Garnet is one of the oldest known stones to man. It is the first gem mentioned in the Bible, in Hebrew “nophek”. Indeed the Talmud mentions garnet as being Noah’s only source of light in the Ark in the form of a carbuncle. A carbuncle often refers to ancient red garnet and red stones in general. It was one of four stones to be given by God to King Solomon.

Garnets have also been found to adorm Egyptian mummies, set in necklaces and other jewels. The oldest red garnet bead necklace to have been found is believed to be from 5,000 BC.

In ancient Rome, signet rings with carved garnets were used to stamp the wax that secured important documents.

Because the gem comes in such a wide range of colours, they each have a specific name.

The green garnets are also called tsavorite – named after the Tsavo Game Reserve in Kenya where it was first found by British geologist Campbell R. Bridges in 1967 and named by Harry Platt of Tiffany & Company.

My favourite is perhaps the demantoid garnet for the inclusion it sometimes hold: a horsetail. An inclusion is any material trapped within a stone during formation. In the case of a horsetail, a formation of golden feathery inclusions of chrysolite form in curves resembling the tail of a horse.

Rhodolite is a purplish red variety. Red garnets are also called almandine, pyrope, whereas the more orangey type are called spessartite, almandite and hessonite.

Red garnets were made even more popular in the mid-16th century when a large deposit was discovered in Central Europe. It became one of the most widely traded gems by the late 1800s.

Its current retail cost could reach £38,000 at a specialised antiques jeweller.

Garnet rates a 6.5-7.5/10 on the Mohs scale. The Mohs scale of mineral hardness was created by Friedrich Mohs in 1822 and determines the scratch resistance of minerals when scratched by another mineral.

The Mohs scale is used to manufacture everyday objects: your mobile phone’s screen glass is made of a material that scratches at level 6, some at level 7.

Garnets are stable to light and chemicals which make it a popular choice to set in jewellery. However, it should always be cleaned with care as these gems are sometimes treated to make their appearance even more desirable. The most common treatment for this gem would be fracture filled: if there was a small fracture within the stone, it would be filled with resin or similar composite to fill in the gap and make it look “flawless”. The fillings can usually be spotted with a magnifier and causes a flash of light when positioned at the right angle.

In general, it is safe to assume garnets are untreated. But the economic impact on garnets such as demantoid and tsavorite can dictate whether a stone is treated or not. These two types are garnets are often considered to be the most desirable and usually found in small sizes, so their value goes up significantly with size.

Fabergé Platinum Round Demantoid & Diamond Set Halo Ring selling for £34,200. Mounted in platinum, it has a 2.50cts round demantoid garnet with an SSEF certificate indicating it is Russian, and has been heating to enhance colour, and set with 130 round white diamonds totalling 0.90ct.

If the budget doesn’t stretch that high, other garnets, like rhodolite, are far more common in larger sizes.

It’s easy to understand the appeal of garnet. It offers a multitude of different readily available hues to suit all sorts of budget. The key then when choosing an item with garnet is really to think with what outfit would look best with that colour.

Lab-Grown Diamonds

What is HPHT?

HPHT stands for high pressure, high temperature and is one of the primary methods used to grow diamonds in a lab.

This diamond growth process subjects carbon to extreme temperatures and pressures and is meant to replicate the extreme heat and pressure conditions deep within the earth where natural diamonds form.

This pressure is what makes the difference between:

Scientists first grew diamonds in a laboratory in the mid-1950s. These diamonds were too small for jewellery, however. Production of larger, gem-quality crystals began in the mid-1990s for both jewellery and industrial purposes.

The newer method, chemical vapor deposition (CVD), involves filling a vacuum chamber with carbon-containing gas that crystallizes on a synthetic diamond seed. This method uses lower temperatures and pressures than HPHT.

Turns into:

Coring to remove the outer layer is needed once the process is finished, about 6-10 weeks later.

CVD is best at producing 1-3 carat diamonds in the range J-G colour. They are often treated with HPHT to improve their colour. Whether they are subsequently treated or not, these are synthetic diamonds.

Some people might refer to lab-grown diamonds as imitations or simulants, but this is incorrect. Actual imitations like cubic zirconia or synthetic moissanite only look like diamonds and have very different chemical and physical properties that allow trained gemmologists to identify them easily. However, lab-grown diamonds are more challenging to detect.

There are some characteristics which help gemmologists in laboratories identify if a diamond is synthetic and, if so, to understand which method had been used to grow the diamond.

Some synthetic diamonds might glow for a minute or more after an ultraviolet lamp is turned off. This is called phosphorescence and is typically only seen in synthetic diamonds.

GIA, one of the leading gem laboratories, use a fluorescence imaging instrument called a DiamondView™ to examine diamonds. This instrument reveals the growth patterns within diamond crystals.

The real challenge comes with identifying tiny diamonds called melée (below), which make up a dramatic portion of the diamond trade.

So why are these diamonds so popular?

Simply put, lab grown diamonds are more affordable than mined diamonds of comparable size and quality. They can sell for up to 75% less than mined diamonds, due to lower expenses, a shorter supply chain, and a more competitive market.

It does not mean that lab grown diamonds are “cheap”: the process of cutting, polishing, and certification also carries a similar cost whether they be mined or lab grown.

However, because the mined diamond industry’s supply is restricted and controlled, it leads to artificially inflated prices, which does not happen in the lab grown diamond industry.

Ethical and eco-friendly

Approximately 10 square metres of earth is disturbed and almost 3,000 kgs of rock waste is generated for each carat of diamond that is unearthed.

It was highlighted in a report that “lab grown diamonds are seven times less impactful to the environment than mined diamonds, use significantly fewer resources and emit a fraction of the air pollution.”

Essentially, lab grown diamonds are the only ethical and eco-friendly diamonds, guaranteed to be conflict-free.

Comparables:

Whichever diamond is chosen, lab grown or natural, they are always the best option for engagement rings and hardwearing jewellery, being the strongest material known to science, rating 10 on the Mohs scale.

The Mohs scale of mineral hardness was created by Friedrich Mohs in 1822 and determines the scratch resistance of minerals when scratched by another mineral and is used to manufacture everyday objects: your mobile phone’s screen glass is made of a material that scratches at level 6, some at level 7.

This differs from diamond simulants such as cubic zirconia and moissanite, where the quality is nowhere as close as that to diamonds allowing them to easily scratch, chip, and lose their shine as well as being heavier and therefore more uncomfortable to wear.

To be certain of the identity of the diamond you are buying, make sure you buy a diamond with a certificate from a reputable laboratory such as GIA who offer diamond grading reports or lab-grown diamond reports.

The word filigree derives from Latin “filum” meaning thread and “granum” grain. It is a form of intricate metalwork, usually made of gold or silver. The Latin words gave filigrana in Italian which itself became filigrane in 17th-century French and shortened from filigreen in English.

The technique consists of using tiny beads or twisted threads, sometimes both, soldering them together or to the surface of an object, such as a bracelet or brooch for example. The result is a highly artistic and detailed work of art.

Its origins can be traced back to the Egyptians and along the coast of the Mediterranean. Archaeological digs have found the technique to be incorporated into jewellery dating as far back as 3,000BC.

“Necklace in gold filigree of Queen Twosret and earrings of her husband Seti II. Discovered with a cache of jewellery inscribed with the names of Seti II and Twosret in the Gold Tomb (KV56) at the Valley of the Kings, West Thebes.

The cornflower and ball beads in this necklace were made by soldering wire rings of several different diameters into the desired forms. The piece is an early example of the technique known as filigree. New Kingdom, Late 19th Dynasty, ca. 1292- 1189 BC. Now in the Egyptian Museum, Cairo.”

It was greatly used by Portuguese goldsmiths, using both gold and silver filigree.

The elaborate metalwork also included techniques such as granulation, wire and scroll.

The small beads are applied to the surface through heat with visible solder. This technique was used by the Etruscan civilisation of ancient Italy in Tuscany, western Umbria and
northern Lazio (700-300 BC). Its style was made famous with Etruscan revival jewellery, modelled after the ancient Roman empire. The most famous jewellery designer to create Etruscan Revival pieces was Castellani.

“The head in the form of a thyrsus, an ancient Greek stylised pine cone, with twisted wirework decorations, bearing Castellani’s double C’s hallmark on the base, all to a yellow gold pin, circa 1860, measuring 2.5 x 1.1cm, the pin measuring 4.9cm long, gross weight 4.7 grams.

A collectable stick pin in the shape of a pinecone, made in London around 1860 by Castellani. This charming pin features twisted wirework filigree decoration, a technique used in Ancient Etruscan jewellery, and would today make a perfect and eye-catching addition to a silk tie.”

Though it is an ancient jewellery technique, it is still frequently used in today’s jewellery, especially in Asia and particularly in Indian jewellery.

The technique should not be confused with cannetille. Filigree’s fragility and delicateness suggests lace, in a flat form. Cannetille has a 3-dimensional aspect to it, sometimes with added repoussé work to it – which is a method of hammering metal into relief from the reverse side.

There was a renewed popularity for filigree in Italia and France between 1660 to the late 19th century, with the fashion reaching its peak in 1830.

A decade later, the precise and time-consuming technique of filigree and cannetille had been replaced by repoussé, which offered a similarly inexpensive artistic and decorative way of setting stones.

Like many metalwork techniques, its origin is far behind us but its use and technique are forever evolving. It is understandable that this craftmanship would be a favourite for different cultures
and throughout time. Though some modern pieces of that style may be inexpensive, the cost of purchasing a traditional parure reflects the art and the know-how that is filigree.

“A fine Georgian citrine and gold parure, consisting of a necklace, a pair of earrings and a pair of bracelets, the necklace consisting of an oval-cut faceted citrine surrounded by a gold frame of foliate design, suspending three detachable drop-like pendants, each centrally-set with a pear-shaped citrine, all suspended by a double strand of tubular mesh chain with box clasp of similar
design, set with an oval faceted citrine, each bracelet with a clasp of similar design, each centrally set with an oval faceted citrine, to a gold mesh ribbon-like bracelet, the earrings of matching gold foliate design consisting of an oval-cut faceted citrine suspending a pear-shaped faced citrine, all mounted in yellow and rose gold, circa 1820, accompanied by original fitted box, the necklace measuring approximately 38cm long, gross weight for the suite 71.5 grams.” Selling for £37,500

Eternal love

How better to declare one’s love but by gifting an eternity ring?

Sometimes called Infinity ring, it is a band set with identical gems throughout. Just as the snake rings represented undying love, eternity rings seem to be the modern fashionable jewellery item to state such devotion.

Traditional materials

It is thought eternity rings have been gifted as far back as the 4th century BC. They were made of plants, such as hemp, or reeds and even elephant hair.

A tradition that went long into the Victorian era. Nowadays, these bands are made with precious metals such as gold and platinum. The stones have evolved from paste to sapphire, ruby in the 18th century to diamonds in the second half of the 20th century.

Engagement rings

Until the 1960s, an engagement ring would traditionally have been set with a diamond single-stone. It is rumoured that due to the surplus of small diamonds, approximately 0.25ct and smaller, the jewellery giant De Beers created a campaign in which they would use these smaller stones, set them in Eternity rings and promote this new essential jewel to couples who had already been married for several years.

Range of price

Eternity rings will come a wide range of price. What will impact this price? Materials such as the metal used will be the first component. A ring can be made of silver, gold or platinum, being the most expensive.

Secondly the stones will affect the budget the most. When an eternity ring is set with precious stones, it is important to remember how much carat weight the ring has as a total but also looking at each stone individually. The larger each single stone is, the pricier the ring as a whole. The “purity” of the stones is an element that cannot be forgotten either. Whether it be rubies, sapphires or diamond, the clearer the stones, the more desirable they are and therefore the more expensive they will be. We refer to this grading scale for diamonds as the four C: colour, carat, cut and clarity.

Navaratna ring

Navaratna – from the Sanskrit Nine (Nava) Gems (Ratna) – jewellery consists of an item of jewellery, necklace, bracelet

or ring, set with nine gems: ruby, diamond, pearl, red coral, hessonite, blue and yellow sapphire, emerald and cat’s eye. The Navaratna rings can be considered as a form of eternity ring, present in almost all Asian countries, beyond India where they originated from, regardless of religion. There are a few rules and traditions as to how to place the stones and how it should be worn. Women are to wear the ring on their left finger while the men on the opposite hand.

The ruby which represents the sun, should be placed in the middle and the gems should be of the upmost quality, making these jewels very precious indeed.

Infinite brands

Eternity rings are so popular that every luxury brand has taken to create and promote them as unique and essential jewels in a lady’s collection.

Tri-factor

Eternity rings possess the tri-factor: they make a statement all the while remaining discreet, and elegant. Who best to illustrate this than the Duchess of Cambridge, who not only wears her wedding band along with her engagement sapphire and diamond cluster ring but also a diamond eternity ring on top. The Eclipse diamond ring by Annoushka, is set with 0.23ct total of diamonds and retails at £1,500. It is said to have been a gift from the Duke of Cambridge for the birth of their first child, Prince George.

Your choice

So when should an eternity ring be gifted? Which finger should be worn on? Which brand to choose? Which gem? Which metal? So many choices to choose from it’s no wonder they have swept the jewellery market with ease. Some might say, it should be gifted after decades of marriage, others prefer to gift it as an engagement band, some may want diamonds, others precious stones such as sapphires. Offered in a variety of style and at various price range, as one of Britain’s favourite matchmaker Cilla Black would say, “The decision is yours”!

Diopside is an igneous and metamorphic rock. This means it forms from the solidification of its molten state and has been subjected to extreme heat and pressure deep below the Earth’s surface, very much like how diamonds are formed.

It is found across the globe and more readily available in the Earth’s mantle than at the surface.

Commercial diopside can be found in Siberia, Russia, though in limited amounts. The prized chrome diopside (green colour) is sourced in Europe (Austria, Finland and Italy), South America (Brazil), Canada (Ontario and Quebec), the state of New York, Asia (India, Pakistan, Sri Lanka, Burma) Madagascar and South Africa.

What do we mean by commercial? Stones that are of a particular quality that can be cut and set into jewellery.

Although there are several deposit sites none of them produce regularly or in significant quantities and is therefore not usually mined due to the lack of return.

Diopside rates a 5 to 6/10 on the Mohs scale. The Mohs scale of mineral hardness was created by Friedrich Mohs in 1822 and determines the scratch resistance of minerals when scratches by another mineral.

The Mohs scale is used to manufacture everyday objects: your mobile phone’s screen glass is made of a material that scratches at level 6, some at level 7.

Diopside has fair toughness and is suitable to be set in jewellery, however it should be worn with caution and should be handled with care as it risks being scratched or broken.

Diopside comes in a various colours ranging from greyish white, light blue to purple, light green to vivid green, brown, black.

The most sought-after colour is green, called chrome diopside. It owes its hue to an increase of chromium.

This rough chrome diopside ring (pictured above) sold for £3,187 (including premium) in June 2021.

The other popular variation is star diopside which occurs in black (pictured below).

It displays chatoyancy (or cat’s eye): a 4-rayed star caused by reflection of light at needle-shaped inclusions of magnetite. It makes for a lovely gem to be set in brooches, rings and pendants as the star will shift along with movement and light. A good alternative to star sapphire for more modest budgets and a real “waow” effect!

This brooch (pictured below) is up for auction at the end of May with an estimate of AU$ 600-800 (GBP 340-450) with Bonhams.

Because diopside is a metamorphic rock, it is used as an indicator for diamond deposits. Diamonds arrive to the Earth’s surface through deep volcanic eruptions and travel through pipes, very much like chrome diopside. Hence when the green stone is found at the surface, diamonds could be near. However, these pipes will only ever produce around 2 carats per ton.

It’s easy to understand the appeal of chrome diopside as an alternative to the more expensive green gem that is emerald, but its popularity is moderate for several reasons. As we know, diopside is soft on the Mohs scale and therefore risks easy damage. The look of chrome diopside also works to its detriment. It has a vitreous and sugary aspect as opposed to clear, transparent emeralds. It is for these reasons that the stone is less known by the public but all too famous amongst diamond miners!

Aurélia Turrall, Jewellery Specialist

Boucheron, a brief history

The luxurious brand’s story starts when Frédéric Boucheron became an apprentice jeweller to Jules Chaise at the young age of 14 in 1844. Descendant from a family of drapers, he seemed to already have a thorough understanding of how to work with delicate fabrics like silk and lace.

He opened his first boutique in 1858 at Palais Royal, in Paris, next to the Louvre. A decade later, he won gold medal at the Exposition Universelle. He partnered with Paul Legrand for several years as chief designer. During their collaboration, Boucheron won the Grand Prix for Outstanding Innovation in a jewellery collection in 1889.

After winning this prize, Frédéric Boucheron opened the first boutique in 1893, Place Vendome in the heart of Paris. He was the first jeweller to take up space in this exquisite location, at n.26 where it is said that it was the sunniest part of the square and “the diamonds would sparkle all the more brilliantly”.

In 1900 he was awarded the Légion d’Honneur for his display at the Exposition Universelle, encapsulating the Art Nouveau style. He died two years later and left the Maison to his son Louis.

Outstanding and Unique Innovation

In 1879, Boucheron created a clasp-less necklace, named the “Point d’Interrogation” (the question mark). It was the first time a jeweller had created a piece of jewellery which women could place on themselves without any assistance if they so wished. Throughout the 164 years the Maison Boucheron has reinvented the style and adapted it to different styles with more or less foliate detail or a more contemporary look. It is its “stylistic approach, featuring asymmetry and curved lines” which make this necklace a signature piece for the jeweller, synonym of freedom and outstanding innovation.

Carat, 159 carat to be exact

Boucheron is synonymous of luxurious jewellery and “drapes” Royalty such as Queen Elizabeth II, Queen Rania of Jordan and some of the most famous women. One of these famous women of the 19th century was Marie-Louise MacKay, married to John MacKay who made his fortune through silver mining in the USA. She was intent on building one of the most important jewellery collections and Boucheron was her go-to jeweller. In 1878, Boucheron was entrusted with setting what was said to be the most beautiful Kashmir sapphire in the world, weighing 159 carats, of oval shape. It was valued at over Francs 700,000.

Hotel de Nocé

The Boucheron store is located in the grand Hotel de Nocé, built in 1717 and named after Charles de Nocé. The building has passed to numerous owners, including Jean-Baptiste-Francois Gigot d’Orcy, who had a passion for minerology. Sometimes the Hotel is called Hotel d’Orcy. The Hotel was home to some of the most famous people such as Marquis de la Baume, the “most expensive boot maker in the world” Yantorny and Countess Castiglione, also known as Virginia Oldoini, ex-mistress to Napoleon III. When Boucheron moved in to the building in 1893, “the most beautiful woman of her century” refused to move out until 1894. Two portraits of the Countess still look down on the boutique to this day.

Boucheron was the first jeweller to take up space on Place Vendome.
When Boucheron was bought in 2016 by the Kering group, they undertook a full restoration of the Hotel.

The façade of the building is listed which means that if Boucheron were to move out, it would be impossible for the new owners to make any changes. The inside was restored to its glorious state, with attention to detail such as Chinese wallpaper restored by Atelier Mériguet-Carrière.

With the renovation came the creation of hotel rooms, where guests come to spend a night within the Boucheron boutique at the heart of Paris.

Princess Eugenie

In 2018, on her wedding day, Princess Eugénie wore the Greville emerald and diamond tiara, initially created by Boucheron in 1900 and set with a 93.70 carat cabochon emerald, mounted in platinum.

The tiara in 1921 after modifications to include the centre emerald and a more geometric style, contemporary of Art Déco jewellery.

The Hon. Mrs Greville, who lived at Polesden Lacey, was a friend of Prince Albert and Elizabeth, Queen Mother. After they were married, the couple spent their honeymoon in Mrs Greville’s home.

In her will, Mrs Greville bequeathed the tiara to the Queen, who in turn lent it to Princess Eugénie for her wedding. It was the first time in over a century, that the Boucheron tiara had been seen in public.

Reflet wristwatch

In 1947, Boucheron created the Reflet wristwatch with interchangeable bracelets. The collection has a rectangular dial with baton hourmarkers and Roman numerals.

The watch comes in stainless steel or gold, with or without diamonds.
Not only was Boucheron the first jewellery to introduce this system, it has also added extra sparkle. Its sapphire glass is particularly magic: a breadth on the glass and the Place Vendome column appears for a brief instant.

Each watch is engraved to the reverse “Je ne sonne que les heures heureuses” (I only ring the happiest hours).

Only women

Traditionally, the jewellery industry has been male-led, but in 2015, Boucheron appointed Hélène Poulit-Duquesne as CEO and Claire Choisne, as Creative Director.

Hélène Poulit-Duquesne graduated from l’ESSEC, one of the most prestigious business school. She began her career in 1998 when she joined LVMH. Later she would join Cartier, where in 2014 she became Director of International Business and Client Development.

Claire Choisne also began her career in 1998. In 2001 she joined Lorenz Baumer as Creative Studio Manager. Over a decade ago, she moved to Boucheron, where she oversees all the jewellery and watches designs.
Boucheron has paved the way, once more, by handing the direction of a leading jeweller to two women, and has created resplendent new collections.

Nagaur necklace

In 2015, Claire Choisne integrated sand from the Thar desert in Rajasthan to include in the new Boucheron collection, the Nagaur necklace.

It is inspired by the Nagaur fortress.

The necklace is set with multiple strings of pearls with the sand encased in the rock crystal pendant, overlaid with diamonds.

The necklace is part of the Bleu de Jodhpur collection which comprises of 105 designs. Claire Choisne, says, “The aim was to create an image of India far from all clichés and stereotypes with the innovation of unused materials. The city of Jodhpur covered with the blue façades of its houses became a strong inspiration. Bold blue represents audacity because of the innovations behind the creations. The link between Jodhpur, the ‘Sun City’, and Boucheron, a jeweller in the ‘City of Light’, made the inspiration more obvious. India has always been an important concept in Boucheron’s creative history with its rich and vibrant heritage, the architecture of its palaces and the colours of its towns and cities. I believe that through audacity and maintaining a clear link between heritage and modernity, one is able to create figurative designs and thus translate this into contemporary high jewellery.”

A revival of the Plume de Paon is now set with marble and diamonds on white gold.

Boucheron is synonymous of luxury and exquisite craftsmanship. Throughout the centuries, the Maison has invented, innovated and reinvented its timeless pieces, moving through the fashions and adapting to contemporary designs. It undoubtedly has the “je ne sais quoi” that great and unrivalled French jewellers have.

Aurélia Turrall, Jewellery Specialist

We all know at this time of year Santa is extremely busy, up against a very tight deadline. I’ve not come across Santa myself, but in my imagination, he surely must be wearing a pocket watch so he can keep on top of his schedule and targets in good time. And let’s not forget he has a lot to do in just 24 hours so time is of the essence.

In my mind, the pocket watch is mounted in yellow gold, with delicate floral chasing. Chasing is a technique where the jeweller outlines a design by pushing back the gold around the edges to define the motif. I would imagine the watch to be old, dating from the late 19th century, and so it would also be decorated with some guilloché enamel, perhaps blue or pink; Santa is dapper and I am sure he appreciates a touch of colour outside of his red and white suit. Guilloché is one of my favourite techniques of applying enamel. It creates all sorts of highly elaborate patterns which adds elegance to any piece of jewellery. Perhaps the watch has both pink and blue enamel: a pink guilloché enamel bezel overlaid with blue enamelled Arabic numerals. The hands would be discreet, also made of gold. It is most likely suspended by a fine pinchbeck chain, terminating in a barrel clasp decorated with turquoise cabochons.

Pinchbeck chains are named after an 18th century London clockmaker, who used a combination of copper and zinc to make it resemble gold. Gold only came in 18ct at the time and was expensive. This new technique allowed people to purchase gold-like jewellery.

The pocket watch might look something like this:

To the reverse, the pocket watch would enclose a photograph of his wife Mary.

Santa probably has family heirlooms too such as a signet ring set with a stone. That stone could be lapis lazuli (blue with specks of “gold” pyrite), onyx (black) or carnelian (red) for example. The ring could be set with a carnelian intaglio mounted in gold. Intaglio is the technique of carving into the stone to depict a portrait for example. Santa’s intaglio would be carved with a cherub to represent all the children of the world.

He most likely also has another signet ring set with a bloodstone: green jasper with specks of red hematite, the stone of courage. It is engraved with his initials “SC”, the motto “No child to far to reach” and a family crest depicting his reindeers and helpers. Santa can then seal all his letters, replying to the children who have written to him throughout the year.

Santa also wears cufflinks under his red suit. One might be able to get a glance at them when he is in his workshop perhaps, when he is not wearing his red jacket. The cufflinks are by Cartier, from the Santos line. They are square plaques set with malachite, a green stone, set in palladium. They are chic and timeless, Cartier’s signature.

I believe Santa also wears a necklace, a gold box chain.

It suspends the very important keys to his sleigh but also several small pendants which represent all the faiths of the world, throughout time.

Lastly, I think Santa wears a bracelet symbolising his reindeers. It is of chevron design, mounted in rubber and silver. Here an example of what it might look like by David Yurman.

It echoes ancient jewellery that used strands of braided human hair set as bracelets.

The same technique was used with elephant hair.

These are the jewels I imagine Santa to be wearing, but I’m sure whatever he wears he looks dashing! Here’s hoping I might finally get a glimpse of him this Christmas. Wishing you all Happy Holidays.