Old-cut diamonds might feel newly relevant again, but for me they’ve never really gone away. I’ve always been drawn to them; not out of nostalgia, but because of how they feel. There’s a lovely warmth and softness to them that modern precision cuts rarely offer - something more subtle and more human.
These diamonds were cut by hand, long before laser mapping and computer optimisation. Each decision was made by eye; each facet shaped in response to the stone itself. The result isn’t perfect, but that's the whole point - the subtle irregularities give old-cuts their depth and character. That unmistakable sense of vintage soul.
The way an old-cut diamond handles light is a wee bit different. Instead of sharp, mirrored flashes, the sparkle is more of a twinkle - a deep, romantic glow that moves slowly as the stone catches the light. It’s a quality that’s difficult to describe on paper and almost impossible to capture in photographs. It really has to be experienced in person.
This is why choosing diamonds by specification alone never tells the full story. You can place several stones side by side with identical grades and measurements, yet one will stand out. It might have a particular warmth, a softness or a glow that just feels right. That instinctive response is important and it plays a massive role in how I choose stones for my work.
Old-cut diamonds also carry a sense of continuity. Many were shaped decades, sometimes centuries ago; they’ve already lived a life before becoming part of a new piece of jewellery. That history brings a depth that feels entirely at odds with disposable luxury. Each stone is rare, unrepeatable and completely unique.
I work exclusively with natural diamonds; either responsibly sourced or antique. While lab-grown diamonds share the same chemical composition, natural stones carry a rarity and a story that can’t be reproduced. Formed deep within the Earth over billions of years, no two are ever truly the same.
Old-cuts sit naturally within this way of working. They align with my belief that jewellery should feel considered rather than perfected; expressive rather than engineered. Whether appearing in The Edit, Signatures, or bespoke commissions, they offer a quiet confidence that doesn’t rely on trends or spectacle.
For me, these stones aren’t about looking back. They’re about choosing depth over brightness, character over perfection and trusting your eye rather than a checklist. That’s why old-cut diamonds have always been the stars of the show.
