Extraordinary gem-set jewelry and a rise in attendance characterized GemGenève as it staged its second edition in May. The fair — which preceded the high-value Geneva jewelry auctions at Christie’s and Sotheby’s — reported over 60 new exhibitors, and the pieces on show included a blue-diamond ring that once belonged to Hollywood child star Shirley Temple.
With 42% more exhibition space than last year, the Palexpo venue near the Swiss city’s airport accommodated 210 GemGenève exhibitors, up from 147 in 2018; most were from the United States and Europe. Newcomers this year included Dehres, Novel Collection, Lotus Arts de Vivre, McTeigue NY 1895, and Palais Royal, organizers said. There was also an 11% jump in visitors compared with last year.
“The ambience is very family-like here at GemGenève,” said Ronny Totah, one of the founders, adding that 95% of last year’s exhibitors had returned. In the interests of maintaining that friendly atmosphere, the organizers said there were no plans to expand the exhibition space further next year.
Visitor footfall was high from the start as Geneva high society and local politicians rubbed shoulders with connoisseur collectors and press from around the world at an elegant cocktail party the day before the event began.
The show, which prides itself on its blend of intimacy and expertise, has arisen as a competitor to Baselworld — one of the biggest trade fairs in the jewelry sector. In addition to its broad gemstone selection, one of GemGenève’s distinguishing features is that it’s organized by industry insiders rather than corporate event organizers, so it can adapt well to exhibitors’ requirements.
In keeping with this year’s theme of “Find” and “Feel,” the layout was a labyrinth rather than parallel lines, creating additional surprises for visiting buyers. Totah compared the setup to the streets of Venice.
Display of artistry
Standout pieces at GemGenève included the Shirley Temple Blue Bird diamond — a fancy-deep-blue, internally flawless stone of over 9 carats that was on offer at estate dealer Windsor Jewelers. There was also a modern 8.01-carat, sky-blue Cartier diamond ring for sale by jeweler Rajesh Popley that exuded extraordinary energy.
Manufacturer and exporter Veerasak Gems showed an unheated 10-carat, pigeon blood Burmese ruby set in a ring, while jeweler Henn of London revealed one of the world’s largest yellow sapphires — a 366.51-carat specimen from Sri Lanka — and an exceptional Paraiba tourmaline from Mozambique weighing 72.95 carats.
The show’s Designer Vivarium section presented a variety of cutting-edge designers with complementary styles, curated by jewelry historian and author Vivienne Becker. “I have to see a perfect marriage of design skills and craftsmanship,” she said.
Geneva-based Nadia Morgenthaler used “extreme craftsmanship” to create her jewels, which highlight pearls. Pearls also appeared in Hong Kong-based Mr. Lieou’s superbly crafted, transformable “high fine jewelry” pieces.
Another designer in the showcase was St. Petersburg-based Alexander Tenzo, who has revived the art of gem engraving in his intricate creations under the Tenzo brand. London-based Alexandra Jefford presented chunky, sculptural pieces, while Ming, which has a boutique in London’s Notting Hill neighborhood, showcased an array of one-off gem-set items that push the boundaries of design techniques.
Speaking of jewelry
The heightened value of craftsmanship was a leading talking point among GemGenève speakers. Becker discussed Art Nouveau and jewelry design trends, emphasizing a growing appreciation of the craft in the digital age. “As we are so often tied to our screens, there is increasing demand for personalization at a time of disappearing craftsmanship skills,” she told her audience.
Another key theme was a desire to improve the traceability of gemstones, as customers and suppliers increasingly want to know about a gem’s journey from mine to finger. A panel that included Gübelin Gem Lab head Daniel Nyfeler addressed the buzz surrounding the potential of blockchain, which can track gems along a secure electronic supply chain.
One concern that arose was the extreme poverty of diggers and miners in many developing countries — a situation that complicates the task of tracing gems, as many workers are illiterate and lack electronic means of communication. As Nyfeler noted, “the blockchain is only as good as the truth of the information put into it.”
Image: G. Maillo for GemGenèveArticle from the Rapaport Magazine - July 2019. To subscribe click here.