Profile: Robert Ackerman
Robert Ackermann is an accomplished goldsmith, jewelry designer, gemologist, business owner and educator with thirty-five years of experience. Robert was privileged to learn the trade from the bottom up under master goldsmiths in Zurich (Switzerland) from the post-Bauhaus period in a studio with an international reputation among collectors.
After graduating with the Federal Diploma of Competence, Robert went on to work in Zurich, Victoria, BC, (Canada) and Montreal, QC, where he established a studio with a reputation for creating handmade, contemporary jewelry. He graduated as a gemologist with the Gemological Institute of America in 1995 while teaching college-level courses at the École de Joaillerie et de Métaux d’Art de Montréal.
Imbued with the famous Swiss standards of quality and precision, Robert has won several awards and honors. In 2002 and 2003, he won two First Prizes at the American Gem Trade Association’s AGTA Spectrum Awards, considered among the most prestigious jewelry prizes in the world.
Over the years Robert has taught jewelry design, CAD and studio techniques with major institutions and served on numerous juries. He now serves a clientele that looks to him for rare and lasting pleasures: jewelry that marries the most innovative design with the most sophisticated quality standards. He continues his ongoing commitment as an educator and as an always-curious, forever-learning master of his trade.
NoteStreams By Robert Ackerman
Within every trade, or industry, not everyone is created equal, and this insight certainly applies to the jewelry trade. The following article is not about how to tell which jewelers are better and which ones are worse by citing some simplistic criteria that supposedly separate goodies from baddies. More helpfully, it is about shedding light on the considerations involved in finding the jeweler who is likely to be most suitable for your needs.
Part 1 of this series may be found here
Since the beginning of the Twentieth Century, the chemical industry progressively provided the world with dyes and paints brighter and more colorfast than ever before creating a symbiosis between industry and modernism in art and design. Bold colors pervaded society by virtually all manner of consumer items, print, photography and film, but the Tinseltown dream machine had done its job selling the bridal tradition so well that the obvious passed jewelry consumers by. To generations since World War II, the color of fine jewelry extended from that bridal tradition, and came to represent innocence and perfection – colorless, white and sometimes gold. You had to be a jewelry aficionado to understand that really, there were alternatives.
For most of the past century, fine jewelry in the US gravitated toward a colorless look. Not that colored stones, enamel or yellow gold were entirely eliminated, but colorless diamonds and white metals such as platinum and white gold ruled the roost. Whenever domestic designs featured color, it was largely from “the big three”--sapphire, ruby or emerald. While that tendency is less pronounced in other parts of the world, we are seeing more color in domestic fine jewelry today than we have in generations.
This is Part 1 of a 2 part series.