A gem of a career

Joanna Hardy is a high-ranking gemologist who has worked with Sotheby's since 1995 as senior specialist and auctioneer, assessing and valuing jewellery worldwide for sales at the prestigious London auction house. Her career has taken her from Antwerp to Mumbai and she delivers lectures at seminars for various charities and institutions, along with hosting the jewellery section of BBC's Antiques Roadshow. She also recently started the Jewellery School of Excellence programme. Unwind caught up with her at the Women in Leadership Forum in Dubai, where she was auctioning exclusive pieces from Chopard, to get the lowdown on a most unusual woman.

How did you come into the trade?

I started making jewellery when I was in school in England. I worked with one of the Hatton Garden jewellers during the day and trained in gemology at night. At the time, De Beers was looking for people who could value rough diamonds, which means working out how much polished diamond a stone will yield. It's a job that requires a high level of skill — it often takes one or two days to assess a crystal, because if cut in the wrong way, it means a lot of money lost. From there I went on to become an evaluator and buyer in the markets of Antwerp.

I was then offered a place at the Philips Auction House and became their diamond expert. I had spent years working with rough diamonds and then the world of antiques opened up to me. I was 21 and had no knowledge of antique jewellery, so I spent weekend after weekend learning in the fantastic jewellery galleries of the Victoria & Albert and the British museums. After this, I joined Sotheby's 14 years ago as a senior specialist and auctioneer.

Was it difficult being a woman in a male-dominated profession?

There wasn't really any problem. If you have knowledge, you are always treated with respect and courtesy, whether you are a man or a woman.

What really got you interested in gems?

I find gems mysterious and full of passion. I loved delving into the history and the texture of the stones, because I was learning about one of nature's marvels. Just as humans have DNA, many coloured stones come with their own DNA, which can even tell you which mine they have been extracted from. But in a diamond, this is possible only in its rough form, because all its characteristics are on the outside. You can also determine whether it's a synthetic or a natural piece. It's an incredible world — a treasure trail.

How do you grade or price gems and jewellery?

I look at the stone and then the colour, checking for inclusions in a coloured stone and seeing whether it is natural or synthetic or heat-treated. Often, the stones are cooked in an oven to get a better colour. When it comes to jewellery, the first thing I ask is whether it started off as it now appears. For example, if the piece is a broach, has it always been a broach or part of a larger piece, such as a tiara? I then check for alterations, what metal it is made of, the quality of craftsmanship and, of course, the design. All these also determine the period in which it was created. It is only after this that the price is set.

What has been your favourite piece or collection?

Before I joined Sotheby's, a lady brought a ruby she wanted me to assess. Just by looking at it I could tell it was synthetic but it was difficult to break the truth to her. I told her I would revert to her. I've always felt that when you buy jewellery, you should first find out about the piece. It is meant to go into someone's bank account and is usually handed down through generations. Of course, tests proved I was right. When I told her, she smiled and said: "I know. I was only testing you." She took me to her vaults in Geneva and there I saw the most amazing thumbnail-sized, candyfloss-pink diamond I had ever seen — a stone from India, with a Cartier mount from the 1920s. There were other exquisite pieces as well. That pink diamond sold for a record price.

Has the recession affected the sale of jewellery in auctions?

The recession hasn't affected that part of auctioneering much. But what it has done is separated the rubbish from the quality pieces. The Sotheby's sale in May gathered some record prices, despite being in the middle of the recession. You see, if you are offering genuine and rare pieces, people will buy them even during the downturn because they are keepsakes — forever.

How much has technology proved to be a boon to the industry?

A few years ago, Prince Charles and I had discussed how technology could kill traditional skills and craftsmanship. But mass production will need modern technology. I judge a lot of contemporary jewellery in London and Europe and I like it when they use technology to help innovation in designs. But what's important is knowing how to create jewellery the traditional way, so it gives you an understanding and appreciation of what goes into the craft. Then you use your CAD machine or your computer to take the designs further. In my opinion, a piece designed wholly by machine lacks soul. Jewellery is something you wear and if that has no feeling or artistic nerve, it is not for me. Even today, most of the larger pieces are cut and polished on the polishing wheel, despite the fact that computers can be used as well.

Tell us about your new venture.

I am conducting masterclasses where I will be showing people how to assess a gem. People need to understand what they are buying. What you see in the high street is not necessarily the whole world of jewellery. I will teach people how to look through a jeweller's loupe and take them on a journey through antique and contemporary jewellery. You should buy a piece because you love it and enjoy wearing it — that's what I want to show them. I'm also writing a book on how to collect contemporary jewellery, which talks not just about the big five — diamonds, rubies, sapphires, emeralds and pearls — but the lesser-known stones as well. We will also arrange private shopping sessions.