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Advancing Our Local Gemological Laboratories by Learning with the Swiss Gemological Institute | Schweizerisches Gemmologisches Institut (SSEF)

Advancing Our Local Gemological Laboratories by Learning with the Swiss Gemological Institute | Schweizerisches Gemmologisches Institut (SSEF)


Some time during the later half of our working trip in Switzerland this 2024, we had the privilege of learning with pioneering gemologists from one of the most advanced international laboratories in Europe. Visiting the Swiss Gemological Institute or Schweizerisches Gemmologisches Institut (SSEF) in Basel, we took part in their intensive Scientific Gemology course program to further develop our in-house knowledge on the different types of laboratory spectrometers used in gemology. This undertaking was suggested to us by colleagues and friends we had met many years ago during our GIA days in Hong Kong.

The entire campus program was incredibly informative and their laboratory staff were all very well experienced and at the top of their respective fields. We were able to properly go through full processes with many of their instruments such as the Micro-Raman, FTIR and UV-Vis spectrometers, as well as gain insight into the workings of the LA ICP mass spectrometer as well. All of this was done with immense efficiency in order to assimilate as much technical learning as possible during our stay in the city of Basel.

The immersive lecture sessions and hands-on practicals given by Dr. Tashia Dzikowski-Hutter and Dr. Michael S. Krzemnicki (Director of SSEF), were the highlight of our month, giving us new groundwork to further our gemological prowess and capabilities as an independent laboratory here in Southeast Asia.

As we return to our normal day-to-day operations, the insight and techniques gained from this program will most definitely be supportive additions to our staff’s existing capabilities and knowledge base. To this day, members of our laboratory team have completed a suite of extensive courses and programs from the Gemological Institute of America | GIA, Gem-A, De Beers, AIGS, Gubelin, Christie’s and SSEF.




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 The Evolving Art of Colored Gemstone Grading

The Evolving Art of Colored Gemstone Grading




While many of you are familiar with the way most diamonds are graded for color, not a lot of people know much about how precious gemstone varieties like ruby, sapphire and emerald are graded for their most important attribute. The visual aspect of color has governed the values of most gemstones throughout history, even during a time period when the big three colored gems were valued much more highly that colorless diamond. Entire societies would covet the rare, vermillion greens of scarce Colombian emeralds, as well as the infamous 'pigeon blood' shades of highly vivid rubies from Burma (Myanmar).


The trade has often used very descriptive terms to somehow paint a picture of a gemstone's colorful beauty. For sapphires, the term 'cornflower blue' would often be touted as the finest color shade available on the high end market. Such a term was first applied to products from the Kashmir region, back when the original sapphire mines in that area were operational.

Most trade names for gem colors were created for marketing purposes, and as you might expect- there was a degree of inconsistency between different people when trying to imagine or evaluate stones based on such descriptive names. Today, the colored stone industry still holds multiple systems for conveying the color of most precious stones. There exists a much larger degree of subjectivity when dealing with this topic, and so it is always advisable to physically view a colored gemstone of any species before making a purchase. Simply assuming a color profile based on a trade term (or even a description) may be hard to depend on. Likewise images on the internet can be easily enhanced using most modern computer programs today.


At our laboratory, while we recognize the subjectivity of grading colored gemstones, we make use of a coded color-component system popularized by the GIA back when our gemological staff were taking their classes at their campus. In this system, color could be divided into three sections- hue, tone and saturation. Hue pertains to the basic bodycolor of a gemstone. This could be a single main color such as red or blue, or it could be comprised of a dominant color and a modifying color, such as bluish green, purplish red or orangey red. For some gemstones, the hue is also what determines the gem's variety. Take the mineral species corundum for instance. Corundum is defined by its chemical composition of Al2O3, crystalized in the trigonal lattice system, however its two most famous varieties- ruby and sapphire, are defined by their true dominant hue. A gem-quality corundum specimen must have a dominant red hue to belong to the ruby gem variety for example.

This system makes use of 31 different hues, each having its own abbreviated form. Purplish red for instance, would simply be coded as pR. The modifying hue would be marked as a lowercase letter, while the dominant hue would follow as a capital letter. 


Apart from hue, the next component of color would be tone. Tone governs the lightness or darkness of a gemstone's color. Rated as a number from 0 (colorless or white) to 10 (black), a stone's tone plays an important factor in the overall beauty and appeal of its color. The ideal tone values can differ between many separate gem species and varieties. The vast majority of gems maintain a general tone range from 1 (extremely light) to 9 (extremely dark) and typically have their best tier somewhere in the middle of said range- i.e. 5 (medium) or 6 (medium dark). Again, it still depends on the kind of gem though, with regards to the specific ideal tone that the market tends to receive better. 

The third color component would be saturation. Now saturation is the aspect of color that governs its intensity. It is also frequently described as a number that corresponds to a descriptive adjective. Most top color gems would often get a saturation level of 5 (strong) or 6 (vivid). Such would be the way that our lab (and many others) systematically describe the saturation level of a colored gem. Many also use saturation to distinguish variety differences within a species. A green beryl of low saturation for example, would simply be called 'green beryl' and not 'emerald'. A reddish corundum with low saturation or light tone might be classified as pink sapphire rather than ruby. Such topics can be highly debated issues for many gem traders, with the subjectivity of different opinions sometimes causing clashes on where the dividing line exists between two varieties.


This is just one of the many existing color systems currently being used in the jewelry trade, and while it is likely the most comprehensive one, there is no one-single universally accepted system that absolutely everyone will recognize unanimously. Likewise two people using the same system can also have their own differences of opinion, as even the human eye can read color slightly differently (across different individuals).

Color is highly subjective with most precious gemstones, and submitting your gem to a gemological laboratory will allow you to get their unbiased opinion on the specific hue, tone and saturation profile of your gem. This may help you in formulating your own opinion about its color, or aid in counterchecking how far apart your seller's opinion was from that of a third-party assessor's.


In the latter part of the year, our laboratory has procured a very rare set of color grading reference-paddles created by collaborative efforts between the Gemological Institute of America and the Pantone color company. The three dimensional color-calibrated plastic paddles mimic the visuals of a gem, while allowing you to see color differences in much greater depth and appreciation. The 324 GIA Gemset system is widely known to be the most specialized instrumental aid in determining the color of non-diamond gemstones across the history of the jewelry industry. Unfortunately due to a combination of its very high price and the acquisition of Pantone by X-Rite, the set is no longer in production for new customers to acquire today. Laboratories would either have to make use of 'flat' reference images such as computer software created pictures or relatively inexpensive transparent comparison sheets. Both of these work well enough, but do not give the same level of comparative support for color grading when pit against a full three dimensional system such as the GIA Gemset. Whenever comparative aid is necessary, our gemological staff and graders make use of this system to help evaluate gemstones graded with our laboratory since July of this year and onwards. 







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Four Common Diamond Misconceptions

Four Common Diamond Misconceptions


Today, we'll just lightly discuss four common misconceptions believed about diamonds in the jewelry industry. We'll briefly offer counterpoints to these statements in order to provide helpful information from our own experiences and point-of-view.



1.) Some say that diamonds are nearly indestructible?

Diamonds are not indestructible. Even if they are the hardest naturally occurring mineral on the planet, hardness is understood by definition as 'resistant to scratches or abrasion' rather than being impervious to breakage or splitting. Diamonds are actually able to 'chip' and break, especially at the thinnest points of their physical structure- the girdle edge and the culet. Chipped diamonds obviously become lower in value, as this does affect their clarity grade. Likewise, diamonds also have certain crystallographic directions where the bonds between atoms are weaker, causing them to possibly or potentially 'split apart' in clean breaks if hit with enough force along those directions. These are called cleavage planes. Furthermore, diamonds are made of carbon. Carbon can burn. Which is why diamonds can be altered significantly by intensely high temperature fires, and can also be 'cut' or separated using lasers.

2.) There are some people who say that 'lab-grown diamonds' are not diamonds at all? (specifically referring to CVD and HPHT produced LG diamonds)

Actually, by chemical definition- a diamond is essentially made-up of carbon atoms crystallized in the isometric / cubic crystal lattice system. By this definition, a lab-grown diamond is a diamond. The difference between natural diamonds and lab-grown diamonds mainly relates to two things: market price value and how they grew. Natural diamonds take billions of years to form, and this results in the presence of minor trace-elements and certain atomic defects when compared to lab-grown diamonds, which allow properly equipped gemological laboratories to differentiate between the two. Trace elements are very small percentages of elements that are non-essential to a diamond's basic chemistry, but form along with it during growth. The present-day selling prices / value of natural diamonds are higher than those of artificially grown or man-made diamonds due to the rarity factors involved, as well as the idea that lab-grown diamonds can simply be produced over and over again (despite manufacturing technologies still being expensive). Be very careful of using terms like 'real' or 'genuine' when buying or selling a lab-grown diamond. These terms are very subjective and can have different meanings and interpretations for different people. For ethical transparency you should always say 'lab-grown diamond', if your stone is indeed a man-made diamond. You can always further differentiate it from imitation materials like moissanite or cubic zirconia as well, and say that its essential chemistry is composed of carbon.

(Note: Lab-grown diamonds are different from lab-grown imitation materials like cubic zirconia or moissanite. This article refers specifically to lab-grown diamonds grown from the Chemical Vapor Deposition (CVD) process or the High-Pressure, High-Temperature (HPHT) process. We are only talking about man-made diamonds themselves (carbon chemistry), not about any kind of simulant or lookalike gem material.)




3.) Most Philippine collectors think colorless diamonds are always the most expensive ones?

While the vast majority of diamonds in the jewelry trade are indeed colorless to faint or light yellow, and obviously as many of you have noted- the colorless ones are more expensive, in reality there are also other vibrant colors of diamond out there that you may not have come across yet. Fancy colored pink, blue and red diamonds do exist, and these are sometimes more expensive per carat compared to a D-colored diamond. Many of these can often be seen at auction houses and prestigious jewelry boutiques. (Within the D-Z color scale, D is the most expensive color grade, however keep in mind that there are diamonds that exist outside of this scale that may exceed the valuations of stones within it.)

4.) The more facets on a diamond, the better the cut?

Diamond cut is a subject of taste and opinion. Currently the standard 57 to 58 facet round brilliant cut is still the most popular diamond cut around, even with many proprietary manufacturers creating diamond cuts that have up to 100 or even 200 tiny facet surfaces. There is a balance between white light reflection, spectral fire and proportion symmetry that has to be considered when evaluating a diamond's cut and not everyone will prefer the same range as being the utmost standard of beauty. Today though, the RBD currently goes for slightly higher prices that other basic fancy shapes like pears, hearts or ovals.
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Round Brilliant Cuts VS Fancy Cuts, Diamond Preferences

Round Brilliant Cuts VS Fancy Cuts, Diamond Preferences



It's common knowledge that a diamond can be faceted in a number of different ways. We see a lot of proprietary or 'branded' cuts today, with each manufacturer marketing the unique brilliance or fire their own patented cut provides. Despite the overwhelming array of choices made available to jewelry collectors today, the most popular diamond cut of all has been the same one for a very long time now. 

The standard or 'modern' round brilliant cut hosts 57 or 58 facets, depending on whether or not the stone is fashioned with a culet. Each facet or 'tiny surface' is polished into the diamond at specific angles in order to interact with light in vibrant ways, bouncing it around the gem's interior before sending it back to the human eye. Marcel Tolkowsky's original round brilliant cut continues to stand the test of time, ranking as the most popular choice for faceted diamond cuts today.



On the other hand, if you've heard the term 'fancy cut' and don't yet know what this means, it basically refers to any diamond cut that is not a standard round brilliant. We're sure that many of you are familiar with princess cuts and emerald cuts. Both very popular choices, with equally elegant trade names. Princess cuts are typically square shaped brilliant cuts, while emerald cuts are basically step-cut rectangular shapes with cropped or beveled corners.

Fancy cuts or fancy shapes suit a vast diversity of jewelry designs. Marquise cuts for example, are very elongated with pointed ends- making the diamond resemble a tiny boat, which is probably why some people used to call it the 'navette cut', referring to this imagery. Certain other cuts, such as the cushion cut, combine the appeal of two styles- adding the soft curves of a round brilliant to the large impression of more squarish cuts. The cushion, resembling a pillow's outline, is also a  popular choice for many types of colored stones in the trade.



Demand-wise, round brilliant cuts are still the forerunner, and so they usually command slightly higher prices than the other fancy cuts, all other traits being equal. The ever-changing value of diamond is very dependent on the trade and current demand brought about by the public sector. Most pricing guide companies even separate their valuation charts for round brilliant diamonds versus those for all the other fancy shapes. 

Personal preference rules out in the end, as each person maintains their own personal taste for accessorising with fine diamond jewelry. More and more styles are being developed every day. Maybe in the future, we'll see a diamond cut that exceeds the global demand profile of the current reigning preference, but that day hasn't yet come.

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Two Major March Hong Kong Jewelry & Gem Fairs Postponed to May 2020

Two Major March Hong Kong Jewelry & Gem Fairs Postponed to May 2020



Diamond and gemstone traders will have to wait a little longer this year for the world’s largest jewelry fair to take place. The Hong Kong International Diamond, Gem & Pearl Show, supposedly scheduled for March 2 to 6, has now been moved to May 18 to 21 by the event’s organisers due to the recent events related to the corona virus. 


The traditional-tandem fair; the Hong Kong International Jewellery Show, which was supposed to be held on March 4 to 8 at the Wan Chai Convention center has been postponed and relocated this year as well. It will be held at the Asiaworld Expo area, on the same dates as the Hong Kong International Diamond, Gem & Pearl Show.





* This blog article is dated February, 2020, and we recommend for you to check updated information from the Hong Kong Trade Development Council's (HKTDC) website directly in case of any future changes or updates to these initially shared details.



Some are worried about the two fairs’ announced postponement, as the new dates are now nearer to other traditionally scheduled international jewelry fairs, such as the 'Baselworld' show (held in Switzerland | Messe, Basel) and also the next running June Show (to be held in Hong Kong as well).

The past two years have been a little rough for the world’s largest diamond and jewelry shows, from typhoon limitations in 2018, to a lower attendance due to protest fears last September. 

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