The Rose Cut

I have a serious crush on rose cuts. But if you’ve been following any of my media for any period of time, you’ll have noticed this. There are rose cuts in two of my necklace designs, with the Ingenue being primarily based around the rose cut, they feature prominently in my Pétiller profile, and have even made an appearance in some of my custom designs. If they were easy to find, and I had unlimited funds, ALL OF THE ROSE CUTS WOULD BE MINE. Ok, so that’s not necessarily true, but I do love them, and I wish I could buy a lot more than I do.

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So the reason I’m writing about this today is because I’m a bit neurotic. Recently a client of mine bought some “hexagon rose cuts”, and she asked me why when I said they weren’t rose cuts. So this is a bit of an analysis of what a rose cut is, using the hexagon diamonds as an example of how to discern what isn’t a rose cut, and what is just a fancy marketing gimmick.

A lot of what designates a rose cut is the intent of the cutter.

Did the cutter intend for it to be traditionally cut, and the stone wasn’t shaped well? Or did the cutter actually intend to cut a rose cut?

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Facet Diagrams & Facet Structure

Rose cuts were often used as accent stones in antique jewelry. They have a simplistic cut that is a flattish dome, with triangular facets arranged in a hexagonal pattern, with a point on top. There is not a flat table facet on top of the stone, and there is no pavilion, the way Old European Cut or Modern Round Brilliants are cut. Rose cuts are typically round, but can be found in other shapes, such as pear, cushion, oval, etc.

Equiangular Hexagon

I am particularly strict in my evaluation of rose cut diamonds, and I insist that they have the equiangular triangled hexagon on top. Sometimes, especially with modern cut specialty shaped rose cuts, the hexagon will be elongated to mimic the outline of the stone.  Like this modern cut pear:

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It’s still a rose cut, but the facet structure is a clue that it’s not antique!

Lack of a Pavilion

It’s easy to get confused with terminology for rose cuts, since they don’t follow the same cutting guidelines as traditionally cut stones. I tend to think of them as a traditionally cut stone that has had the pavilion cut off at the girdle, but with a point on the table instead of the table being flat.

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One of my very first gemstones was a peach spinel that had a rose cut table and crown, but with a traditional pavilion. Sometimes I miss that stone!

Faux Rose Cuts

Now, one of my biggest pet peeves has been popping up more and more lately and that’s taking a poorly, but traditionally cut stone (with a table, pavilion, culet, etc), flipping it over so it’s culet and pavilion face up with the table facing down, and calling that a rose cut. It is not a rose cut. You can determine these stones by looking at the facet structure, and seeing whether or not it is totally flat on the flat side, if it has a crown, and if the facets are almost equiangular AND triangular. Here is a helpful diagram to help illustrate the anatomy of a traditionally cut stone can look like.

You can see a comparison between the hexagonal traditional cut on the left, and the classic rose cut on the right. I can tell a few things from the hexagonal stone about the rough  – the stone wasn’t deep enough to cut it to ideal specifications and have optimal light return when it’s table up. So in a clever marketing move, they flipped it over and marketed it as a “hexagonal rose cut”.

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With these hexagonal stones, they were not originally intended to be rose cuts, and that is obvious once you take a closer look at the pavilion facets:

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They have the equiangular center facets, but if you look closer, the facets that aren’t in the center are trapezoidal in shape, rather than triangular.

Interestingly, when I flip the stones over, and have the table/flat side up, you can see the huge difference, and clearly discern what the original intent of the cutter was. The hexagons show light return bouncing off the pavilions, minus the windowing in the middle, while the rose cut is essentially transparent:

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Double Sided Rose Cut

Double sided rose cuts are very rare, and are often given different names, depending on the knowledge of the seller or owner. As you can see from the diagrams above, they are structured as if two rose cuts were put flat side against flat side.

Rose cuts come in all different flavors, and they’ve been enjoying a sort of resurgence into popularity with celebrity interest in them as well as antique jewelry coming back into fashion. You can expect to see more from me as well, but that is mostly due to my everlasting love for them, rather than following the trends!

Side note: Thanks to Jennifer Aniston for giving the rest of us some giant rose cut goodness to ogle when she’s out and about.  (Yes, her engagement ring is a giant rose cut diamond!)

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New York, New York

A touch over two years ago I posted a blog entry about a planning a specific project:

https://thegemstoneproject.com/2014/11/28/new-york-city-inspired-ring/

Well, it evolved. I will get to that in a second.

Grand Central Terminal
Grand Central Terminal

The first time I ever went to New York City was when I was 18 years old with my parents for a business trip for my dad. I remember walking the streets wearing furry Steve Madden shoes and having a doorman compliment them. I fell in love with the city in that trip, between the Empire State Building, the flagship stores, the food, the energy and life of the city. I didn’t know it at the time, but only a few short years later, I would be going to school slightly upstate from the city.

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It wouldn’t be until I went to NYC via train from upstate that I would first experience Grand Central Terminal in all of it’s glory, between the Oyster Bar, the marble floors, the tile ceilings, and the glorious teal ceiling bedecked with celestial gold in the main hall. For me, with the Grand Central ceiling, it was love at first sight. Every time I would take a trip to the city via MTA, I would be delighted to experience it’s beauty once again, and I would look forward to seeing that ceiling every time.

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So, since I don’t get to do that regularly anymore, I had to base a piece of jewelry around it.

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My starting point, as is often the case, was color. I had a copper bearing precision cut teal tourmaline from Barry Bridgestock that was absolutely the color of the ceiling.  I knew from very early on that I had to have yellow gold, as the zodiac symbols all over are painted in a golden color. It was only later that I would decide that the piece would need to have white gold as well, which was a difficult conclusion for me as I’m typically not a fan of mixed metals.

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In planning the rest of the elements of the design, I took into account an incredible number of details from around GCT, from the arches of the hallways, to the color of the walls and the floors, to the incredible iconic pendant chandeliers. I evaluated every single one of the zodiac symbols, the detail of the arches, the Tiffany glass of the clock, the golden clock in the middle of the terminal, the detail of the windows. Essentially, the entire building is one very large piece of functional art, each detail has had painstaking work put into it by artisans of years past. There is some sad irony in the fact that most people who witness it never take the opportunity to enjoy those details.

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I started out thinking that it would be a ring. I soon found out that between the stone size, the ring size and the sheer scope of my vision for it, a ring that size would be essentially unwearable on a regular basis.  So I ended up changing it to a necklace. And of course I took the opportunity to use a stone that I have an infatuation with – a rose cut diamond. This time around, I decided that it should be prong set with a hexagonal surround, to echo the geometry of the iconic graphic feel of the Art Deco era.

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For a while I considered something that had to do with my zodiac sign, my husband’s zodiac sign and my daughter’s zodiac sign, but that became too complicated and didn’t end up making any sense design wise. So I simplified,

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I considered adding a detail from the arches (also seen on SNL’s GCT set) to the eventual outer halo, but nixed that idea as it became too busy. I also considered having no negative space, with just the contrast of diamonds and metal color to guide the design, but again, cited the busy-ness of the design for utilizing negative space rather than adding more to an already complex concept.

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I ended up with just a thin outer diamond halo to provide some structure for the centerpiece of the piece, and I chose a octagonal shape for it inspired by the octagonal frames around the medallion detail on the large arches on either end of the building. (Bottom left corner in the below image.)

Grand Central Terminal Ceiling
Grand Central Terminal Ceiling

I originally designed the star’s diagonal points to stretch all of the way to the halo, but after thinking, and evaluating the actual stars of the GCT ceiling, as well as looking at the Art Deco stars, I realized that while it may be less stable, shortening the diagonal points would be better for the over all aesthetic, and echoed the compass like shape of the actual GCT stars.

Grand Central Terminal Taurus Detail
Grand Central Terminal Taurus Detail

Elevating the star and the stone just a touch was the finishing detail. I used fancy yellow diamonds on the yellow gold and single cut white diamonds on the outside halo, in keeping with the Art Deco era.

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It is not very often that I create jewelry for myself anymore. This isn’t a piece that I will probably wear often, but it is a small, sparkly tribute to a city that I love, and the Art Deco masterpiece that lies within it.

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Creating the Ingénue

Ingénue – Innocent young woman

When this idea came to me, I really wanted to create something that was classic, could be worn with anything, and wasn’t overpowering to either the woman or the gems. I wanted simplicity that was more than just a solitaire. The name of this game was subtlety.  Something quiet. Graceful. Sophisticated.

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I started with a two stone idea. A smaller stone “bale” with a larger stone hanging below.

The first version I pulled out for this idea was with an angular stone. I had a small princess lying around, so I thought that would work well and go with the angular shape of the stone I was considering. But the main stone ended up selling out from under me, so I had to change gears.

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I decided that classic rounds would be the way to go – rounds are the most popular shape, they would always be plentiful and I’d have no problems sourcing some when I was ready to make the design.

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So of course, I always jump at any chance to make something with rose cut diamonds, and in this case, anything else would have been too flashy. I love the way the light floats across the facets of a rose cut – it’s reminiscent of the light from the setting sun hitting the soft waves of a lake. For the rose cut, I decided that a simple bezel with milgrain would do nicely.

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The bottom was harder.  I started playing with the idea of another metal halo style, because I didn’t want diamonds. Since I had already decided I wanted a bezel on top, a bezel seemed to make sense for the bottom. But that would be too predictable. Instead I went in another direction: prongs. It became a metal halo with prongs, much like the Aurore. But how do you make a metal halo interesting? Metalwork. Two rows of milgrain combined with some delicate engraving helps add a little extra detail without being too overwhelming.

Note: I never draw engraving. I cannot do justice to a master engraver’s work. Seriously. So I don’t even try.

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Now the question became, what to do with the back? I always try to get something a little unexpected in my jewelry, and the back, or the underside are the perfect playground. For this I went back to where it began – the rose cut. And I used the rose cut facet pattern that I love so much and brought it to life in the metal.

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The hardest part yet was figuring out what stone to be the star of the show. As I mentioned, I originally was planning on making it with a fancy shaped diamond (this design will work for absolutely any shape!) but that fell through. Then I figured I’d make it with a round diamond, but that seemed predictable – there are so many diamond necklaces out there already! And for a person who loves other gemstones I wanted something that was more interesting and rare. Something that fit the classic look and feel but wasn’t a diamond.

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Which is where Geoffrey Watt of Mayer & Watt steps in. I had asked him to find me a white spinel at JCK 2016, since I wasn’t going to make it this year. He obliged, and I found my main stone. Not long after, the sketch was complete.

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It wasn’t until the necklace was out of production that I realized that I wasn’t feeling the high polish. I tend to try to avoid brushed finishes because they can wear away so quickly, but for a necklace that wouldn’t be coming into contact with anything but skin, it made sense.

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I think I accomplished my goal. Classic, versatile, sophisticated with a vintage feel. Something that be dressed up or down. The Ingénue.

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