. who understands value.
Occasionally, you’ll encounter a customer who’s on a mission to buy. You
don’t want to get in her way, but what if you see she’s making a risky
choice? For example, what if your customer likes pink gemstones and is
determined to buy a relatively soft stone like kunzite to mount in a ring
she’ll be wearing every day?
You might want to suggest that she consider a harder stone like pink
sapphire and explain why. This way, you can gently steer your customer
off the wrong course and onto one that will both fulfill her mission to buy
and register a good sale for your store. In the end, it’s likely your customer
will be grateful, return for future purchases, and recommend you to others.
In the next assignment, you’ll learn about designer, branded, custom, and
estate jewelry, and proceed to Sales Step 4: Create Desire.
97
International Jewelry Sales: India
Eric Welch/GIA
In India, jewelry consumption is increasing.
The jewelry store was located on a busy downtown reached a seat, every eye turned toward her. The sales-
street in Hyderabad, India. The storefront was narrow— person closest to the woman’s chair stepped forward.
a glass wall with no window displays. The interior
“Good morning, what jewelry may I show you
was a long center aisle lined with glass-topped
today?” he asked.
display cases and, behind them, shallow, glass-front
cabinets. The cases displayed items like rings, pins, “I am looking for gold bangles,” the woman replied.
bracelets, and bangles, while necklaces, chains, and
earrings hung on pins in the cabinets. The jewelry “We have many styles, all in 18- or 22-karat gold,”
selection was mostly gold. Some items contained he said. “Are you interested in something simple,
gemstones or pearls, but most did not. elaborate, or in between?”
“Fairly elaborate, and with inset emeralds,” she replied.
The store’s salespeople stood stationed behind the
thigh-high display cases. Some of them were busy “I think we have many you will like,” he said. “My
with customers, while others waited. Cup-shaped name is Raj, what may I call you?”
chairs sat in the aisle in front of the cases. The store “I am Lakshmi,” the woman replied with a hint of a
was softly lit and free of glare. smile on her lips and in her eyes.
A tall, slender woman entered the store. Her movement Raj slid the display case open from the rear and took
down the center aisle was more a flow than a walk. out a long, black velvet bar, around which were looped
She wore a traditional saree over a petticoat and tight- about 50 gleaming bangles resting side by side. The
fitting blouse, or choli. The saree’s loose end, or pallu, styles varied in complexity. Some had inset gems,
crossed her torso and draped over her left shoulder, while others did not. Many were duplicates. Lakshmi
where it was fastened with a gold pin. Its hem was looked them over and touched a pair near one end. Raj
decorated with intricately woven gold thread. As she removed them and placed them on the counter pad.
98
“Please,” he said, “slip them on.” Lakshmi picked up both

with her right hand and slipped them over her left hand
onto her wrist. She raised her arm to let the bangles dangle.
She moved her arm slightly and watched the bangles swing
to and fro. The small, round emeralds looked good set in
yellow gold.
“I like them and want to buy both,” Lakshmi said with no
hesitation. “What’s your price?”
“Today, I can give them to you for 68,175 rupees,” Raj said.
“Today?” Lakshmi asked. “Do you mean if I was here
yesterday or came tomorrow, the price would be different?”
Raj was taken aback. He didn’t expect a response like that Andy Lucas/GIA
from such an elegant woman.
Indian jewelry outlets range from casual, informal stalls
“I’m sorry,” Raj said, “the price of gold varies, and our and booths to exclusive high-end stores.
finished jewelry prices have to follow.”
“Yes,” Lakshmi replied, “but there is more than gold in these
bangles. You have to cast the gold, and you have to buy and
set the emeralds. You must have some flexibility there.” Raj
knew Lakshmi was right, and she was prepared to drive a
hard bargain. He also knew that the store’s owner allowed
a little price flexibility that Raj could use when haggling
with a tough customer.
“Well,” Raj countered, “since you want to buy two, I can
give you a 5 percent discount. That would make it 64,766
rupees.” Raj had used a handheld calculator to find the
discounted price.
“The most I will pay is 64,000,” Lakshmi said firmly. Eric Welch/GIA
“One moment please,” Raj said, “let me speak with the owner.” As India’s middle class grows, educated consumers
demand a wider selection of jewelry styles.
Raj walked to the rear of the store, parted a curtain and
disappeared behind it. A few moments later, he returned.
“Mr. Singh has authorized me to sell the two bangles for
64,500 rupees,” he said.
“Sixty-four two fifty,” Lakshmi instantly replied.
“Agreed,” Raj said. “Would you like them wrapped, or do
you want to wear them?”
“I’ll wear them,” Lakshmi said as she withdrew a roll of bills
from her purse and counted out 64,250 rupees.
In many parts of the world, jewelry salespeople have to deal
with shifting precious metal costs as well as customers who
haggle over the price of a piece of jewelry. Raj didn’t want
to lose the sale and the potential of future sales, so he was
willing to accommodate Lakshmi to some degree. He knew Eric Welch/GIA
the pricing structure for his store, but when Lakshmi pushed In this upscale store, custom-made display cases
its limits, Raj was careful to consult with the owner before coordinate with tasteful decor and focused lighting to
committing to a sale he might regret. provide a perfect backdrop for the jewelry.
99
KEY
CONCEPTS
Most modern chains are machine-made. Tailor the feature and benefit information to your customer’s needs.
Bracelets are among the earliest personal adornments. A jewelry piece’s value can be both emotional and tangible.
Trade and fashion magazines can help you keep up with You’ll be most successful when you sell each piece on its
constantly changing jewelry trends. own merits.
Always pair features with their corresponding benefits. Avoid negative comments about competing merchandise or
a competitor’s store.
People make buying decisions based on benefits, not features.
Price is less important to a customer who understand value.
Key Terms
Bail—The piece of metal that attaches a pendant to a Omega chain—A flexible chain consisting of tightly joined
chain or strand. diagonal segments.
Bangle bracelet—A rigid, sometimes hinged, bracelet that Openwork—A design with open areas that allow the
slips over the wrist. passage of light, sometimes through gems.
Box chain—A chain consisting of angular links joined by
Pendant—An ornament or gem suspended from a strand,
solid metal squares.
band, or chain.
Brooch (pin)—Jewelry piece that attaches to a garment,
often by a hinged pin and catch. Post—The part of an earring that passes through a pierced
earlobe.
Butterfly clutch—A fitting that slips onto the back of a post
to hold an earring in place. Rope chain—Solid or hollow chain that usually has oval
links and resembles a woven rope.
Charm bracelet—A bracelet consisting of one or more
small attached ornaments. Screwback—A device that secures an earring to an earlobe
Choker—A short, fairly tight-fitting necklace that hugs the with a flat-ended screw.
throat. Slide—A pendant that attaches to a chain without a bail.
Collar—A wide necklace worn above the collarbone.
Station necklace—A necklace with gems, cultured pearls,
Cuff bracelet—A C-shaped band that fits over the wrist or arm. or beads positioned at regular intervals.
Curb link chain—Chain style with flattened oval links. Stickpin—A long, straight pin with an ornamental top.
Drop earring—An earring with one or more dangling
ornaments. Strand—A simple necklace typically composed of pearls
or beads.
Earring jacket—A detachable ornament that surrounds or
otherwise adorns a stud earring. Stud earring—An earring with a small ornament or gem on
a post, designed to nestle against the earlobe.
Enhancer—A removable pendant designed to accent a
strand of beads or cultured pearls. Tag—Restatement of a benefit, posed as a question and
designed to elicit agreement.
Figaro chain—Type of curb link chain with a repeating
pattern of long and short links. Tennis bracelet—A flexible bracelet set with a line of small
Filigree—A design made with thin, intricately interlaced wire. matched gems, typically diamonds.
Hoop earring—A dangling, circular earring made from Tie tack—A short, ornamental pin that pierces and
solid wire or tubing. decorates a man’s tie.
100
n What are the most common necklace lengths?
n What has caused the increased popularity of cultured pearl strands?
n What are some popular chain styles?
n What is one of today’s most popular bracelet styles?
n Which bracelet types are rigid rather than flexible?
n What factors have influenced earring design and use over the years?
n Which earring types are popular today?
n What is one of the oldest pin styles?
n What are some popular brooch design themes?
n What’s the best way to demonstrate jewelry for a customer?
n What are the two types of value you can use in a sales presentation?
n How do you develop a positive approach?
101
Designer, Branded, Custom, 4
and Estate Jewelry
Designer, Branded, and Custom Jewelry . . . . . . . . . . . . . . . . . . . . . 107
Designer Jewelry . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109
Store and Designer Brands . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110
Custom Jewelry . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112
Estate Jewelry. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114

Victorian Jewelry . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116
Twentieth-Century Jewelry Styles . . . . . . . . . . . . . . . . . . . . . . . 118
Art Nouveau Jewelry. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120
Edwardian Jewelry . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122
Art Deco Jewelry . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124
Retro Jewelry . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 126
Selling Estate Jewelry . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127
Sales Step 4—Create Desire . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129

Use What You Know About Your Customer . . . . . . . . . . . . . . . . 129
Build on the Romance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130
Ask Leading Questions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 132
Key Concepts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 136
Key Terms. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 136
103
• Display a general knowledge of designer and branded jewelry.
• Identify the characteristics of jewelry from different style periods.
• Promote the benefits of collecting estate jewelry to your customers.
• Build on the romance of a piece to create desire for it.
104
Designer, Branded, Custom, and Estate Jewelry
This beautiful butterfly brooch is the creation of contemporary jewelry designer

Paula Crevoshay. More than 300 tiny sapphires grace the 18-karat yellow gold
mounting. This piece is part of the National Gem Collection at the world-famous
Smithsonian Institution in Washington DC.
Designer, Branded, Custom,

and Estate Jewelry
Jack was helping Jerry select a 25th anniversary gift for his wife, Michelle.
They’d already been through the first few steps of the sale, and Jack knew
that Michelle had a passion for brooches. But the process was stalled because
every time Jack showed Jerry a brooch from his store’s vast collection, his
most common response was, “Oh, yeah, she has one just like that.”
“Boy,” Jack said, “this is more of a challenge than I thought it would be.
But I have an idea: How about if you and I design a brooch, and I’ll have
our bench jeweler make it by hand?”
“Me, a jewelry designer?” Jerry exclaimed. “You’ve got to be kidding!”
“Well,” Jack replied, “you know Michelle and her tastes and I can sketch
jewelry pretty well. If we work together, I bet we can come up with
something that Michelle will love.”
“I have my doubts,” Jerry said, “but I do want to do something special, so
let’s give it a try.”
As Jack brought out his sketch pad and pencils, he asked Jerry a few
questions to get the process started. He hoped he could create desire in
Jerry and get him really involved in the project.
105
Robert Weldon/GIA Robert Weldon/GIA

Aigrette is an old-fashioned term for a Top-flight designer jewelry regularly
ladies’ hat ornament. This splendid includes gemstones of rare beauty.
example is a 1920s creation of Cartier, This pendant pairs two magnificent
the famous design house. It combines tourmalines—an oval-cut 6.95-ct. yellow
platinum, diamonds, and emeralds with and a 10.95-ct. pear-cut purple gem.
interchangeable green and purple feathers.
“So, were you married in May?” Jack asked. Since that was the current
month, he felt pretty safe with the guess.
“Yes,” Jerry replied. “It was a gorgeous spring day. We were married
outdoors in a park, flowers all over the place. It was nice, birds singing
and everything.”
“Do you think Michelle remembers that?” Jack asked.
“She sure does,” Jerry replied. “If I don’t buy her flowers every May, she
makes me cook my own supper.”
“Well,” Jack said, “it looks as if we need a floral theme. I just got some
baroque freshwater pearls in a week ago. Let’s take a look and see if there’s
something we can use.”
“What’s baroque?” Jerry asked.
“Oh, I’m sorry,” Jack quickly replied, “Baroque is a pearl shape. It means
it’s not symmetrical. Here, I’ll show you.”
The two men looked through Jack’s stock of loose cultured pearls. Jack
separated four from the rest, arranged them on his pad, and started to sketch.
“How about this, Jerry,” Jack said. “If we turn the three pinkish ones like
this and the purplish one like this, frame them in gold, and add colored
stones here and here as accents, we can make the assembly look like a
hummingbird drawing nectar from a flower blossom.”
“That’s fantastic!” Jerry exclaimed.
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Tino Hammid/GIA
This sparkling platinum and diamond necklace from the 1920s is by Cartier. It’s set with
25 substantial old-mine-cut diamonds.
“Now we need a background for it,” he said. “Our bench jeweler is very
good. He can make a gold leaf like this as a base.” Jack sketched a leaf
shape around and behind the figures he had already drawn.
“That’s great! I love it!” Jerry exclaimed. “And, even better, I know
Michelle will love it. Have your guy make it. I don’t care what it costs.
It’s the only 25th anniversary we’ll ever have.” Jerry paused a moment,
then asked, “You’re not going to empty my wallet for this, are you, Jack?”
“Don’t worry, Jerry,” Jack replied. “The price will be reasonable. I can call
Tino Hammid/GIA
you tomorrow after I talk with our bench jeweler.”
This Cartier stamp appears on the clasp
“That’s good,” Jerry said as he extended his hand and shook Jack’s. “And of the same necklace. A mark from a
Jack, thanks.” Jerry left the store beaming. Jack had saved the day. jewelry house of Cartier’s stature
significantly increases the value and
desirability of a piece like this.
Designer, Branded, and Custom Jewelry
n How are designer and branded jewelry related?
n What’s one way to stimulate sales of designer jewelry?
n How is custom jewelry typically made?
Jewelry that sets itself apart from the mainstream can have a strong psycho-
logical appeal for consumers. Jewelry that carries the prestige of a familiar
and respected name, for example, is more likely to sell to a customer who
values that connection. Other customers are attracted to jewelry that
stands out as artistic or unusual. Still others prefer to have a hand in the
design of their own uniquely personal jewelry.
107
Robert Weldon/GIA
This unique necklace blends the
geometry of handcrafted 22-karat yellow
gold mountings with the natural crystal
shapes of uncut aquamarine. The
Brazilian designer calls this piece the
“Arara Azul” necklace. The name is
Portuguese for Blue Macaw.
Tino Hammid/GIA
Design house—A jewelry retailer that Along with Cartier, Van Cleef & Arpels is another highly regarded jewelry design house.
caters to upscale clients, offering This 1950s suite features a leaf motif in blue sapphire, diamonds, and platinum. The
high-end jewelry often designed by suite includes a necklace, dress clips, a bracelet, and a watch.
well-known jewelry artists.
Designer jewelry—Jewelry promoted In Romeo and Juliet, Shakespeare asked, “What’s in a name?” When it
as the creation of a particular designer. comes to luxury goods, the answer is, “Plenty.” Great design houses like
Cartier have been around since the late nineteenth century. Brilliant
Branded jewelry—Jewelry identified jewelry artists have been creating unique designer jewelry for decades.
by its manufacturer, design house, or The jewelry is often branded—labeled with the name of its manufacturer,
designer. design house, or designer—for a growing contemporary market.
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Tino Hammid/GIA
Jean Schlumberger designed jewelry for
Tiffany & Co. from the 1950s onward and
was one of only four jewelers allowed by
Tiffany to sign his work. His clientele
included J.F. Kennedy, the Duchess of
Windsor, Greta Garbo, and Audrey Hepburn.
This anemone brooch is platinum and
gold with sapphires and diamonds.

These big, bold gemstone rings are from the same designer as Contemporary Spanish jewelry designer
the brooch on the lower right. Anyone familiar with his work Håbit exhibits a bold brooch with a striking
would recognize his use of large gems with strong colors and 163-ct. marquise-shaped cabochon-cut
unusual cutting styles. rubellite tourmaline at its center.
Designer Jewelry
Manufacturers of fine china, high-fashion clothing, and other luxury items
have long known the power of a name to create desire. Think of Wedgwood KEY
or Limoges for china and Armani, Dior, or Ralph Lauren for apparel. CONCEPTS
Because they inspire trust and loyalty, these brands almost sell themselves. Branded jewelry helps jewelry retailers
By the 1980s, designer jewelry had become very popular—and not just set themselves apart from their
for an elite group of wealthy connoisseurs. Women flooding into the work competitors.
force spent a portion of their income on jewelry. Perhaps because women
also bought designer apparel, the demand soared for fashionable jewelry
styles they could use to accessorize their stylish clothing. In response,
manufacturers offered coordinated designer jewelry collections.
At first, some retailers were a little reluctant to accept the idea of branded
jewelry. For one thing, they weren’t sure they wanted to set aside valuable
display space to promote a single collection. Another concern was that
designer jewelry prices were based on the importance of the designer’s
name along with the cost of materials and labor. Retailers wondered if
customers would accept the higher prices.
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Robert Weldon/GIA
Designer Marianne Hunter calls this piece Silk Shimmer in the Jewelry designer Marianne Hunter delivers a lecture on her art
Starlight. It reflects her distinctive style and features enamel, and technique. A presentation like this is a way for a designer to
chalcedony, pearl, boulder opal, amethyst beads, and gold. increase awareness of her jewelry and connect her personality
to her unique designs.
Also, many stores promoted and sold jewelry under their own brand
names. They felt that selling other brands might dilute the image of their
own store brands, which were more profitable because store-branded
jewelry lines were often copied from jewelry branded with nationally or
internationally prestigious names.
When customers kept buying the prestige brands, retailers gradually
accepted them into their inventories. Many jewelry retailers found that
this helped them set themselves apart from their competitors. In addition,
designers began marketing their jewelry directly to consumers, many by
opening their own retail stores. Consumers responded by asking for
designer jewelry by name. By the end of the 1990s, many jewelry retailers
were displaying designer collections.
Store and Designer Brands

Jewelry from a prestigious store like Tiffany & Co. carries added value.
Linking a designer brand with the name of a famous design house can
increase the value of a jewelry item even more. Examples of this linking
are the jewelry creations by Paloma Picasso, Elsa Peretti, and Jean Schlum-
berger featured by Tiffany. A woman who pays more to purchase an Elsa
Peretti “open heart” pendant from Tiffany’s probably feels the extra value
and added prestige are worth it.
Some independent jewelry designers and manufacturers brand their own
styles and sell their creations through jewelry chains, department stores,
and independent jewelers. Designers like David Yurman, Elizabeth Gage,
and Roberto Coin, and manufacturers like Damiani and La Nouvelle
Bague create recognizable jewelry styles that are coveted by the public.
KEY Designer jewelry doesn’t have to be expensive. Designer collections exist
CONCEPTS for almost any budget. One way to stimulate sales of designer jewelry is
to promote it as collectible. This also generates repeat sales. Some stores
Designer jewelry collections exist for advertise a special event centered around a particular signature collection.
almost any budget. Some even host parties to introduce customers to the designer.
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Hamilton Jewelers
These earrings are from Hamilton
Jewelers’ Bellini collection. They feature
richly textured gold mountings with
sparkling round brilliant-cut diamonds
against a black background.
This collection of ballet dancer pins is from Japanese jeweler Paljoue. They feature
carefully matched fire opal cabochons.
Valerie Power/GIA
Mikimoto is a strong brand that’s
considered by many consumers to be
synonymous with cultured pearls.
Kavita Madhavan
Branding and marketing are important Some designers create moderately
when creating a modern jewelry collection. priced jewelry that’s accessible to a wide
This brand emphasizes the art of inlay. The range of consumers. This company
cool colors of the gems match the natural draws from current fashion trends to
colors of nature. The company uses inlays produce contemporary collections using
extensively and manufactures its product sterling silver and colored gems.
in New Mexico, USA.
Some retail jewelry chains and their brands are synonymous. De Beers
sells only its own brand in retail locations around the world. Mikimoto
sells its brand exclusively in its own stores and licenses retailers in other
locations to sell the Mikimoto brand.
Designer and branded jewelry styles are widely available in today’s market.
In fact, many jewelry shoppers expect stores to offer branded jewelry. A
store that promotes branded jewelry can attract shoppers who are already
familiar with the brand name. Once there, those shoppers often become
regular customers.
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Rendering by Jung Hoon Lee Valerie Power/GIA

A designer might create a rendering of the planned jewelry At a jeweler’s workshop, a unique pearl and tourmaline
piece to give the client a good idea of its finished look. This is a necklace takes shape using individually selected gems. The
traditional painted rendering. Today, many designers are green of the tourmaline complements the shimmering
turning to computers for design and manufacture. reflections of the pearls.
Custom Jewelry
Custom jewelry—Jewelry made to Custom jewelry is designed and made according to customer specifications.
order according to the customer’s There are two basic types of custom jewelry. The less common type is
specifications. completely handmade. As you saw in Assignment 1, to be called “handmade”
or “hand fabricated,” a jewelry piece must contain no manufactured
components and be created entirely by hand or with hand tools.
The second, more common, type of custom jewelry is assembled from
KEY already existing small jewelry components, called findings. A jeweler might
CONCEPTS join a head to a mounting, apply a texture, and set a gem selected by the
Custom jewelry can be handmade or customer. The simplest findings consist of a head that’s already attached
assembled from manufactured findings. to the mounting. The jeweler simply sets the gem and gives the creation
a final polish. A variation on this occurs when a jeweler customizes an
existing piece to give it a new look.
Whether handmade, assembled from manufactured findings, or created
by customizing an existing piece, custom jewelry offers a unique, made-
to-order adornment. For customers who want jewelry that expresses their
individuality, that’s a powerful benefit.
Some jewelry stores have full-time designers on staff to create custom
jewelry. But even without that option, you can share pictures from a
findings catalog or sketch your suggestions on the spot. With proper
training, you can even use a computer program to turn your customer’s
ideas into an on-screen representation of a custom jewelry item.
People who order custom jewelry experience the thrill of participating in
the creation of their own personal works of art. This added involvement
is the kind of experience your customers aren’t likely to forget the next
time they shop for jewelry.
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CAD/CAM
Eric Welch/GIA
At GIA’s Carlsbad California campus, students learn to use CAD/CAM software to produce their own
jewelry designs.
CAD/CAM is short for computer-aided design/

computer-aided manufacturing. It’s a modern
method that’s an important part of the jewelry
design and manufacturing process.
The designer uses a software program to create
a drawing of the jewelry item on a computer
screen and saves the three-dimensional drawing
as an electronic file. The designer then uses the
file to drive a machine that either cuts a blank
to form a model or creates the model by building
up layers of any one of a variety of materials.
Some manufacturers use CAD/CAM to design
Today, many designers use computer
and mill aluminum molds into which they inject
software to produce photo-realistic
wax to form models for casting. CAD/CAM is renderings of their proposed jewelry
also used to design and mill the steel dies used pieces. The computer files are also used
in die striking. during the manufacturing process.
CAD/CAM lets a jewelry designer create a unique
piece that can be exactly reproduced many times
over for the mass market.
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Eric Welch/GIA
Doris Duke, the famous tobacco heiress,
once owned this 14-karat gold Cartier ring,
which dates from the 1920s. It features
an exquisite emerald-cut purple sapphire.
Eric Welch/GIA
This pair of ruby-set gold cufflinks is a Cartier creation. It dates from the 1920s and
once belonged to Britain’s Duke of Windsor.
Eric Welch/GIA
Estate jewelry—Any jewelry that was This enamel-decorated cigarette case was designed by Jean Schlumberger. It once
previously owned. belonged to Jackie Kennedy-Onassis.
Period jewelry—Jewelry from a Estate Jewelry

recognized time period.
n What’s the difference between antique jewelry and period jewelry?
Antique jewelry—Jewelry that’s at n What are some popular twentieth-century jewelry styles?
least 100 years old.
n How can you help your customers appreciate estate jewelry?
Estate jewelry is a broad category that includes any jewelry that was previ-
ously owned. Estate jewelry can be of recent vintage or it can be period
KEY
jewelry, which is jewelry that comes from a recognized time period. The
CONCEPTS
term antique jewelry is used in the US and many other countries for
Estate jewelry is an important part of jewelry that’s at least 100 years old. These intriguing remnants of our
today’s market. collective past are an important part of today’s market.
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Eric Welch/GIA
Flamboyant celebrity pianist Liberace once owned this remarkable piece. It’s a polar
bear tooth embellished with gold.
Denis Finnin, American Museum of Natural History Tino Hammid/GIA

In 1843, Britain’s Prince Albert gave this Sometimes a famous jewelry piece is in
unique gold brooch to Queen Victoria to such demand that reproductions are made.
celebrate their anniversary. It’s set with This flamingo brooch is a replica of the
four natural Scottish freshwater pearls Duchess of Windsor's original. The body
and accented by amethyst, garnet, and and legs are platinum with diamond pavé.
chrysoberyl. The bird’s tail feathers are rubies, emeralds,
and sapphires channel-set in yellow gold.
Its eye is a blue sapphire cabochon and
the beak is yellow and blue sapphire.
Period and estate jewelry attract nostalgia buffs and cutting-edge consumers Reproduction jewelry—A modern
alike. Today’s jewelry designers and manufacturers can respond to this recreation of jewelry from a past era.
demand by creating reproduction jewelry that features design themes from
bygone days. There are beautiful reproduction jewelry pieces to satisfy every
budget. But these lovely adornments only pay homage to the real thing.
Jewelry truly from the past is a slice of history and a one-of-a-kind treasure.
115
Robert Weldon/GIA
This dainty pearl and dyed black chalcedony Victorian mourning
pin has a floral motif set with seed pearls. Around the border are
36 natural pearls. Typical of mourning jewelry, the back has a
recessed compartment to hold the hair of the deceased loved one.
GIA & Tino Hammid

Butterflies and other insects were very popular as jewelry motifs The Victorian era brought a fascination with nature. This cross
during the nineteenth century. This English diamond and silver- is formed from sprays of gold oak leaves, with five pearl
topped gold butterfly brooch dates from around 1850. “acorns” and a larger pearl as a centerpiece.
Victorian Jewelry
Victorian jewelry—A variety of styles There are a variety of styles in the category known as Victorian jewelry,
popular during the reign of England’s which was popular during the reign of England’s Queen Victoria (1837 to
Queen Victoria (1837-1901). 1901). Victorian styles typically include one or more of the following:
• Matching sets of ornate gemstone jewelry
• Gemstones such as diamonds, emeralds, coral, amethyst, garnet,
turquoise, and tortoise shell
• Sentimental or romantic symbols
• Ornamental locks of human hair
• Mourning jewelry made of jet and other black materials
• Cameos, typically featuring a pale silhouette against a dark background
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GIA & Tino Hammid

This pair of shell cameo and gold hatpins
is in the so-called archeological style,
inspired by ancient cultures. They date
from between 1860 and 1890.
Valerie Power/GIA
This Victorian watch fob opens to reveal
plaited locks of human hair. The stone
on its base is very dark, almost black.
These features are typical of mourning
jewelry that is a treasured keepsake for a
departed loved one.
Robert Weldon/GIA
During the Victorian period, there was renewed interest in jewelry from ages past. In
1890, Italian jeweler Castellani incorporated fifteenth century Renaissance cameos
into this suite, which also includes emerald, pearl, ruby, and enamel.
Some Victorian jewelry honored past cultures by reviving Greek, Roman,

and Egyptian jewelry styles as well as Gothic and Renaissance motifs. Arche-
ological jewelry was a special category inspired by ancient Greek, Etruscan,
Roman, and Byzantine jewelry pieces that were being unearthed at the time.
Jewelry pieces made of silver-topped gold were also popular in the

Victorian era. To create them, artisans mechanically attached a thick layer
of silver to a foundation of gold.
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Harold & Erica Van Pelt/GIA

As the twentieth century began, there was a transition from late Victorian to Garland
or Edwardian styles. The openwork pattern of the necklace and bracelet is typical of
that jewelry era. During this period, Edwardians still wore some Victorian pieces such
as the insect brooch.
Art Nouveau jewelry—Jewelry inspired Twentieth-Century Jewelry Styles

by a decorative arts movement
(1890-1914) and characterized by The jewelry industry flourished during the first decades of the twentieth
free-flowing lines and natural motifs. century. This was due in part to the discovery of new gem sources and the
development of new manufacturing and gem-cutting techniques.
Edwardian (Garland) jewelry—
Jewelry fashionable among upper Social roles also changed. Jewelry prices were within reach of the ordinary
classes in Europe and the US (1900- citizen. The changing role of women in society and the rise of the middle
1915) that showcased high-quality class put new demands on the jewelry industry. In response, the industry
gems and precious metals. experienced a revolution in jewelry style and design.
Art Deco jewelry—A style prominent
Several distinct jewelry styles appeared in the first half of the twentieth
in the 1920s and 1930s that features
geometric patterns and abstract century. Some were associated with art movements, others were a reaction
designs in contrasting primary colors. to wartime shortages. Each was popular during a specific period and each
has its own unique style. All leave a brilliant legacy in the treasures that
Retro jewelry—Jewelry of the 1940s, connoisseurs prize today.
characterized by sculptured curves in
yellow or rose gold and floral, bow, Twentieth-century jewelry styles include Art Nouveau, Edwardian or
and mechanical motifs. Garland, Art Deco, and Retro styles.
118
Sylvia Bissonette
Like the designers of archeological and
revival styles during the Victorian period,
contemporary designers might incorporate
recovered artifacts into their jewelry.
This pearl necklace has a coin retrieved
from the Atocha galleon, which was
shipwrecked in 1622.
Harold & Erica Van Pelt

Twentieth-century styles can recapture the drama of jewelry from bygone eras.
Designer Paula Crevoshay's "Freedom Flight" necklace uses carved agate, topaz, and
citrine to evoke some of the work of classic Art Nouveau masters.
GIA & Tino Hammid GIA & Tino Hammid

Startling geometry and clean lines define This Celtic cross pendant is embellished
Art Deco jewelry. This platinum, with white enamel and a central pearl.
diamond, and blue sapphire pin dates It’s by contemporary Scottish jewelers
from the early 1920s. Hamilton & Inches of Edinburgh. The
piece revives a style popular during
Victorian times.
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Eric Welch/GIA
Mythical beasts are a recurring Art
Nouveau theme. This fanciful 18-karat
pin depicts a dragon or gryphon with a
blood-red garnet in its mouth.
Robert Weldon/GIA
The realism and curved, flowing lines of this flower brooch mark it as a piece in the
Art Nouveau style. The use of enamel and pearl is also characteristic.
Art Nouveau Jewelry

Introduced in the 1890s, the flowing style of Art Nouveau was a departure
from the historic revival styles that had dominated nineteenth-century
decorative arts. Art Nouveau—the name is French for “new art”—was
inspired by the vitality of the natural world and an appreciation for
Japanese art.
Jewelry in the Art Nouveau style combines realistic interpretations of
plants and animals with creatures of fantasy and myth. Raised to the level
of fine art by such designers as René Lalique, this sinuous and sensual
style disappeared with the onset of World War I in 1914.
Art Nouveau jewelry often includes one or more of these features:
• Curving lines
• Realistic portrayals of nature, including butterflies, dragonflies, birds,
and intertwining foliage
• Fantastic creatures like dragons and other mythical beasts
• Gems like pearl, opal, moonstone, aquamarine, tourmaline, rose
quartz, chalcedony, chrysoprase, and amethyst
• Use of glass, either molded or as enamel
• Designs of women transformed into mermaids, winged sprites, or flowers
120
Georges Fouquet was a French designer and goldsmith

linked with both the Art Nouveau and Art Deco eras.
This splendid sea serpent corsage ornament bears
typical features of the Art Nouveau style: a mythical
beast, curved lines, enameled gold, and carefully
coordinated emeralds, diamonds, and pearls.
Lillian Nassau Eric Welch/GIA

This elaborate pendant depicts Eve being tempted by the serpent. The The flowing curved lines around this gold locket are
subject matter, flowing lines, and combination of enameled gold, rose a characteristic Art Nouveau feature.
quartz, opals, and pearls are typical of Art Nouveau style.
121

This suite of Edwardian jewelry was the height of fashion by This array of Edwardian jewelry includes a tight-fitting choker
1910. The fine, saw-pierced platinum mountings set with necklace, a ruby ring, a pendant with natural pearls, a diamond
diamonds and pearls are very characteristic of the period. bow brooch, and a pin with conch pearls.
Edwardian Jewelry
Between 1900 and 1915, during the reign of England’s King Edward VII,
the upper classes of Europe and the US wore jewelry as a way to
demonstrate their wealth. They favored lavish jewelry inspired by the
eighteenth-century French court and made of the finest, rarest, and most
costly gems and precious metals. Platinum was first extensively used in
jewelry during this period.
The jewelry style is known as Edwardian, but it’s sometimes called Garland
because it typically featured garlands of flowers tied with ribbons and
bows. The style can include these features:
• Pearls and diamonds
• Delicate platinum mountings
• Colored gemstones including ruby, sapphire, emerald, opal, and cat’s-
eye chrysoberyl
• Motifs like garlands, ribbons, bows, crescents, starbursts, Greek keys,
laurel wreaths, wings, feathers, crowns, oak leaves, swallows, and
butterflies
122

This gold Garland-style necklace displays characteristics of the This Edwardian collection features a lady’s enamel pocket watch
period: a delicate mounting accented by seed pearls and a on a matching necklace chain called a sautoir and enamel cufflinks
detachable pendant. with diamond accents. Novelty brooches like the demantoid
garnet, diamond, pearl, platinum and gold polo player and the
gold and diamond fox mask and riding crop are also typical styles.

This regal yet delicate Edwardian crown brooch shows typical These Edwardian men’s stickpins allowed the wearer to show
design traits: a finely pierced platinum-on-gold mounting his interests or hobbies. The collection includes a diamond and
encrusted with tiny diamonds and pearl accents. platinum bulldog with ruby eyes, an enameled gold yachting
flag, a ruby and diamond platinum-on-gold horseshoe, and a
diamond-set platinum motorcar with wheels that turn.
123
Robert Weldon/GIA
Some of the most striking pieces from the French jewelry house Mauboussin—
established in 1827—are in the Art Deco style and date from the 1930s. Each carved
ruby bead in this necklace is secured to a frame by white metal posts capped with a
tiny diamond.
Art Deco Jewelry

The Art Deco style emerged after World War I and dominated jewelry and
decorative arts from 1920 through the 1930s. It was a strong reaction
against the ethereal sensuality of Art Nouveau and the delicate elegance
of the Garland style. Art Deco jewelry suggests post-war practicality
through its geometric patterns and bold colors.
Art Deco features include:
• Bold, contrasting colors
• Strong geometric patterns
• Sleek, streamlined look, emphasizing the vertical line
• Gemstones including diamond, black onyx, lapis lazuli, ruby, emerald,
sapphire, jade, turquoise, and topaz
• Carved or cabochon-cut colored gemstones
124
GIA & Tino Hammid

French designer Henri Vever created this
elegant carved amethyst and emerald
floral brooch around 1920. It’s made of
platinum and black lacquer on gold, with
diamonds, amber, and pearls.
GIA & Tino Hammid Eric Welch/GIA

This gold Garland-style necklace displays characteristics of the This slender geometrical lady’s watch is
period: a delicate mounting accented by seed pearls and a a good example of the Art Deco style.
detachable pendant. Rectangles of dyed black chalcedony
contrast with platinum and carved rock
crystal quartz. Diamond accents add
sparkle.
Robert Weldon/GIA
Mauboussin also created this stunning Art Deco bracelet from about 1925. Square and baguette diamonds
mounted in white gold create a dazzling frame for rich green emeralds.
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This lady’s wristwatch displays classic This 1940s gold, sapphire, and diamond pin is by Van Cleef & Arpels. It was once the
Retro style, with small diamonds and property of Eva Perón, the former First Lady of Argentina. The piece displays typical
rubies set in rose gold. retro features: bold, burnished gold curves and light-colored sapphires.
Retro Jewelry
The outbreak of World War II in 1939 ended the Art Deco period. Gems
were in short supply during the early 1940s, and platinum was reserved
for military use. The jewelry produced during and immediately after the
war used materials, such as gold and diamonds, that were still available
during these lean years. Jewelry from this period is known as Retro.
The Retro style rounded Art Deco’s sharp angles and muted its bold colors.
Its sculpted curves were sparingly set with small diamonds and rubies.
Some designs were set with large, but less expensive, gemstones like
citrine. Large motifs were crafted of thin gold sheets to conserve metal
while giving a substantial look. In the late 1940s, post-war prosperity led to
a more opulent use of colored stones and more feminine-looking designs.
Common themes and styles in Retro jewelry include:
• Floral and bow motifs in colored gems
• Animal figures of enameled gold and gems
• Jeweled brooches, lapel clips
Robert Weldon/GIA
Bows of polished yellow gold form a • Bold, sculpted curves of rose gold set with small diamonds and rubies
backdrop for a spray of blue and fancy
• Designs inspired by mechanical objects like bicycle chains, padlocks,
pink sapphires in this 1950s retro classic
by New York jewelers Trabert & Hoeffer- and tank treads
Mauboussin. It’s from their Reflections • Stylized natural motifs
series, featuring broad, smooth planes of
curving metal to contrast with layered • Gemstones like small diamonds, rubies (often lab-grown), and light-
rays of gemstones. colored sapphires
126
Eric Welch/GIA GIA & Tino Hammid

This beautiful enameled pin once belonged to English singer, This is a Renaissance-revival hinged book-style pendant or
composer, and pianist Sir Elton John. It’s a French piece dating charm. One side bears a central pearl surrounded by rubies,
to approximately 1870. His prior ownership broadens the while the opposite side has the reverse pattern with a ruby at
piece’s appeal and increases its value. the center. The green enamel-on-gold design adds to the piece’s
charm and would tempt a client with an interest in history.
Selling Estate Jewelry
Estate jewelry is a growing source of revenue for retailers. Many retail
establishments have departments that specialize in estate jewelry. This KEY
includes large department stores as well as individual jewelers. The CONCEPTS
selections in those departments inspire strong consumer interest in antique Auction catalogs are great resources for
and period jewelry. information on estate jewelry.
You can help your customers appreciate estate jewelry by increasing your
own knowledge of this interesting category. One way to do this is to famil-
iarize yourself with auction catalogs. They contain valuable information
about estate jewelry styles, periods, and auction prices.
Eric Welch/GIA Robert Weldon/GIA

This jewelry collection includes pieces owned by royalty and Movie icon Joan Crawford once owned this bracelet and wore it
celebrities, including opera singer Maria Callas and Eva Perón, in many of her movie publicity shots. Its flexible links incorporate
the “Evita” of popular culture. Their famous former owners give diamonds of various shapes in intricate, symmetrical designs.
them broader appeal and higher value. Such pieces were popular in the early 1930s.
127
Robert Weldon/GIA
This platinum ring’s reason for being is
the stunning 11.01-ct. oval Burmese
ruby. A gem of this caliber would appeal
to the wealthiest and most exclusive
clientele.
Robert Weldon/GIA
This necklace and ring ensemble is of the highest quality. A superb 24.72-ct.
Colombian emerald forms the centerpiece of the diamond-set platinum and gold
necklace, while the ring contains a 4.91-ct. emerald of equivalent quality.
You can also encourage your estate jewelry customers to become

collectors. Suggest that they collect by theme, like flower or butterfly
motifs, or by jewelry type, like lockets or brooches, or by design period, like
Art Deco or Retro.
If your store regularly carries antique and period jewelry, take the time to
get to know the inventory. That way, you can help your customers select
jewelry to match their tastes and budgets.
128
Eric Welch/GIA
This pair of ruby-set gold cufflinks is a Cartier creation. It dates from the 1920s and once belonged to
Britain’s Duke of Windsor.
Sales Step 4—Create Desire

n What techniques can you use to create desire?
n How do emotions contribute to a jewelry purchase?
n How can word pictures help you sell jewelry?
Your presentation is going fairly well. You’ve approached your customer,
exchanged information, and built value, yet your customer seems to be
stuck. Although she seems inclined to buy, she hasn’t shown signs of
committing. You sense that involving her emotions more deeply will
secure the sale. You have to go beyond building emotional value to the
next step: creating desire.
Creating desire involves building on your customer’s interest and enthusiasm
so she begins to feel she must have the jewelry. In a way, you’re exciting KEY
your customer’s deeper, more intense emotions—her passion. There are CONCEPTS
several techniques you can use. You create desire for a jewelry purchase
by building on your customer’s interest
Use What You Know About Your Customer and enthusiasm.
It’s always helpful to validate your customer’s interest and to affirm a
personal connection. You want to link her with the choice she’s made and
show her how the piece matches her unique needs. To do that, call upon
what you learned about her during the information exchange.
129

Once you’ve established a rapport with your client, you need to Don’t forget that jewelry purchases are driven by emotion.
gain as much information from her as you can. Listen to what your customers say and respond to their needs.
Suppose you learned your customer is shopping for a birthday gift for her
sister. She told you her sister loves ornate things and that she dresses as if
she’s from a romantic past era. As a result, you’ve focused your customer’s
attention on a distinctive Art Nouveau necklace-and-earrings set.
She likes the pieces but seems hesitant to commit. You might say, “You
know your sister and what she likes, and you were instantly attracted to
these pieces. That was a purely instinctive attraction, which means you
saw a connection between your sister and this jewelry.”
You’ve justified your customer’s emotional reaction by telling her that her
attraction to the jewelry means it’s an appropriate gift. By tying your
customer, her sister, and the jewelry together, you begin to create desire.
Keep in mind that a jewelry purchase is mainly an emotional decision.
KEY That’s true whether your customer is buying for personal adornment or as
CONCEPTS a gift for someone else. The principal reason people buy jewelry is as a
A jewelry purchase is mainly an token of affection. When not buying for themselves, they buy out of
emotional decision. emotion involving loved ones.
Build on the Romance

Always handle jewelry with respect when you show it to a customer. Start
your demonstration by admiring the piece as you remove it from the case.
Wipe it clean with a gemcloth and place it on a pad on the counter. Your
attitude and actions convey your feelings non-verbally. They should leave
the impression that you admire the merchandise and that you invite your
customer to share your feelings.
130
Robert Weldon/GIA
What could be more romantic than this
heart-shaped ruby? Pair this 8.01-ct.
ruby’s beauty with the gem’s long-
established lore and you’ll have a
winning sales presentation.
Michel Roudnitska
This marketing image for Tahitian cultured pearls evokes the romance of beautiful
tropical islands.
Jewelry lore can help you build an aura of rarity, romance, or mystery.
Every gemstone accumulates its own catalog of lore over the centuries. KEY
Using bits of lore to romance the stone can help you sell. For example, CONCEPTS
emeralds are said to foretell future events and diamonds are emblems of Always handle jewelry with respect.
fearlessness and invincibility. Rubies are mentioned four times in the
Bible, linked to attributes like beauty and wisdom. Details like these help Try to relate a jewelry piece’s qualities
create desire. to your customer’s motivation to buy.
131
Valerie Power/GIA
As a sales associate, it’s important to handle the jewelry you show with the respect
that the piece deserves. This sales associate’s approach communicates the value of
the beautiful topaz ring to her client.
Each jewelry piece has special qualities that you can tie to your customer’s
motivation to buy. Paint a word picture that fulfills her motivation. Word
pictures can transform gem value factors into something intangible that
makes your customer passionate about buying. Try using vivid, colorful
terms to draw comparisons to beautiful places or things.
For example, suppose your customer is eyeing a strand of Tahitian cultured
pearls. She says she honeymooned in Tahiti years ago. She couldn’t afford
to buy a strand then, but now it would be nice to have a reminder of that
wonderful experience. By evoking romantic memories of lush green islands,
warm tropical breezes, and turquoise seas, your word pictures connect
Tahitian cultured pearls to those memories and help capture a past time.
Ask Leading Questions

As you did when building value, use tags to get your customer’s agreement
and to move your presentation along. For the woman considering the Art
Nouveau set for her sister, you might ask,”Don’t you love the way the
designer wove the flowers into the figure’s hair?” For the woman contem-
plating the Tahitian cultured pearl strand, you might ask,”Doesn’t the
luster look like a glow from deep within the pearl?” Having your customer
affirm the value of a feature or benefit casts the piece in a positive light
and encourages acceptance.
Beauty and rarity have inherent emotional appeal, but they’re not the only
factors that might excite a customer’s passion. Each sale is unique, and
sales associates have to be able to deal with any situation that arises.
132
Robert Weldon/GIA
Just by looking at it, the beauty and rarity of this exceptional ruby necklace can excite
desire in a customer. It’s set with over 80 carats of the finest Burmese rubies and more
than 300 diamonds.
For example, in the scenario that opened this assignment, Jerry’s passion
was not excited by the beauty or uniqueness of the pieces Jack showed
him. Nor was it aroused by the pearls that eventually became part of the
piece he and Jack designed. Jerry was excited by the fact that he could
take part in designing a brooch that he knew Michelle would love. His
excitement came from the anticipation of being able to please his wife
on their 25th wedding anniversary. Jack tapped into that desire to make
the sale.
Although the four jewelry categories you learned about in this assign-
ment—designer, branded, custom, and estate jewelry—are not always
found in every jewelry store, they’re an important part of the industry. In
the next assignment, you’ll learn about watches, a mainstay for many retail
jewelers, and giftware, a category that draws customers and boosts profits
for many retailers. You’ll also learn about Sales Steps 5 and 6: Trial Close
and Close the Sale.
133
International Jewelry Sales: China
Valerie Power/GIA
China’s importance as a jewelry-consuming nation is certain to continue for decades to come.
China has seen enormous social change in recent he wanted the best diamond ring money could buy.
years. Millions of young people have left rural areas After doing some research, he knew just what he
and moved to the cities, where they have taken wanted.
better-paying jobs and adopted lifestyles unknown to The salesman greeted Lixin as he entered the store:
most Chinese just a short time ago. Among the new
practices is the presentation of a diamond wedding “Good day, sir.”
ring to the bride by the groom on their wedding day. “Good day,” Lixin replied. “I’m here to look for a
There were many jewelry shops along East Nanjing wedding ring.”
Road in Shanghai, but Lixin chose Lao Fengxiang’s. “Certainly, sir. My name is Xiaomin. What may I
He remembered visiting there as a small boy and show you?” the salesperson asked.
watching his grandfather buy jewelry gifts for his
“I want a diamond solitaire in a platinum Tiffany
grandmother.
setting,” Lixin replied, then added, “I want a one-
Now, Lixin was a young man. He had left his village carat, D-Flawless round brilliant.”
to attend university and, after graduation, found a Xiaomin was surprised that the young man was so
good job with a Shanghai publishing company. The well prepared. He also doubted Lixin could afford
city looked nothing like the Shanghai of his youth. the diamond ring he was describing, but didn’t want
But the Lao Fengxiang Jewelry Company store was to offend his customer, so he tried not to show it.
still in the same place, and Lixin felt as if he was
honoring a family tradition by shopping there. “I can show you a loose diamond and a setting,”
Xiaomin said. “If you like them, I can have the
This time, he was shopping for a diamond wedding diamond mounted into the setting and ready for you
ring. Jiamei had accepted his marriage proposal and later today.”
134
“Yes, that would be fine,” Lixin replied. “I would like to

examine the stone with a gemological microscope set at
10X.”
“Certainly,” Xiaomin said, again surprised at his young
customer’s sophistication. “It will take me just a moment
to get the diamond from our safe. We don’t keep stones
of that quality in the display cases.”
Xiaomin returned a few moments later with a folded stone
paper and escorted Lixin to an alcove where a microscope
sat on a marble-top counter. He set up the microscope,
Valerie Power/GIA
then unfolded the paper and picked up the diamond with
tweezers. He motioned Lixin to sit and passed him the This jewelry store in Weitang, China, attracts a new type
tweezers holding the diamond. Lixin turned the stone of brand-conscious Chinese consumer.
face-up and then pavilion-up under the microscope’s
magnifying lenses, rotating it several times in each position.
Xiaomin was impressed with Lixin’s skill with the tweezers
and microscope.
“The color and clarity are perfect,” Lixin said. “Now I’d
like to see the platinum setting. Her ring size is 6.”
Xiaomin carefully returned the diamond to its stone paper,
then led Lixin back to the display case. Xiaomin took the
setting from its holder and placed it on the counter pad.
Lixin picked it up and examined it closely.
“Yes, this will do,” he said. “How much will the cost be,
with the diamond mounted in this setting?”
After a quick mental calculation, Xiaomin replied, “We Doug Fiske/GIA
can mount the diamond and have it ready for you today After a long history as a British colony, Hong Kong
in a presentation box for 241,000 yuan.” reverted to mainland China. Global brands like Swarovski
see Hong Kong as an ideal opening for expansion into
The shock registered on Lixin’s face, and for the first time the rest of China.
since he entered the store, his air of confidence disappeared.
Apparently, he had researched everything about diamonds
except their prices.
Lixin had to change course quickly. He wanted to buy a
wedding ring for Jiamei, but he didn’t want to embarrass
himself any further. Xiaomin instantly recognized the
dilemma.
“Perhaps I can offer you something a little less costly?”
Xiaomin offered gently. “I can show you a somewhat
smaller diamond.”
“Yes, let’s try that,” Lixin replied, sounding greatly relieved.
About 15 minutes later, Lixin left Lao Fengxiang’s with a
0.24-ct., J-color, SI2 round brilliant diamond, bezel-set in
a platinum band. He was happy with his purchase and Valerie Power/GIA
would proudly present it to Jiamei on their wedding day. Hong Kong’s jewelry stores provide a glimpse into the
Xiaomin had made a good sale and was certain Lixin and cosmopolitan choices awaiting jewelry consumers on
Jiamei would return to buy again. the mainland.
135
KEY
CONCEPTS
Branded jewelry helps jewelry retailers set themselves apart You create desire for a jewelry purchase by building on your
from their competitors. customer’s interest and enthusiasm.
Designer jewelry collections exist for almost any budget. A jewelry purchase is mainly an emotional decision.
Custom jewelry can be handmade or assembled from Always handle jewelry with respect.
manufactured findings.
Try to relate a jewelry piece’s qualities to your customer’s
Estate jewelry is an important part of today’s market. motivation to buy.
Auction catalogs are great resources for information on
estate jewelry.
Key Terms
Antique jewelry—Jewelry that’s at least 100 years old. Designer jewelry—Jewelry promoted as the creation of a
particular designer.
Art Deco jewelry—A style prominent in the 1920s and
1930s that features geometric patterns and abstract Edwardian (Garland) jewelry—Jewelry fashionable
designs in contrasting primary colors. among upper classes in Europe and the US (1900-1915)
that showcased high-quality gems and precious metals.
Art Nouveau jewelry—Jewelry inspired by a decorative
arts movement (1890-1914) and characterized by free- Estate jewelry—Any jewelry that was previously owned.
flowing lines and natural motifs. Period jewelry—Jewelry from a recognized time period.
Branded jewelry—Jewelry identified by its manufacturer, Reproduction jewelry—A modern recreation of jewelry
design house, or designer. from a past era.
Custom jewelry—Jewelry made to order according to the Retro jewelry—Jewelry of the 1940s, characterized by
customer’s specifications. sculptured curves in yellow or rose gold and floral, bow,
and mechanical motifs.
Design house—A jewelry retailer that caters to upscale
clients, offering high-end jewelry often designed by well- Victorian jewelry—A variety of styles popular during the
known jewelry artists. reign of England’s Queen Victoria (1837-1901).
136
n How are designer and branded jewelry related?

n What’s one way to stimulate sales of designer jewelry?
n How is custom jewelry typically made?
n What’s the difference between antique jewelry and period jewelry?
n What are some popular twentieth-century jewelry styles?
n How can you help your customers appreciate estate jewelry?
n What techniques can you use to create desire?
n How do emotions contribute to a jewelry purchase?
n How can word pictures help you sell jewelry?
137
Watches and Giftware 5
Watches . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143
Today’s Watch Market. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 144
Market Segments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 145
How Watches Work . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 147
Mechanical Watches . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 147
Quartz Watches . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 150
Specialty Watches . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 151
Selling Watches . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153
Beyond Timekeeping . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 155
Giftware. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 157
Specializing in Giftware Sales. . . . . . . . . . . . . . . . . . . . . . . . . . 158
Giftware for the Table . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 159
Collectibles and Personal Gifts . . . . . . . . . . . . . . . . . . . . . . . . . 161
Enameling in Jewelry and Giftware. . . . . . . . . . . . . . . . . . . . . . . . . 162

Enameling Basics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 164
Enameling Techniques . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 165
Enameling Today . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 166
Sales Steps 5 & 6—Trial Close and Close the Sale. . . . . . . . . . . . . . 167
The Trial Close . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 168
Trying an Add-On . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 168
Objections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 168
Close the Sale. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 169
Initiating the Close . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 172
Key Concepts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 173
Key Terms. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 173
139
• Demonstrate knowledge about the inner workings and operation of a
timepiece.
• Identify the types of watches found at different levels in the marketplace.
• Display an understanding of the giftware items found in many jewelry stores.
140
Watches and Giftware
Valerie Power/GIA
For many consumers, a watch is much more than just a timekeeper. A high-end watch
can be a status symbol as well as a beautiful piece of jewelry. “Cellini” is a line of dress
watches from Rolex, a Swiss manufacturer.

“Good morning, Mrs. Richardson,” Joseph said cheerily as a long-time
customer came into his store.
“Good morning, Joseph,” Mrs. Richardson replied. “It’s good to see you.
But Joseph, we’ve known each other so long, I really do wish you’d call
me ‘Betty.’”
“It’s good to see you, too, Betty,” Joseph emphasized with a smile. “What
brings you in today?”
“I’d like to find a very special gift for my husband,” Betty replied. “His 65th
birthday is coming up, and I want to mark the occasion with something
he wouldn’t buy for himself, something worthy of a Nobel laureate.”
“Are you thinking about a jewelry gift?” Joseph asked.
“Well, that had occurred to me, but, you know, Bob really isn’t one for
things that don’t actually perform some kind of function,” Betty said. “He’s
so practical. It’s not enough for him that things just look good; they also
have to be useful.”
141
“Well, what kind of watch does Bob wear?” Joseph asked.

“Oh, it’s a ratty old thing his grandmother gave him when he earned his
doctorate,” Betty replied. “I doubt it keeps accurate time anymore, even
if he remembers to wind it.”
“Do you think he might like a battery-powered quartz watch?” Joseph
asked. “They’re very accurate.”
“You know,” Betty replied, “I actually like the idea of a traditional wind-
up watch, but Bob is so absent-minded I’m afraid he’d forget to wind it.”
“Well, then,” Joseph said, “let me show you some self-winding models.”
Joseph showed Betty to the watch display and pointed out three different
watches. They spanned the price range from mass market to luxury. Betty
was particularly attracted to the luxury watch with the $5,000 price tag.
Joseph took it from the case and explained its features, including how the
self-winding mechanism worked.
“I like it very much,” Betty said, “and I think Bob will, too, but I’m a little
worried about one thing.”
“What is it, Betty?” Joseph asked.
“Well, Bob sometimes works in the lab for days at a time,” Betty replied.
“And he leaves his ring and watch on the dresser at home. He can’t wear
them because they interfere with the sensitive equipment he uses. Now,
when he does that, wouldn’t the watch’s power wear down, and wouldn’t
it stop working?”
“You’re right, it might,” Joseph replied. “It depends on how long the watch
is still. But I have just the thing to solve that problem.”
Eric Welch/GIA
Watchmaking goes back more than 500 years. Although the vast majority of watches contain battery-
operated quartz movements, skilled watchmakers are still in demand due to the growing sales of high-end
mechanical watches.
142
Joseph turned to a cabinet behind the counter and brought out a cylindrical
object. It was about six inches tall and four inches in diameter. Its top
tilted forward, forming a round face with a fixture in the center that looked
like half a hoop.
“What is it?” Betty asked.
“It’s a watch winder,” Joseph replied. “When Bob isn’t wearing his new
watch, he can mount it on the winder and let battery or electrical power
wind it for him.”
“Oh, my goodness!” Betty almost squealed. “The physicist in Bob will
love this! Thank you! He’ll love the winder, to say nothing of this exquisite
watch.”
“Shall I gift wrap them both for you?” Joseph asked.
“Can you wrap them separately?” Betty asked. “I want to tease him a little.”
“Certainly,” Joseph replied. “I’d be happy to.”
Watches
n Where are the watch industry’s major commercial centers?
n What types of watches dominate the market?
n How does a watch keep time?
Watchmaking is a craft that goes back more than 500 years. The first
watches were made in Germany around 1500. As watches and manufac-
turing became more sophisticated, the young industry spread elsewhere
in Europe.
Geneva, Switzerland, has had a flourishing watchmaking industry almost
as long as Germany. Protestant theologian John Calvin and his followers
unintentionally fostered the industry in the mid-1500s by forbidding the
wearing of jewelry. To survive, jewelers in Geneva gradually turned to
making watches.
While Geneva’s citizens were good innovators, they also excelled at
adopting others’ innovations, and at commerce and banking. The combi-
nation led to a centuries-long Swiss prominence in watchmaking and in
international marketing of Swiss-made timepieces.
Today, the global watch industry is centered in Switzerland, Japan, Hong
Kong, and the United States. Many watch manufacturers conduct business
in these commercial centers, but most watches are manufactured in places
where labor costs are low. For example, Timex, a leading mass-market
watchmaker headquartered in the US, has manufacturing facilities in
locations that include the Philippines, India, Brazil, and China.
The Japan Clock and Watch Association estimates that 1.25 billion
watches were produced worldwide in 2005. Retail sales totaled about Eric Welch/GIA
$30 billion. Switzerland exported 25 million watches with a wholesale Zenith is a Swiss brand that dates back
value of about $9 billion. to 1865. As the watchmaking craft
advanced, fine pocket watches like this
A recent jewelry industry trade journal survey found that more than 90 one evolved into smaller and more
percent of independent US jewelers sell watches. About 3 million watches intricate styles designed to be worn on
are sold in the US, with retail sales totaling about $1.85 billion. the wrist.
143
Eric Welch/GIA Eric Welch/GIA Eric Welch/GIA

Quartz movements dominate the entry- Premium watches are beautifully crafted Some luxury jewelers also offer distinctive
level watch market. The Japanese and almost exclusively mechanical. Like watch lines. Louis Cartier, inspired by
company Seiko is a market leader in this this one from luxury Swiss watch World War I Renault tanks, designed the
sector. This woman’s watch has a manufacturer Patek Philippe, they often famous tank watch in 1917. This is the 18K
stainless steel case and bracelet with feature transparent backs that display yellow gold Tank Française, released in
gold-plated accents. their exquisite inner workings. 1996. Its crown is set with a blue sapphire
cabochon, a characteristic Cartier touch.

Today’s marketplace is crowded with competing watch brands at Rolex is perhaps the best-known Swiss manufacturer of high-
all levels. Some bear the names of specialty watch companies, end mechanical watches, with annual revenues in the billions
while others are re-branded with the labels of fashion houses of dollars. Rolex watches are famed for their water resistant
or clothing stores. All are sold in a variety of retail outlets. cases. In 1960, one was attached to a submersible and survived
the trip to the 11,000 meter depths of the Mariana Trench.
KEY Today’s Watch Market

CONCEPTS There are two main types of watches in the market today: mechanical
Quartz watches dominate today’s watch watches and quartz watches. The basic difference between them is their
power source. A mechanical watch is powered by manual or automatic
market.
winding. A quartz watch is powered by a battery.
Mechanical watch—Timepiece powered For well over 400 years, mechanical watches were the only type on
by manual or automatic winding. the market. Today, however, they represent about 1 percent of the
Quartz watch—Timepiece powered by watches produced every year. Today, quartz watches dominate the
a battery. market.
144
Eric Welch/GIA
The introduction of the Swatch watch
reinvigorated the watch mass market.
Swatch watches come in dozens of
styles, most below US$250. The parent
company, called the Swatch Group, also
owns many upper-market brands.

Omega is a Swiss luxury watch brand. Omega watches were the first to be carried to Timex is a major manufacturer of mass-
the moon, worn by US astronauts Neil Armstrong and Buzz Aldrin. Even the fictional market watches. The brand goes back to a
secret agent James Bond wore an Omega in his latest movies. nineteenth-century American clockmaker.
The company produced one of the first
wristwatches around World War I, and
About 80 percent of watches produced today are analog quartz watches, enjoyed success with mechanical watches
with the passage of time displayed in hours, minutes, and sometimes from the 1940s through the 1960s.
seconds by pointed “hands.” Almost all the rest are digital quartz models,
with time displayed as numbers, usually by a liquid crystal display (LCD).
Market Segments Analog watch—Timepiece with time

The trade divides the watch market into segments, usually by retail dollar of day and passage of time indicated
value. by pointed devices called hands.
Mass market watches are generally priced under $100. These are high- Digital watch—Timepiece with time
volume, low-price quartz watches made by companies like Timex, Swatch, indicated numerically, usually by a
Fossil, and Casio. liquid crystal display (LCD).
145

Breitling is an exclusive Swiss watch brand with an aviation Gucci is a leading fashion and leather goods label that promotes
association—a so-called pilot’s watch. Breitling watches are large watches as fashion accessories. Omega is one of the world’s most
and expensive timepieces that are marketed mostly to men. recognized premium watch brands, with average retail prices
about four times those of Gucci watches. Both are considered
luxury brands.
Terri Weimer/GIA
Three quarters of Rolex buyers are men. The brand’s reputation for quality and
durability, along with its association with sports like diving, mountaineering, and
yachting, give it broad appeal to a wealthy male audience.
The middle market for watches includes prices between $100 and $700.
This level consists of widely distributed lines by Japanese and Swiss quartz
watch producers like Seiko, Citizen, Bulova, and Tissot.
The luxury market includes watches priced from $700, with prices
extending beyond $6,000 at the highest levels. Categories consist of
mechanical and quartz watches, and they’re usually produced in lower
quantities by Swiss watchmakers. This market segment includes brands
like Raymond Weil, Tag Heuer, and Rolex.
146

A fine mechanical watch movement is a A quartz watch movement is mass-
miniature wonder of precision-made produced rather than hand-crafted.
components. It requires a skilled and Instead of a spring, it’s powered by a
experienced watchmaker to maintain a battery. This is a Japanese-made
precision timepiece like this. example from quartz watch giant Seiko.

Officine Panerai is a luxury watch brand Like many high-end watches, this
originally established in Italy around Officine Panerai model has an exhibition
1860. Although the cases are designed in back that reveals its intricate mechanical
Italy, the mechanical movements are movement. This watch’s size and visible
Swiss-made. This is a large style, with a mechanism make it appealing to a male
case diameter of 45 mm. watch buyer.
How Watches Work

The inner mechanism of a watch—the motor that moves the watch’s hands Movement—The inner mechanism of
or activates its LCD to display the time—is called a movement. Watches, a watch.
especially those with mechanical movements, are complex masterpieces
of miniaturization. Mainspring—A strong spring that
powers the watch as it unwinds.
Mechanical Watches
Regulating system—A group of
The parts of a mechanical watch include a mainspring that provides the devices that steady the mainspring’s
power; the gears that turn the second, minute, and hour hands; and a regu- unwinding and perform the
lating system that steadies the watch’s speed as the mainspring unwinds. timekeeping function.
147
Parts of a Watch
Barrel—Contains the mainspring and transmits
its energy.
Bezel—The stationary or rotating ring that
surrounds the watch dial and holds the crystal
in place.
Case—Container that protects the watch
movement from dust, dampness, and shocks. It
also might be used to provide the watch with its
own unique appearance.
Crown—The small knob on the outside of the
watch case that’s used to set the time and date
and other functions. On a manually wound
mechanical watch, the crown and its extensions
Eric Welch/GIA
also wind the mainspring.
This partially disassembled movement
Crystal—The transparent cover on a watch dial. displays the complexity of a high-end
It can be made of acrylic plastic, glass, or lab- mechanical watch.
grown sapphire. A lab-grown sapphire crystal is
highly resistant to scratching or shattering.
Main plate—Base on which all the other parts
of a watch movement are mounted.
Jewels—Natural or lab-grown gem To power the watch, the wearer manually or automatically winds the
materials used as bearings to reduce mainspring. As the spring unwinds, it drives the gears and other parts that
friction between watch parts. keep time and turn the hands. Today, most mechanical watches are wound
by an automated mechanism that oscillates as the wearer moves.
Escape wheel—Device that works As gears turn, they produce friction. If that friction goes unchecked, it will
with the escapement lever to assist eventually undermine the proper operation of the movement. To reduce
the timekeeping function of a friction, increase accuracy, and prolong a watch’s life, watchmakers install
mechanical watch. hard jewels, such as corundum, that act as bearings.
The number of jewels varies, but a “17-jewel movement” is fairly standard.
Escapement lever—Device in a
It means the watch movement contains 17 friction-reducing jewels. Since
mechanical watch that controls the
the early 1900s virtually all jewels used in watches have been lab-grown.
motion of the balance and escape
wheels and, therefore, the rotation of A mechanical watch also needs a regulating system to run steadily and
the hands. keep accurate time. The regulating system steadies the unwinding of the
mainspring. Without it, the gears would turn very fast when the mainspring
Balance spring—A hair-thin, spiral is tightly wound and slow down as the spring uncoils. A watch’s regulating
spring that’s coupled to the balance system consists of a double-ended escape wheel, an escapement lever, a
wheel to make it rock back and forth. balance spring, and a balance wheel.
As the mainspring unwinds, it powers an interaction between the escape
Balance wheel—The watch part that wheel and the escapement lever. The wheel pushes one end of the lever,
rocks back and forth to divide time causing the other end to turn the balance wheel in one direction. The
into equal parts. balance spring then turns the balance wheel back in the other direction.
148

Fine pocket watches like this 1930s The Rolex Datejust is a self-winding
Hamilton model were the high-end automatic watch. The original model
watches of their day. Every metal surface was introduced in the 1940s. It was one
in this movement is beautifully finished, of the first watches with a date function.
and the jeweled bearings are easily visible.

This is a Rolex automatic watch movement. This presentation case incorporates a Jaeger-LeCoultre is a luxury Swiss watch
The large pendulum, or rotor, swings with watch winder that keeps the timepiece brand. This beautiful watch has a reversible
the wearer’s motions to wind the watch. running when it’s not being worn. case that swings around. This feature was
Unlike other automatic watch move- originally designed to protect the watch
ments, this one has a reversing gear that from damage while the wearer was riding
allows it to wind in both directions. or playing polo. Now it serves to display
the watch’s intricate mechanism.
When the balance wheel moves the escapement lever, the escape wheel
advances one notch. The escapement lever moves back and forth four to
five times a second, engaging the teeth of the escape wheel. The interaction
of the escapement lever and the escape wheel’s teeth makes a mechanical
watch tick.
Working together, the balance wheel and escapement lever help perform
the timekeeping function of the watch. Their motion is transmitted to the
hands, which indicate the time of day. A watch without a second hand might
have a less complex gearing system, while those with a calendar display
might be much more complex.
An automatic or self-winding mechanical watch has a winding mechanism
that works by gravity and the wearer’s motion. The two forces wind the
watch by keeping a weight rocking back and forth. In some models, the
weight rotates 360˚. A limiting mechanism prevents overwinding. Automatic
winding devices are available to keep a self-winding watch wound when
it’s not being worn.
149

Swiss luxury watchmaker TAG Heuer is This is a Seiko “kinetic” movement. It’s This quartz movement was made by
well known for its high-end sports a quartz movement paired with a self- Swiss manufacturer ETA. Many well-
watches. The company produces both winding mechanism. A pendulum engages known brands use this movement,
mechanical and quartz models. with the large center gear, which spins the including TAG Heuer. The company is
tiny wheel at high speeds. This generates part of the LVMH (Moët Hennessy Louis
an electrical current that powers the Vuitton) luxury goods group that
rechargeable battery. includes De Beers.
Eric Welch/GIA
This Japanese-made quartz movement is sized for the smaller dimensions of a lady’s
watch.
Quartz Watches
Button (cell) battery—A tiny, disc- Most quartz movements are powered by electricity from a tiny, disk-
shaped battery used to power a shaped battery called a button or cell battery. Some might be powered
quartz-movement watch. by electrical energy converted from solar power. Whatever its source, the
electric current causes a lab-grown crystal to vibrate at a constant high
frequency: 32,768 times per second. This consistent vibration makes a
quartz watch highly accurate.
The vibrating electrical impulses pass through a motor that converts elec-
trical energy to mechanical energy. The mechanical energy drives the gears
and other parts that turn the hands. In a digital quartz watch, the electrical
impulses power a liquid crystal display that indicates the time of day.
150

This group of Breitling watches sports the extra little dials and case buttons that reflect Swiss luxury brand Baume et Mercier traces
extra chronograph functions, often described as “complications” in the watch trade. its pedigree back to 1830. The company
Complications can include stopwatch or calendar functions, striking mechanisms, or manufactures a wide range of watch
even phases of the moon. styles, including sporty chronographs.

The chronograph’s extra functions This is the front view of the same
require additional mechanisms beyond chronograph movement. In addition to
the standard movements. This typically the date mechanism, there are also
requires a larger case. This back view of attachments for the hands of the main
a chronograph movement shows its timekeeping movement as well as for
jewels, rotor, and top-quality finish. the accessory stopwatch functions.
Specialty Watches
Some watches do more than just tell time. A chronograph, for example, Chronograph—Timepiece with two
has a stopwatch function. Wearers can measure elapsed time by using independent systems that tell the
push-buttons on the case. time of day and measure brief time
intervals.
Don’t confuse a chronograph with a chronometer. Literally, any watch is
a chronometer because it measures time. But the trade applies the word Chronometer—A Swiss-made watch
“chronometer” to Swiss-made watches that permanently display seconds that meets very high accuracy
and pass seven stringent accuracy tests certified by Contrôle Officiel standards.
Suisse des Chronomètres (COSC), a standards and testing organization in
Switzerland.
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Like all precision mechanisms, mechanical watches require Besides checking for time accuracy, watchmakers also test
regular maintenance. Watchmakers employ a variety of watch cases for water resistance. This device checks for leaks
sophisticated tools to ensure optimum timekeeping. by sealing the watch in a pressure chamber.
Some specialty timepieces add various functions to watches or chrono-

KEY graphs. Some might provide a compass, while others give altitude,
CONCEPTS temperature, barometer, and global positioning information. For athletes and
The term “water resistant” has replaced fitness enthusiasts, there are chronographs that provide heart-rate data.
the improper term “waterproof.” Some have tachometers that measure the wearer’s rate of speed. There’s even
a chronograph that works in conjunction with a personal computer to bring
the features of a personal digital assistant (PDA) to the owner’s wrist.
Some calendar watches have the added feature of a perpetual calendar,
which automatically adjusts for differences in the number of days in each
month and for leap years.
Shock resistance is also a feature found in many modern watches. In the
US, it means that the watch was tested for its ability to withstand an impact
equal to being dropped onto a wooden floor from a height of three feet.
Water resistant—Describes a watch The term “waterproof” is no longer properly used to describe watches.
with the ability to prevent water The only instruments it might apply to are divers’ watches and then only
penetration through its case. under special testing circumstances. Watches designed to withstand
different degrees of wetness or immersion are designated water resistant.
Some watches marked “water resistant” can withstand splashes of water
or rain, but can’t be immersed without leaking.
Many watches made to be worn while swimming or diving are marked
“water resistant to X meters or feet,” meaning the watch can be worn
underwater to the designated depth without leaking. The tests that yield
these designations, however, don’t duplicate actual depth, pressure, and
movement conditions, and shouldn’t be taken literally.
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Valerie Power/GIA
Watches can make up a substantial portion of a jewelry store’s sales. The variety of chronograph watches on display suggests this
store serves a wealthy male clientele.
Selling Watches KEY

The variety of watches and chronographs is so broad and the price range CONCEPTS
so wide that selling them involves, at least in part, matching a customer’s It’s important to know each watch’s
needs, desires, and budget to a particular timepiece. Selling watches is
features and how they work, so you can
similar to selling jewelry in that respect. It’s also similar in another way:
To succeed as a sales associate, you have to know the product. demonstrate them to your customers.
Watches range from very simple, with only minute and hour hands, to
very complex. A chronograph with several added features can be
challenging for a first-time wearer. As a sales associate, you have to know
each watch’s features, how they work, and how to demonstrate them to
a customer. You have to instill confidence to make sales. Showing sincere
interest and passion isn’t only a plus, it’s a necessity.
A watch’s fundamental function is to tell time. That gives a sales associate

several selling points that don’t apply to jewelry:
• How accurately and reliably does the watch tell time?

• If it has a quartz movement, what’s the battery life?
• If it has a mechanical movement, does it need servicing? How often?
• Is the watch dial easy to read?
• What other functions does it perform? How well?
• Are the watch’s functions easy to set and adjust?
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Eric Welch/GIA
This Omega watch is a limited edition
re-issue of a classic design from 1915.
Named the “Petrograd” watch in honor
of the Russian and Eastern European Valerie Power/GIA
markets where it was popular, it’s one of
With proper care and servicing, high-quality mechanical watches can last for
a series of classic designs reintroduced
generations. As a result, there’s a very strong resale market for them.
by the watchmaker and in high demand
with collectors.

Montblanc is a German manufacturer of American designer Nathan George Horwitt
high-quality pens and watches. The created The Movado museum watch in
company is part of the South African 1947. It was the first wristwatch to be
owned Richemont group that includes displayed at the Museum of Modern Art
famous brands like Cartier, Van Cleef & in New York. The gold dot represents the
Arpels, and Baume et Mercier watches. sun at high noon and the motion of the
hands symbolizes the earth’s movement.
Watchmakers periodically update old models and introduce new ones.

Most customers respond well to these new ideas. Sales associates must
stay up to date so they can relate new developments to customers.
You can learn about new styles and features from watch company sales
representatives, from promotional and training materials, and from Web
sites. Many companies provide in-store training for sales personnel.
Watchmakers’ representatives commonly make yearly visits to educate
and update retail sales associates.
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Eric Welch/GIA Bucherer Eric Welch/GIA

Colorless and fancy yellow diamonds circle French jewelry house Boucheron has This Cartier tank watch has a number of
the bezel of this Breitling chronograph sold watches for over a century. This special features: the interior case pivots
watch. Together with the gold case, the diamond-studded example is discreet within a platinum frame to display the
gems elevate this already high-end and elegant enough for a woman of exhibition back, and the sapphire
precision timepiece to make a powerful wealth and status. cabochons are natural rather than lab-
statement of stature and wealth. grown. Only 100 copies of this watch
were made, so the model is also very
exclusive, adding to its value.
Eric Welch/GIA Temption alessandro.marcolin

Glashütte Original is a German luxury Temption is a small-volume German luxury This advertisement from Swiss
watch manufacturer based near watchmaker that produces only 700 watchmaker and jeweler Piaget plays on
Dresden. The company is one of the few watches a year. The company emphasizes the typical theme of the luxury watch as
to manufacture its own high-quality minimalist design and ergonomics. This a symbol of wealth, status, and success.
mechanical movements. model is a man’s chronograph.
Beyond Timekeeping
For many consumers, watches aren’t just for telling time. They can be
jewelry, status symbols, or collectible works of art, engineering, or minia-
turization. A woman wearing an elegant evening gown and a delicate,
diamond-studded wristwatch is probably more interested in making a
fashion statement than knowing what time it is. For many men, a high-
end watch is the only jewelry they wear. And that expensive watch is often
as much a status symbol as a timepiece.
155
It’s a Fake!

Although this watch was presented as a This watch by the Swiss International Watch Company
high-end product by Swiss manufacturer (IWC) is a genuine high-end product. Everything,
Hublot, it’s a clumsy fake. The exhibition especially the movement visible through the exhibition
back reveals a crudely finished back, is beautifully finished. The level of finish quality is
mechanical movement. The best defense proportionate to the quality and cost of the piece.
against counterfeit watches is thorough
knowledge of the genuine article.
The watch the street vendor urges on you has a remarkably low price. Its face might
say Chopard, Rolex, or Tag Heuer, it might look like the real thing, and it might even
keep accurate time, but it’s a fake.
The fakes might be called copies, replicas, or knock-off watches. They’re for sale on the
streets and in some retail stores in many cities around the world. They’re also available
through what seems like countless Web sites.
They look authentic on the outside, but inside they’re poorly made using inferior parts.
Some even have glued-on faces, so the hands never move! Most, if not all, have battery-
powered quartz movements. Some will work reasonably well, while others will have
failed by the next time you turn your wrist to check the time.
Most fake watches are counterfeits and violate copyright laws. This makes them illegal
to sell. No reputable jeweler sells watch fakes.
Especially since watchmaking is a more than 500-year-old craft, there is

broad and avid interest in collecting watches. A visit to a few Web sites
can reveal the extent and variety of collectors’ interest. These sites include:
www.nawcc.org
www.americanwatchguild.com
www.watchswiss.com
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Eric Welch/GIA
Unlike watches or fine jewelry, a comprehensive giftware display requires a significant amount of space.
Giftware
n What must jewelers consider before deciding to carry giftware?
n What factors apply to specializing in giftware sales?
n What are some giftware categories and items?
Some customers buy giftware for themselves, but most giftware purchases
are for important events like weddings and births. About 25 percent of
independent US jewelers sell giftware. Among jewelers’ considerations
when deciding if they want to carry giftware is whether they have enough
display and inventory space. Generally, gift lines take more display space
than jewelry lines. And, since many gift items must be well-packaged to
ensure their safety, they require more inventory space.
If jewelers find they have enough room for giftware, they must decide if
it’s profitable and appealing enough to justify carrying it. Most jewelers KEY
find that jewelry generates more profit per amount of display space than CONCEPTS
giftware. But they often find that giftware broadens a store’s appeal, draws
customers who otherwise would not have come in, and produces cross- Giftware can attract customers who
sales. That is, jewelry buyers purchase giftware, and giftware buyers might also buy jewelry and can generate
purchase jewelry. additional sales to jewelry buyers.
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Weddings are major opportunities for sales of giftware, Giftware includes a diverse array of products such as fine china
including glass and crystal. Full-service jewelers can take and glassware, decorative collectibles, desk accessories, and
advantage of wedding-related sales by offering to maintain clocks.
registry gift lists for their clients.

High-quality photo frames, whether solid Giftware also includes high-end writing
or plated silver or crystal, are highly accessories like these top-quality pens.
appropriate gifts for special occasions.
Specializing in Giftware Sales

Many jewelers who specialize in giftware find it’s best to have at least
one sales associate who is dedicated exclusively, or nearly so, to selling
it. To be more efficient at buying giftware at wholesale, and more
productive at selling it at retail, a person needs detailed knowledge of
gifts and decorative accessories, as well as the industry that produces
them.
As with other types of sales, there’s no substitute for product knowledge.
But giftware is a very broad category of goods. It would be difficult to
learn about all the items you might potentially sell. You can focus,
however, on the items your store sells by reading the manufacturers’ liter-
ature, talking to their sales representatives, and searching the Web for sites
relating to those products.
158

Whether it’s new, antique, or merely pre-owned, quality flatware is an important Quality earthenware pieces can be used
component of a full-service jeweler’s inventory. Items like serving spoons, cheese as design accents in any kitchen or
knives, and cake slicers are popular wedding gifts. dining room.
Eric Welch/GIA
Hollowware includes items like candlesticks, napkin rings, platters, tea services, and
condiment sets. The finest are handmade by skilled artisans from sterling silver.
Giftware for the Table

The flatware category consists of knives, forks, and spoons used as utensils Flatware—Knives, forks, and spoons
when eating. Flatware sold in jewelry stores can be sterling silver, silver used as utensils when eating.
plate, or stainless steel. A standard four-piece dinner setting consists of a
dinner knife and fork, a teaspoon, and a salad fork. Additional pieces are Earthenware—Tableware, pottery,
a luncheon knife and fork, a dessert spoon, a flat- or hollow-handled butter and decorative objects made of a
spreader, and a napkin ring. variety of materials, including
ceramics and clay.
Earthenware is tableware, pottery, and decorative objects made of a variety
of materials, including ceramics and clay. It’s usually fired at relatively low
temperatures and often glazed. Jewelry stores usually don’t carry full place
settings of earthenware but rather sell large tableware pieces like bowls or
platters, or decorative items like vases. There are some unique, hand-painted
earthenware pieces, but most patterns are applied by a transfer process.
159
Eric Welch/GIA
Although fine china and stemware are
popular gifts, it’s impossible for a jeweler
to stock every variation. Treat the stock
on display as a representation of what’s
available. It’s best to have a specialist on
staff with the knowledge to special order
items suited to a client’s needs.
Eric Welch/GIA
Crystal is a very popular giftware category. Whatever the occasion, the recipients will
enjoy the beauty and feel of these substantial tumblers for years to come.
Crystal—Tableware and ornamental Crystal is a category of tableware and ornamental objects made of fine-
objects made of fine-quality, brilliant quality, brilliant glass. The glass is often called lead crystal because it’s
glass. between 18 and 38 percent lead oxide. Crystal is a broad and popular
category for jewelry stores that carry giftware. You’ll see candlesticks and
Hollowware—Metal tableware like cups, vases, platters, bowls, pitchers, ice buckets, decanters, trays, glasses,
bowls, pitchers, trays, and teapots stemware (wine or champagne glasses), decorative figurines, art glass, and
made of sterling silver, silver plate, or other utilitarian and ornamental objects. Many crystal pieces are engraved.
pewter.
Hollowware is metal tableware like bowls, pitchers, trays, and teapots, made
China—Porcelain or similar high- of sterling silver, silver plate, or pewter. The hollowware most often found
quality translucent or white ceramic in high-end jewelry stores is cast in sterling silver by skilled artisans called
material often used to make silversmiths. Candlesticks, condiment sets (containers for food seasonings),
tableware. and tankards (large mugs) are popular hollowware pieces. Starting with
sheets of sterling silver, craftsmen make the very best items by hand.
China is porcelain or similar high-quality translucent or white ceramic

material often used as tableware. Porcelain china and bone china are
similar in that they contain clay, among other ingredients, are fired in a kiln,
and can be glazed or not. Bone china differs in that one of its ingredients
is ox-bone ash. The china sold in jewelry stores is often called fine china
to emphasize its elegance.
Five-piece china place settings often consist of a dinner plate, a shallow

bowl, a salad plate, a cup, and a saucer. They might be sold as a set or as
individual pieces. Some designs are hand-painted, numbered, and signed.
They are considerably more expensive than designs reproduced through
a transfer process. Jewelry stores might also carry fine china tea and condi-
ment sets, serving bowls and platters, trays, and other tableware.
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Eric Welch/GIA
Although not exclusively aimed at men,
writing instruments like this pair of
sterling silver pens by Italian manufacturer
Montegrappa are considered mens’
furnishings.
Eric Welch/GIA
These collectible crystal fish by Lalique draw inspiration from the firm’s Art Nouveau
period. They’re made in many bright colors, with acid-etched relief detail.

Cufflinks are a traditionally male jewelry This high-quality fountain pen is made by
accessory. This pair of whimsical pineapples German manufacturer Montblanc. Its cap
has enamel accents. They’re made by contains a tiny fashioned diamond
English manufacturer Deakin & Francis. suspended in glass.
Collectibles and Personal Gifts

Figurines are small carved or molded figures, sometimes called statuettes. Figurines—Small carved or molded
Jewelry retailers who carry giftware often include porcelain, crystal, or figures, also called statuettes.
glass figurines in their selections. Of these, porcelain figurines are most
commonly seen. Desk accessories—Items found on an
office or home desk.
Desk accessories are items found on an office or home desk. The category
is too broad to be fully represented by jewelers who carry giftware. Items
you might see in jewelry stores include pens, pencils, and sets; paperweights;
letter openers; bookmarks; business-card stands; stationery, invitations,
and thank-you notes; and clocks.
161
The birth of a child is an important

giftware opportunity for many jewelers.
Besides christening cups and spoons,
photo frames are popular gifts.
Eric Welch/GIA
Clocks are also popular gifts. Many full-service jewelers stock a variety of wall and
mantle clocks. Although many might have quartz movements, there’s a growing
appreciation for mechanically driven clocks.
Men’s furnishings—Articles or Men’s furnishings are articles or accessories used or worn by men. While
accessories used or worn by men. there are few items in a jewelry store that are intended solely for men,
the men’s furnishings category includes nearly all of them.
You might find these men’s giftware items in a jewelry store: belt buckles,
cigarette lighters and cases, cuff links, wallets, business-card cases, key
rings and chains, pens, pencils, and sets, penknives, money clips, humidors
(for storing cigars), and fragrances.
Baby items are another important giftware category. Jewelry store giftware
departments might carry hair brushes, porcelain and bone-china cups and
place settings, sterling silver rattles, spoons and teething rings, and earth-
enware piggy and bunny banks.
Another giftware category is so broad that it can only be called “miscel-
laneous.” It includes silk scarves, leather goods like belts, purses, wallets
and briefcases, key rings and chains, barware, fragrances, picture frames,
hanging ornaments, decorative eggs, jewelry boxes and cases, and many
other items. One prestigious retail jewelry chain even offers a sterling-silver
train—a steam engine followed by several passenger cars and a caboose.
Enameling in Jewelry and Giftware

n What’s the history of enameling?
n What are some enameling techniques?
n What’s the role of enameling in today’s market?
Basic enameling—the practice of fusing powdered glass to metal—has a
long history of use in objects both practical and ornamental, including
jewelry and giftware. At one time, enamels were accented with gold and
valued like gemstones. Less popular today, they still have a place in the
market, especially in fine antique jewelry pieces. Some enamel finishes
also appear in Oriental giftware and mass-produced fashion jewelry.
162
Eric Welch/GIA
This giftware selection includes earthenware vases, photo frames, and decorative giftware with colorful enamel accents.
True enameling began as early as the sixth century BC in the area around the
Mediterranean Sea. This Greek-style enamelwork prevailed for 10 centuries.
Celtic enameling developed separately. It spread through Western Europe
and the British Isles as the main influence until the third century AD. The
popularity of Byzantine religious enamels, the greatest flowering of the
art, peaked in the tenth century.
France became the center of enameling in the twelfth century, culminating
in Limoges painted enamels in the 1600s. Industrial methods and uses arose
in the 1750s and replaced fine handcrafted enamels by the late 1800s.
Since then, there have been occasional revivals like the astonishing
creations of Fabergé in pre-Revolutionary Russia, the naturalistic designs
of Art Nouveau, and some Art Deco work. But today, this ancient art is
rarely practiced.
Modern Chinese enameling began after contact with the West in the
fourteenth century. It spread to Korea, Japan, and India, where early Jaipur
enamelists were famed for brilliant ruby reds. In China, the art peaked in
the eighteenth century. After that, factory production for Western markets
led to lower-quality goods. Oriental designs have revitalized the art in the
West many times since 1850.
163

The enameling process begins with mixing powdered glass into The next step is to apply the mixture onto the object, following
a suitable binding agent. the desired pattern.

After the mixture is applied, the item is ready for firing in an oven. Firing fuses the enamel onto the jewelry piece.
Enameling Basics
Enameling begins with glass that’s specially made for its desirable
properties. The glass is ground to a powder, washed, applied to a backing
in a design, sprayed with a wet binding agent, and allowed to dry. Then
it’s fired in a kiln to fuse it.
After cooling and acid cleaning, the process is repeated until the details
of the piece are complete. Harder, high-heat enamels go on first, then
softer ones. Fire-polishing or finer mechanical polishing is the last step.
Eric Welch/GIA
Enamel backings are usually metal. Pure gold and silver backings work
This Victorian enamel piece was produced
by the same process. The blue enamel best. Pure copper also works as a backing and so does iron, but mostly
provides a striking backdrop for the for pots and pans. Enamels can be decorated with metallic foil or wire,
delicate gold design. or with tiny accents stamped from thin sheets of fine gold or silver.
164
Robert Weldon/GIA
Attractive enamel colors combine to
achieve a delicate effect in this heart-
shaped gold flower brooch.
Christie’s George Post

Art Nouveau jewelry designers frequently This elaborate pendant, named “Egret
used enamel techniques. This pendant Queen,” uses grisaille and foil enamels
combines pink enameled flowers with for its delicate bird design along with
conch "pearl" buds and plique-à-jour pearls, apatite beads, opals, and precious
enamel leaves. metal.
Enameling Techniques
There are many different enamel techniques, but all are variations of a
few basic types. First are those where areas of color are separated by thin
metal strips. These favor geometric or stylized designs. Cloisonné is the
oldest, with dividing strips inlaid or soldered to the backing.
Plique-à-jour is a see-through enamel like a stained glass window. To
create it, the artist uses a temporary backing during firing, then removes
the backing to complete the piece.
In champlevé, cells that contain the enamel are cut or etched into the
metal. In basse-taille, the metal background is engraved to show a raised
design under the enamel. Taille d’epargné has fine, even-depth engraved
lines filled with opaque enamel. The background in guilloche is engraved
or tooled in fine geometric motifs, creating a reflective sheen.
Some enamels are painted, with no metal between colors. These allow
more fluid, lifelike images—even portraits. The softer enamels are often
fired in several layers, from opaque to transparent. En plein features a
plain, smooth enameled surface, usually solid-colored. Grisaille is a subtle
enamel painted in tones of black and gray, or purple, or brown. Designs
scratched through lighter top layers show the dark tone of the base layer.
En resille has a backing of engraved glass or rock crystal, lined with gold
and enameled. Niello is a black metallic inlay technique, effective in silver.
165
Robert Weldon/GIA
Calypso blue enamel with a hand
engraved texture complements the
colors of a Tahitian cultured pearl in this
contemporary 18-karat yellow gold ring.
Valerie Power/GIA Robert Weldon/GIA

Contrasting enamel colors add dimension and life to this Many art styles come back into fashion periodically. Traditional
contemporary diamond flower brooch. Although enameling is Indian jewelry emphasized polished, unfaceted gems set in
less common today, some jewelry manufacturers still produce engraved and enameled high-karat gold. The predominant
outstanding pieces. colors were red and green, symbolizing the forces of life. This
style is currently enjoying a renaissance.
Enameling Today
Today, technical advances and modern electric kilns provide a wide range
of commercially available colors and fusing temperatures. But enameling
suffers from mass production. Metal backings are often machine-stamped,
punched, engine-turned, or etched. Organic lacquers, more flexible but
less durable, are used instead of true glass. Decal transfer designs are
common.
Enameling comes back into style periodically, but fine modern enameling
is rare. Enameled antiques still hold their value. To judge enameled pieces,
observe the colors, design, metalwork, and polish and check for cracks
and chips.
166
Sales Steps 5 & 6—Trial Close and

Close the Sale
n What are some approaches to the trial close?
n How can you overcome a price objection?
n What are some ways to initiate the close?
You’ve progressed through four sales steps with your customer, and it
seems as if it’s time to close the sale. Yet your customer is sending mixed
signals. She might be ready to commit, but she might just thank you, turn,
and walk out of your store.
You’ve invested valuable time and effort in getting this far, and you’re
tempted to blurt out a direct question like, “So, do you want to buy it?”
But you don’t want to appear pushy and risk offending your customer and
sending her to your competitor. It’s time to gently test her readiness to
buy. You’ve reached the step called the Trial Close.
Eric Welch/GIA
When your customer starts contemplating a purchase, it’s time to attempt a trial close.
167
KEY The Trial Close

CONCEPTS Because each customer and sales situation is different, there’s no single
Use subtle questions to test your magic formula for every trial close. Regardless of the tactic you choose,
this is an indirect, perhaps even subtle, test of your customer’s readiness
customer’s readiness to buy. to buy. Here are some possible approaches:
• Ask your customer what she thinks about an aspect of the piece. For
example: “Do you like the way the accent diamonds surround and
complement the center sapphire?” If you get a positive response, you’re
on your way to closing the sale.
• Suggest when the piece can be ready. For example: “I can have our
bench jeweler resize the ring and have it ready before the end of the
day. Would that work for you?” If your customer says yes, you’ve made
the sale.
• Ask whether your customer would like to wear, rather than carry, the
piece. A positive response to either alternative means you’ve made the
sale.
• Ask your customer if she would like the piece gift-wrapped. Or ask
what form of payment she prefers.
All of these questions assume she has decided to buy. Even if your
assumption is incorrect, she might go along with your assumption and
commit to the purchase.
Trying an Add-On
You might try to combine an add-on with the trial close. For example:
“How about a beautiful pair of matching earrings to go with your
necklace?” With this question, you’ve tied an additional item to the main
purchase, and you’ve established the assumption your customer already owns
the main piece. You’ve created a positive, tempting buying atmosphere.
Your customer might respond by buying the main piece or the main piece
with the add-on, she might raise an objection about the main item, or she
might refuse altogether. She might refuse the main piece regardless of
which trial close you use, so you really have nothing to lose by trying an
add-on. Also remember that there’s more profit in add-on sales. Overhead
costs come out of the first sale, so any sales beyond that mean greater
financial gain for you and your store.
Objections
Instead of responding to the trial close by committing to buy, your
customer might raise an objection. When that happens, you might have
to back up a step or two and return to Building Value or Creating Desire,
or both. Your product knowledge will probably be useful. Respond to any
objections immediately. Give direct answers to your customer’s questions.
If you don’t, she might suspect you’re stalling or trying to be deceptive.
Hesitation or objections aren’t necessarily refusals. Customers often want
to be assured that they’ve made the right choice and that they’re getting
good value for their money. It’s your job to provide that assurance.
168
Eric Welch/GIA
A customer’s hesitation or objection might center on price, or she might simply need
to be reassured about the piece’s quality or value.
When customers raise price objections, they’re usually asking about

value. Your customer wants to know if the piece is really worth its price. KEY
She’s saying, “I’m spending a lot of my hard-earned money here. Is the CONCEPTS
jewelry’s value in line with the price?” There are several possible responses. A price objection is usually a question
You might mention the rarity of the metal or gems. You can talk about the of value.
mining difficulties, the craftsmanship involved in fashioning the gems or
manufacturing the piece. You might mention the designer’s creative input. Positive word of mouth is a powerful
You can compare jewelry’s long life to other consumer goods that have advertising tool.
relatively short lives. For example, “Fine jewelry lasts a lifetime and maybe
more. For about the same price as this piece, you might be able to buy a
designer dress, suit, or even a handbag, but how long will any of those
items last? We have many clients who pass jewelry from generation to
generation.”
Remember that people often buy jewelry without detailed knowledge of
their purchase. The only information customers might have is what you
tell them. They want to trust you. If you’re insincere, or if you betray that
trust, you’ll lose the immediate sale, any future sales, and sales to any of
that customer’s family and friends. There’s no more powerful advertising
than word of mouth. It’s up to you to make sure that word of mouth is
positive rather than negative.
Close the Sale

At any time during your sales presentation, but especially after you’ve
demonstrated the jewelry and promoted its value, be attentive to buying
signals. When you notice one, it’s time to close the sale.
A sign that your customer is ready to buy can be as obvious as a direct
declaration or question, or as subtle as an affectionate glance between a
man and woman.
169
Jewelry Store Displays
Eric Welch/GIA
Well designed displays can help you with add-on sales. The earrings and pendants complement the necklaces in this display.
Also, the well designed display elements enable presentation of many necklaces in a neat, coordinated fashion.
There’s an art to displaying jewelry and other merchan- tags. Even if a customer already owns a nice pearl
dise. How you group and present jewelry items can strand, she might be captivated by a coordinating
have a big effect on sales. bracelet, pair of earrings, or matching ring.
Picture a crowded jewelry case with a confusing This also applies on a larger scale. Put yourself in a
array of mismatched items that make it hard for a customer’s shoes as you stand in your store’s entrance.
client to know where to look or even what the display What do you see first? What catches your eye? Check
is trying to present. In addition, some pieces have out your store and see if your displays encourage
fingerprints on them, and many store inventory tags casual browsing.
are showing. Perhaps even the glass countertop looks
The way customers move through a store and the route
smeared and messy.
they might follow is called traffic flow. Research shows
many customers turn to the right as they enter a store.
Contrast that unattractive scenario with a well laid
In a well designed jewelry store, every display should
out, freshly cleaned case where jewelry items are
tell a story and communicate the store’s own “brand.”
displayed in a coordinated fashion on specially
designed display elements. Many jewelry stores have a professional window
dresser or a dedicated staff member responsible for
A focal point in the display takes your eye to a beautiful the store’s window displays. The same stores might
pearl necklace. Surrounding the necklace are matching assign individual work stations or jewelry display
earrings, bracelets, pendants, and rings. The pieces are cases to particular sales associates.
attractively arranged, leading your eye past each group
of items in turn. The case appears uncluttered and Every display case can be a tool to help increase
clean, with no fingerprints and no visible inventory sales. Make a plan before you lay out the merchandise
170
Eric Welch/GIA
Many jewelry stores make individual sales associates
responsible for specific display cases. This promotes
involvement and allows an associate to become an expert
in certain product lines.
Eric Welch/GIA
Besides the standard display elements, stores often introduce
seasonal themes to their window presentations to keep them
fresh. This store combined the warm colors of fall with
appropriate giftware for a winning display.
within a display. Each case should have a theme or

rationale. For example, you might choose to create
a display with men’s furnishings, including pens,
money clips, cufflinks, and even some luxury watches.
A display case like this provides you with talking
points for your sales presentation and helps you
effectively promote that particular product category.
Another important part of your responsibility is to

keep the displays clean. It’s essential to make sure
the countertops are cleaned regularly during the day
and that all the jewelry pieces are neatly arranged.
Each item should be cleaned before it’s returned to
the case after a customer sales demonstration.
Finally, always remember to gauge customers individ-

ually. Try to determine if they are inclined to stop and
listen to your presentation or if they might have a Valerie Power/GIA
specific purchase in mind and want to buy that item
A common practice is to group jewelry items from the same
quickly. Developing and using this skill, along with designer together. This provides unity and helps sell new
careful display planning, can help you increase your items to a client who might already own a piece from a
sales success. particular collection.
171
If your customer asks, “How much is the tax on this item?” or “What’s
your policy on returns?” you know she has buying on her mind. If a couple
mulling over an expensive jewelry purchase touch each other or exchange
loving looks or words, they are leaning toward buying. You have to be
sensitive to these buying signals and move to close the sale. Be respectful,
though—don’t pounce.
Initiating the Close

Customers take the lead and announce they want to buy only 20 percent
of the time. As a sales associate, that means if you want to ring up a lot
of sales, you have to initiate the close. Like the trial close, closing the sale
almost always starts with the sales associate asking a question. Here are
some examples:
• Can I put that in a special box for you?
• Will you be using cash or a credit card today?
Eric Welch/GIA • Would you like me to gift-wrap that for you?
You should be sensitive to a customer’s • You’ve chosen a lovely gold chain, would you like to add a nice
signals. She might pause to contemplate pendant to give it versatility?
the jewelry or a couple might exchange a
knowing glance. These are signals that • Would you like to take advantage of today’s special sale price?
your customer is getting ready to buy.
Your eagerness to complete the sale is more important than the tactic you
use. Be assertive but not aggressive. And remember, 80 percent of the
time, you won’t close if you don’t ask.
In the scenario that opened this assignment, Joseph directed Betty, a long-
KEY time customer, to a suitable gift category. He knew she was sensitive to
CONCEPTS price, but he also knew she was buying for a special occasion. He didn’t
Most customers won’t tell you when want to ignore the possibility she would spend beyond her usual limit, so
they’re ready to buy, so you usually he showed her a range.
have to initiate the close. To Joseph’s surprise, Betty chose the expensive luxury watch. When Betty
raised an objection, Joseph responded to it with an add-on. Then he picked
up on her buying signal—Betty said Bob would love the items—and
closed by asking if she wanted the merchandise gift-wrapped.
Although Joseph knew Betty and her buying habits, he didn’t assume she
would stick to them. By not restricting his thinking and by offering an add-
on when he saw the opportunity, Joseph made a bigger main sale than he
might have, and he profited from the extra sale.
In the next assignment, you’ll learn about customer service and building
a clientele. You’ll also learn about Sales Step 7: Follow Up.
172
KEY
CONCEPTS
Quartz watches dominate today’s watch market. Use subtle questions to test your customer’s readiness to buy.
The term “water resistant” has replaced the improper term A price objection is usually a question of value.
“waterproof.”
Positive word of mouth is a powerful advertising tool.
It’s important to know each watch’s features and how they
work, so you can demonstrate them to your customers. Most customers won’t tell you when they’re ready to buy, so
you usually have to initiate the close.
Giftware can attract customers who might also buy jewelry
and can generate additional sales to jewelry buyers.
Key Terms
Analog watch—Timepiece with time of day and passage Escapement lever—Device in a mechanical watch that
of time indicated by pointed devices called hands. controls the motion of the balance and escape wheels
and, therefore, the rotation of the hands.
Balance spring—A hair-thin, spiral spring that’s coupled
to the balance wheel to make it rock back and forth. Figurines—Small carved or molded figures, also called
statuettes.
Balance wheel—The watch part that rocks back and forth
to divide time into equal parts. Flatware—Knives, forks, and spoons used as utensils
when eating.
Button (cell) battery—A tiny, disc-shaped battery used to
power a quartz-movement watch. Hollowware—Metal tableware like bowls, pitchers, trays,
and teapots made of sterling silver, silver plate, or pewter.
China—Porcelain or other high-quality translucent or
white ceramic material, often used to make tableware. Jewels—Natural or lab-grown gem materials used as
bearings to reduce friction between watch parts.
Chronograph—Timepiece with two independent systems
Mainspring—A strong spring that powers the watch as it
that tell the time of day and measure brief time intervals.
unwinds.
Chronometer—A Swiss-made watch that meets very high
Mechanical watch—Timepiece powered by manual or
accuracy standards.
automatic winding.
Crystal—Tableware and ornamental objects made of fine- Men’s furnishings—Articles or accessories used or worn
quality, brilliant glass. by men.
Desk accessories—Items found on an office or home desk. Movement—The inner mechanism of a watch.
Digital watch—Timepiece with time indicated Quartz watch—Timepiece powered by a battery.
numerically, usually by a liquid crystal display (LCD).
Regulating system—A group of devices that steady the
Earthenware—Tableware, pottery, and decorative objects mainspring’s unwinding and perform the timekeeping
made of a variety of materials, including ceramics and clay. function.
Escape wheel—Device that works with the escapement lever Water resistant—Describes a watch with the ability to
to assist the timekeeping function of a mechanical watch. prevent water penetration through its case.
173
n Where are the watch industry’s major commercial centers?
n What types of watches dominate the market?
n How does a watch keep time?
n What must jewelers consider before deciding to carry giftware?
n What factors apply to specializing in giftware sales?
n What are some giftware categories and items?
n What’s the history of enameling?
n What are some enameling techniques?
n What’s the role of enameling in today’s market?
n What are some approaches to the trial close?
n How can you overcome a price objection?
n What are some ways to initiate the close?
174
Serving and Building Your Clientele 6
Sales Step 7—Follow Up . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 179
Avoiding Regrets. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 181
Earning Repeat Sales. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 182
Personalized Attention . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 185
Building a Permanent Clientele . . . . . . . . . . . . . . . . . . . . . . . . . . . 186

Product and Customer Knowledge . . . . . . . . . . . . . . . . . . . . . . 188
Offer Your Expertise . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 188
Provide Personal Attention . . . . . . . . . . . . . . . . . . . . . . . . . 189
Jewelry Care and Cleaning . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 191

Gem Treatments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 192
Laboratory-Grown Gems and Simulants . . . . . . . . . . . . . . . . . . 194
Explaining Care and Cleaning. . . . . . . . . . . . . . . . . . . . . . . . . . 194
Keeping Jewelry Beautiful . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 196
Home Care. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 198
Jewelry Repairs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 198

A Take-In Example . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 200
Sizing a Ring . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 201
Sizing Methods. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 202
Removing a Ring That’s Stuck . . . . . . . . . . . . . . . . . . . . . . . . . . 204
Shank and Prong Repairs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 204
Remounting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 206
Key Concepts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 207
Key Terms. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 207
175
• Recognize the importance of product knowledge to quality customer
service.
• Advise customers about the care and cleaning of their jewelry purchases.
• Display an understanding of a variety of jewelry repair procedures.
176
Serving and Building Your Clientele
iStockphoto
A couple searching for that perfect engagement ring offers you one of your best jewelry sales opportunities.

The young couple—Lyn and Brad—spent several minutes looking at the
window displays. They were very animated, exchanging smiles and
laughter as they examined the store’s selection. When they strode into the
store, they seemed to have made an important decision.
“You look like two people on a mission,” Ian said before introducing
himself and finding out their names.
“We’ve looked at rings in every store in the mall,” Brad said, “and we like
the set of matching platinum and gold wedding rings in your window over
there.”
“Well,” Ian said, “you two are making my job really easy.” He opened the
case and took out the rings to show them.
“Oh, I like them so much,” Lyn said enthusiastically.
“Well, that’s settled,” Brad added. “Just find us the right sizes, take my
credit card, and we’ll be done.”
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iStockphoto
With the right guidance from you, there’s plenty of potential for
add-on sales once they’ve chosen the perfect ring.
iStockphoto iStockphoto
One of the key steps to take when selling to a couple is to get It’s very rewarding to connect a couple to the jewelry piece that
them to communicate with you and with each other. Once you symbolizes their commitment to one another.
know what they want, you can guide them to the choice that’s
right for them.
“You’ve made a good choice,” Ian confirmed. “The manufacturer is
European. They make some of the finest wedding sets available. By the
way, have you selected gifts for the wedding party?”
Lyn and Brad turned and looked at each other blankly.
“Uh-oh,” they said in unison.
“Wow,” Brad said, embarrassed. “Thanks for the reminder! What would
you suggest, Ian?”
“Well, Brad,” Ian replied, “for your best man and ushers, we have some
very nice engraved pen-and-pencil sets. Would you like to see them?”
178
Brad replied that he would, and Ian showed him the store’s selection. Brad
ordered a personally engraved set for his best man, and a pen for each of his
four ushers. Ian complimented Brad on his choice and then turned to Lyn.
“Lyn, what jewelry are you wearing during the ceremony?” Ian asked.
“A strand of natural pearls that’s been passed down from my great-grand-
mother,” Lyn replied.
“Natural pearls are extremely hard to find these days,” Ian said, “but I
have something that comes close.”
Ian showed Lyn and Brad a gold chain necklace with a single white pearl
pendant.
“This is a freshwater cultured pearl from China,” Ian said. “It grew in a
mollusk like your grandmother’s pearls did, but humans had a hand in
the process, too.”
“If these are for my bridesmaids,” Lyn asked, “what would I give my maid
of honor?”
In reply, Ian showed Lyn a similar necklace with three pearls. Her decision
was as quick as Brad’s had been about his gifts. She chose four single-
pearl necklaces and one trio necklace.
“Would you like to be listed in our client registry?” Ian asked. He went
on to explain, “It’s a way we stay in touch with preferred customers. We
can remind you about things like bringing your jewelry in for cleaning iStockphoto
and let you know when we have special sales and promotions.” Part of your job is to turn that initial
engagement ring sale into a longer term
They agreed and Ian recorded their contact information. Ian wrapped their commitment for your store.
purchases and told Brad he’d call when his engraved pens were ready for
pick-up. The couple left the store, happy and satisfied with their choices.
That evening, Ian made a follow-up phone call to Lyn and Brad. He made
a note to himself of their wedding date and when they were due back
from their honeymoon. The following day, he sent a congratulatory
wedding card. When the couple returned home, Ian called to ask about
the wedding, the wedding-party gifts, and their honeymoon. He told the
newlyweds about an upcoming sale and said he would be happy to help
them or any of their friends with their future jewelry needs.
Sales Step 7—Follow Up

n When does the follow-up process start?
n What are some follow-up activities?
n What are the goals of follow-up?
You’ve made the sale, and your customer is about to leave the store. Your
job is finished, right? Well, only if you want to increase the chance she’ll
return the purchase, or if you never want to sell to her again, or if you
don’t want her to refer anyone else to you.
Of course, you don’t want any of those things to happen, so you know
your job isn’t complete. You’ve reached Sales Step 7. It’s time to follow up.
179
Eric Welch/GIA
After you’ve succeeded in closing the sale, it’s time to consider how you might follow
up with your customer.
iStockphoto Terri Weimer/GIA

Don’t treat any sale as the end of your Make sure your client leaves the store with your business card and your best wishes.
transaction with your customer. Consider Treat her with the same respect you’d offer a lifelong customer.
it the inspiration for many more sales in
the future.
The follow-up process starts as soon as you’ve closed the sale and before
KEY your customer leaves the store. Give her your business card, and invite
CONCEPTS her to contact you. Be sure your professional credentials are printed on
Your customers should see you as a gem your card along with your business phone number and email address.
and jewelry authority and professional Your customers should regard you as a gem and jewelry authority who is
eager to be a professional resource.
resource.
As you complete the sales process, record your customer’s contact and
other information in the store’s database or your personal customer file.
The information might include the customer’s name and address; home,
business, and cell phone numbers; email addresses; occupation; birthday;
anniversary date; ring size; gem preferences; store visit and purchase
records; and preferred payment method.
Of course, you should respect your customer’s privacy—some customers
might not want to reveal certain information. If your store has a policy
regarding compiling customer information, be sure to follow it.
180
iStockphoto
Many customers feel a bit of buyer’s remorse, often centered on price and value. Make
sure you follow up to reassure your client about her purchase.
Avoiding Regrets
After spending money, many customers experience a feeling of guilt or Buyer’s remorse—A feeling of guilt or
regret called buyer’s remorse. It occurs especially when a salesperson regret about having spent money,
pushes too hard and forces a sale of something the customer doesn’t need especially on a major purchase.
or want. When reality strikes, the customer often returns the item. You can
avoid that kind of return by listening to your customers, serving their
needs, and never forcing a sale.
Be aware of the possibility of buyer’s remorse, and act to alleviate it during
and after your sales presentation. During the presentation, reinforce every
positive comment your customer makes about the pieces you demonstrate.
For example, “Yes, the best Colombian emeralds are the world standard
for color. This emerald represents the finest available. It’s an excellent
choice.” Or, “That’s correct. Most platinum is 90 or 95 percent pure. It
complements near-colorless diamonds very well. Platinum and diamond
rings are passed from mother to daughter for generations. I think you’ve
made a wise choice.”
On the evening after the sale or the following day, call your customer to
confirm the correctness of her purchase. Compliment her choice and
assure her of the piece’s value. About a week later, send her a handwritten
note or an email. For example, you might say, “That lovely sapphire
necklace you chose looks terrific on you. I think you’ll wear it with pride
for years to come.”
181
Whether calling or writing, be sure to use “you” and “I.” Also use the
customer’s name. People relish personal approval, especially when they’ve
extended themselves financially and might be a little doubtful about having
made the right decision.
Following up with a phone call and thank-you note or email helps you
KEY accomplish several things. First, by relieving buyer’s remorse, you reduce
CONCEPTS the chance your customer will return the purchase. Next, you nourish a
Follow-up contacts can help establish trusting relationship between you and your customer that increases the
possibility that she will come back to your store—and to you—for future
trust between you and your customer.
purchases. Finally, you ensure your customer will speak favorably about
her purchase and recommend you and your store to others.
Earning Repeat Sales

To earn your customers’ trust and repeat business, you want them to regard
you as an expert and trusted advisor, and you want them to return to your
store and to you when it’s time for another purchase. Respect, trust, and
repeat sales don’t come easily. You have to earn them.
Above all, you have to know gems and jewelry. And since that world
constantly changes, you have to stay current. Reading trade publications
and Web sites, and attending trade shows, are some of the ways to keep
informed.
You should also maintain regular contact with your clients. You can do
that by phone, mail, and email. Let them know when you have new
merchandise you think they’ll like. Remind them when it’s time to clean
a jewelry piece or to replace the battery in a watch. Inform your clients
of sales, promotions, and celebrations taking place in your store. Send
your best wishes for anniversaries and holidays, even whimsical, offbeat
occasions like St. Patrick’s Day or Groundhog Day.
Eric Welch/GIA
You gain a world of knowledge when you get to know your store’s inventory. The better
you know what’s in your store, the more prepared you’ll be to serve your customers.
182
iStockphoto
Make sure you maintain regular contact with your clients so you can let them know
when your store has something new to offer. The more comfortable they feel coming
in your store, the greater your chances of present and future sales success.

Trade shows give you the opportunity to network with other trade professionals and At trade shows, you can compare the
benefit from their experience. products and prices of many different
suppliers.
183
Valerie Power/GIA
Attending gem and jewelry trade shows like this one in Tucson, Arizona, is a great way to stay in touch with market developments.
Use your customer communications to reassure them about purchases,

KEY
update them on new merchandise, and send them community-related
CONCEPTS
news about you or your store. Scan newspapers and magazines for news
Generating increased sales and profits or third-party endorsements about merchandise you carry. Clip and copy
takes product knowledge and constant them, and send them with a personal note to clients you think might be
effort. interested. If your store has a Web site, refer your clients to it.
Some sales associates have great success with personal newsletters. They
It’s always easier to sell to repeat and can be on paper, email, or both. Include your photo, your store’s logo and
referral customers than to new ones. location, and your phone number and email address.
It’s always easier to sell to repeat and referral customers than to new ones.
Don’t hesitate to ask your regular customers to refer their friends and
relatives to you. Increased sales and profits don’t come to you on their
own; you have to generate them.
184
Personalized Attention
In today’s world, people are busier than ever with career and family,
leaving little or no time for anything but necessity shopping. Try accom-
modating busy clients by setting up appointments for them to shop in your
store. They can arrive at a specific time for a specific purpose, and you
devote your attention exclusively to them. Appointment shopping and the
additional personal attention it involves can pay off in bigger and more
frequent sales.
In the scenario that opened this assignment, Ian recognized that Lyn and
Brad had done their research, and had already decided which rings they
wanted to buy. He went along with their decision, making no effort to
sway them. He did, however, see and take the opportunity for very
significant add-on sales.
Then, taking advantage of the trust and goodwill he had created, Ian
entered Lyn and Brad’s information in his store’s customer database. That
evening, he followed up by calling to reassure the couple about their iStockphoto
purchases. The next day, Ian sent a congratulatory wedding card. When the Many people have a personal fitness
couple had returned from their honeymoon, Ian called again. After learning trainer at the gym. You can fill a similar
that everything had gone well, Ian told the couple about an upcoming role where fine jewelry is concerned by
sale and volunteered to help their friends with their jewelry needs. becoming a trusted, personal advisor for
your clients and guiding them to jewelry
By following a sound sales strategy, Ian gained two satisfied customers pieces that celebrate special moments in
and opened the possibility of finding several more. their lives.
iStockphoto
It might take some time to select a special piece for a cherished loved one. Make sure
you’re there to help your client pick just the right one.
185
Oktay Ortakcioglu/iStockphoto
Once you’ve established successful relationships with your clients and they’ve had
positive experiences in your store, they’ll be very likely to refer friends and family to you.
Building a Permanent Clientele

n What are the elements of sales success?
n Why is it important to know your products and customers?
n How can a customer file be useful?
Although catalog sales have been a mainstay for decades and Web-based
sales have become more common in recent years, worldwide retail-store
sales account for more than a trillion dollars in business. Much retail
shopping is self-service, yet an enormous amount involves face-to-face
interaction between a customer and a salesperson.
186
The Best Salespeople

Research into the personalities of sales-
people has shown that the best possess
two equally strong traits: empathy and ego
drive.
Empathy is the ability to see things from
another’s point of view, and to understand
and identify with that person’s thoughts
and feelings. The best salespeople
empathize with their customers and use
that connection to make sales.
It’s important, though, not to let empathy
become sympathy. If a salesperson agrees
with the customer’s objections rather than
persuasively countering them, the result
is usually no sale.
Ego drive is an inner need to fulfill or
justify oneself by succeeding. A successful
sale is a plus for both the salesperson and
the customer. If the sale is not made, both
come away empty-handed.
The best salespeople balance empathy iStockphoto
and ego. With too much empathy, you
The very best salespeople have special skills
won’t close the sale. With too much ego that help them understand customers’ needs.
drive, you ignore the customer’s needs They’re also driven to match the right jewelry
and keep yourself from reaching the point with each client because sales success is
where you can close the sale. personally rewarding for them, too.
Think about your own experience as a customer in a retail setting. How

many of your encounters are pleasant and memorable? How many sales-
people provide good service and develop a rapport with you? How many
maintain contact with you after the sale? How many have you returned
to for further purchases? If your experience is like most people’s, the
answer to these questions is “very few.”
As a beginning jewelry sales associate, you have an opportunity. You’re

starting fresh, and you have a chance to do your job especially well. The
most successful sales associates know their products and customers,
approach sales presentations methodically, use proven sales techniques
that they improve through their own experience, and serve their customers.
An important element of a successful, long-term sales strategy is building

and maintaining a personal clientele.
187
Eric Welch/GIA Mark Davis/Philip Zahm Designs

You should be aware of any rare or unusual items in your You should understand the benefits of every piece you sell,
store’s inventory. A pair of matched emerald cabochons as rare regardless of price. The beautiful tourmaline cabochon in this ring
as these might tempt a wealthy client to request their use in is a worthy substitute for a more expensive gem, such as ruby.
custom-designed jewelry.
Product and Customer Knowledge

The foundation of long-term sales success is knowing your products and
customers, and matching them with each other. Jewelry can be quite
expensive. Few customers want to spend a lot of money on something
they don’t know much about, so it’s your job to educate them.
If a customer shows interest in an emerald pendant in a gold setting and
chain, you should be able to tell her something about the stone’s origin,
its cut, color and quality, how it was treated, and how it should be cared
for. You should be able to relate facts about the gold setting and chain.
Customers who have confidence in you and your knowledge are much
more likely to buy and come back to buy again.
Robert Weldon/GIA You should know your customers as well as your products. Each customer
A depth of product knowledge helps you is an individual with particular characteristics, likes, dislikes, and favorite
answer your client’s questions and activities. Each is likely to have trusted family members, friends, and colleagues.
overcome any objections. To sell a large Each has a job, a school affiliation, an avocation, or maybe all three.
beautiful aquamarine ring like this, you
can stress the stone’s color and clarity Knowing your customers lets you tailor your sales presentations to suit
along with some of its special lore. each one and increases the likelihood of sales, bigger sales, and repeat
sales. Of course, it’s not possible to learn everything about a customer in
one sales encounter, but the more you can learn, the better your chances
of sales success. Each customer has a personal network, so the customer
KEY
you serve well will usually refer others to you.
CONCEPTS
Customers who trust your knowledge Offer Your Expertise
and expertise are more likely to buy Most people know very little about gems and jewelry. You can increase
from you. your sales and serve your customers by acting as their expert. You can
gain their confidence and trust by knowing gems and jewelry, honestly
Customers you serve well will usually conveying your knowledge, and not being too aggressive. Most people
refer others to you. like to buy, but they don’t like being pushed in that direction.
188
Eric Welch/GIA
Use your product knowledge wisely and
try to gauge your customer’s response to
the information you provide. To sell a
stone like this beautiful 43.52-ct. sapphire
from Sri Lanka, you can emphasize its
exquisite color, size, and rarity.
Eric Welch/GIA
You might reach a point where it’s better to stop talking and let the client admire the
beauty of the jewelry piece she’s considering.
Be careful not to overwhelm your customers with information. Too much

information can be as deadly as none at all. Develop the ability to gauge
what and how much each customer wants to know. Some technically
oriented customers might want to know every scientific property of the
gems or metals they buy. Others might be interested only in the lore,
romance, and mystique of gems and jewelry. Still others might respond
to a combination of technical information and romance. And still others
might be intensely focused on price.
You might be able to learn what a new customer wants or needs to know
by signals she sends with her manner, dress, or questions she asks. A sure
way to learn how to tailor your approach is to conduct little tests. If your
customer responds eagerly to a technical fact or two, if she expresses
interest when you mention a bit of gem lore, or if she pursues price when
you allude to it, you’ve probably uncovered her orientation.
Provide Personal Attention
Your customer file can be your own personal treasure, whether it’s an
electronic database or composed of individual index cards.
Use the file to update each customer’s data whenever she comes in. If you
don’t see a customer for a while, call or email to say, for example, that there’s
a store event, new merchandise, or gem and jewelry news you thought
she might be interested in. When you make contact, take the opportunity
to update her entry in your customer file.
A customer file can be an important part of your store’s customer service.

The overall purpose of customer service is to generate goodwill. And
goodwill, in turn, generates sales.
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iStockphoto
Try to stay in touch with your customers. For example, you might call your customer
when a pendant comes in that matches the ring she’s already purchased.
When you think of your customers as clients, you can give them
personalized attention. Without being a pest, you can use the information
you collect in your files to fit their purchases to their interests. Your clients
are people with preferences, families, friends, relationships, hobbies, and
habits. Knowing this lets you appeal directly to their interests. Rather than
marketing to them in a general way, you can approach them with specifics
and increase your chances of success.
For example, suppose it’s May and your customer file shows that Mrs.
Jones’ daughter, Ruth, just turned 18. This means she’s probably about to
graduate from high school. Mrs. Jones might appreciate it if you let her
know you have several new items that might be great graduation gifts. She
might also be flattered by your personal attention. And she might just
come in and buy one of your new items.
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Valerie Power/GIA
This modern ring contains a bezel-set
3.20-ct. pink sapphire with diamond
accent stones. The stone’s unique non-
traditional cut and the ring’s clean lines
are very likely to spark a customer’s
interest.

Correct disclosure of the nature and care of jewelry metals and gems is a fundamental The tag on the ring’s shank clearly states
part of ethical jewelry sales. its total gem weight along with the term
“LAB.” To an informed salesperson, this
is a clear statement that the main gem is
Jewelry Care and Cleaning lab-grown and that the customer must
be informed about its nature.
n When does post-sale customer service begin?
n What must you disclose about jewelry metals and gems?
n How does product knowledge help you explain care and cleaning?
KEY
Good customer service doesn’t stop when you make the sale. After all, CONCEPTS
your goal is to build repeat business with as many customers as possible.
After-the-sale service actually starts before your customer leaves the store After-the-sale customer service starts
with her new purchase. That’s when you can take the time to explain how before your customer leaves the store
to care for the new jewelry and invite your customer to return if she has with her new purchase.
questions or concerns.
Disclosure is an essential part of the gem and jewelry industry. It means Disclosure—Clearly and accurately
you must clearly and accurately inform your customers about the nature informing customers about the
of the goods they buy. It’s another important way to display your knowledge nature of the goods they buy.
and build your customers’ trust in you.
For example, as you read in Assignment 1, no precious jewelry metals are
100 percent pure. All have at least some impurities, and many are alloyed
with other metals. For example, although it’s often called “gold,” most
jewelry gold sold in the US is 14K. Depending on where it’s made and
sold, jewelry gold ranges from 8K to 24K. When selling metal jewelry or
gems set in metal, you should disclose the metal’s composition to your
customers.
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Valerie Power/GIA
These cultured pearls in a Chinese factory
are being dyed to give them a subtle pink
tint. Many consumers prefer their pearl
jewelry to have a warm blush of pink.

Just like the fabrics used for clothing, most gems need some form of treatment to be
marketable. Most customers have no problem with gem treatments if they’re told
about them before purchase.
Gem Treatments
Treatment—Any human-controlled Many gems undergo some kind of treatment, most often to enhance appear-
process, beyond cutting and polishing, ance. For example, many emeralds have fractures that are filled with oil,
that improves the appearance, resin, or both to reduce their negative visual impact. Rubies and sapphires
durability, or value of a gem. are routinely heat-treated to improve their color. Many light-colored
cultured pearls are bleached to remove dark spots and produce uniform
color. If the gems you sell are treated, you should tell your customers.
Although some treatments are undetectable, many can be detected by
trained gemologists. A retailer’s supplier is usually the best source of infor-
mation regarding whether or not gems are treated. If treatment information
isn’t available and you’re selling a gem known to be routinely treated, you
should assume it has been and inform your customer.
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Andy Lucas/GIA
Due to the way they form in nature, most
emeralds require treatment to improve
their appearance. These emeralds in
Colombia are being prepared for
treatment.
Andy Lucas/GIA
Most rubies and sapphires are heated to improve color and sometimes clarity. This is
a heat-treatment oven in a facility in Bangkok, Thailand.
John I. Koivula/GIA
Cavities on the base of this turquoise
cabochon were filled with a plastic-like
substance to conceal them. This and
other treatments must be disclosed to
the customer prior to sale.
Myriam Naftule Whitney
The attractive colors of these yellow to pinkish orange sapphires are the result of
treatment, which must be disclosed at the point of sale.
193
Consumer interest in colored diamonds

fueled demand for inexpensive
imitations like cubic zirconia (CZ). This Harold & Erica Van Pelt (loose stones)
novelty elephant ring features colorless, This is a selection of loose lab-grown diamonds along with some jewelry pieces
yellow, and pink CZ along with an containing them. Some owe their colors to treatment. Lab-grown diamonds like these
imitation pearl on the end of the trunk. are becoming more available in today’s jewelry.
Laboratory-Grown Gems and Simulants

Lab-grown gem—A manmade Many gems that appear to be natural are actually lab-grown. They’re
(synthetic) gem with essentially the manmade (synthetic) gems with the same chemical composition, crystal
same chemical composition, crystal structure, and properties as their natural-gem counterparts. Others are
structure, and properties as its imitations, or simulants—lookalikes made of a variety of natural and
natural counterpart. manmade materials. Often, the intention is not to deceive but to produce
a less expensive alternative. If the gem you’re selling is lab-grown or a
Simulant (imitation)—A natural or simulant, you must disclose this to your customers.
manmade material that resembles
a gem. Problems arise when someone sells gems and jewelry as something they’re
not. Dishonesty hurts everybody. Dishonest retailers or wholesalers lose
customers and reputations, and bad publicity hurts their businesses.
Customers lose money and faith. The industry as a whole loses stature in
the public’s eyes.
Maha Tannous/GIA
In today’s marketplace, there’s a wide variety of lab-grown materials. These include
lab-grown ruby and sapphire, spinel, emerald, opal, amethyst, and even diamond.
194
Explaining Care and Cleaning

Product knowledge is essential when you explain basic care and cleaning
methods. It’s also important if a customer returns with a piece of jewelry
for cleaning or repair. Your product knowledge will help you know how
to handle it.
You’ve learned that different metals have different properties and that
some gems scratch easily. It’s important to be able to convey this
information to your customers, but it’s equally important not to scare
them. If you educate your customers properly, they’ll be impressed with
your expertise and concern, and will be more likely to return to you for
their next jewelry purchase.
Hard gemstones, like diamonds (the hardest), rubies, and sapphires, will
scratch not only softer gemstones, like cultured pearls and opals, but also
precious metals. Metals can scratch other metals, and chains can tangle,
twist, and get damaged if they’re stored or handled carelessly. Sophia By Design/Matt Biller Photography
With the right maintenance care, your
Metals and other gems can easily damage a cultured pearl’s surface, so clients’ jewelry collections can last for a
you should encourage customers to take extra care with their cultured lifetime, and even become treasures for
the following generations.
pearl jewelry. They should never toss it into a purse or jewelry box with
other jewelry. If possible, each piece should be individually wrapped in
a soft silk or cotton bag. KEY
CONCEPTS
All jewelry, no matter what it’s made of, should be handled with care and
respect. Jewelry should be kept in a clean, protected place, preferably a Jewelry should be stored separately in a
lined jewelry box with separated sections. clean, protected place.

The compartments in this jewelry box prevent the individual When you present fine jewelry, be sure to use a soft display pad
jewelry pieces from contacting and accidentally damaging and handle the piece with respect. This is also a good time to
each other. start explaining care and cleaning to your customer.
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Eric Welch/GIA
It’s very important to follow your store’s
take-in procedures. Make sure you
accurately record the condition and
nature of any jewelry pieces according
to your store’s established policies.
Eric Welch/GIA
Offering routine jewelry cleaning and inspection brings customers back into your store.
This gives you the opportunity to show them new items and generate repeat sales.
KEY Keeping Jewelry Beautiful

CONCEPTS Tell your customers it’s a good idea to bring jewelry in for routine cleaning
Jewelry should be professionally cleaned and inspection. This is especially important if they plan to wear their
jewelry regularly. Prongs can be damaged and mountings can wear out,
and checked periodically.
increasing the chances of gemstone loss.
Take-in—A procedure for receiving The procedure for accepting a customer’s jewelry for cleaning, repair, or
customer jewelry for repair, appraisal is called take-in. You should learn and precisely follow your
appraisal, or cleaning. store’s take-in procedure. Take-in procedures are designed to reveal and
record the true nature and condition of a customer’s gems and jewelry.
That way, when the work is completed, the customer will have no basis
for accusing you of switching stones or causing pre-existing damage.
Many stores offer free jewelry cleanings or inspections at set intervals—
commonly every six months. If your store has such a policy, tell your
customer about it. The added advantage for you is that every return trip
gives you the chance to sell another piece of jewelry.
196
Eric Welch/GIA
If you offer jewelry repair on the premises, it can often help if your bench jeweler
explains the repair process to the customer.

Never place jewelry that contains
emeralds into an ultrasonic cleaner. It’s
much better to clean a beautiful ring like
this by hand.
Ultrasonic cleaners are very effective and Porous gems like coral should never be
widely used for cleaning jewelry. cleaned in an ultrasonic machine.
Although they’re safe to use with many
materials, some gems should never be
cleaned in an ultrasonic cleaner.
Even if your store has equipment and procedures for cleaning jewelry, Ultrasonic cleaner—A machine that
you should clean jewelry only if you have the proper training. If you don’t, cleans jewelry with high-frequency
ask a trained associate for advice. An ultrasonic cleaner cleans jewelry sound waves in a liquid solution.
with high-frequency sound waves that pass through a liquid cleaning
solution. The ultrasonic cleaners commonly used in jewelry stores aren’t
appropriate for all gems. They should never be used to clean various
treated gems or easily damaged gems like emerald, tanzanite, opal, pearl,
and coral.
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Shutterstock
Tarnished silver can be quickly restored
using special cleaning solutions.
Shutterstock
Many household cleaning products contain harsh chemicals that can damage some
gems. If in doubt, it’s best to remove jewelry before starting a cleaning project.
Home Care
Like gemstones, the beauty of the metals in jewelry can be maintained
by a daily wipe with a soft, dry cloth. There are commercial jewelry
cleaners made for home use, but remind your customers to check the
labels to be sure the cleaners won’t harm the gems in their new jewelry.
Prolonged exposure to chlorine can damage and discolor karat gold and
sterling silver. It actually affects the alloying metals, not the gold or silver.
Tell your customers to keep their jewelry away from household cleansers
that contain chlorine bleach, and out of swimming pools and spas that
contain chlorine.
A polishing cloth works best for gently cleaning karat-gold and silver
jewelry. Paper towels can scratch gold and silver, so they’re not a good
choice. Most of the care-and-cleaning rules and cautions for karat gold
also apply to platinum. Also, a professional repolishing can remove
scratches from karat gold and platinum with very little metal loss.
Suggest storing sterling silver jewelry in anti-tarnish cloths or bags.

Tarnished sterling silver requires repolishing or special cleaning solutions.
198
Jewelry Repairs
n What’s the first step to take when a customer brings in a piece of jewelry?
n How does knowledge of gems and metals help you when taking in
jewelry repairs?
n How can jewelry repairs offer the opportunity for additional sales?
Another customer service opportunity arises when people bring jewelry
in for repair. While this lets you help customers keep their jewelry in good
condition, you can also assist and advise them if problems occur.
An important first step is always to inspect the customer’s jewelry to ensure Eric Welch/GIA
its condition and to make the customer aware of any problems that might Jewelry repair and maintenance programs
arise with the repair. Also make sure to document this information and give stores the opportunity for customer
give the customer a copy. contact that extends well beyond initial
sales.
Valerie Power/GIA
Some stores feature their jewelry repair facilities prominently. This one has a large
window so clients can see the bench jeweler at work.
199
Eric Welch/GIA
When you take in jewelry, make sure you examine each piece carefully with a 10X loupe.
A Take-In Example
Suppose Mrs. Smith bought a new pair of diamond stud earrings from you
last year. Following your advice, she brings them in for cleaning. She also
brings some other pieces from her collection: a channel-set diamond ring,
a prong-set ruby ring she inherited from an aunt, and a 14K yellow gold band.
“All of these need cleaning,” she says, “especially the diamond ring. And
I’d like to get it and the plain band sized up—they’re both a little tight
these days.”
Loupe—A small, handheld You inspect each piece with a 10X loupe, the standard jewelry industry
magnifying device. handheld magnifier. The earrings, the diamond ring, and the plain band
are all in good shape. A thorough cleaning will make them sparkle and shine.
The ruby ring is another matter, though. Its fine-looking ruby was once
held in place by six gold prongs, but one of the prongs is bent away from
the stone. The tops of the other five are so badly worn it’s a miracle the
stone is still in place. A check confirms years of accumulated dirt under
the stone. The dirt is probably what’s holding the stone in place. You also
notice the shank has worn dangerously thin.
You measure Mrs. Smith’s finger and find it’s a size 7. The diamond ring
and the plain gold band are both size 6. You excuse yourself while you
consult with your store’s bench jeweler about the work that has to be done
on the three rings, then return to talk to Mrs. Smith.
“Cleaning these pieces will take just a few minutes,” you tell her. “And
our bench jeweler can size the plain band immediately. Sizing the
channel-set ring is a little more complicated, so you’ll have to leave it
with us for a few days.
“I’d like to bring some things to your attention about your ruby ring,
though,” you continue. “One of the prongs is pulled away from the stone,
and the other five are badly worn. It’s amazing that the ruby is still in place.
200
“On top of that, see how thin the shank is?” you ask as you turn the ring
over. “It’s almost worn through. We can repair the prongs, and it’s usually
not difficult to replace part of a shank. It’s no more complicated than
sizing a ring, especially one with such a simple design.
“But taken all together, I think you might be better off if we take the ruby Remounting—Removing a gem or
out of the ring and remount it. We have a selection of mountings you can gems and resetting them in a new
choose from. In the long run, it’ll be less expensive than trying to repair mounting.
everything that’s needed here. Of course, your decision depends on your
emotional attachment to your aunt’s ring, though you’ll still have her
lovely ruby. If you’d rather keep the ring as an heirloom, we can certainly
restore it for you.”
Sizing a Ring
One of the most frequent jewelry repair services is ring sizing. When it’s
done right, the ring fits well and comfortably, and if the shank is cut, the
seams where the ring was made larger or smaller are invisible.
The bench jeweler is responsible for the quality of the resizing and finish
work. But it’s up to you to make sure you take proper measurements of
your customer’s finger.
Many manufacturers provide ring gauges for sizing. The gauges come in
two widths. When you measure a customer’s finger, use the width that
most closely matches the ring that’s being resized.
When you try the ring gauge on a customer’s finger, make sure it fits the
way the final resized ring should fit. Always ask the customer how it feels
too. Don’t assume it’s sized correctly only because it looks as if it fits. The
customer might feel it’s a little too snug or too loose. In that case, keep
trying until you get the right size. Also keep in mind that finger size can
change with the weather, after exercise, and other times when hands swell.
Eric Welch/GIA
A ring stretcher is useful for certain ring styles, such as this plain band. It can damage
other styles, such as rings set with gems.
201

Sizing a ring is a process that takes great skill and care. To make a ring larger, the The jeweler marks the precious metal
bench jeweler starts by cutting the ring to prepare it for sizing. insert where he's going to cut it.

After cutting, the jeweler solders the precious metal insert in place. The resized ring is then ready for filing and polishing.
Mandrel—Tapered, cylindrical metal Most bench jewelers have a ring mandrel to measure ring size. It’s a
rod with measurement marks used to tapered, round metal rod marked with ring-size measurements. Be sure
determine a ring’s size. the sizes of the ring gauges match those marked on the jeweler’s mandrel.
A properly resized ring passes easily over the knuckle and fits comfortably
on the customer’s finger. Some customers might have special needs—such
as swollen joints—that require extra care in ring sizing. In these cases, an
adjustable shank might be the answer.
Sizing Methods
When you take a ring in for sizing, you should be aware of potential
problems so you can tell your customer about them. She must understand
that resizing causes physical changes in a ring’s structure. A ring can be
resized by stretching, soldering in a new section, or by sawing a section
out and resoldering the ends together.
202
Eric Welch/GIA
Resizing rings that contain mounted gems requires great care and skill.
Use of a ring stretcher is the quickest way to resize a ring, but it has its Ring stretcher—A device that stretches
limitations. The stretcher is generally used only on plain bands because a ring shank to increase its diameter.
stretching gem-set rings can damage both the ring and the gems. And there
are limits to how much you can stretch a ring, depending on the ring and
its condition. Stretching might also reduce the thickness of the shank or
distort the ring’s texture slightly. KEY
CONCEPTS
You can resize a ring with a stretcher only once. If you try to stretch a
previously resized ring, the shank will split. A ring’s style and condition determine
how much you can stretch it.
Mrs. Smith’s plain band can be easily sized on a ring stretcher, but her
channel-set ring requires a more complex sizing operation. It can be sized
up by soldering a small piece of metal into the bottom of the shank, then
styling the new metal to match. Fortunately, in this case the ring has to
increase only one size. The channel setting might not withstand more than
that. Trying to get it any larger could cause the stones to loosen and fall
out or rub together and chip.
To make a ring smaller, the bench jeweler saws the appropriate amount
of metal out of the shank. The next step is to bring the two ends of the
shank together and solder them, and finally to file and polish the metal
to make the repair invisible.
Reducing the size of some rings too much distorts and damages the setting
and might cause the gems to be damaged or lost. Sizing channel-set rings
and other types of gem-set rings requires extreme care to avoid damaging
the settings or the stones. Rings set with gems might have limits on the
range they can be sized, or whether they can be sized at all. It’s best to
consult a bench jeweler or an experienced coworker.
203
Removing a Ring That’s Stuck

You’ll occasionally have a customer with a ring stuck on his or her finger.
The ring must come off, perhaps for repair or resizing, or even because
it’s become a hazard. Soapy water and a little tugging will often lead to
successful removal. Some rings are so stubborn, however, that a bench
jeweler or other trained person will have to use a special tool called a ring
cutter. It looks a little like a pair of pliers, and it’s designed to gently cut the
ring’s shank and allow its removal, while sparing your customer’s finger.
Things get a bit more complicated if the stubborn band is an eternity ring.
If you have to use a ring cutter, make sure its blade fits between two stones.
Otherwise, the jeweler will have to remove a stone, cut the metal at the
space made, and remount the stone in the resized mounting.
Shank and Prong Repairs

Half-shanking—Partially replacing a One way to deal with a shank that’s worn thin is to replace at least half
ring shank that’s damaged or worn. of the shank with a piece of matching jewelry metal. This procedure is
called half-shanking. After soldering the new section in place, the bench
Retipping—Rebuilding the top of a jeweler files and polishes the metal to match the rest of the ring. As with
prong with matching metal. a good sizing job, the results of this operation should be undetectable.
Because prongs often rise above the mounting, they’re exposed to a lot
of wear. Even with the utmost care, the tops of the prongs can wear down
over time. More than one jewelry owner has had the heartbreaking experi-
ence of losing a valuable gem because of worn prongs.
If the tops of the prongs are worn, a bench jeweler can simply retip them.
He does this by adding matching metal to the tops of the prongs, then
styling the rebuilt tips to match the others. Usually, it’s necessary to retip
all the prongs so they match.
Eric Welch/GIA
During retipping, the top of a prong is rebuilt to hold a gem more securely.
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Eric Welch/GIA
Then the jeweler files it down to give it a
finished look.
Eric Welch/GIA
With the tip held in place, the bench jeweler carefully solders it to the existing setting.
Eric Welch/GIA
A well-executed retipping is unnoticeable,
but it results in a much more secure
setting.
After filing, the ring goes through a series After cleaning in an ultrasonic machine,
of polishing steps to make it look as good the final step is to complete the cleaning
as new. process in a steam cleaner.
Retipping is possible only if the gems can withstand the heat of the bench Repronging—Replacing a prong.
jeweler’s torch. An alternative is to use a laser welder. Otherwise, the
stones have to be taken out and reset. If the prong is badly worn or missing,
it usually has to be replaced in a procedure called repronging. If the tip
of the prong is below the stone’s girdle, it must be repronged.
There’s a third alternative beyond retipping or repronging. If the setting is
badly worn or damaged, it might be safer and more cost effective to
replace the entire head. This is a decision your bench jeweler or supervisor
can help you explore with your customer.
205
Eric Welch/GIA
When an older piece has worn out from use, a customer might want to have the gems
remounted into an identical ring. Another option is to use the gems in a striking new
mounting.
Remounting
There are lots of reasons for remounting a stone. The jewelry might be
severely worn away or the owner might be tired of the jewelry and want a
new look.
Blank mounting—An empty mounting Some stores keep blank mountings or semi-mounts in stock, while other
with space for gems of a customer’s stores order them as needed. A blank mounting has no stones in it at all,
choosing. while a semi-mount has only its accent stones set in place. If you have
blank mountings on hand, you can use them as a sales tool. A blank
mounting is especially useful if the stones in the customer’s ring are loose.
You can temporarily position them in a blank mounting so the customer
can see what the new finished jewelry will look like.
If your store doesn’t stock blank mountings you can usually show
customers pictures from your supplier’s catalog. There are also computer
programs that can help you work with the customer to “design” a new
ring. These programs include catalogs of mountings and findings.
These are just a few examples of what’s involved in jewelry repair. The
list of things that can happen to jewelry—and the ways to fix the damage
that results—is endless.
You can educate yourself about ring sizing, repairs, and remounting by
talking with your store’s bench jeweler, owner, manager, or other sales
associates. Listen carefully to experienced coworkers when they explain
repair procedures to customers. It’s especially important to be aware of some
ring styles—tension-set rings, for example—that should never be resized.
In this assignment, you’ve seen that follow-up and customer service have
Eric Welch/GIA
many aspects and require a wide variety of skills. But they’re important
factors in ensuring satisfied customers who keep their purchases, come
No matter what the reasons are for a
remount, it’s another great opportunity back to buy again and again, and recommend you and your store to others.
to cement your relationship with a client. With these skills, along with the knowledge you’ve gained in this course,
Every time they return to your store, you you’re well on your way to a rewarding sales career filled with excitement,
have a chance for another sale. Good luck! opportunity, and challenge.
206
KEY
CONCEPTS
Your customers should see you as a gem and jewelry authority Customers you serve well will usually refer others to you.
and professional resource.
After-the-sale customer service starts before your customer
Follow-up contacts can help establish trust between you and leaves the store with her new purchase.
your customer.
Jewelry should be stored separately in a clean, protected
Generating increased sales and profits takes product place.
knowledge and constant effort.
Jewelry should be professionally cleaned and checked
It’s always easier to sell to repeat and referral customers than periodically.
to new ones.
A ring’s style and condition determine how much you can
Customers who trust your knowledge and expertise are more stretch it.
likely to buy from you.
Key Terms
Blank mounting—An empty mounting with space for Repronging—Replacing a prong.
gems of a customer’s choosing.
Retipping—Rebuilding the top of a prong with matching
Buyer’s remorse—A feeling of guilt or regret about having
metal.
spent money, especially on a major purchase.
Disclosure—Clearly and accurately informing customers Ring stretcher—A device that stretches a ring shank to
about the nature of the goods they buy. increase its diameter.
Half-shanking—Partially replacing a ring shank that’s Simulant (imitation)—A natural or manmade material
damaged or worn. that resembles a gem.
Lab-grown gem—A manmade (synthetic) gem with
essentially the same chemical composition, crystal Take-in—A procedure for receiving customer jewelry for
structure, and properties as its natural counterpart. repair, appraisal, or cleaning.
Loupe—A small, handheld magnifying device. Treatment—Any human-controlled process, beyond

cutting and polishing, that improves the appearance,
Mandrel—Tapered, cylindrical metal rod with
durability, or value of a gem.
measurement marks used to determine a ring’s size.
Remounting—Removing a gem or gems and resetting Ultrasonic cleaner—A machine that cleans jewelry with
them in a new mounting. high-frequency sound waves in a liquid solution.
207
n When does the follow-up process start?
n What are some follow-up activities?
n What are the goals of follow-up?
n What are the elements of sales success?
n Why is it important to know your products and customers?
n How can a customer file be useful?
n When does post-sale customer service begin?
n What must you disclose about jewelry metals and gems?
n How does product knowledge help you explain care and cleaning?
n What’s the first step to take when a customer brings in a piece of jewelry?
n How does knowledge of gems and metals help you when taking in jewelry repairs?
n How can jewelry repairs offer the opportunity for additional sales?
208
Jewelry Essentials
Photo Courtesies
The Gemological Institute of America gratefully acknowledges the following people and organizations for
their assistance in gathering or producing some of the images used in this assignment book:
A. Gunalp Horologist Watch & Clock Shop John C. Nordt Company Peggy Tsamis
Ambar Diamonds John O'Hara Petra Jewelry
Bill Gangi KCB Natural Pearls Piaget
Clara Zink King Plutarco, Inc. RareSource
Craig Danforth L. Sunderdas Zaveri Richard Krementz Gemstones
Crown Color Linneys & Bill Reed Rose Tozer
Dalia Livingstone Jewelry Royal Maui Jewelers
Don Yesid Nieto, Bogota, Colombia Luz M. Lopez S Shah Inc.
Duncan Pay M & M Dynasty Sharon Doar-Toth
Dynamic International Maija Neimanis Signed Pieces New York
Emitations Marianne Hunter in memory of Sammie Dunn Silver Universe
Fai Dee Inc. Marisa Goebbel Steven Kretchmer and Eightstar Diamond
FEI Mark Maxwell Company gift
Finell's Jewelers Mary Mathews Steven Silver
Four Seasons’ Jewelry Corporation Mauro Souza Temption of Herrenberg, Germany
Frances Klein Antique/Estate Jewels Michael Scott Terrence O'Halloran

G.E.O. International Co. Mona Lee Nesseth and Michelle Laurenti The Neil Lane Collection
Gemesis Corp Mona Lee Nesseth and Private Collector Thistle & Bee
GEMOL Mr. and Mrs. G. C. Munn Timeless Treasures
Golda Jewelry Munsteiner Toledo Fine Art Jewelry
Green Creations, Inc. Museo del Oro de Colombia Tops Jewlery
Håbit Nafco Gems Traditional Jewelers
Hamilton Jewelers Neil Lane, Inc. Tiffany's
Hoover & Strong Norman Silverman Los Angeles Vanna K. Jewelry
Iridesse Novelty Jewellers Vartanian & Sons
J Grahl Design Oro Jewellery Store Mumbai Vasken Aintablian
Jan Goodman Co. Paljoue Venus Gems, Surat, India
Jana Miyahira-Smith Pankaj Handicrafts, Pankaj Gems, Pankaj Arts Xuwen Pearl Paradise Co., Ltd.
Jane Bohan gift Paspaley Yossi Dina and Donna Powell
Jeanne Johngren Design gift Paula Crevoshay ZDNY and Co. Inc.
209
For Further Reading
For Further Reading

Gems & Gemology (G&G), GIA’s professional journal, and GIA’s website
(www.gia.edu) provide in-depth feature articles on the latest gemological
research, from gem treatments, lab-grown gems, and the evaluation of gem
quality to developments in gem production, market sources, and more.
To give you the opportunity to learn more about the subjects you are studying
and enrich your gemological knowledge, a list of articles relevant to each
Jewelry Essentials assignment is provided below. It is important to note that
this reading is optional. You will not be tested on the content of these articles. Scan the QR code above or go to
https://www.gia.edu/library to
All G&G articles are available for download free of charge at www.gia.edu. access articles for further reading.
Copies of these articles are also available at your GIA campus location.
Check with your instructor for access to them.
Assignment 1: Jewelry and Jewelry Sales

Gems & Gemology current issue
https://www.gia.edu/gems-gemology
News and Articles

https://www.gia.edu/gia-news-research
GIA Gem Encyclopedia

https://www.gia.edu/gem-encyclopedia
GIA Birthstones for Each Month

https://www.gia.edu/birthstones
Lucas A. et al. (2016) Jewelers to the Maharajas of Jaipur and Modern-Day Moguls. GIA Research & News
https://www.gia.edu/gia-news-research/jaipur-india-jewelers-maharajas-modern-day-moguls
Hsu T. et al. (2014) Exploring the Chinese Gem and Jewelry Industry. Gems & Gemology, Spring 2014, Vol. 50, No. 1
https://www.gia.edu/gems-gemology/spring-2014-lucas-chinese-gem-industry
Lucas A. (2013) The Rise of the Brazilian Jewelry Industry. GIA Research & News
https://www.gia.edu/gia-news-research-rise-of-the-brazilian-jewelry-industry
Assignment 2: Selling Rings

Super Bowl Rings: A Gallery of NFL Championship Rings (2016) GIA Research & News
https://www.gia.edu/gia-news-research-super-bowl-rings
Hoop Dreams: NBA Championship Rings (2016) GIA Research & News
https://www.gia.edu/gia-news-research/nba-championship-rings
Quality Assurance Benchmarks*

https://www.gia.edu/quality-assurance-benchmark
*Quality Assurance Benchmarks provide an objective method for ensuring the production and presentation of quality jewelry.
Learn how to compare jewelry against acknowledged criteria, how to achieve quality workmanship at the bench, and the unique
characteristics of various alloys.
211
Jewelry Essentials
Assignment 3: Selling Necklaces, Bracelets, Earrings, and Pins

Jeweled Butterflies Welcome Spring. (2015) GIA Research & News
https://www.gia.edu/gia-news-research-butterfly-jewelry
Jewelry That Speaks the Language of Flowers. (2015) GIA Research & News
https://www.gia.edu/flower-jewelry
Assignment 4: Designer, Branded, Custom, and Estate Jewelry

Bohannon S. (2018) A Glittering Garden: A Menagerie of Designs from Mother Nature. GIA Research & News
https://www.gia.edu/gia-news-research/glittering-garden-menagerie-designs-mother-nature
Echoes of the Edwardian Era. GIA Research & News
https://www.gia.edu/edwardian
The Jewelry of Downton Abbey. GIA Research & News
https://www.gia.edu/downton-abbey-jewelry
The Timeless Allure of Art Deco. GIA Research & News
https://www.gia.edu/art-deco
Reinventing Lace (2013) GIA Research & News
https://www.gia.edu/gia-news-research-lace-jewelry
Misiorowski E. (2000) Jewelry of the 1990s. Gems & Gemology, Volume 36, No. 4
https://www.gia.edu/gems-gemology/winter-2000-jewelry-1990s-misiorowski
Misiorowski E. (1990) Jewelry of the 1980s: A Retrospective. Gems & Gemology, Volume 26, No. 1
https://www.gia.edu/gems-gemology/spring-1990-jewelry-retrospective-misiorowski
Thomas S.A. (1987) “Modern” Jewelry: Retro to Abstract. Gems & Gemology, Volume 23, No. 1
https://www.gia.edu/gems-gemology/spring-1987-modern-jewelry-thomas
Ebert J.M. (1983) Art Deco: The Period, the Jewelry. Gems & Gemology, Volume 19, No. 1
https://www.gia.edu/gems-gemology/spring-1983-art-deco-ebert
Assignment 5: Watches and Giftware

Shor R. (2016) Luxury Watch Companies Tone Down the Bling in 2016. GIA Research & News
https://www.gia.edu/gia-news-research/luxury-watch-companies-tone-down-bling-2016
Assignment 6: Serving and Building Your Clientele

Heart Jewelry and Gems for a Valentine (2016) GIA Research & News
https://www.gia.edu/gia-news-research/heart-jewelry-gems-valentines-day
Tips on Caring for Jewelry (2015) GIA Research & News
https://www.gia.edu/gia-news-research-tips-caring-jewelry
Modern Men’s Jewelry. GIA Research & News
https://www.gia.edu/gia-news-research-modern-mens-jewelry
Quality Assurance Benchmarks
https://www.gia.edu/quality-assurance-benchmark
212
For Further Reading
Alexandrite Care and Cleaning

https://www.gia.edu/alexandrite-care-cleaning
Amber Care and Cleaning
https://www.gia.edu/amber-care-cleaning
Amethyst Care and Cleaning
https://www.gia.edu/amethyst-care-cleaning
Ametrine Care and Cleaning
https://www.gia.edu/ametrine-care-cleaning
Aquamarine Care and Cleaning
https://www.gia.edu/aquamarine-care-cleaning
Citrine Care and Cleaning
https://www.gia.edu/citrine-care-cleaning
Diamond Care and Cleaning
https://www.gia.edu/diamond-care-cleaning
Fancy Color Diamond Care and Cleaning
https://www.gia.edu/fancy-color-diamond-care-cleaning
Emerald Care and Cleaning
https://www.gia.edu/emerald-care-cleaning
Garnet Care and Cleaning
https://www.gia.edu/garnet-care-cleaning
Iolite Care and Cleaning
https://www.gia.edu/iolite-care-cleaning
Jade Care and Cleaning
https://www.gia.edu/jade-care-cleaning
Kunzite Care and Cleaning
https://www.gia.edu/kunzite-care-cleaning
Lapis Lazuli Care and Cleaning
https://www.gia.edu/lapis-lazuli-care-cleaning
Moonstone Care and Cleaning
https://www.gia.edu/moonstone-care-cleaning
Morganite Care and Cleaning
https://www.gia.edu/morganite-care-cleaning
Opal Care and Cleaning
https://www.gia.edu/opal-care-cleaning
Pearl Care and Cleaning
https://www.gia.edu/pearl-care-cleaning
Peridot Care and Cleaning
https://www.gia.edu/peridot-care-cleaning
Rose Quartz Care and Cleaning
https://www.gia.edu/rose-quartz-care-cleaning
213
Jewelry Essentials
Ruby Care and Cleaning

https://www.gia.edu/ruby-care-cleaning
Sapphire Care and Cleaning
https://www.gia.edu/sapphire-care-cleaning
Spinel Care and Cleaning
https://www.gia.edu/spinel-care-cleaning
Sunstone Care and Cleaning
https://www.gia.edu/sunstone-care-cleaning
Tanzanite Care and Cleaning
https://www.gia.edu/tanzanite-care-cleaning
Topaz Care and Cleaning
https://www.gia.edu/topaz-care-cleaning
Tourmaline Care and Cleaning
https://www.gia.edu/tourmaline-care-cleaning
Turquoise Care and Cleaning
https://www.gia.edu/turquoise-care-cleaning
Zircon Care and Cleaning
https://www.gia.edu/zircon-care-cleaning
214

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Jewelry

1. Jewelry and Jewelry Sales

3. Selling Necklaces, Bracelets, Earrings, and Pins

4. Designer, Branded, Custom, and Estate Jewelry

5. Watches and Giftware

6. Serving and Building Your Clientele

Assignment 1 Jewelry and Jewelry Sales . . . . . . . . . . . . . . . . . . . . . . 1

Assignment 2 Selling Rings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43

Assignment 3 Selling Necklaces, Bracelets, Earrings, and Pins . . . . . 75

Assignment 4 Designer, Branded, Custom, and Estate Jewelry . . . . 103

Assignment 5 Watches and Giftware . . . . . . . . . . . . . . . . . . . . . . . 139

Assignment 6 Serving and Building Your Clientele. . . . . . . . . . . . . 175

For Further Reading . . . . . . . . . . . . . . . . . . . . . . . . 211

Welcome to Jewelry Essentials! This course is your introduction to the

Precious Metal Regulation and Quality Marks . . . . . . . . . . . . . . . . . 20

Introduction to Jewelry Sales . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34

Questions for Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41

Jewelry and Jewelry Sales

Robert Weldon/GIA Eric Welch/GIA

Alexandra Hart/Adam Bujnowski

Malleable—Able to be shaped or Workability, Durability, and Metal Memory

Alexandra Hart/Ralph Gabriner

Shane McClure/GIA Shutterstock GIA

ZDNY and Co. Inc.

R. Politi and D. Grieco Shutterstock

Karats and their Equivalents

Karat (gold only) 10K 14K 18K 24K

Percentage of precious metal 41.7% 58.3% 75% 99.99%

Parts per thousand 417 583 750 999

Ingredients of Typical Gold Alloy Colors

14K Yellow Gold, copper, silver, zinc

18K Yellow Gold, copper, silver, zinc

Green Gold, copper, silver (amount of silver increased)

White Gold, nickel or palladium, copper, zinc

Platinum Guild International Joel Beeson/GIA

Platinum and Palladium

Valerie Power/GIA Tiﬀany & Co.

Valerie Power/GIA Rio Grande Tiﬀany & Co.

Valerie Power/GIA Etienne Perret Etienne Perret

Valerie Power/GIA Valerie Power/GIA

Eric Welch/GIA Eric Welch/GIA

Harold & Erica Van Pelt Eric Welch/GIA

Because niobium is hypoallergenic, it’s popular for body-piercing jewelry.

KEY Precious Metal Regulation and Quality Marks

The US permits a difference of 3 parts per thousand (ppt) on unsoldered

The marking of US-manufactured jewelry varies with the jewelry metal.

British Hallmarking Council

Eric Welch/GIA Paul V.A. Johnson/British Hallmarking Council

Robert Weldon/GIA Joel Beeson/GIA

Marking and Selling Plated Goods

The designer of this sterling silver

Gold electroplate A gold or gold alloy of 10K or 18K G.E.P.

Heavy gold A coating of 10K gold or finer 12K H.G.E.

Gold filled A material with 10K or finer 12K G.F. or

Silver plate A base metal coated with a Can’t be called sterling or

Vermeil Sterling silver base coated with Vermeil

Convenience is helping online retailers

Valerie Power/GIA Eric Welch/GIA

Jewelry Manufacturing Methods

Lauren Stomel Associates