Tiffany & Co had a brilliant gemologist working for them called George Frederick Kunz and it was in his honour that the gemstone Kunzite was named. He was the discoverer of this lovely gemstone.

Kunzite, sometimes called Evening Stone, is a pink stone which is, along with Hiddenite, a variety of the spodumene mineral. These two stones are often confused with other gems such as Morganite, Rose Quartz and Tourmaline. The colour in Kunzite comes from its manganese content. It is found in the USA, Russia, Burma, Brazil and today most comes from Brazil, Madagascar and Afghanistan.

Kunzite is a beautiful stone and has that wonderful quality called pleochroism. This means that the intensity of the colour varies as you turn the stone in different directions, kind of now you see it, now you don’t, and that is exciting. It is a nightmare for gemstone cutters as they must present the stone in its best light.

The best that kunzite gets is when it is a large or even a very large stone. That’s when the colour is at its best and to be a significant show as a gemstone in jewellery it really needs to be six to ten carats and that is getting on the large side.

Apart from needing to be large if it is going to be highly attractive, it has one other slight drawback which many people find difficult to believe and that is that it will fade if exposed to a lot of direct sunlight.

Kunzite comes in at about 6.5-7 on the Mohs’ scale of hardness and this is not too bad for jewellery making.

For jewellery, I recommend that Kunzite be worn as a pendant so that you can wear a reasonable sized stone and capture its beauty. Also, it is protected more as a pendant rather than a ring, and perhaps importantly those spiritual people will appreciate that it is a stone to be worn close to the heart, but I am not going into that as I know nothing about those aspects. It looks wonderful with either white or yellow gold.

A torc is a rigid necklace which was made from woven metallic rope. So the craftsmen would get strands of metal and twist them around each other like rope and that’s where the name comes from. The Latin word to twist gives us the word torc and torque as we know the word today.

Torcs are familiar to us as bronze age jewellery and reached from around 1000BC until about 300AD but were still worn before and after that in perhaps less serious ways. They are best known as Celtic jewellery but they were worn by other races such as the French German and Spanish.

Another feature of the torc is that it is open at one end. It is round and goes around the neck but it does not close like necklaces of today. The ends were often ornamented with tiny heads or sculptured shapes.

Torcs were not just for ornamentation but had a special role as war ornamentation and they were taken off the body of the vanquished by the victor, so if you lost your torc it usually meant that you also lost your life or certainly your freedom. The torc was often connected with your tribe or family and was inscribed with family history and symbols.

Sometimes torcs were worn on the arm or on the wrist but they were mainly worn around the neck. They were often hinged at the back of the neck and occasionally they were able to be closed but the traditional torc was worn around the neck, was of woven or twisted strands of bronze or gold, sometimes silver and was open with some kind of ornamentation on the ends such s the heads of birds or animals or mythical animals such as dragons.

Torcs were often heavy and looking at them I am astounded as to how these ancient craftsmen could make such things

The torc is another from of ancient and functional jewellery. It served a purpose as a symbol or statement of who you were, what you were worth, and where you came from.

Choosing the right designer handbag is as important as choosing shoes, jewellery, or any other accessory.

A designer handbag is very versatile and can change your look from sexy and sassy to cool and sophisticated. So let's look at choosing one that's right for you.

As with all things, you should consider quality over quantity and bear in mind that a good quality designer handbag will be a faithful companion for years.

With so many designer handbags currently available, how does a girl go about choosing the right one?

A Few Things to Bear in Mind

1. Choosing the right designer handbag not only reflects the different facets of your personality, it’s also all about image and your designer handbag speaks volumes about you – your sense of style, taste and level of sophistication.

You should bear this in mind when choosing a designer handbag. Remember, first impressions count and when you enter a room, your clothes and the bag you carry are all held up for scrutiny.

2. Make your designer handbag a good investment by choosing handbag that works with a variety of outfits.

3. Of course id you’re serious about shopping there is never going to be just one designer handbag. A girl can never have too many handbags and you simply must have the right designer handbag for the right occasion. You will need an evening bag for formal occasions, a large practical roomy for when you have lots to carry around, and a small casual bag for less formal occasions.

4. Genuine designer handbags are of good quality and fine workmanship and attention to detail. If you want to make the right fashion statement look beyond the label to ensure you don’t get duped. Examine the finer details like the stitching around seams and the detail and quality of the interior. Designer handbags are made to last and this should be reflected in every inch of the finished product.

When making any new purchase, I always recommend you invest as much as you can afford for the best you can afford. However, make your sure designer handbag suits the purpose it was meant for.

It may be simply to die for, but is should also be practical and affordable as well.

And last but by no means least, carrying a genuine designer handbag screams class and makes a statement that you deserve nothing but the best.

If you’ve been wondering how to show your jewelry off, or how to make your jewelry show you off, have a look at our jewelry ideas guaranteed to make you dazzle and look stunning.

Is it necessary to wear jewelry?

In a word, yes! Selecting the right jewelry can add that touch of class and sensuality, transforming you from plain Jane into a perfect princess.

When making a decision on what pieces of jewelry to wear, remember less is more. It only takes a pair of long dangly earrings to highlight your slender neck or a sparkling gem pendant to match your eyes, to create a startling effect.

Use the design, style and size of jewelry to enhance or deflect from particular aspects of your appearance.

If your arms upper arms are not as firm as they used to be, then avoid wearing bracelets and choose a dazzling ring instead.

Know your best asset, is it your face or an ample bosom? An attractive choker will draw attention to your face, while a long pendant will accentuate your cleavage.

Create different looks with your jewelry to match the clothes you’re wearing.

Experiment with ideas like wearing layers of different length necklaces or several bracelets. Or why not go for one item that is really flashy and guaranteed to get you attention.

Celebrities have a huge influence on fashion trends but unless you are a celebrity or have a huge bank balance there is no need to splash out on expensive jewelry.

Most designers produce affordable, good quality costume jewelry and antique jewelry is also very popular and a good investment.

So you’ve selected the right pieces, how do you wear it?

One important point to bear in mind is, don’t mix costume jewelry with antique jewelry.

Your choice of jewelry should reflect your personality and individual sense of style.

Whether your style is cool and sophisticated or more casual, make sure your jewelry is appropriate for the occasion.

The pendant you wear to a formal dinner should not be the same one you wear to work.

Next, think about the color of your jewelry. This will depend to a large degree on whether you are a warm or cool person.

If like most people you have brown eyes and black hair then you will fall into the cool category. For you, white metals like platinum, white gold or silver are the most flattering. For others who fall into the warm category then go for yellow gold, brass or copper.

For many people, obviously this can be a very obvious and tedious question because they know what Costume Jewelleries and Fashion Jewelleries are. They can be interpreted as replacements or imitations for real Gem Jewellery, precious metals like Gold, White gold or Sterling Silver with much cheaper prices and at a fraction of costs compared to real ones and therefore the quality of costume/fashion Jewellery is far less inferior than those of real ones called Fine Jewellery, but not so these days.

One may say that the Jewellery has very long history e.g. gold from Egypt as long ago as 3000 BC and from Greece 1400 BC where they have developed to adorn their personal lifestyle as well as showing off their status and well being in the surrounding society. Then, we have Roman Days and Italian Eras, French Fashion, England and suffice to say the actual fashion came from mostly from Europe and spread through America. Thence, from the 1940s with American Hollywood influence on Europe served big changes in peoples fashion styles and trends and quickly spread back to Europe.

This is when Costume Jewellery really became popular and loved by people because of their quality and diversity. Jewellers like Swarovski, Bvlgari, Christian Dior, Chanel and Tiffany just to name few, have developed and mixed using both natural and man made materials to create fashionable personal adornments with high quality where people can easily and most importantly, afford to coordinate their clothing and life styles.

Hence, they became known as “Costume or Fashion Jewellery”.

These days, there are so many manufacturers produce vast styles and qualities of Costume Jewelleries to suit individual styles and their budget. Anyone can afford to beautify and adorn themselves with ease but the problem is where can one find the suitable style to satisfy their needs and satiate their fashion out of so many Jewellery shops available these days both from shopping stores and from internet. After all, one should always remember that adorning personal fashion is important key factor of showing personal grooming and the life style being either privately or amongst social gatherings.

Moissanite is a crystal, originally found inside a meteorite, which is today created in a specialist lab to produce a gem which is virtually identical to a diamond. Created out of silicon and carbon using a thermal process, Moissanite can be cut into the familiar patterns of gems, and set into metals the same as any other kind of crystal. Since they are man made, Moissanite bracelets and other jewellery are a lot cheaper than items made with traditional gemstones such as diamonds.

It is common to see Moissanite items compared with similar diamond jewellery; Moissanite wedding bands, for example, are often described as replacements for the traditional diamond ring. In fact, the crystal is very popular in its own right, being worn by both movie stars and catwalk models. The natural fire of Moissanite has attracted these celebrities, and a Moissanite bracelet looks as good as a diamond one. In fact, a platinum Moissanite ring is likely to have a better shine and lustre than a typical diamond, while still looking natural. Unlike Gem replacements such as cubic zirconia, moissanite jewellery actually has colour, which means that it does not have the fake, Christmas-cracker look of diamond replacement items. There are many good reasons to buy Moissanite.

A Moissanite bracelet will be about the tenth of the price of a similar diamond bracelet, and the Moissanite is unlikely to fade in time. Moissanite is almost as hard as a diamond, and this scratch-resistance and durability means that it in the long term it is also cheaper than many of the fake diamonds on offer. Moissanite has a higher refractive content than a diamond, and this gives it the shine and brilliance which attracts many people to this gem. Moissanite actually has more fire and brilliance than a real diamond, and because it contains a slight amount of colour, even jewellers find it hard to tell the difference through appearance alone. Moissanite jewels can be cut into any gemstone cut, and from there mounted on any metal items, looking exactly like the much more expensive diamond encrusted jewellery. There is no reason, therefore, why a woman should not wear Moissanite bracelets or jewellery, assured that her items will not look fake, nor fade or loose value with time. As a fashion statement, or a perfect accessory, Moissanite can match diamonds for glitz, glamour and sustainability whatever the occasion.

The Cultured Pearl The Buying Guide

Getting to know Gems

How to select, buy, and care for, and enjoy Pearl Jewelry

The difference quality makes

Quality: Key to lasting beauty

More important than knowing what type of pearl you have is knowing whether or not you have a good pearl, and how to tell the difference. Just as there are differences in quality that affect the beauty, desirability and cost of diamonds and colored gemstones, there are differences in quality that affect the beauty, desirability, and cost of pearls.

The same factors are judged when evaluating natural and cultured pearls, but different standards are used to arrive at the overall quality classification, that is, “poor,” “good,” “fine,” and so on. Here we will limit our discussion of quality to the evaluation of cultured pearls. To develop an appreciation for quality differences in natural pearls, we suggest taking advantage of any opportunity you have to see and compare natural pearls to develop your own eye for differences in each factor. This can be done by viewing natural pearls in museum collections, at auction viewing, in antique jewelry exhibitions, and so on. Your jeweler may also be able to locate natural pearls for you to review. As you compare them, keep in mind the factors described in this article, noting the range in variations. It won’t be long before you are able to distinguish unusually fine natural pearls from those that are fair or poor quality.

Pearl Quality is the #1 consideration in selecting cultured pearls

Understanding quality differences in cultured pearls is perhaps even more than for diamonds and colored gems because quality differences can affect how long the beauty of pearls will last. A fine pearl is gem that will stand the test of time, a thing of lasting beauty to be enjoyed and cherished from generation to generation; a poor quality pearl can quickly lose its beauty, in some cases after only months!

Finding the perfect balance within a pearl for lasting beauty

Each pearl producer must decide how to best balance all the factors involved so that a lovely pearl is produced, at an affordable price, without unnecessary risk. It is truly a game of chance. The longer the pearl remains in the oyster, the greater the potential loss in the event of disease, natural disaster, or other calamity. In terms of quality, more time means thicker nacre and, potentially, a more lustrous, longer lasting pearl. But the longer the pearl is in the oyster, the greater the extent to which other desirable characteristics; shape, color, and surface perfection, may be adversely affected. As mentioned before, for example, since the nucleus starts out round; and since nacre doesn’t crystallize uniformly around the entire nucleus, at the same time, it may become increasingly out-of-round as nacre builds up around it, and the surface may become blemished.

Pearl producers must constantly weigh potential benefits against risks, but there is no standard guideline. Some producers take greater risks than others in an effort to produce the rarest and most beautiful pearls, allowing the pearl to remain in the oyster for the longest possible time; these are the costliest cultured pearls. Others try to minimize every risk, often by shortening the cultivation period.

Today, the cultivation period among many producers has been reduced from 18 months to less than one year, with average running at about eight months. Although improvements in nutrition and overall care have resulted in improved quality and better nacre production by the oyster, most industry experts agree this is too short a period to produce pearls with nacre thick enough to assure lasting beauty; thin nacre cost much less, but they have no longevity and there are questions as to whether they should be purchased at any price. Many pearls are now sold with nacre so thin they won’t last any time at all; others have somewhat thicker nacre, and look better, but still won’t stand the test of time. For this reason, nacre thickness may be the most important factor to consider when selecting pearls. Fortunately, this is a difference you can often see with your eye!

Differences in pearls that can be seen with the eye

An unusual characteristic of pearls not found in most other gems is that quality differences can usually be seen with one’s own eye! The ability to see differences comes fairly quickly once you understand what to look for as you consider various pearls, and how to examine them; you’ll be surprised how quickly you will start to notice differences and become more selective.

First using the eye alone; this is all one usually need. In some cases, it may also be helpful to use the jeweler’s loupe.

How to use a loupe

To check drilled pearls more closely, or to examine surface blemishes, it also may be helpful to use a loupe, a special type of magnifier used by jewelers. It should be a 10-power, triplet type; a triplet has been corrected for distortion and color fringing, in a black housing (not chrome or gold plated).

With a few minutes practice you can easily learn to use the loupe to examine pearls. Here is how:

1. Hold the loupe between the thumb and forefinger of one hand.
2. Hold the pearl or strand similarly in the other hand.
3. Bring both hands together so that the fleshy parts just below the thumbs are pushed together and braced by the lower portion of each hand just above the wrists.
4. Align the loupe with what you are examining so that the item is about one inch away from the loupe.
5. Now move the hands/loupe/pearl; keeping them all braced together, up to your nose or cheek, bringing the loupe as close as possible; if you you wear eyeglasses, you d not have to remove them.
6. Get a steady hand. It’s important to have steady hands for careful examination. With you hands still together and braced against some part of your face, put your elbows on a table or countertop. (If table is not available, brace your arms against your chest or rib cage.) If you do this properly, you will have a steady hand.

Practice with the loupe, keeping it approximately one inch (more or less) from the ey, and about an inch from the pearl. Learn to see through it clearly. It is difficult to focus initially, but with a little practice it will become easy. You can practice focusing on any object that is difficult to see; the pores in your skin or a strand of hair.

Play with the item being examined. Rotate it slowly, tilt it back and forth while rotating it, look at it from different angles and different directions. It will not take long before you are able to focus easily on anything you wish to examine. If you are not sure about your technique, a knowledgeable jeweler will be happy to help you learn to use the loupe correctly.

What you will see with the loupe

With practice and experience, a loupe can tell even the amateur a great deal. You will not be able to see what a trained gemologist will see, but here are some ways it can be helpful for the beginner when examining pearls:

1. To check the drill hole to better estimate the size of the hole; to check for line of demarcation between nucleus and nacre (indicating cultured pearl rather than natural pearl); and to spot traces of dye (traces of dye may be seen just inside the drill hole).
2. To examine surface blemishes more carefully, to spot cracks and missing nacre that would indicate poor nacre quality or nacre that is too thin.
3. To see surface characteristics that might indicate imitation since the surface of cultured (and natural) pearls look very different from imitations; once you have observed the surface of a pearl you know is cultured pearl, and compare it with one you know to imitation, it’s easy to spot imitation pearls.

How to examine pearls to see quality differences

Before beginning, it is very important to understand there is no internationally accepted grading system for pearls. Pearl dealers and jewelry retailers use their own systems. These systems often use the same alphabetical nomenclature; we often see pearls graded “Triple A” (AAA), “Double A” (AA), “A”, “B”, or “C”; but since they aren’t based on the same standards or criteria, they don’t necessarily reflect comparable qualities. With no standardized criteria, the quality represented by one seller may be much higher, or lower, than that of another; one jeweler’s “Triple A” quality may be the equivalent of another’s “C” grade.

You can not assume that you are comparing comparable pearls based on terms such as “AAA”, “AA”, and so on. With pearls, you must learn how; and what, to examine.

1. View pearls against a neutral background.

When examining pearls, view them against a neutral, non-glossy background. A very light gray is ideal, or a flat white white background (such as white tissue paper, always available in jewelry stores). Never view pearls against only a black background; pearls look very beautiful worn against black, but black makes if difficult to see subtle, costly differences.

2. View pearls in cool white fluorescent or light light.

Avoid intense spots lights or incandescent light (luster will always appear more intense under strong direct light such as sunlight or spot lights; it will always look lower in diffused light, as on a cloudy day, or under fluorescent lights). Keep in mind that the type of light in which you examine pearls will affect what you see, so pearls being considered should be viewed and compared in the same light. When possible, compare them in the same place, at at the same time of day. (Pearls can look different from one geographic location to another for the same reason; differences in light from hemisphere to hemisphere).

3. View pearls at a right angle to your body.

When comparing strands of pearls, as in necklaces or bracelets, lay them on the neutral background at a right angle to your body so that the strands are close to one another but not touching. This will make it easier to see differences, especially in color and luster.

The six factors that affect pearl quality and value

Now that you know how to view pearls to make quality comparisons, let’s talk about what to examine. Regardless of the type of pearl, or whether it is natural pearl or cultured pearl, the following factors must be evaluated to determine whether or not it is a fine pearl that will give you lasting beauty:

- Luster and orient
- Nacre thickness and quality
- Color
- Surface perfection
- Shape
- Size

Nacre thickness, and the quality of the nacre, have a greater effect on the beauty of a pearl than any other factor; and with a cultured pearl, on how long it will last. For this reason, it is considered the most important factor. However, “luster” and “orient” will first be discussed because this is what people notice first; what makes the pearl special, and because differences in luster and orient provide visual clues to nacre thickness.

The combination of the lovely reflective glow we call luster and the soft iridescent play of color we call orient is what distinguishes the pearl from all other gems. They are also the most easily seen indicators of a pearl’s quality, and of its potential for lasting beauty.

Luster

When you see a fine pearl, the first thing you notice is its lustrous glow. Luster is not a superficial “shine” such as you see in imitation pearls, but an intense brightness that results from rays of light traveling through the numerous layers of nacre and being reflected back form within the pearl. One might describe it as a “shine with depth.” In a pearl with good luster, there will be a sharp contrast between the pearl’s brightness area (the part in direct light) and the shaded area; sometimes the contrast creates the illusion of a “ball” within the pearl; the more intense the image of the ball, the better the luster. Luster is evaluated on the sharpness of brightness of the reflection, which depends upon the quality and the quantity of light reflected from its surface. This, in turn, depends upon the quality and thickness of the nacre produced by the mollusc. The thicker the nacre (and the smaller and more transparent the microscopic crystals comprising it), the better the luster. When numerous layers of nacre have crystallized properly and each layer is well aligned with the other, the result is an exquisite, intensely lustrous pearl.

How to judge luster

Anyone buying pearls should take time to learn evaluate luster and, in particular, to recognize what is acceptable and what is not acceptable; in particular, when luster is too low. Low luster not only reduces the beauty of the pearl, but can provide an indicator of very thin nacre. With Japanese pearls, low “chalky” luster usually indicates a very thin nacre coating that can quickly crack, peel, or simply wear off, leaving just mother-of-pearl beads. (Imitation pearls will give longer pleasure than poor quality, chalky cultured pearls, and usually at a lower cost!).

Rule 1: Look for pearls with high luster. Luster is judged from very high to very low. A pearl with very high luster will seem vibrant, and the light reflection (the intensity of the “ball”) will be sharp and bright; a pearl with very low luster is dull, and the reflection hazy, chalky or nonexistent. To judge luster:

- Roll the pearls to view them from all sides to make sure the luster is uniform.
- Examine them under a light source such as a fluorescent lamp, looking for reflections of the light off the surface, paying particular attention to the brightness or sharpness of the reflections. Avoid strong, direct light. If the available light is too strong, hold your hand over the pearls to shade them, and examine in the shadowed area.

Top quality Japanese Akoya cultured pearls can have a higher luster than other white round cultured pearls because of the water temperature in which they are produced. Cold water causes slower nacre production, which normally results in superior crystallization and overall nacre quality. When the nacre quality is good, and it is exceptionally thick, Japanese Akoya pearls can have incredible lustrousness. The luster can also be very chalky, indicating very thin nacre, or poor quality nacre.

Iridescent orient

When the nacre is well formed, and very thick, you will observe orient, a soft, iridescent play-of-color across the pearl’s surface. This iridescent quality is only present when the layers of nacre are thick enough to cause a prismatic effect (white light divided into all the colors of the rainbow) as the light travels through them.

When the nacre is well formed, and very thick, you will observe orient, a soft, iridescent play-of-color across the pearl’s surface. This iridescent quality is only present when the layers of nacre are thick enough to cause a prismatic effect (white light divided into all the colors of the rainbow) as the light travels through them.

Round cultured pearls that exhibit this iridescent orient are highly prized and sought by connoisseurs. Today, it is rare to find round cultured pearls that possess this sublime characteristic, but it can frequently be seen in the irregular shapes of baroque pearls, adding to their allure. For orient to be present, each layer of nacre must be well crystallized and aligned, and, most important, the nacre must be unusually thick. This is why orient is often seen in fine natural pearls; which are all nacre, and in fine, older strands of Japanese cultured pearls, which have thicker nacre than those normally being produced today. An iridescent orient can also be seen in the irregular shapes of baroque pearls, where the shape causes depressions in which the nacre collects in deep “pools,” and in pearls with very long cultivation periods, such as South Sea pearls, American freshwater cultured pearls, and fine quality, all nacre Chines “potato” pearls.

Luster and orient are important not only because they affect the pearl’s beauty, but as we continue to stress, because they are a visible indicator of nacre thickness and quality.

Nacre thickness and quality

Whether natural or cultured pearl, the thickness of the pearl’s nacre and its quality is what gives the pearl its unique beauty. The thicker the nacre and the better the nacre quality, the more lustrous and iridescent; the more exquisite, the pearl.

Nacre thickness determines the pearl’s longevity; the thicker the nacre, the longer the life of the pearl; the thinner the nacre, the shorter the life. Finding the right balance to get an adequate nacre thickness without jeopardizing other factors such as shape and surface perfection takes skill and experience, as mentioned earlier. The farmers producing the finest, most beautiful cultured pearls are those who allow the nucleus to remain in the oyster the longest possible time between the implanting and harvesting, to obtain the thickest possible nacre coating.

Nacre quality determines how the light travels through the layers. Sometimes pearls with thick nacre fail to exhibit the intensity of luster or orient that is expected. This normally results from the particular way in which the layers of nacre crystallized. For reasons nobody fully understand, the nacre crystals have not formed with a good transparency, the layers are not uniform, or they are not properly aligned. It is not known the rate at which nacre is produced affects its quality. If nacre is produced too fast, it will be less transparent. The result is a pearl with lower luster; light enters the pearl, but less is reflected back. This is not necessarily bad. One must always weigh the important of one factor against another. A thick nacre South Sea pearl with subdued luster will be more affordable than one with higher luster; it can still have a lovely character and, costing less, might enable you to acquire a larger size.

There seems to be a connection between nacre quality, water temperature and stability of overall water conditions. Pearl producing oysters in the warmer waters of Australia, Tahiti, the Cook Islands, Philippines, and Indonesia produce nacre much faster than the Japanese or Chinese; some experts estimate production to be fifteen to twenty times faster. This means that even if the pearls is left in the oyster for the same amount of time as Japanese pearls; and fine South Sea pearls usually have a longer cultivation period, the nacre would be much thicker. Fine South Sea cultured pearls often exhibit an iridescent orient because of their thicker nacre. As said before, this is rare today in white Japanese pearls, but fine Japanese pearls usually exhibit a much brighter, sharper luster attributed to the colder waters. Japanese pearls that exhibit both intense lustrousness for which they are known and a soft, iridescent orient indicating thick nacre are very rare. Such pearls, however, are among the most beautiful and prized of all.

To have a lustrous, iridescent pearl, the nacre quality must be good and the nacre layers must be thick; it is a combination of the two that affects the quantity and quality of light reflected back from the surface. While there may be pearls with thick nacre that don’t exhibit rich luster and orient because of how the layers crystallized, there are no pearls with rich luster and orient that do not have fine, thick nacre. Any pearl that exhibits a rich lustrousness is one that has thick nacre; and, since nacre must be thick to produce the iridescent effect we call orient, any pearl which shows this lovely iridescence must have thick nacre.

How to judge nacre thickness

In natural pearls, the pearl is entirely nacre; in saltwater cultured pearls, it can range from very thin to very thick, averaging about 10% - 15% of the total pearl diameter, and rarely exceeding 30%. Nacre thickness of South sea cultured pearls much greater any other cultured pearls and the finest may be 40% - 50% nacre.

When nacre is too thin, pearls will not last. With pearls commanding the price they do; then, no one would knowingly buy pearls that won’t last. So here are some ways to estimate nacre thickness, and avoid pearls with thin nacre:

- Look for orient.

If the pearl has a uniform iridescence playing across its surface, it has very thick nacre. Don’t worry about any pearl that display a lovely orient.

- Note the intensity of luster.

Pearls with a bright, intense luster that sharply reflects nearby images, will have a good nacre thickness; pearls that look very dull or chalky probably have very thin nacre or poor quality nacre.

- Check for cracks and peeling.

Pearls with very thin nacre crack easily, often revealing the nucleus. Also, thin nacre will peel or wear off over time. In some cases, the nacre is so thin that new pearls have already begun to peel, leaving small areas of exposed mother-of-pearl. Check carefully for any exposed mother-of-pearl.

- View the pearl near the drill hole with a loupe.

Shine a very bright light, the brighter the better, a few inches over the hole. Examine the hole, noting where the nacre ends and the mother-of-pearl begins; the nacre is always lighter. Mentally estimate thickness.

- Check for banding.

When viewing pearls with a strong light as described above, check to see whether you can see any alternating lighter and darker areas or bands; if so, you are seeing the “layers” of the mother-of-pearl nucleus, and this indicates a thinner nacre than is ideal.

Grading nacre thickness in Japanese pearl strands:

- Very think - At least 0.5 mm on all pearls
- Thick - At least 0.5 mm on most pearls
- Medium - Between 0.35 mm and 0.5 mm on most pearls
- Thin - Between 0.25 mm and 0.35 mm on most pearls
- Very Thin - 0.25 mm or less on most pearls

In cases where you can’t be sure of nacre thickness, it is strongly recommended to submit pearls to a gem testing laboratory for a report indicating nacre thickness.

Color: Silvery white to blackest night, and a rainbow in between

Color is an important factor to consider for several reasons. Individuals have very personal references in terms of color based on their own skin, eye, and hair color and should select a color that is best suited to themselves. Color also affects cost because some are rarer than others. Perhaps most important, there are more colors of cultured pearls being produced today than ever before, offering unusual and distinctive alternatives to traditional white pearls, and additional pearl choices for any occasion.

How to evaluate color

For white cultured pearls, there are two principal elements involved in evaluating color: body color and overtone. Some also include “orient” in the evaluation of color, and when it is present, it certainly affects the overall impression of the color seen. The “body color” refers to the basic color, i. e., white cream, yellow. The “overtone” refers to the presence of a secondary color (its “tint”), usually a pinkish, greenish, silver or blue tint. When we speak of color in pearls, we are referring to the combination of the body color and overtone. White-rose would mean white pearls with a rose colored overtone (tint); naturally white pearls with a blush of pink are rare and expensive. Creamier pearls are less rare and more affordable. In white pearls, the rarest and costliest overtone is “pink” (rose); a green overtone is considered less desirable in white pearls, and its presence reduce value.

In pearls that have a “fancy color” or hue; a distinctive color clearly distinct from the “white” / “off-white” category, there is an additional color element: tone. This refers to color intensity, and is graded from “light” to “dark.” A dark yellow pearl, for example, will have a much richer color than a light yellow pearl; it is also much rarer, more desirable, and costlier.

In naturally “black” cultured pearls, the color can range from light gray to black, and also includes blue and green; overtones are usually green or pink (rose). In black pearls, a green overtone is the most rarest and most costly, especially when it results in an intense “peacock” color. A pink overtone in gray or black pearls creates mauve or “eggplant” colors These are less rare and costly, but still lovely and distinctive.

Cultured pearls are available in many colors; white, gray, black, pink, green, blue, gold, from many parts of the world. The Philippines are known for yellow and golden pearls; Tahiti, other islands of French Polynesia, and the Cook Islands for naturally black cultured pearls. Untreated, natural color Chinese round freshwater cultured strands consisting of many colors all strung together, called harlequin pearls are also highly sought.

Fancy color pearls can be very rare and, depending upon the color that interests you, difficult to find. Anyone searching for a fancy color should take time to visit several very fine jewelers (and search also online jewelers) to see the full range of colors available. This will help you select a color with which you will always be pleased.

Techniques to artificially enhance color

While pearls occur in a range of colors naturally, sometimes the colors are induced by artificial techniques. Today most white Japanese cultured pearls have been bleached to make them whiter, then dyed ti impart tints. White pearls that have been dyed after being drilled for jewelry use (as in a pearl necklace) can usually be detected easily by a qualified gemologist. By examining with a loupe at the drill hole, you may even be able to detect the color enhancement yourself. If the peals is dyed, and if you can see the line of demarcation between the nucleus and the nacre, there will be a visible concentration of pink or reddish dye in the conchoilin layer (which is spongy and absorbs the dye).

For unusual colors, especially the costly black variety, it is recommended to send pearls to a gem testing lab with sophisticated equipment to know for sure whether or not the color is natural.

There are no standard systems for describing or communicating color, so once again it is up to you to look at pearls carefully, developing your own eye to see differences in the body color, overtone and tone.

Pearl surface perfection

Think of the pearl’s surface as you would your own skin. Just as our own is rarely completely free of little imperfections, so it is with the pearl. Surface perfection refers to the pearl’s “skin” being free of such things as small blisters, pimples, spots, or cracks. Imperfections may also appear as dark spots, small indentations, welts or blisters, or surface bumps. While occasional small blemishes are not uncommon, if large or numerous they are unsightly. A pearl with sizable or numerous blemishes may also be less durable. The cleaner the skin, the rarer and costlier. If drilled, the closer the blemish to the drill hole, the less it detracts from both appearance and value.

Sometimes dark spots results from contact with perfumes, oils, cosmetics, and so on. If superficial, they can sometimes be removed by rubbing a mild polishing compound gently across the surface with a chamois cloth.

How to judge surface perfection

- Examine in several types of light.

While diffused light is normally best for comparing quality factors in pearls, when checking for blemishes, an intense light may highlight certain types. When examining pearls for blemishes, it may be helpful to check them with with diffused light and an intense bright light.

- Examine against a dark background.

A light background is normally best for comparing most pearls characteristics, but when checking for blemishes, it is sometimes easier to spot them against a dark background.

- Examine while rolling.

Place the pearl or pearl strand on a flat surface and roll it to be sure you have examined all sides, and so that the light catches any blemish and highlights it.

- Hold the pearl up.

Hold the pearl up and examine them while holding out in front of you, at eye level.

Practically speaking, there is no such thing as a “flawless” pearl; they are exceptionally rare. In strands, this is even truer. One must decide what is important to you in terms of color, shape, size, and so on, and then balance the factors accordingly. I recommend sacrificing the surface perfection somewhat rather other factors. Selecting pearls that are slightly blemished may enable one to purchase pearls with thicker nacre, a more desirable color, or larger size. Also keep in mind that if the pearl has intense luster, most blemishes won’t even be noticed; high luster helps conceal them! A dull chalky white pearl, however will show every blemish, no matter how small.

Avoid pearls with cracks. Cracks can be serious and may lead to peeling nacre, especially if the nacre is thin.

Pearl Shape

Shape in pearls is divided into three categories: spherical, symmetrical, and baroque. The rarest and most valuable is the spherical or round pearl; these are judged on their degree of “sphericity” or roundness. While fine pearls that are perfectly round are extremely rare, closer a pearl comes to being perfectly round, the more expensive it will be. Pearls with shapes such as the teardrop or pear shape are symmetrical pearls, and are judged on proportioning, outline, and good symmetry; that is, whether they have a nice, pleasing, well-balanced shape. Symmetrical pearls are usually less expensive than round pearls; although there are some exceptions, but much more expensive than baroque pearls, which are irregularly shaped pearls.

Any strand of pearls should be well matched for shape, and when worn give the appearance of uniformity.

New shapes are being produced today that do not really fall into any of the three categories above. These include “coin” pearls, which look like flat coins; thin, rectangular “bars”; “potato” pearls, which resemble an oval potato; and “ringed” or “circle” pearls, which exhibit concentric rings from top to bottom.

Terms such as semi-round and semi-baroque are also used. These are terms applied to pearls that are “out of round” but not so much that the irregular shape is interesting, or distinctive. These cost much less than other shapes.

A wedding ring or wedding band is, as a rule, worn on the fourth finger (thumb included) of the left hand in many parts of the world. The reason being that it is a belief that the Latin name "vena amoris" or "vein of love" ran directly from the heart to this finger. Other parts of the world wear the wedding ring on the right hand (eg. Russia, Chile, Poland, Germany to name but a few.)

The majority of rings are made from precious metals, gold or platinum, with the recent rise in popularity of of non precious metals such as stainless steel, Titanium, Zirconium and Tungsten. These non precious metal rings are often inlaid with precious metals and diamonds to enhance their appeal.

The wedding ring signifies commitment and loyalty to a marital partner and is more commonly women who wear this symbol, but due to the rise in popularity of alternative metals for wedding rings, men are now fast approaching acceptance of wearing a ring also.

Engraving the inside of a wedding ring is a tradition encouraged to personalise the band and to help cement the relationship also adding sentimentality. Normal inscriptions include the name of the partner together with the wedding date on the inside of the wedding ring, although it is not unusual to engrave lines from meaningful songs and weird messages known only to the couple.

Plain flat or domed rings are the two most popular styles. Another style commonly known as a "Russian" wedding ring is of three fine rings woven together to make one. The three rings symbolise, love, hope and faith.

Some cultures favour puzzle rings - interlocking wedding rings assembled in order to form one ring and Celtic style bands are increasingly popular in English speaking countries - the Celtic knot symbolises oneness and continuity.

Body piercing & Body piercing jewelry since ancient times.

History of Body Piercing

Introduction

Evidence suggests that body piercing has been practiced by peoples all over the world from ancient times. Mummified bodies with piercings have been discovered, including the oldest mummified body discovered to date, that of Ötzi the Iceman, which was found in an Austrian glacier. This mummy had an ear ring 7–11 mm in diameter.

Nose piercing and ear piercing are mentioned in the Bible. In Genesis 24:22 Abraham's servant gave a nose ring and bracelets to Rebekah, wife of his son Isaac. Nose piercing has been common in India since the 16th century. Tongue piercing was popular with the elite of Aztec and Maya civilization, though it was carried out as part of a blood ritual and such piercings were not intended to be permanent. Ancient Mesoamericans wore body jewelry in their ears,
noses, and lower lips, and such decorations continue to be popular amongst indigenous peoples in these regions.

Modern history

However, in many cultures within the United States, it became a relative rarity from the 1920s until the 1960s. At that time, it regained popularity among American women, and was eventually adopted by men in the hippie and gay communities, and later the punk subculture, they used most body jewelry. By the 1980s, male ear piercing had become somewhat common in the United States, although men usually only pierced one of their ears. Today, single and multiple piercing of either or both ears is extremely common among Western women, and fairly common among men.

Body piercing is returning to the mainstream of modern Western cultures as attitudes and values change. Piercings that don't conform to cultural norms -- for example, facial piercings or ear piercings for men -- can still be considered inappropriate.
While some people consider body modification with Body Jewelry to be a sign of non-conformity, others deride body piercing as trendy. This can at times lead to prejudice or cognitive bias against those with piercings or visible signs of past piercings.

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There has never been a period in history when pearls were not in vogue. And today is no exception, pearls are in vogue. They go well with any style, in any place; they can be worn from morning to evening; they look smart and attractive with sportswear, add an executive touch to the business suite, or add elegance to even the most glamorous evening gown.

Today when on e mentions pearls many different images might come in mind. There are many more types of pearls available today than ever before. They offer a variety of colors, shapes, and sizes, and a wide range in price.

There are simple pearls for the “sweet sixteen”, romantic pearls to add magic to the wedding day, classic pearls for executive, one-of-a-kind pearls the creative individualist, and important pearls to mark an important milestone. Like diamonds, rubies, emeralds, and sapphires, there is a pearl for every age, every occasion, every personal style, and every budget.

With so many possibilities, just knowing where to begin can be overwhelming. But it doesn’t have to be. The key is in knowing what types are available, how they compare to each other, and how to recognize quality differences.

The variety available today results from the use of different types of oyster, the physical environment in which they live, and varying cultivation techniques used by the producers. They are generally classified cultured pearls or freshwater cultured pearls, and divided into the while category, which includes pearls shades from pink-white to silver-white to creamy-white and yellow-white, and the fancy color category, the best known of which are the natural color black cultured pearls and the deep yellows and golden cultured pearls. They are also classified as round or baroque. A baroque pearl is, technically, any pearl that is not round; within the baroque category, pearls are also classified as symmetrical or asymmetrical. Symmetrical baroque pearls can be very costly (some comparable to round pearls) while asymmetrical baroque pearls are normally much more affordable than cultured pearls.

Saltwater cultured pearls

Cultured saltwater, or sea pearls, are grown today by pearl producing oysters in several parts of the world, including Australia, China, French Polynesia, Indonesia, Japan, Korea, and the Philippines. Among the best known are the Japanese Akoya (the classic round, white pearl), the larger South Sea pearl, and the naturally black Tahitian pearl.

In the 1950s, cultured pearls meant Japanese Akoya pearls, and Mikimoto owned most of the oyster beds; about 12,000,000 oysters, accounting for about 75% of the world’s supply of cultured pearls. Since the 1960s, however, the production of cultured pearls began to extend to other pearl farmers in Japan, and to other parts of the world.

While the basic pearl producing process is the same in a saltwater or freshwater mollusc, in the case of round cultured pearls there is one significant difference; the production of most freshwater pearls, such as the rice krispie type, requires the insertion of a piece of mantle tissue alone, while the production of round cultured pearls requires the insertion of round bead nucleus in addition to the piece of mantle tissue. Following the surgical implant of the nucleus, many will either reject the implant or die; of those remaining, more will die before harvest. Only 30% to 35% of the original group of oyster will actually produce a pearl. Only a very small faction of the pearls produced will be fine quality.

Saltwater cultured pearls command higher prices than freshwater cultured pearls. The costs and the risks involved in producing saltwater cultured pearls are much greater. They are much costlier to produce than most freshwater pearls, although American freshwater cultured pearls are also very expensive to produce. Higher costs are incurred just to obtain the shell from which the round, mother-of-pearl are fashioned, and to make them; higher labor costs are incurred for skilled technicians to perform the implant surgery; higher costs are incurred because a much greater number of ”spat” (baby oyster) must be collected and raised to insure an adequate supply of mature oyster for cultivation, and because a much greater number of oysters is required for a good yield; and so on.

The most important reason fro the cost difference, however, is that an individual saltwater oyster normally can produce only one or two sizable pearls at a time. I American freshwater cultured pearl production, only one to five can be produced at a time. By comparison, in China or Japan, a single freshwater mussel can produce 15 - 20 pearls at a time, or more.

Freshwater pearls

Fresh water cultured pearls are grown in freshwater rather than saltwater, in mussels that live in lakes and rivers. One of the best known freshwater pearls is the Biwa pearl (named after Lake Biwa in Japan), which is one of the finest and most beautiful of the freshwater pearls. It often occurs in oval, barrel and coin shapes. Although the term “Biwa” should be used only fro pearls from Lake Biwa, it is often used indiscriminately to refer to any freshwater pearl; since Lake Biwa once produced almost all of the fine freshwater pearls, it has become a generic label for almost all freshwater pearls. Unfortunately, Lake Biwa production now has virtually ceased, and Chinese freshwater cultured pearls are being sent to Japan and sold as “Biwa.”

Freshwater cultured pearls are now grown in many countries. The leading producers include the United States, Japan, and China. Common mussel type molluscs are used. The process used to produce most freshwater pearls doesn’t require a shell nucleus; tissue grafting techniques are used instead, which facilitates mass production. The mollusc is also larger than that used to produce Akoya pearls. As a result, an individual mollusc can produce as many as 20 - 30 pearls at a time, or more. The pearls produced in this manner are normally small and very inexpensive. Using only mantle tissue, however, they are essentially all nacre, and top quality freshwater pearls are very lovely and offer very good value for the money. They occur in a wide range of colors and shapes, the most familiar having a long, narrow, rice shaped outline, generally with a wrinkle surface, although the surface can be very smooth. They cab have high luster or low, depending upon quality. Japan and China are the leading producers of this type of freshwater cultured pearl.

The look of the freshwater cultured pearls is changing, however. Very lovely round freshwater cultured pearls are also being produced today. These require more sophisticated production techniques, including an implant procedure. The exact technique being used has not been disclosed, but may involve the use of a round implant, possibly fashioned from the inexpensive, all nacre tissue nucleated pearl that is so abundant. The result, cultured pearl that is essentially all nacre! China is the primary source of these lovely pearls, but most are under 6 millimeter in size. We can also expect to see quantities of round American freshwater cultured pearls in the near future. Round freshwater pearls are more expensive than other types of freshwater cultured pearls, but normally much less expensive than round, saltwater pearls.

Some of the world’s most prized; and most beautiful, pearls are natural freshwater pearls. These are very expensive and can compare to the price of natural saltwater pearls. Frequently whiter than the natural saltwater pearl, and often with a more intense luster, these are the pearls that were so cherished by the Roman; pearls found in the rivers of the European countries they conquered. The only reason the Roman legions ever ventured into England, or so it is rumored, was to search for the rare and beautiful pink freshwater pearls found in Scotland!

Cultured freshwater pearls also occur in interesting shapes, as do the natural; in fact, natural “angle wing” pearls fro Mississippi River and other nearby rivers and lakes are very collectible. Cultured pearl producers are also culturing freshwater pearls in special shapes such as crosses, bars, and coins. These are referred to as fancy shapes.

Fresh water pearls occurs in a wide range of colors; a much wider variety than round, saltwater pearls, which gives them a special allure. Fresh water pearls colors include light, medium, and dark orange, lavender, purple, violet, blue, rose, and gray. Large natural freshwater pearls in unusual colors can be very expensive. Freshwater pearls may also be dyed. When buying freshwater pearls, be sure to ask if the color is natural.

Another interesting feature of freshwater pearls is that they can be worn singly or grouped alternating colors, either hanging straight or twisted for a distinctive effect. In addition to the versatility offered by the many colors options, the lower cost of most freshwater pearls (with exception of round) makes it possible to buy many strands and create an almost endless variety of looks.

American freshwater cultured pearls; Distinctly American

There are no other pearls being produced anywhere in the world that resemble the American freshwater cultured pearl. They are not at all the typical round, white pearls as referred to pearls. They have a look entirely their own, a result of being produced by very different methods, in a variety of mollusc that lives only in American rivers and lakes. Tennessee is the primary source of these American beauties as well as the source of the shell used to make the mother-of-pearl beads for nucleating cultured pearls in all other parts of the world.

American freshwater cultured pearls are produced by very unconventional freshwater culturing techniques which took years to develop. The first difference, and most important, is that a mother-of-pearl bead nucleus is implanted, as in saltwater cultured pearl production. Using a freshwater mollusc, however, combined with unconventional placement of the nucleus, results in a pearl with a very different appearance from other cultured pearls.

To produce American freshwater cultured pearls the nucleus is left inside the mollusc for a much longer time than is the case with other cultured pearls; from 3 - 5 years, compared to less than 12 months in most saltwater cultivation, giving them a much thicker nacre than is normally found in cultured pearls, and a pearls lustrousness and orient to which only the very finest cultured saltwater pearls, and natural pearls, can compare.

Another significant difference is that the American freshwater cultured pearl is never dyed, bleached, or enhanced. This creates a pearl that in many ways more closely resembles the natural pearl than other types of cultured pearls, including its longevity; the beauty of American freshwater cultured pearls will last longer than most cultured saltwater pearls now being produced. Of course, it also means, as with natural pearls, that there are marked differences in color, shape, and surface perfection, so matching is more difficult. These pearls are only for those who enjoy, appreciate and value the subtle differences nature places in all her creations.

Although much more affordable than saltwater cultured pearls, the cost is higher than for most other freshwater cultured pearls. American freshwater pearls occur in a variety of distinctive shapes not seen in other types of pearls; coin shapes, bars, marquises, ovals, and round “domes” that resembles mabe pearls.

Baroque pearls

The rarest pearls are round pearls, and round pearls in fine quality are very costly. A baroque pearl, technically, is any pearl that is not round and has an interesting irregular shape. Baroque pearls should not be confused with pearls that are simply “out-of-round” (this is the least desirable shape). They should a distinctive enough shape to be interesting and attractive. Baroque pearls can be produced by both saltwater and freshwater molluscs, and can be natural or cultured. They have a distinctive appeal because of their very beautiful tints of color and iridescent flashes, which are the result of “pools” of nacre (where the baroque shape creates an area in which the nacre can collect, and is deeper than along other parts of the pearls). Baroque pearls, with their distinctive irregular shapes, are more common than round pearls, which makes them more affordable, but they can make beautiful jewelry creations.

Symmetrical pearls, not round

A symmetrical pearl is one that is not round, but which has a beautiful, symmetrical shape, such as “teardrop” or “oval.” While they may be in the “baroque” class (since they are not round), they are rare, and, depending upon the shape and how perfect it is, a matched pair can be as costly as the roundest of pearls, or even more costly.

Button pearls are a type of symmetrical pearl produced naturally by both saltwater and freshwater molluscs. Cultured button pearls are produced primarily by saltwater oysters, but we are beginning to see some freshwater cultured button pearls from China. They are sought for their very distinctive and interesting shape: they have a flattish bottom and rounded top often resembling a “squash” or “cap” similar to that worn by Catholic Pope. They make lovely earrings and rings. They are less expensive than the finest round pearls, but depending upon the shape, size, and other factors, can still be expensive.

Types of saltwater and freshwater pearls

- Mabe pearls

A mabe (Mah-bee or mah-BAY) pearl is a dome shaped pearl available in a variety of shapes, the most common being round or pear shapes. These pearls are produced very inexpensively, but they provide a very large, attractive look at affordable prices, compared to other pearls of comparable size. They are more fragile than other pearls and should be worn and handled with care.

The Mabe is an assembled pearl produced by placing a hemisphere shaped piece of plastic against the side of the shell interior. The oyster then produces a nacre coating over the plastic. The resulting “pearl” is cut from the shell, and the plastic removed (since the nacre won’t adhere to the plastic). The remaining hollow nacre “blister” is the filled with epoxy, following which a mother-of-pearl backing is attached. These pearls are not as durable as solid “blister” pearls, so some extra care should be taken when handling or wearing them. Be sure to wrap them in a soft cloth, and separate them from other jewelry, to protect them from getting scratched.

It is especially important when selecting mabe pearls to select pearls with a thick nacre layer. This is usually indicated by pearl’s lustrousness; the presence of a soft iridescence and high luster usually indicates a thicker nacre; a chalky quality usually indicates very thin nacre. With mabe pearls, the thinner the nacre the more FRAGILE the pearl; if the nacre is too thin, mabe pearls can crack or peel easily. They are especially popular for earrings and rings, but since they are more fragile than other pearls, they are not recommended for rings.

- Solid blister pearls

The solid “blister” pearl; such as the American dome, is a dome shaped pearl similar to a mabe pearl but not assembled. This type of pearl is cultivated in freshwater lakes in Tennessee. It is available in several shapes, and has a distinctive look created by a mother-of-pearl border, retained from the shell lining when the pearl is removed. These pearls have an unusually high luster and a lovely iridescent play-of-color across the surface. They are more expensive than mabe pearls, but more durable.

- Seed pearls and Keshi pearls

Seed pearls are tiny, round, natural pearls, usually under two millimeters in size. They are rare today, but often seen in antique jewelry. They are sometimes cut in half to create a large supply for a particular jewelry creation, or to rmove blemish or a misshapen side; these are much less expensive than full seed pearls. Seed pearls can be produced by both freshwater and saltwater molluscs.

Keshi pearls, also called “chance” pearls are interesting baroque pearls accidentally produced in saltwater oysters used for cultured pearl production. Sometimes an oyster rejects its bead implant, but particles of the accompanying mantle tissue used alongside the bead remain; these particles of mantle tissue stimulate the production of nacre, resulting in the wonderful, interesting pearls we as “keshi” pearls. They are unusual because, like natural pearls, they are essentially all nacre, and all natural. There is even some heated debate regarding whether or not they should technically be called natural pearls. Whatever you call them, they are comparable in every way to natural baroque pearls.

Japanese keshi are usually very small. The word “keshi” actually comes from the Japanese Japanese word meaning a tiny particle, and was used to refer to “poppy” pearls, a fitting image for the strands of minuscule pearls they describe, very tiny pearls that might be confused with natural seed pearls. At one time it was not unusual to see necklaces comprised of 20, 50, or as many as 100 strands of these tiny pearls strung together, the strands being so delicate they look like silken treads.

The keshi pearl now attracting the attention of collectors, however, is the South Sea variety, which is much larger, 8 - 10 millimeters and up. Virtually always baroque i shape, they offer a variety of unusual shapes, often oblong, and lend themselves to very distinctive jewelry creations. They occur in virtually all shades of color, gray to black, yellow to gold, even mauve and lilac tones. One of the most striking characteristics of the South Sea keshi pearl is its very intense luster and iridescence, far greater than what is normally seen in even the finest round cultured pearls.

They are very popular in Europe and the Middle East. For Moslems, they are particularly desirable because, like natural pearls, they are an all natural creation, and by comparison to the cost of natural pearls, very affordable.

But Keshi pearls are disappearing. Japanese and South Sea pearl producers are trying to reduce the number of keshi pearls being produced because the production of keshi creates a costly problems. As nature would have it, the oyster can only produce a certain amount of nacre; if keshi pearls are consuming nacre, that leaves less for the cultured pearl being produced simultaneously within the same oyster. This means that the more keshi pearls, the fewer fine, round cultured pearls. As the cultured pearl grower succeed in reducing the number of these “chance” pearls, fewer keshi pearls will be available. Prediction are that they will become more scarce in the years ahead, which is sparking serious attention from connoisseurs. If you yearn to own a keshi pearl necklace one day, don’t wait. These exquisite, all nacre pearls may one day be a thing of the past.

- Ring or circled pearls

When a concentric ring encircles the surface of a pearl, it is “ringed” or “circled;” this is a type of surface characteristic that can occur on any variety of pearl. When a pearl exhibit numerous concentric rings from top to bottom, however, it crates a very interesting and distinctive looking pearl. Usually off-round or baroque in shape, and much less expensive than round pearls or symmetrical baroque pearls, these “ringed” or “circle” pearls have a special allure and are being used increasingly in jewelry; especially those from the South Pacific occurring in shades of white, gray to black, and aubergine. Artistic jewelry designers find find circle pearls an exciting choice for distinctive and dramatic creations.

- Half pearls

Half pearls (do not confuse with mabe pearls) are usually small pearls, 2 - 3 millimeters, that have been cut in half to use for border decoration, as in a continuous row of pearls surrounding a cameo or center stone. They are inexpensive, but create a lovely effect.

- Three-quarter pearls
Three-quarter pearls are pearls that are not fully round, but give the impression of being round. They can be natural or cultured, freshwater or saltwater. When mounted, it may be difficult to know for sure whether you have a fully round or 3/4 pearl because they are often mounted in cups to conceal the bottom and create the illusion of a fully round pearl.

A three-quarter pearl can be one of two things: a three-quarter solid cultured blister pearl, grown on the side of the interior of the shell using a nucleus that is only 3/4 round (it has one flat side, which is placed against the mollusc shell, similar to the mabe, but containing a mother-of-pearl nucleus so it is solid, not hollow); or, a full round cultured pearl that has had a portion cut away to eliminate a blemish or imperfect shape. As with other cultured pearls, they occur in a range of colors and sizes; usually 8 - 15 millimeters, and exhibit varying degrees of lustrousness. They are much less expensive than comparable round pearls, but make an attractive alternative for those who want a larger pearl than they might otherwise be able to afford in a true round pearl.

Note: Be suspicious of any attractively priced large pearl set in cup; it may contain a three-quarter pearl. These are frequently used in earrings.

After distinguishing between saltwater and freshwater pearls, the major categories into which cultured pearls are divided are “Akoya” Pearls, “South Sea” Pearls, and “Black” (or “Dark”) Pearls. There are “Akoya” button pearls, for example, and “South Sea” keshi pearls. And so on.

- Akoya pearls

This is the pearl that comes to mind the moment anyone mention pearl; lustrous, round, white pearls. The finest Akoya pearls, originally produced in Japan, are more perfectly round than most other pearls and have the highest luster, which makes them especially desirable. Unfortunately, for those who prefer very large pearls, they rarely exceed 10 millimeters in diameter, and when they do, they command exceptionally high prices. In addition to Japan, China is now a major producer of Akoya pearls.

- South Sea Pearls

South Sea pearls are the very large, regal white pearls often called the “queen” of cultured pearls. They are produced by a particular type of unusually large saltwater oyster, the Pinctada maxima. Today, a; pearls produced by this oyster are referred to as “South Sea” pearls. Most are now cultivated in the waters off Australia, Indonesia, and the Philippines, although Burma was once one of the most important producers of South Sea pearls.

The oyster producing south sea pearl is much larger than the Japanese oyster; many reach a foot or more in diameter. At this time the oysters used are a wild species that is rare and the supply for cultivation is never certain (commercial spawning which is used in other types of pearl production has not yet been very successful); this is one reason fine South Sea pearls are so rare and expensive. South Sea pearls usually start at 10 millimeters in size, and go up. Pearls from 11 to 14 millimeters are average. Pearls over 16 millimeters are considered very large. South Sea pearls are cultivated for longer periods and have much thicker nacre coatings than other pearls. This means they are often less perfectly round and more spotted than their smaller Japanese counterpart, but they are very beautiful and very expensive. The rarest, most expensive color is the warm pinkish white, but the silvery-white is perhaps more in demand and also very expensive. Yellow-white also exists, but these are the least popular and sell for much less. “fancy” intense yellow (truly rich yellow not in any way to be confused with off-white or yellow-white) and a wide variety of hues including many “golden” tones, are now in great demand. South Sea Pearls are rare in fine qualities, and more expensive than most other pearls, but they have the longest life expectancy of any cultured pearl.

- Burmese pearls, the rarest, finest, and most valuable “South Sea” pearls

Burma once produced the rarest, finest, and most valuable “South Sea” pearls in the world. The best Burmese pearls possess an exceptionally high silky luster, unmatched by any other South Sea pearl, and a fine pink-white color. In recent years the quality of Burmese pearls has been deteriorating, however, because of a complicated political situation reducing availability of skilled technicians and disrupting quality control. Very few fine Burmese pearls are produced today; most are indistinguishable from other “South Sea” pearls and often are mixed in with them when sold.

- Black pearls

Black cultured pearls are large pearls occurring naturally in a range colors from gray to black, normally in sizes over 8 millimeters, and averaging 11 - 12 millimeters. In very rare cases they have been known to exceed 20 millimeters. Technically a “South Sea” pearl, it is cultivated by a special variety of Pinctada oyster, in lagoons in the South Pacific. Fine black pearls are rare and costly, and should not be confused with artificially colored black pearls. Tahiti is the leading producer of top quality black pearls, followed by the Cook Islands and other islands of French Polynesia.

The “Abalone Pearl” and the “Conch Pearl”

Two unique gems from the deep

Pearls produced by nacreous pearl producing saltwater oysters and freshwater mussels are the focus of this article, but there are two unusual types of pearls that are highly prized and should be mentioned: the abalone pearl (pronounced “ab-uh-loh-nee) and the conch pearl (pronounced “konk”).

- Abalone pearls

The abalone pearl is one of the most beautiful and unusual of all pearls. It is also one of the rarest. Unlike other saltwater pearls, this pearl is produced by a mollusc people do eat; it is the same abalone served in restaurants! In fact, the demand for the meat of the abalone has resulted in a serious depletion of abalone mussels and increased rarity of the abalone pearl.

The abalone produces an exquisitely colored and highly iridescent nacre and mother-of-pearl shell lining that has long been prized for inlay and shell jewelry. Like their shells, abalone pearls are vividly colored and highly iridescent.

It is a true nacreous pearl (consisting of many concentric layers of nacre), but it is not produced by a bivalve mollusc; it is produced by an ear-shaped univalve mollusc (one with single shell, such as a snail). If one’s definition of pearl requires that it be produced by a bivalve sea creature, then the abalone is not, technically speaking, a true pearl. On the other hand, if the deciding factor is that the beauty; the lovely luster and iridescence, result from alternating layers of nacre, then there can be no question that the abalone is a true pearl. Whatever the criteria, abalone pearls are rare and beautiful gems, especially sought after by top jewelry designers and connoisseurs around the world.

Most abalone pearls are natural pearls, for which there is a rapidly growing collector market. Many have been found in abalone off the Pacific coast of the United States. They are also found in Japan, New Zealand, and Korea. Cultured abalone pearls are beginning to appear in the pearl market as well, with research and production underway in the United States, Japan, Korea, and New Zealand. Currently production of cultured abalone pearls is limited to mabe pearls.

Each natural abalone pearl is unique in appearance. There are 96 known species of abalone, widely varying in shell color, size and rate of growth. These differences are reflected in the color, size, and shape of the pearls produced, and account for the distinctive individuality of each abalone pearl.

The colors of the abalone pearl are rich and exotic, ranging from a metallic silvery color to steel black, cream, golden, pink, and silvery-green, all with pronounced highlights of pink or magenta. The rarest and most highly prized abalone pearls offer rich peacock blue and green hues.

Shape in another distinguishing characteristic of natural abalone pearls. Mostly baroque, their shapes can quite striking and this adds to their allure. Some are shaped like elongated spheres, others like discs; many are horn or tooth shaped. Many are, oddly enough, hollow.

Once you have seen an abalone pearl, it can never be confused with any other type of pearl. There are no clear guides for judging them, but generally the same factors used to evaluate other types of pearls apply; color, luster, orient, shape, blemishes or skin perfection, nacre thickness and size.

In terms of color, the magenta and peacock greens and blue abalone pearls are the most desirable and command the highest prices. Most will have a brownish or discolored area; this is typical and does not usually diminish the value to any great extent. The higher the luster and iridescence (“orient”), the rarer and more valuable the pearl. The smoothness of the surface and freedom from blemishes is also very important, but keep in mind that it is extremely rare to find an abalone pearl wit a “flawless” surface or symmetrical shape; truly round or spherical abalone pearls are virtually unknown. Look for uniform nacre growth without “pockets” or “depressions” just under the surface. Very high orient or iridescence is important, and shapes that spark the imagination are also prized. As with pearls, size can’t be ignored. Most abalone pearls are the size of pebbles, but they can be quite large. An abalone weighing 471.10 carats is perhaps the world’s largest, but it is brownish and the quality is poor.

The “perfect” abalone is virtually nonexistent, but when one comes close to perfection, its price will be exceptionally high. An exceptionally fine, wedge shaped abalone pearl weighing 118.57 carats was found by a Pacific coast diver several years ago; it was a very rare gem exhibiting a strong green body color, rich iridescence, and a spotless surface. It was valued at over $140,000.

- Conch pearl

The Conch pearl (pronounced “konk”) is in a class by itself. The Conch pearl is not, technically speaking, considered a true pearl by most gemologists because it is not produced by a bivalve mollusc, nor is it a “nacreous” creation (created by the build up of numerous concentric layers of nacre). Nonetheless, few would disagree that it is indeed a rare and beautiful gem, one that can command a very high price.

The conch pearl is produced by the giant univalve conch that is found throughout the Caribbean. The conch is in great demand for its meat (conch fritters are delicious) and for its shell, which is used to make cameos and for garden decoration. Some people even pride themselves on their ability to blow the conch shell, and it was used by island tribes in the past to sound an alarm when danger approached.

Conch pearls, like other pearls are made of calcium carbonate, but they lack the build up of layer upon layer of nacre responsible for the characteristic luster and iridescence associated with pearls. Such pearls are called non-nacreous pearls. Most non-nacreous pearls are dull and unattractive, with little value; the conch is an exception.

The conch pearl can be strikingly beautiful and very costly. It has a distinctive porcelain like sheen combined with a unique “flame pattern” on the surface. This flame pattern resembles delicate, wavy, whitish lines covering the entire surface of the pearl. If you’ve ever seen wet silk, the pattern is similar. This “flame” structure separates it immediately from nacreous pearls, and from coral, with which it might otherwise be confused.

The chance of finding a conch pearl is slim: about one for every 10,000 - 15,000 conch shells opened. Most have pleasing symmetrical shapes; on rare occasions, round conch pearls have been found. Most are beige, ivory, or brown in color, but they are also found in salmon-orange, lilac, pink and deep rose shades. (The color may fade if exposed to strong sunlight for a prolonged time.) While shape and size are important, quality is judged primarily by the intensity of the color and pattern. The most prized conch pearl is nearly spherical with an intense flame pattern over a deep pink, lilac or orange-pink color. Symmetrical oval, teardrop and button shapes are also highly prized. Most conch pearls are small. The largest known conch pearl is a dark brown gem that comes from the “horse conch.” It is football shaped, weighs over 111 carats, and measures 27.47 millimeters in size.

Conch pearls are in great demand in Europe and the Middle East. The New York jewelry salon of Harry Winston created a magnificent conch pearl and diamond necklace, with accompanying conch pearl and diamond earrings, for an unidentified client, and the German jewelry firm Hemmerle has just completed a magnificent jewelry creation using the dark brown conch pearl mentioned above, the world’s largest. It is priced at $100,000.

There are other types of non-nacreous pearls which may be encountered. Most have little luster, little or no iridescence, and have little value.

Pearls have become an essential for any well-dressed woman today, and increasingly for men as well, yet most buyers feel overwhelmed and intimidated by all the choices, and the widely differing prices. But with just a little knowledge, you will be surprised by how quickly you can learn to see and understand variations in characteristics and quality.

In the majority of Neolithic India, as in most parts of the world at that time, people fashioned jewelry out of seeds, feathers, berries, flowers, bones and shells. But in the northern Indus valley cities of Mohenjo-daro and Harappan, men and women were already wearing jewelry made of gold, silver, copper and set with precious and semi-precious gemstones.

The Indus valley civilization, preceding the Vedic, existed from 3000 B.C. to 1500 B.C., and was built in and amongst the fertile lands of what is known today as Pakistan. The Neolithic Indus valley people like others, domesticated animals and harvested crops of cotton, sesame and barley. However, contrary to the belief that these regions only possessed an agricultural economy in this period, archeological evidence found at the Indus cities of Mohenjo-daro and Harappan, show the people as having been sophisticated urbanites whose cities were bastions to art and culture.

The brick cities, acting as focal points for a kind of centralized state, towered high above the Indus plains and were established along important trade routes that connected the ‘Far East’ with the ‘Near East’. They were visible for large distances, a landmark to the prosperity of their rulers, inhabited by generations of merchant classes, skilled artisans, farmers and sea-faring adventurers engaged in extensive trading.

Proof of the Indus people’s impact on Neolithic trade was found when archaeologists excavating Mohenjo-daro and Harappan found engraved seals written in cuneiform, the world’s first written language whose origins lay in Mesopotamia in the Near East. The seals, describing the contents of sacks, were used to close bundles of merchandise, as cord marks on the reverse side testify. Similar seals were also found in ports on the far-away Persian Gulf near modern Bahrain, and amongst Mesopotamian sites at the city of Ur.

The seals originating from the Indus sites described cargos of textiles, and luxury goods such as semi precious gemstones, ivory, carnelian beads, pearls, mother of pearl and jade sent to Persia and Mesopotamia in exchange for gold, silver, tin, copper, lapis lazuli and turquoise. Bitumen from Mesopotamia, where it occurred naturally, was also imported and used as the binding glue in mother of pearl inlay in precious items of jewelry and ornamentation. These products and their seals found in various Indus archeological sites bare testament to the presence of foreign traders living amongst the Indus people.

The Indus civilizations were ethnically diverse incorporating many cultures and creeds. Many terracotta, bronze and stone figurines found at the Indus sites display a variety of different styles of clothing, headdresses and ornamentation indicating a multi-ethnic civilization. Some of the figurines were adorned with multiple chokers and necklaces, which appear to represent beaded ornaments of gold, silver, and semi-precious gems. The complex casting techniques used in the production of the metallic figures, made by the French ‘Cire-Perdue’ meaning ‘Lost-wax’, also points towards a culture of knowledgeable and sophisticated metallurgists far in advance of their epoch.

Further excavations of Mohenjo-daro’s lower levels, revealed the living quarters of metal workers specializing in the production of copper and bronze implements, and also weapons. Flat axes, spears, knives, arrowheads, chisels, saws and razors were caste in smelting furnaces then hammered into shape. Silver, reserved for smaller precious objects, was smelted and molded into vases, vessels, seals, pendants, and brooches.

Other crafts in the city included the manufacturing of beads made in a variety of different shells, ivory and semi precious gem types such as alabaster, lapis lazuli and turquoise from Persia, amethyst from Maharashtra, and jade from Central Asia. However, by the third century B.C., after the reign of Buddhist emperor Ashoka, India was mining its own extensive gemstone resources, and had become the world’s leading exporter of precious and semi-precious gemstones.

By 2000 B.C. the Indus valley civilizations were disappearing due to internal decline. The eventual demise of the Indus Valley Civilization came about in 1500 B.C with Aryan invaders from the north firstly destroying the outlying villages and then overrunning the cities of Harappan and Mohenjo-daro. The Indus civilization with their highly advanced knowledge of process metallurgy, gem cutting and jewelry production were eventually pushed further south into India where they created a legacy of fine arts for which India is known the world over.

Consumers, the diamond industry, and governments all agree that the illicit trading of conflict diamonds has to be completely eradicated. Although there have been steps taken by governments and the World Diamond Council, which represents the diamond industry as a whole, their efforts will be meaningless without the cooperation of individual jewelers and jewelry stores.

To help stop the illicit trade in conflict diamonds, a new industry website was launched with the purpose of gaining the cooperation of jewelers and jewelry retailers. The new website, www.stopblooddiamonds.com , aims to get jewelers and online jewelry stores to sign up with them for free. Signing up with StopBloodDiamonds.com will signify the jewelers’ commitment to joining the fight against conflict diamonds trade. Joining will entail no expense but will require jewelers to commit to the policies of StopBloodDiamonds.com, which are in accordance to the policies laid out by the Kimberly Process Certification Scheme (KCPS).

Being a member of StopBloodDiamonds.com is also beneficial for the jewelers. Members get to post the StopBloodDiamonds.com logo on their websites or online stores. The logo will serve as a guarantee to all visitors of the website that the online store has a clear policy regarding conflict diamonds and that there are no conflict diamonds that are sold in the that store. Members also get to access all the information available on the website regarding the issue revolving around conflict diamonds.

The new step is simple. It only requires jewelers and jewelry store owners to sign up for membership at the Stop Blood Diamonds website. Membership is free but as mentioned earlier requires members to adopt the site’s policies against conflict diamond trade as part of their store policy. After jewelers and store owners have signed up, they then have the privilege of putting up a Stop Blood Diamonds Conflict Free logo on their websites. The easily identifiable logo will be an effective means for consumers to determine that website’s policies regarding conflict diamonds without having to search through it just to look for a written policy. This will also ease the minds of potential buyers who are becoming increasingly aware and educated about this extremely immoral trade practice.

For those interested in knowing more about acquiring the logo for their site you can visit StopBloodDiamonds and read more about the policies your store need to adopt to be able to join. Costumers can also visit the website to know more about conflict diamonds and what the diamond industry is doing regarding the issue.

The Cultured Pearl The Buying Guide

Getting to know Gems
How to select, buy, and care for, and enjoy Pearl Jewelry

The difference quality makes
Artificial enhancement used on lackluster pearls

With all things beautiful, rare, and costly, humankind tries to improve, imitate, duplicate. It has been this way since time began. Today virtually all colored gemstones are imitated, duplicated, and improved, and cultured pearls have not been ignored. As with other gems, some of the methods used are considered “acceptable” while others are not. It is important to be aware of the types of treatments being used, what is acceptable and what is not, and how they affect the final pearl product in terms of appearance, cost, and, most of all, durability.

All pearls are processed after removal from the mollusc. Routine processing will not harm them, and usually involves little more than washing to remove odors and residues from the pores of the pearl’s surface. This can be accomplished with mild sudsy warm water and a mild abrasive such as salt. The pearls are put into “tumbling” drums with the solution, and tumbled together for a brief time.

Routine tumbling is performed by all cultured pearl producers, and is perfectly safe.

Excessive processing and treatment can harm pearls

Certain types of cultured pears are routinely subjected to extensive processing and various other treatments that may have an adverse effect on durability, and thus to the life of the pearl. These include extensive tumbling, often with wax or polishing compounds, coating pearl surfaces, chemical bleaching and dyeing. Here are some practices to be aware of and to guard against:

Enhancement of luster and surface perfection

Since lustrousness is so desirable in a pearl, and because it is usually very low in poor quality pearls, some producers employ artificial methods along with routine processing to create an impression of lustrousness. The following enhancements result in a temporary surface shine only.

- Extensive tumbling is used by some producers to remove unsightly surface blemishes and dark spots, and to improve the shape of the pearl. Nacre is durable because of its very compact structure, but it is not very hard. Depending upon the tumbling process used, some of the nacre may actually be wearing off as the pearl is being tumbled; the longer the tumbling, the greater the amount of nacre removed.

- Buffing is used by some producers to remove blemishes, improve the shape, and to add a surface shine. Here the pearls are “buffed” against a rapidly moving abrasive wheel with a very mild abrasive compound. It is very effective, but removes more nacre than simple tumbling. Beeswax and other polishing compounds are sometimes used while tumbling or buffing; beeswax is soft and won’t remove the nacre; harder compounds will remove nacre.

- Tumbling with beeswax is done primarily to improve the pearl’s lustrousness. Wax is melted in very hot pans and then bamboo chips are added. After the chips have become saturated wit beeswax, they are placed together with the pearls in tumbling drums. As they tumble around together in the drum, a waxy costing is acquired by the pearls. Since the bamboo chips are softer than pearl, the pearls are not scratched or nacre thickness eroded. This wax coating imparts a lustrousness, but it is temporary and will wear off in a short period of time; and if you clean your pearls in an ultrasonic cleaner, nacre will wear off even faster!

- Extensive buffing with chemical polishing compounds is sometimes done to remove more unsightly surface imperfections and to increase surface shine. Chemical compounds create a longer lasting shine than wax, but it is still temporary and, even worse, these compounds often remove layers of nacre, reducing the life of the pearl.

- Coating with lacquer or “pearl-essence”; an epoxy and ground fish scale concoction used to create imitation pearls, to create a surface shine. Lacquer wears off quickly; pearl-essence may last longer.

In the case of poor quality mabe pearls, pearl-essence and dye are often applied to the inside of the pearl, just beneath the nacre (since mabe pearls are actually hollow blisters that are cut from the shell and then filled with another substance to increase durability, it is easy to coat the inside with pearl-essence prior to filling it).

This practice is not accepted as a fair trade practice and is considered fraudulent; nonetheless, it occurs. While there are some higher quality mabe pearls with thick nacre, especially South Sea mabe pearls, one must be on guard against mabe treated in this way because their thin nacre will peel and crack very easily. When buying mabe pearls, pay particular attention to lustrousness. However, you may not be able to recognize a pearl treated in this way. Should your mabe pearl begin to peel, or if it cracks prematurely despite proper care, we suggest to return it to your jeweler.

Any treatment that reduces nacre thickness is detrimental to the life of the pearl. Pearls that are buffed or tumbled extensively lose some of their nacre and are at greater risk of cracking and chipping. If nacre was thin prior to treatment, the result may be pearls with nacre that will more quickly wear off, leaving only mother-of-pearl beads.

Be especially careful not to to mistake shallow shine for the rich luster that indicates a deep, thick nacre. If in doubt, ask that the pearls be submitted to a laboratory for a report on nacre thickness.

Techniques to alter color

Whitening the color of pearls has taken place for centuries. In the case of natural pearls, however, it was a natural process whereby pearls were sun-bleached on rugs for a period of time. The rugs could be easily rotated to expose various parts of the pearl so color would be uniform. Many pearls today are also whitened, but normally the whitening process involves chemical bleaching. In addition to whitening, color is further enhanced by dyeing or other artificial techniques. Bleaching and dyeing is done to create continuity of color, which people have come to expect in cultured pearls as a result of advertising and promotion.

Today, most South Sea pearls, naturally black pearls from Tahiti and other parts of the South Pacific, and American freshwater cultured pearls are the only pearls being cultured that are not normally subjected to chemical bleaching and dyeing as part of routine processing.

- Chemical bleaching is done to make pearls whiter. This is now a common practice among many producers of cultured pearls.

This process is especially detrimental to thin nacre pearls because chemical bleaching reduces the hardness of the nacre, making the pearl softer and more susceptible to deterioration from normal wear. If the pearl has a good nacre thickness, this probably won’t seriously affect its durability; if the pearl has thin nacre, chemical bleaching will further weaken it.

All pearls with thin nacre must be bleached because the nacre is so thin that the brownish conchiolin shows through, creating an undesirable dark color; in thick nacre pearls, the dark conchiolin won’t show through so bleaching may not be necessary. (Remember that the oyster first produces a brownish layer of a substance called “Conchiolin” before producing the layers of white nacre that build up to give us the pearl.) To bleach pearls, they are first drilled and then submerged in a bleaching solution which takes the brownish color out of the conchiolin layer, thus whitening the pearl. Bleaching also produces a more uniform surface whiteness.

- Dyeing pearls to create a more desirable color is an increasingly common practice and goes hand-in-hand with bleaching.

The bleaching often results in a pearl that is too white, making it seem lifeless. The pearls are then soaked in a dye solution, usually pink, to give them a softer, warmer look that enhances desirability. naturally white pearls with a lovely pink or “rose” blush are very rare and highly prized; most of today’s pink-white (rose-white) pearls have obtained their pink color artificially through the dyeing process. It is usually easy to detect using the loupe.

Pearls can also be dyed other colors. Most pearls under 8 millimeters in diameter have been dyed black; most naturally black pearls are produced by a large variety of oyster is the South Pacific and start at about 8 millimeters in size. Many dyed black pearls have a different look from the natural, a look that suggests the use of dye; a “flat,” very uniform black coloration that lacks any iridescence or subtle shading and variation typical of naturally black pearls. They should cost a fraction of what naturally black pearls cost, and much less than good white pearls.

- Dyeing the nucleus to create “black” pearls is done on Akoya type cultured pearls.

While Japan is producing natural black cultured pearls, many gray to black cultured pearls under 9 millimeters in diameter contain a dyed nucleus; dyed with an organic dye, that is responsible for the color seen on the surface. This cannot be detected without sophisticated lab tests.

- Irradiation techniques have been used to artificially transform inexpensive, usually off-color South Sea pearls into black pearls to imitate the rare and costly naturally cultured pearls of the South Pacific.

While not commonplace, such pearls do appear in the market, so it is recommended that one submit any large black pearl represented to have natural color to a laboratory for verification.

A rich blue mabe pearl has recently entered the marketplace. An especially beautiful color, it is being sold as both natural and irradiated. In fact, it is neither; the blue comes from using a deep blue dome shaped plastic insert. These mabes are cut from the shell, and the very thin nacre cap is removed, and dipped in an artificial “pearl-like” coating to create the illusion of an iridescent lustrousness. The deep blue plastic dome is then reinserted, filled with epoxy, and glued to a mother-of-pearl backing.

- Silver nitrate solution is used in China, and so to a laser extent in other countries, to transform inexpensive, off-color pearls that resemble the rare and costly natural black cultured pearls of the South Pacific.

Use of silver nitrate solution is the most damaging of all treatments used on pearls, much more damaging to the pearl than chemical bleaching, making the nacre much softer and less durable. It reduces the pearl’s very resilience. Never buy pearls that have been treated with silver nitrate. Again, it is recommended that one submit any black pearl represented to have natural color to a laboratory fro verification.

There is nothing wrong with buying or selling color enhanced pearls as long as they are properly represented and appropriately priced. Such pearls should sell for much less than natural color cultured pearls.

Fine pearls: Beauty that needs no artificial enhancement

Overly short cultivation periods, excessive processing, and fraudulent treatment practices have been a source of intensifying debate and concern over past years. International pearl summits have focused heavily on these issues. As a result, an increasing number of producers have began to implement more rigid standards in the cultivation and processing of pearls, with Japan and Australia leading the way. The focus of the world’s leading producers is shifting from quantity to quality; the focus now seems to be on finding more effective ways to reduce risk, but to do so without reducing quality, beauty, and longevity of the pearl itself.

The future looks bright, but for the present you must remain attentive to quality differences. Insist on pearls with a rich, lustrous quality that assures you of thick nacre and, most of all, long lasting beauty and pleasure.

Pearl treatments and processing are meant to improve upon nature. With fine pearls, however, such efforts rarely improve them, and often diminish them. Fortunately, pearl producers are beginning to recognize this, and knowledgeable pearl connoisseurs are developing a greater appreciation for, and acceptance of, the little imperfections and differences that go hand-in-hand with any product created by nature. The lustrousness and soft iridescence of fine pearls; cultured or natural, has an allure of its own, a beauty that transcend minor “surface” imperfection!

Types of misrepresentation

Fine pearls, natural and cultured, are very costly. The finer and rarer, the more costly. As price and demand increase, however, so do incidents of fraud and misrepresentation. For this reason, one can not stress too strongly the importance of buying from a reputable, knowledgeable jewelers. Be wary of bargains and special “promotions” which may signal inferior quality pearls that will crack, peel, and lose their beauty very quickly. Here are some practices to be aware of, and to guard against:

- Selling as “natural color” pearls that have been dyed, irradiated, or treated with silver nitrate solution. As it is mentioned earlier, the color of pearls can be artificially enhanced or changed in a variety of ways. For this reason, when buying fine “natural color” pearls we recommend obtaining a laboratory report verifying that the color is natural.

- Selling lacquer coated pearls without disclosure. It is already mentioned that some pearls are coated with lacquer to improve lustrousness. Failure to disclose the fact that they are coated is unethical.

- Misrepresenting as “round: pearls, pearls that are not. Since shape is an important factor in valuing pearls, and round pearls are rarer and more costly than those that are not round, creating the illusion of “round” is sometimes done through clever setting or stringing. A lacquer coated filler can also be used to “round out” depression in single, larger pearls.

- Misrepresenting three-quarter pearls as full round pearls. This is done because three-quarter pearls are significantly less expensive than round pearls. The flatter side is concealed in the setting, often a large “cup” type mounting, The cup holds the pearl in such a way that the back of the pearl cannot be seen and the flat side is concealed, the cup itself completes the illusion of roundness. Mounting used to set fine round pearls normally use cups small enough to permit you see the full symmetry of the pearl.

Be specially careful when buying fine, round South Sea pearls because the difference in cost is dramatic. Many three-quarter South Sea pearls are being produced in the Philippines, and sold as fine round South Sea pearls, at greatly inflated prices. These may seem like “a good buy” to the unsuspecting. There is nothing wrong with buying three-quarter pearls; they can create a large, important look; as long as you know what you are buying and pay a fair price for it.

- Misrepresenting half pearls as round pearl. Half pearls, or hemisphere pearls, have a flat side where half of the pearl has been cut away to remove an unsightly blemish or defect. Natural half pearls were very popular for use in antique jewelry, especially in pieces requiring numerous small pearls, and are sometimes mistakenly identified as round natural pearls. Examining the pearls with a loupe will usually reveal the flat back.

- Filling surface pits. This sometimes done to conceal a a particularly unsightly “pit” or hole in the pearl’s surface. The pit is filled with epoxy; the epoxy is then covered with tinted lacquer or pearl-essence. “Second hand” pearls that were damaged are sometimes repaired in this manner.

- Misrepresenting imitation pearls as cultured or natural pearls. This may be accidental or deliberate. Many people erroneously assume that pearls that have been passed down through many generations, or been in the possession of wealthy people, must be “real.” Unfortunately this is not the case; imitation pearls have been made for hundreds of years and anyone, including royalty, can own imitation pearls. It is usually a very easy thing to tell the real from the fake with the simple tooth test.

- Misrepresenting cultured pearls as “real” or “natural” pearls. If buying pearls that are represented to be natural, be sure they are accompanied by a laboratory report verifying this to be true (X-ray examination is required).

- Misrepresenting mollusc “hinges” as “natural” pearls. Some “natural” pearls are nothing more than the nacre coated “hinges” of a mollusc shell that has been cut and polished. When buying natural pearls, be sure they are accompanied by a laboratory report.