Diamonds
Selection by eye before certificate: cut first, then colour, then clarity. Stones are chosen for behaviour in movement, not for paperwork alone.
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Atelier
Beirut · Paris · Dubai · Barcelona
By appointment
The stone comes first.
Four disciplines practised daily in the atelier. Nothing is subcontracted that carries the signature.
Selected for character, not simply perfection. Form follows the stone.
Eight stones, read as material.
Emerald
- Deep green, often unevenly distributed
- Emerald cut
- Visible internal character, veils and crystals
In jewelry design, emerald often behaves less like a neutral centre stone and more like a source of colour around which the composition is built.
Ruby
- Crimson to slightly purplish red
- Cushion, oval
- Silk-like internal needles, strong internal glow
Ruby carries more visual weight than its size suggests. A small ruby can dominate a composition, which is why it is often placed off-centre rather than at the middle of a piece.
Blue sapphire
- Velvety blue with visible banding
- Oval, cushion, calibrated cuts
- Colour zoning, fine internal silk
Sapphire tolerates repetition. Because its colour stays consistent across many small stones, it is the stone most often used to draw a continuous line through a piece.
Yellow sapphire
- Honey to lemon yellow
- Cushion
- Clean crystal, warm even body colour
Yellow sapphire changes the temperature of everything around it. Placed next to white diamonds it makes them read cooler, which can be used deliberately.
Spinel
- Raspberry red to hot pink
- Octagonal, cushion
- Exceptionally clean, bright internal reflection
Spinel is prized by designers for its clarity and its slightly electric colour. It is used where a red is needed that does not carry the historical weight of ruby.
Copper-bearing tourmaline
- Neon blue-green
- Emerald cut, free forms
- Glowing colour, veils and internal fractures
This tourmaline is unusual because its colour appears to emit light rather than reflect it. In a composition it must be isolated, or it will overpower every other stone.
Diamond
- Colourless
- Round brilliant, baguette, rose cut
- Geometric facet architecture, grey and white internal reflections
Diamond is usually read as light rather than as colour. In these studies it is used to draw lines and edges, which is why baguette and rose cuts appear as often as brilliants.
Fancy-colour diamond
- Cognac, amber, champagne
- Radiant, cushion
- Crushed-ice brilliance, internal graining
Fancy-colour diamonds sit between metal and gemstone. Their warm tones can be used to make yellow or rose gold appear to continue into the stone itself.
Coloured gemstones
Ruby, emerald, sapphire, agate, turquoise. Provenance is recorded when known and never invented; treatments are disclosed in writing.
Setting
Hand setting and hand finishing. Metal is worked so the stone sits low, secure and alive against the skin.
Restoration
Existing jewels are studied before anything is touched. Where a piece should be left as it is, we say so.
Every enquiry receives a written answer from the atelier, not a catalogue.