Gemstone setting is a craft which is uniquely rare, time-consuming and demanding. Pavé and claw or prong settings are the traditional and popular methods of affixing gems because these are both literally and figuratively safe, creating a classic look without drawing attention away from the stones. However, this article is not going to be about the traditional – on the contrary - I want to explore some unconventional gemstone setting techniques, as well as the effect that they have on the overall look of a jewel.
All of us are familiar with the traditional pavé technique, in which the gems are set side by side to form an illusion of a glittering veil. Italian brand Vhernier has developed its own version of this method and named it ‘eyeliner pavé’. Developed for Vhernier’s 20-year anniversary celebration; it bears similarities to the snow setting in haute horologie - with a few notable exceptions. Firstly, the gems are not set next to each other so closely as to eliminate the appearance of the metal. Secondly, the prongs holding the stones are not visible on the surface and, thirdly, their quality is paramount to Vhernier’s design; so each diamond is at least of F colour, VVS clarity, and of excellent cut. The varying sizes of diamonds in Vhernier’s designs and the spacing between the settings purposely call attention to the apparent casualness with which the stones are arranged – with this technique the Italian house emulates the effortless chic for which Italy is renowned.
One style which I never tire of seeing is the invisible gemstone setting, frequently showcased by Stenzhorn. ‘Invisible’ in this case refers to the fact that each stone is set extremely closely to one another with no metal showing up on the surface. Traditionally square cut stones are used, but Stenzhorn’s latest ‘Ice Zeit’ collection features baguette cut diamonds, whose facets and well as lack of visible settings replicate shards of ice. Former collections such as ‘Ovidio’ use identically-shaped Asscher or emerald cut gems to create a seamless ‘paving’. Stenzhorn’s ‘Muse’ collection takes full advantage of this setting style by marrying gems so closely together that they appear to be one larger gem, arranged as though each stone comprised a set of facets.
The Swiss jeweller Boghossian specialises in the ‘Art of Inlay’ - a unique type of setting with one stone being inserted into the other, highlighting the beauty of their contrasts. Hard mineral stones, gemstones and mother-of-pearl are used to achieve visually intriguing combinations of colour. Inlay dates back to Ancient Egypt, where inserting contrasting materials into one another as a decorative technique was first established. It reached the zenith of its popularity during the Mughal Empire in the 17th century, and Boghossian has adapted and re-invented this practice in their own inimitable style for the 21st century.
Reverse setting gems is one of the techniques that various jewellers attempt, but the brand who defies trends and even creates them - Hemmerle – has explored it the most frequently. Setting a variety of gemstones with the culet facing up, towards the wearer, is an audacious technique which is time-consuming, as all stones need to match each other in colour hue and depth of cut. Reverse setting undoubtedly upturns all conventions about ways to display gems - and the spiked surface adds an edgy feel to any fine jewellery which employs this technique.
Continuing on from my last article on a variety of unconventional gemstone setting methods, I am going to explore some of the most creative and innovative approaches for displaying gems to their fullest potential. Part two of this series focuses in on some more technical – and in some cases, more divisive – styles of gem setting; from globally renowned luxury houses to artists who are emerging onto the world stage.
Van Cleef & Arpels ‘Panache Mystérieux’ brooch with ‘Vitrail Mystery™’ set fancy coloured sapphires and diamonds
Van Cleef & Arpels have trademarked a very special gemstone setting technique, the ‘Vitrail Mystery™’ setting. Extremely precise gemstone cutting allows for gems to ‘sit’ facet to facet with no metal appearing on surface – and most significantly, no setting appearing on the reverse side either! Furthermore, due to the special buff-topped cut with rounded surface you can see the light passing through the gems creating an illusion of vitrage and illuminating them as brightly as possible. Both 'Mystery Set™' and ‘Vitrail Mystery Set™’ are trademarks of the house - the latter was patented by the Van Cleef & Arpels in 2014
Innovative - though hardly new - the ‘en tremblant’ setting was first conceived in 18th century France. It was especially popular in floral jewellery; providing realistic natural movement through the gems being set onto the extremities of coiled precious metal. Distinguished designers such as Alexandre Reza, Bulgari and Grima have all created jewellery - either brooches or earrings that this technique is most suitable for - exemplifying the uniqueness of this technique.
A modern innovation which is so unique that the brand owns the rights to it comes from the Russian brand Moiseikin. The Waltzing Brilliance® setting is a truly revolutionary gem setting technique - in every sense of the term – and is best described as a dynamic type of tension setting. The culet of the gems sits inside a minute loop, and is held in place by a single prong which rests on the table of the traditionally brilliant cut stone. The name ‘Waltzing Brilliance’ refers to the dance-like movement which the gemstones are afforded in this unique setting; spinning and sparkling unlike any other designer’s jewels.
One of the most modern – and fittingly loosest - interpretations of jewellery setting comes from American designer Moritz Glik, whose signature is gems which are left to move freely between transparent sapphire glass ‘windows’. Although these gems are not technically set, they are still presented by the jeweller in a design which allows them to be seen from all angles, and theoretically, the sapphire glass acts as a setting type in and of itself.
Wallace Chan is the master of turning precious materials into wearable bejewelled art objects. He is known for achieving incredible jewellery feats with gemstones and metals, and for his 2016 'My dreams' ring he devised a unique type of tension setting where no metal is used to hold the gemstones in position. The ring features a 11.56ct tourmaline and a 9.93ct aquamarine which sit fixed next to one another and locked together through Chan's signature - borderline magical - use of gemstone cuts. The stones are intertwined so that the facets lock one another in place. The ring resembles a surreal, cubist castle; the likes of which would be found in the dreams which the ring is named after. The ring is further decorated with lapis lazuli, diamonds, tsavorite garnets, and pink sapphires.
Wallace Chan ‘My Dreams’ ring
There is such a vast wealth of variation in all aspects of fine jewellery design, and gem setting is one which is often side-lined for precious materials and novelty. As seen in this article, the most intelligent jewellery houses celebrate this element of design with vigour!