Inhorgenta 2026 – Gems, pearls and lots more

In our industry, there are always a number of (trade) fairs that you, as a goldsmith, like to attend, whether you have been there or are a regular visitor. This coming weekend I will be attending Inhorgenta for the second time in Munich, Germany.

What kind of fair is Inhorgenta?

Inhorgenta is an international trade fair for the jewellery industry, and all it entails. It is a fair aimed at professionals in the trade: goldsmiths, jewellers, engravers, watchmakers, designers, and others working in our industry. Different parts of the profession come together here, from jewellery and materials to tools, presentations and knowledge sharing. Just to point out how big it is: 6 large halls FULL of everything related to this industry.

Jewellery brands and collections

One such component is the segment (high and low) in which various jewellery brands present themselves to visitors who already sell their work or are considering doing so. These are often jewellers, as well as goldsmiths, who carry other brands in addition to their own work. It is thus one of the many facets that make Inhorgenta such a broad and versatile fair.

Tools, machinery and investments

There is also an entire hall with vendors of tools, machines, and semi-finished components Brands such as Badeco, GRS, Jura Tools, Hatho and Komet are represented there. It’s always nice to walk around there, check out products and see if there are any new developments or tools you didn’t know you actually “must” have. Goldsmithing is a beautiful craft, but without good tools, you are nowhere. And sometimes you just want to try, feel and experience things before making another investment in your tool inventory.

Presentation and appearance

There are also several providers of packaging and presentation materials. Think labels for in-store jewellery, price cubes and complete window display materials, and jewellery boxes for when customers come to pick up their jewellery. Again, goldsmithing is a wonderful craft, but presentation, brand identity and appearance are of enormous value. I have been doing business with Dahlinger for a number of years. A nice German company, with a pleasant business contact in the Netherlands and I order my jewellery boxes, bags and display materials from them. But even within this category, there are constant developments: new colours, materials, combinations and possibilities. This is precisely why I enjoy seeing this in person. Ordering from a catalogue or online is always possible, but I think it’s important to have seen and experienced it first. After all, I can only spend my money once, and I’d rather do it well.

Lectures and deepening

And then there is something this year that completely passed me by during my 2022 visit: lectures by various speakers and industry experts. Over the past few weeks, I have been looking into Inhorgenta’s program and downloaded the accompanying app (super convenient and clear). I hope to attend some of the lectures, as there are some great and interesting topics coming up. These include a lecture by Helen Molesworth, curator at the V&A Museum in London. She curated the Cartier exhibit there and is the author of the book Precious, which, for me, is an absolute must-have for any gemstone lover. Her lecture is entitled Cartier: an obsession with stones. That title alone really says it all.

There will also be a lecture titled From the workbench to a global audience: making craftsmanship visible in the digital age, given by Pablo Cimadevila. I also hope to attend a lecture on craftsmanship and cultural heritage, focusing on Enzo Liverino’s work. Enzo Liverino is a renowned Italian master coral carver and engraver (jaw-dropping: the work, the story and the craftsmanship). This talk is presented by Laura Astrologo Proché, whom I follow on Instagram and who runs the Journal de Bijoux platform. There she shares the most extraordinary jewellery and stories. Laura also writes for various magazines, such as Forbes Italy and Orafo Italiano.

Pearls and gemstones: the main reason

I could name a few more, but I mainly go to Inhorgenta to buy pearls and gemstones. Because really: an entire hall full of pearls and gemstones of all shapes, sizes, cuts, colours, and variations. This is really the main reason I’m coming here. Three days of “bling” browsing. Shifting gems, deciding whether or not I’m going to do something (I definitely set a budget for myself), enjoying all the beauty and seeing what I come home with.

Selection for the Aurargent collection

My focus is mainly on gemstones that I can incorporate into the Aurargent collection. Gems and pearls that do not come out at a certain selling price because the ratio of silver and hours would soon be lost. I am especially looking at special cuts and bi-coloured gemstones, thinking of topaz, amethyst and quartz – and who knows, maybe I will run into a fine surprise.

Of course, anything is possible, and you can also incorporate more precious gemstones into silver, but from experience, I know that this is often not preferred. Silver is still much associated with “affordable,” a term that can be the subject of an interesting discussion in itself. At the same time, I create unique, handmade silver pieces, with my designs starting at around €500.

Inside Out: strings and round cuts

In addition, I want to look at beautiful gemstone necklaces and so-called pampel cuts for the Inside Out collection. The selection at Inhorgenta is vast, with many vendors. Of course, I stop by Alice Pearls, one of my Dutch pearl suppliers, who will be at Inhorgenta again this year. I also want to check out GemHype, where I often get my finest tourmalines. At Adnan Gems, I had a good success last time, and the Antwerp company Gem World is also at the fair. On Instagram, I always see a lot of beautiful things popping up.

Looking, experiencing and loving it

Again, I want to see it, live it and experience it. Watching how the light plays with the colours of a gemstone or the lustre of a pearl. I never buy gemstones online. I need to see them in real life. Gemstones and pearls are a crucial part of the jewellery I make, both for my collections and for client commissions. For example, I may try to find a set of white faceted pearls for a lady to match what she already has. And I start looking for a round cut aqua, blue or greenish gemstone for a bespoke Sirius ring.

You guys understand that I am incredibly looking forward to this fair. I am going there with my dear friend and colleague Natalie Hoogeveen. And this Thursday I will have my nails done first, because I will definitely be taking pictures and videos for my socials, and then I want to have nice hands and nails. Looks more pleasant anyway ;-). I hope this will take you a little into the world of Inhorgenta.

With love,
Sarah

Silver

Silver is a precious metal often seen as a more affordable alternative to gold. That is partly true. It is more affordable and behaves differently. Precisely because of that, it is interesting.

When I registered with the Chamber of Commerce in 2007, I did not have the budget to work in gold. Next year, I will mark twenty years as an independent goldsmith. When I think back to the beginning, I see silver. A great deal of silver.

My first collection was made entirely in silver. It was what I could afford at the time, and it gave me the space to grow and to learn. That collection went in every direction: clean lines, organic shapes, bold textures and minimalist rings. I was searching and making, discovering where my hands and my mind worked together. Sometimes it worked beautifully, sometimes not at all. But technically, I learned an enormous amount.

Silver hides very little; whatever you do, you see immediately on the surface. At the same time, it offers room to experiment with texture, oxidation, and contrast. In that phase, it was the ideal material for me.

From silver to gold

Later, there was room to start working in gold. And honestly, those first gold pieces felt daunting. It was a considerable investment, and I genuinely wondered whether they would sell. Thankfully, they did. That created confidence and, in turn, more room to invest in gold and in exceptional gemstones. My work became more refined, and gold increasingly took the lead in my collection.

During that period, I discovered how powerful the combination of silver and gold can be. Oxidised silver against which golden granules truly stand out. A silver ring with a distinct texture and a gold setting that allows a gemstone to come forward more strongly. The contrast shaped the design.

Over time, however, my focus gradually shifted entirely towards gold. It happened slowly and felt logical at that moment. Silver moved into the background.

The return of silver – Aurargent

A few years ago, I was scrolling through old photographs of my work and saw those silver-and-gold combinations again. And I thought: why did I ever stop? I could see once more how strong the contrast was and how much character silver brought to a design. I wanted that back in my work.

So I decided to begin again with a series of rings. Rings are my favourite piece of jewellery. I love making them; they are technically challenging and at the same time deeply personal. From there, the Aurargent collection was born.

The name Aurargent is a fusion of aurum (gold) and argentum (silver). It says exactly what it is: a combination of two precious metals that enhance one another. In this collection, silver takes the lead, while gold is used deliberately as an accent: in a setting, in granules, or to give a gemstone greater presence.

Aurargent is my conscious return to silver and to working with texture and contrast. Each ring is made entirely by hand in my atelier in Beltrum. At times, I choose a more valuable gemstone because the design calls for it. Not to impress, but because material, form and comfort must work together.

In a time when the gold price has risen significantly, silver is once again relevant, not as a substitute for gold, but as a precious metal with its own distinct character. Aurargent therefore sits in a different price category from my fully gold collections, yet these are not “inexpensive” rings. They remain handmade pieces of jewellery, each unique, designed and crafted over nearly 20 years of craftsmanship, knowledge and experience.

Every ring begins from the same foundation as my other collections: attention to material, comfort and the balance between form and gemstone. The difference lies not in quality, but in material choice and design vision.

For me, silver does not stand beneath gold. It stands beside it.

The power of switching

Ear jewellery stands out immediately: it moves with you, catches the light and immediately reflects something of a person’s style. This is why interchange systems are so special: with one basic ear jewel and several pendants, you can vary endlessly.

The idea is simple, but the possibilities are vast. A changing system means you can change the pendant of your earring. Think a subtle pearl by day and a pronounced gemstone for a night out – without having to buy a new pair of earrings each time.

The Variety of Ear Jewellery
Several types of ear jewellery can serve as the basis for a changing system:

• Ear studs – often close to the ear, subtle and timeless.
• Ear hooks – decorative hooks that go through the ear and emerge just below the earlobe.
• Earrings (hoops) – a circular shape that gives a very different effect and often has a more powerful presence.

Each goldsmith has their own style in this, often creating a recognisable base. This is precisely why you can easily switch with various pendants and create a new combination every time.

A bit of history
Ear jewellery has been around for thousands of years and was worn in almost all cultures. In ancient Egypt, both men and women wore earrings, often made of gold and decorated with precious stones, as a sign of status and beauty. Among the Romans, earrings were popular, while in the Renaissance, ornate ear hooks with pearls were especially popular. What remained the same all these centuries: ear jewellery was always a way to express personality and style. That makes today’s interchange system extra special – it joins an ancient tradition, but gives it a modern, playful twist.

Colleagues with their own signature
In this blog, I would like to name four colleagues who, like me, design turnout systems. Each of them has a recognisable style and its own story:

• Sonja Hunefeld – Odinski Jewels (The Hague)
  Sonja creates jewellery that combines ancient techniques with modern formal language. Her work is characterised by robust forms with excellent refinement and a strong affinity for intensely coloured gemstones and pearls. Everything is created in her own workshop, where she crafts everything herself—from alloying precious metals to developing her own tools—the result is unique jewellery that is intriguing, powerful, and yet elegant.
  Find out more about Sonja at www.odinski.com.
• Aletta Teunen – Goldsmith Utrecht
  Typical Dutch landscapes and architecture inspire Aletta. She translates rivers, dikes, polders and even industrial structures into wearable jewellery with its own formal language. Her designs emerge from forms and structures that she abstracts and then transforms into jewellery.
  More about Aletta can be found at www.goudsmidutrecht.nl.
• Natalie Hoogeveen – Goldsmith Huizen
  From an early age, Natalie knew she wanted to become a goldsmith. She now has her own workshop and store in the Krachtcentrale in Huizen. Her jewellery is colourful, playful and often with a humorous touch. She translates personal stories into unique, handmade jewellery, working not only with gold and silver, but also with gemstones, enamel, porcelain and even rye skin.
  More about Natalie can be found at www.nataliehoogeveen.nl.
• Hoogenboom & Bogers – Fine Jewellery (Bilthoven)
  The goldsmith duo of Heleen Hoogenboom and Sanne Bogers has been crafting jewellery that is timeless, graceful, and intriguing since 1987. From their store and studio in Bilthoven, they create collections in which harmony and beauty are central, such as the special line “Threads of Life. In addition to their own collections, they also work on commission, often with old gold that they give new life to.
  More about Heleen and Sanne can be found at www.hoogenboombogers.com.

Cooperation as a strength
What makes these systems extra special is that they also connect us as goldsmiths. I regularly see that reflected in my own clientele. For example, a customer enjoys wearing an Elevance ring of mine alongside a ring from Hoogenboom & Bogers, and that combination works perfectly. Natalie and I have already worked together once, using the earring exchange system, when we both celebrated our tenth anniversary as participants in the Jewellery Art Fair. That generated a lot of great responses and showed how our styles actually reinforce each other.

Many customers now have jewellery from several of us in their collection. Exchange systems then almost automatically invite cooperation: a basic earring from one, combined with a pendant from another. Therein lies the power: freedom, playfulness, and connection.

The practical detail
An important point is the eyelet of the pendant: it must fit through the earring. We tailor this to our own systems. For example, my ear hoops are made of 1.5 mm round wire, while my ear hooks are 0.8 mm thick. Does a pendant just not fit? Often, the eyelet can be easily adjusted. Above all, don’t let that be a reason to leave a beautiful pendant with a colleague.

Why switch?
Because ear jewellery can be so much more than a fixed pair, it moves with your style, your mood and the occasion. Interchange systems offer freedom, allowing you to create something new each time with a single base.

The power of change: endless combinations, always fitting you.

An Invitation
With the holidays approaching, now is the time to be inspired by the versatility of interchange systems. Above all, please take a look at my colleagues and discover how their beautiful ear jewellery matches your own style. Be surprised by the combinations that are possible, connect different signatures and make your ear jewellery more personal than ever.

Granules – my golden handwriting

In my studio, I often hear the question come up, “What are those, those dots?”, “Are they pellets?”, and my personal favorite, “It looks like disco dip!” And honestly? That always makes me smile a little. Because those little spheres – granules, in other words – are now inseparable from my work. But what are they really? And where did this technique come from?

What are granules?

Granules are small, round balls of precious metal. They have been used in jewellery for thousands of years – particularly in Etruscan, Roman and Georgian goldsmithing. The original technique is called granulation: a refined craft in which beads are fused to the surface of a piece of jewelry, often in graceful and symmetrical patterns.

The oldest examples are literally museum pieces. Consider tiaras, pendants and fibulas from ancient Georgia or the Mediterranean, where the granules are arranged in mathematical precision on rows and circles. Dazzlingly beautiful – and impressive in terms of technology.

How are granules made?

The traditional way of making granules is quite time-consuming. Small pieces of precious metal (often gold) are heated on a piece of charcoal or in a special furnace until they melt and become naturally spherical due to surface tension. Then they are sorted by size – often with a sieve or by hand – and applied one by one to the jewellery.

In classical granulation, the spheres are held in place with a mixture of organic binder (such as gum arabic) and copper salts. The piece is then heated, causing the beads to just adhere to the surface – with no visible solder.

From exhibition to own signature

My love for granules began in 2010, at the “Gold from Georgia” exhibition at the Drents Museum. I was then a beginning goldsmith, still fully searching for my own style. Colored gemstones already played a starring role in my work – there was never any doubt about that – but I was still missing something that would make my work truly recognizable and individual.

That exhibition touched something in me: the power of something so small, the subtlety of repetition, and especially the way something seemingly simple, like a ball of gold, can have so much eloquence. That’s where my search began. Not for perfection or symmetry, but for something that suited my way of working. And so I started experimenting with granules – but in my own way.

Controlled chaos

What distinguishes my work from the classical technique is that I do solder the granules solid and do not use the traditional way of fusing. Moreover, I consciously choose NOT to have ordered patterns. No mathematical rows or circles, but a kind of “controlled chaos.

The granules in my work seem randomly placed – but they are not. Each sphere sits exactly where it should. Sometimes as a counterpoint, sometimes as a point of tension, sometimes as a small detail that you don’t discover until the second viewing.

That play between structure and looseness is what I value so much. It makes my jewellery playful and at the same time recognizable. When people say, “Oh yes, this is really a Kobak,” it’s often because of those polka dots. My globules.

A time without bulbs?

And yet … after years of working with granules, there came a time when I got a little tired of them. The challenge seemed gone. It became predictable – and that made me restless. And if I value anything, it’s that as a goldsmith and designer you always have to keep evolving, stay curious.

I wanted to explore how to innovate its application. That led me to a totally different idea: what if I don’t use the granules on the outside? Thus was born the first design for the Inside Out collection – with granules on the inside of the design, as a surprise to the person wearing the jewelry.

That experimentation eventually brought me back to the essence of my style. For what I thought I was leaving behind me proved once again to be inseparable from my work. It inspired new ideas, such as the Summer Rose design, in which the familiar granules gave way to tiny diamonds. Not to abandon technique, but to explore what happens when you use the same construction, but with a different material.

The diamonds give the jewelry a completely different effect: surprising, subtly sparkling, but with that same layering and movement that I appreciate so much in granules. And that’s what I’m experimenting with now – fine-tuning what I call my signature, without ever stopping.

More than decoration

For me, granules are now more than decoration. They have become a manuscript. I use them in rings, earrings and pendants – sometimes subtle, sometimes just pronounced. And whether it’s 14kt or 18kt, gold or silver: granules always add something. Something tangible. Something of its own.

And perhaps that is what I love most about this technique: that no matter how old it is, it can always be reshaped.

Would you like to know more about my methods or have a piece of jewelry made with granules? If so, please feel free to contact me through my contact page.

Love,
Sarah

Recycling gold: a new piece of jewelry with an old story

Gold is timeless. Not only because it is a precious metal that does not decay, but especially because it is often associated with memories, stories and precious moments. Many people have gold jewelry sitting in a drawer – a ring that no longer fits, an heirloom that isn’t worn or a necklace whose style no longer suits them. But getting rid of it? That doesn’t feel right. Fortunately, gold recycling offers a wonderful solution.

Why reuse gold?

A piece of jewelry is often more than just gold. It may be an heirloom from a loved one, a gift with emotional value or simply a memory of a special time. Instead of leaving it unused, you can have it melted down and have a new design made that does suit you. This way, the emotional value is preserved, but in a form you enjoy wearing. Moreover, in this way you also contribute to sustainable craftsmanship.

How does the process work?

It starts with a conversation. You can come by my studio to discuss the possibilities. Do you already have a design in mind or would you like me to think along? Everything is negotiable, as long as it fits within my own style. I design and make jewelry that fits my signature style and method. I do not copy existing designs – for example from Pinterest – but I like to create something that is designed especially for you.

Once we have determined a direction, I will first provide a quote. This will give you clarity on the cost and the amount of gold needed. Once you agree, I get to work making the jewelry.

Smelting your gold: a new beginning

Before the gold can be melted down, I carefully check the existing jewellery. Gold comes in different contents, such as 8, 14 and 18 carats. I separate these contents from each other because they have different alloys and melting points. This ensures that the new jewelry retains the correct content and best quality.

White gold or rose gold parts I remove beforehand. If I were to melt these together with yellow gold, an indefinable, somewhat “tawdry” shade is created. Like mixing paint colors, the color changes – and I want to avoid that.

After checking and cleaning, I carefully remove any gemstones so they can be reused later. Then I heat the gold in a melting pot until it liquefies. This remains a special moment: the real beginning of the new jewellery. I pour out the molten gold into a pouring barrel and from here the shaping begins.

From gold to jewelry: the next steps

Depending on the design, I work with plate or wire. In both cases, I start by rolling out the gold. I do this with a roller – a machine with two metal rollers that makes the material thinner and more even. Rolling makes the gold harder and less workable. Therefore, I have to anneal it regularly in between. This means I heat the metal to a specific color and then immediately afless in cold water. This relaxes the material and restores its flexibility.

Wire involves an additional step: I first roll it into an octagonal bar, an octagonal rod. This ensures that the thread will later become even and firm. Then I pull the wire through a puller – a tool that looks something like a torture tool (ask any goldsmith). The pull bench is pontifically in my studio and since my move to Beltrum, thankfully, no longer in the way.

Forging your jewelry

Once the material has the right thickness, I can begin forging your piece of jewelry. For a ring, I first calculate the exact length in millimeters, because a wrong calculation means the ring will not fit. After determining the correct size, I cut the material and shape the ring.

Surface treatments, such as special texture, I apply at this stage. Then I make the setting cases in which the gemstones will sit and mount them on the ring. Then I apply granules – the small balls that are characteristic of my jewellery. Finally, I sand and polish the ring, after which the gemstones are set.

What happens to any remaining gold?

After making a piece of jewelry, there can sometimes be some gold left over. This gold, of course, will not go to waste. You have two choices: I return the residual gold or offset it with the price. In that case, I calculate with the daily value for “old” gold. This is also one of the reasons why I quote in advance. Often I can already estimate if there is enough gold and if there is anything left.

Reuse and choice of gemstones and pearls

Many customers want to reuse gemstones from existing jewelry. This can often be done well, but heirlooms sometimes contain worn gemstones. In that case, recutting is an option to bring the gemstone back to its full brilliance. Would you prefer a different gemstone? Then you can also choose from my collection of gemstones and pearls as replacements or additions. Together, we will look at the best option for your new jewellery.

Would you like to read more about these materials? Then check out my blog on gemstones and pearls.

Ash processing in jewellery

Some customers like to have ashes of a deceased loved one incorporated into their jewelry. This is possible and can be done in several ways. Consider, for example, a small, enclosed space at the bottom of the setting in which the ashes are kept safe, or subtle processing with an ash tray. We always calmly discuss the options so that the jewellery becomes a worthy and personal memory.

Engravings and personal details

Would you like to have a name, date or short text engraved into your jewellery? That, of course, is also possible. Together we will discuss which engraving best suits your design to give it extra personal meaning.

How long does it take to make a new piece of jewelry?

Making a piece of jewelry from existing gold takes time and precision. Exactly how long it takes depends on the design and techniques I use. On average, the process takes several weeks – usually between four and eight. At the beginning of the process, I give an indication of the lead time. Craftsmanship takes time, and I make sure every detail is right before the jewelry is ready to be worn.

A look behind the scenes

Making a piece of jewelry is an artisanal process. Many customers like to see what happens to their gold. Therefore, I often take photographs during the process. Of course, I can’t capture every step, but I make sure you get an overall picture of the transformation of your existing gold into a new, personal piece of jewelry.

Stop by my studio

Do you have a piece of jewelry you don’t wear but want to keep its emotional value? I am happy to think with you to make it something new. Please feel free to contact me or stop by my studio. Over a cup of coffee or tea, we will discuss the possibilities and I will make sure your gold gets a new life.

Love,
Sarah