Author: master_a

Silver is an attractive and sophisticated metal that would make a great complement to any jewelry collection. While real silver does not actually cost much, compared to the likes of gold, there remains a wide market for the sale of sterling silver, particularly among the younger consumers.

Unfortunately, to the untrained eye, comparing fake versus sterling silver can be quite a task — and sellers often take advantage of this lack of knowledge and sell fake versions at the price of the authentic ones. Your goal, therefore, is to find out how not to get duped.

Fake Vs Sterling Silver

How can you tell fake from sterling silver? Here are a few tips:

1. Real silver is stamped with a hallmark.

Like gold, authentic silver comes with a small stamp or engraving which contains information about its silversmith and the date it was made. Whether it is machine engraved or hand engraved is pretty easy to distinguish by just looking at it. A stamp that has ‘EPNS’ on it is an indication that it is sterling silver, as it simply means ‘electro plated nickel silver’.

2. Silver jewelry must be at least 92.5% pure silver.

Silver used alone is too soft to function properly as jewelry. Thus, all silver jewelry should be at least 92.5% pure silver, with the rest made up of appropriate alloys to help it harden. This is normally indicated by a “925” engraving on the jewelry itself. Of course, the lower this number, the closer it is to being less and less real silver. These engraving can be difficult to spot-look on the back of pendants, on clasps, and on the inside of rings for real silver markings.

3. Watch out for silver plate: Silver colored jewelry may simply be silver plated.

Silver plated jewelry, which is not totally real silver, would usually have an “A1” stamped on it, along with its makers engraving. When the silver tarnishes or chips off, it reveals the real metal used underneath, which can cause skin problems, like rashes and metal allergies, for some people. Beware of buying items that are simply silver plated, especially if your skin is hypersensitive.

4. Run it through a nitric acid test. A great way to test whether the silver jewelry you have is the real deal is by testing it nitric acid. You can choose to have this done by the local jewelry shop or you may do it yourself.

To do this, select a part of the jewelry that is least noticeable as the site to run your test. Rub this portion thoroughly to cause a break in the plating of the surface. Place a few drops of nitric acid onto the site and wait a few minutes. If the liquid becomes cloudy grey, then it is sterling silver; but if it becomes green, then what you have in your hands is simply silver plated.

Always keep in mind that there is no such thing as silver jewelry that is 100% pure silver. As mentioned earlier, silver has to be mixed with other alloys to make it sturdy enough to serve its purpose. The best way to ensure that you buy only genuine silver pieces is to purchase your jewelry from a trusted seller.

The art of metal work arrived in Indonesia in the Bronze Age from Southern Chinese and Southeast Asian areas. Bronze drums, dated from as early as the fifth century BC, have been found throughout the archipelago, and some of them are believed to have been cast in Bali. Indeed, the most famous of these drums, the massive Moon of Pejeng, still rests in Bali on a temple pavilion in the village of Pejeng. The drums were cast in the lost wax style and in stone molds. Beads of glass, carnelian, shell, silver, gold and other metals have been found in Bronze age sites as well. The earliest metal jewelry was primarily copper with some gold, silver and “suwasa”, which is one part gold and two parts copper. Metal age graves reveal gold necklaces, hairpins, beads and rings. Initially, raw gold made its way to Indonesia from China and India but eventually gold was found in Sumatra, which became famous for its jewelry and dagger hilts.

By the time of the birth of Christ, the people of Sumatra and Java were practicing rice cultivation with irrigation and the use of the buffalo-drawn plow. The accumulation of wealth which ensued encouraged the refinement of many art forms, including jewelry. By AD 1,000 gold and silverwork in Java had reached a level of artistry as high as that of the bronze caster. The abundance of gold was documented by a Chinese trader who reported in 1225 that Javanese criminals, except for thieves and murderers, were not imprisoned or subjected to corporal punishment but fined in gold.

The Majapahit Empire of Java began colonizing Bali in the 14th century. (The Majapahit imposed a caste system on Bali with themselves on top and the original inhabitants of the island on the bottom.) By the beginning of the 16th century Bali became a sanctuary for Hindus forced out of an increasingly Islamicized Java. As the Majapahit Empire crumbled, there was a huge influx into Bali of Javanese noblemen and craftsmen and Bali became one of the main centers of precious metal craft.

The facility where we produce our Bali sterling silver beads is located in Bali, in the outskirts of a village called Celuk. Celuk has a tradition of metal work that stretches back many generations. Its craftsmen catered to aristocrats in the nearby court town of Gianyar and the noble houses of Sukawati and Ubud. Historically, the Royal Courts of Bali were avid patrons of the arts, which they used as expressions of their sacred and temporal power. The Dutch sea captain Arnoudt Lintgens, who visited the court kingdom of Gelgel in east Bali in 1597, was impressed by the lavish display of exquisitely fashioned gold ornaments including parasol fittings, lances and daggers.

Although most smiths come from the lowest ‘sudra’ caste, Balinese metal smiths have always been held in awe. The word ‘pandai’ means both ‘smith’ and ‘clever’. A group of smiths from Singaraja, in the North part of the Island, trace their line back before the immigration of the Majapahit Javanese. Another clan of smiths consider themselves direct descendants of Brahma, the fiery Hindu God. The symbolic importance of precious metals in Hindu cosmology is reflected in the belief that the triple peaks of Mt. Meru, the abode of the Gods and the center of the world, are made of gold, silver and iron.

The Balinese have several traditions concerning the origin of goldsmiths. Ancient Hindu lontars (books of inscriptions written on leaves of the lontar palm) tell of the mythical history of the arts. In one, the gods are sent to Earth to teach men civil behavior. The god Mahadewa trained the goldsmiths and silversmiths while Sang Citra gave them specific instruction in jewelry making. Smiths who worked with precious metals were called, “pande mas,” goldsmiths, from then on. In another inscription, a Brahmin from Majapahit named Empu Sari first taught the Balinese to work gold. Yet another calls the first goldsmith Sang Mangkukuwan, eldest son of Vishnu.

Balinese smiths still produce beautiful gold ornaments for domestic use but the majority of production is silver work for the export market. International demand has grown so rapidly that new centers of production have sprung up in Denpasar and Kuta. In recent years, Celuk has absorbed young people from diverse backgrounds who train and work side by side with others whose families have been working with precious metals for hundreds of years.

There has also been a significant influx of silver and goldsmiths from the island of Java. Modern Javanese silversmiths specialize in fine filigree work and ‘plin’, a style of shiny flat surfaces and clean, streamlined joints. In contrast, Balinese smiths specialize in granulation, in which minute spheres of silver are arranged in beautiful geometric patterns. Many designers today want motifs that combine the Javanese and Balinese traditions. To accommodate them requires cooperation and cross training.

The earliest Balinese silver jewelry designs were copies of traditional gold jewelry. The Balinese use beautiful repousee silver bowls and implements for their temple offerings but for jewelry they prefer gold, and would rather go without than wear silver. As a result, silver jewelry developed only recently and has always been an export product. As the market for silver grew, there was pressure to diversify and motifs from many cultures were quickly diffused through the community of smiths. The use by artisans of multicultural motifs is an ancient practice. Gold jewelry found from early Egypt, Greece, Phoenicia, Persia and later Rome, all display motifs borrowed from one another. The migration of skilled craftsmen, especially goldsmiths, from dying to emerging civilizations is also an age old trend.

While in the ancient world migration and Phoenician traders were responsible for slowly diffusing ideas, the process has become almost instantaneous with the advent of television, airplanes and fax machines. Today, buyers come to Bali from all over the world. Designers flock to the island as well. They are drawn by the sympathetic environment as much as by the skill of the craftsmen. Bali seems to nurture creativity. It is a setting in which the seeds of one’s imagination germinate with the same careless abandon as those of the lush vegetation. Many of the cottage industries produce work for foreign designers but the creative process is almost always a collaboration in which the influence of the Balinese craftsmen is readily apparent in the finished product.
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You have heard the term no doubt, but what exactly is a “Bali Bead”? The answer may seem apparent – any bead from Bali should fit the bill. In fact, the term is more specific. It traditionally refers to hand made, sterling silver beads from Bali, Indonesia.

Bali is a tiny tropical island amidst the vast Indonesian archipelago. An island of Hindus in a country with the largest Muslim population in the world, Bali is the cultural repository of a rich heritage. This heritage includes a tradition of metal smithing that dates back thousands of years and reached a pinnacle during the Majapahit Dynasty of the 14th and 15th century. When Islam swept through the islands of Indonesia, Hindu artisans fled to Bali, where to this day, they continue to practice their craft.

Although the Balinese traditionally wear only high karat gold jewelry, in the 1970’s they began to work in silver for the export market and quickly achieved a global reputation for intricate designs in granulation and wire work. Extremely reasonable prices assured their success. From the onset, however, issues of authenticity and quality control have plagued the business.

With the rising popularity of Bali beads, unscrupulous businessmen have entered the market, making it difficult for customers to navigate through a sea of potential suppliers. There are even businesses that advertise “Bali Beads” made in Turkey or India. In this instance, they are usually referring to a style- silver colored beads with intricate patterns against a contrasting background- but the terminology can also be intentionally deceptive. These beads are often of low or zero content silver. They may be low grade silver polished to a high finish for the temporary look of sterling. Alternatively, some companies cast base metal or even plastic, both of which can be silver plated to great effect. Other manufacturers make molds of handmade beads and cast them. A great deal of the detail and texture is lost in this process but the untrained eye can be easily misled.

Unfortunately, plenty of authentic Balinese beads are also made from silver of questionable purity. To earn the label ‘sterling silver’ beads must be a minimum of.925 silver. In order to achieve this level consistently, it is necessary to begin with an even higher level of silver since a certain degree of contamination is unavoidable in handmade products. Many smiths are reluctant to incur this additional expense. The temptation to dilute the silver proves irresistible to many smiths, especially if they are pressured to cut prices.

When I decided to begin producing Balinese beads and findings over a decade ago, there were very few silver smiths making beads. After importing Balinese handicrafts and jewelry for several years, I was well aware of the challenges I would face. These challenges included bringing production in on time, meeting design requirements with precision and assuring consistent quality. Building my own production facility became an indispensable part of my business plan.

With a closed shop we are able to closely monitor production and intervene before problems become crises. By providing meals, we assure that our smiths are well nourished (hungry people don’t do good work). By paying a fair wage we assure that our employees have a vested interest in seeing the company succeed. By employing women on an equal footing with men, we do our part to empower women in a culture where they are traditionally subservient to men. Some of these issues seem tangential to quality, but they all add up to a key concept – pride in product.

Many problems with silver quality have simple explanations. Poor quality tools lead to poor quality beads and many smiths can’t afford or don’t have access to modern tools. The same can be said of supplies, everything from the blackening solution that gives Bali beads their high contrast, to polishing compounds, to simple things like sand paper, come in varying grades. Proper tables, torches, lighting and ventilation, all of these contribute to the quality of the finished product.

There are certain components, like pin backs and earring posts that should actually be machine made in order to ensure consistency and reliability. At our facility, we regularly import state of the art supplies and equipment to assist in production. This policy is part of a conscious effort to use technology to enhance traditional craftsmanship rather than supplant it.

Even the highest quality silver, supplies and equipment don’t guarantee results. We have a whole department dedicated to quality control where beads are examined one by one for their finish, detail, size and shape. Routine testing is also necessary to assure that smiths aren’t tempted to pocket sterling silver and substitute a lower grade.

Beyond technical quality, design integrity adds another dimension to any discussion of Bali beads. There is a small core of designs that have become accepted as generic Bali beads. Apart from these, imagination is the only limiting factor in creating exciting new designs. At Nina Designs, we invest considerable time and energy creating innovative new designs. Since most of us come from a jewelry background, we design each new collection of beads with matching findings like clasps and earring tops. This approach allows designers to create whole lines of jewelry based on one of the many different motif themes found in our catalog. We respond to the relentless pace of the fashion world by offering new bead collections every six months. This allows our clients to give their jewelry lines a fresh, updated look every season.

Unfortunately, many vendors of Bali beads simply graze on what they find available in the streets of Celuk, the primary silver producing village in Bali. They buy generic designs or knock-offs of other people’s work. At best, this approach leads to a boring selection, at worst it violates copyright laws. In practical terms there are other potential complications. When designs are copied out of context they usually morph into caricatures of the original model. I have seen toggle clasps where the bars don’t fit through the loops and obvious copies of my designs where the carefully arranged patterns have become blobs of random shapes.

So, how do you tell a genuine, high quality Bali bead from a lemon? Rule one: Know your supplier. Is the company well established? Do they have a catalog or showroom? Do they have their own production facility? Are they committed to paying fair wages? Do they use imported supplies? Do they provide smiths with imported equipment? Do they create their own designs?

If a company meets these criteria they will have a higher overhead, and therefore higher prices, but the company is much more likely to stand by their product. Gypsy traders with low overhead can undercut established businesses but they are difficult to hold accountable for shoddy products.

Reasonable people can disagree on how much a high quality sterling silver Bali bead should cost. For many, Bali beads are a commodity, bought and sold by the gram. The gram pricing is very competitive, putting pressure on smiths and wholesalers to cut corners and make fraudulent claims. At Nina Designs we treat each bead as a miniature work of art. As such, we buy and sell them individually, giving both the bead and the silver smith the respect they deserve. In turn, we offer our clients the highest quality beads.