A bond forged over a shared last name and a love for diamonds.
60 LIFE AFTER DIAMONDS
How mines transform after they close.
67 DIAMONDS ADDRESS INDIA’S WATER CRISIS
Shaping a brighter future for millions.
Features
70 THE NATURAL Actor and environmentalist Shailene Woodley.
84 FOR THE CHASE Chase Stokes keeps it real.
97 LIGHT AS A FEATHER
The most extraordinary pieces from Paris High Jewelry.
106 SHE’S ARRIVED
The rise of Ella Hunt’s star.
123 THE JOY OF LIVING
A day in the life of Lauren Harwell Godfrey.
131 FROM THE DESK OF Sara Beltrán, Brent Neale, and Maggi Simpkins.
SHANNON LYNCH Senior Features Editor
GRANT MOBLEY Jewelry & Watch Editor
JANE ASHER Social Media Manager
HANNAH MILITANO Web Editor
ANNA MCFILLIN Assistant Editor
NANCY GIAMBONA DELPHINE DAUMONT Marketing
SHELLEY BROWN Industry Partnerships
ELANA ZAJDMAN
SOPHIE BULLINGER Public Relations
GRACE ISLEY Retailer Partnerships
SVEVA MARCANGELI
JULIA KNOX Media Performance Marketing
GLYNIS COSTIN Entertainment Editor At Large
CONTRIBUTORS
Raluca Anghel, Brandon BorrorChappell, Sarah Cristobal, Vincenzo Dimino, Tanya Dukes, Mina El Hadraoui, Marion Fasel, Anthony Federici, Lucy Fox, Wanyi Jiang, Lisa Levinson, Maggie Morris, Jill Newman, Lizzy Oppenheimer, Josh Peskowitz, Andrew Werner, Lynn Yaeger.
Chase Stokes wearing an Eva Fehren necklace, Uniform Object ring, and Zydo ring photographed by Ryan Pfluger.
THE REALNESS ISSUE
As one of our feature subjects remarked to me, “Realness is kind of a broad topic.” This is true, but while the question of what is real permeates so much of modern life, it is also very specific. Something is real if it is authentically itself. While imitation is the highest form of flattery, we dedicate this issue to the vanguards blazing a path for those who follow.
Natural diamonds exemplify the real, as a finite miracle of geology that predates all life on Earth. Movie stars often feel like miracles, as well. Our cover star, Shailene Woodley is an original, forging a life and career on her own terms. Contributors Tina Tyrell and Sarah Cristobal captured the actress and environmentalist in all her beauty and candor. Digital cover star, Chase Stokes needs no introduction to the internet. His frankness and openness (along with his imposing cheekbones) resonate with a generation through his work on Outer Banks as well as his honest dialogue about mental health.
Honesty plays a core role in realness. One can’t hide behind generalizations or trending words. The word sus-
tainability has grown in popularity as our values shift to protect our planet. The true measure of our eforts in environmental responsibility is felt rather than discussed. Large-scale water management initiatives by the natural diamond industry have restored rivers and lakes while providing clean drinking water to millions of people in India. These projects exist because companies in India have harnessed the natural diamond’s power to benefit the countries along the diamond’s journey. A diamond mine undergoes an even more strenuous task to prove its sustainability. Even before a single diamond leaves the Earth, there must be a plan in place to restore the ecosystem and protect the longevity of the community after the mine is exhausted.
This is our holiday issue, and we would never leave you hanging without making recommendations for what pieces are the real deal. From afordable to foolproof gift guides, we run the gamut. However, the most exciting gift we can suggest is our soon-to-be-published book, The History of Diamond Engagement Rings: A True Romance by our esteemed contributor, Marion Fasel. Read ahead for an engaging sneak peek of this story and please enjoy all the realness one issue can hold.
SAM BROEKEMA Editor-In-Chief
Photographed by Vincenzo Dimino
ON THE COVER: Shailene Woodley wears a Cartier necklace, Bulgari bracelet and Bulgari rings, photographed by Tina Tyrell.
Diavik Diamond Mine, Northwest Territories.
CONTRIBUTORS
ANATOLLI
Anatolli is a stylist, fashion editor and creative consultant based between New York and Paris. His work appears in Harper’s Bazaar, Vanity Fair, Elle, Interview and GQ
JILL NEWMAN
A jewelry authority, editor and storyteller, Jill Newman has been immersed in the industry for 30 years. Her assignments have taken her to diamond mines across Africa, cutting workshops in India and Belgium, and jewelry ateliers around the world. Jill is the Natural Diamond Council’s Editor at Large and her work also appears in media outlets including The New York Times, Robb Report, and Galerie Magazine
MAGGIE MORRIS
Maggie Morris is a writer and multi-disciplinary creative. Through both her writing and design work, she aims to reveal the details and nuance that reflect authenticity. When of screen she travels to write about disappearing handicrafts and far out destinations. She studied Anthropology at Wesleyan University, and received a creative writing award from UCLA for her in-progress book. A long time New Yorker, she now lives in Los Angeles.
Lynn Yaeger has been writing about fashion, jewelry, and culture for over two decades. Yaeger, a contributing editor at Vogue and Vogue.com, began her career at the Village Voice as a senior editor. She has written for many publications, including The New York Times, WSJ Magazine, Architectural Digest, Travel & Leisure, Town & Country, and Departures. In 2019, Yaeger won the coveted CFDA Media Award. In her of hours, she can be found haunting the flea markets of the world, searching for antique toys and vintage jewelry. She lives, amidst her many collections, in downtown Manhattan.
LYNN YAEGER
TANYA DUKES
Tanya Dukes is a veteran style journalist who has covered fashion, jewelry and watches for 20 years. Her writing appears regularly in titles including The International New York Times, Elle Decor, Watchonista and Robb Report. She has received the Women’s Jewelry Association Award for Excellence in Editorial, a Folio: Eddie Award and the GEM Award for Media Excellence.
RYAN PFLUGER
Born and raised New York photographer with a MFA in Photo, Video & Related Media from the School of Visual Arts who currently resides in Los Angeles with his partner and pit bull Sarah Connor. His latest body of work, Holding Space, featuring 100 photographs and essays of interracial queer couples throughout the US, was published in November 2022 by Princeton Architectural Press.
LIZZY OPPENHEIMER
Lizzy is the co-founder and managing director of Petty Cash, acting as creative director for Only Natural Diamonds. She has had an expansive career working in editorial, developing award winning photography and video projects for more than a decade. She is concurrently the co-founder and creative director of Nicotine Magazine.
Marissa Baklayan is a stylist and creative consultant, originally from Southern California, living and working between New York City and Paris. Her distinct style and creative eye is heavily influenced by her upbringing in the SoCal DIY music scene and references the nostalgia of a suburban youth. She translates this subtlety, pairing diamonds with t-shirts and heels with hot shorts. Marissa is currently represented by Streeters in NYC and London/ Europe.
MARION FASEL
Founder and Editorial Director of The Adventurine online jewelry magazine, Marion Fasel is an esteemed jewelry expert, curator, trend forecaster, and historian who has written several books about jewelry and is author of the forthcoming publication The History of Diamond Engagement Rings: A True Romance
MARISSA BAKLAYAN
The History of DIAMOND Engagement Rings: A TRUE ROMANCE
A
NEW BOOK ON ONE OF THE OLDEST TRADITIONS IN JEWELRY
Clockwise from left: A Raymond C. Yard, Inc. 1920s design for an east-west set emerald-cut diamond engagement ring similar in style to Joan Crawford’s; Front and side views of a Tiffany Setting gold engagement ring made during the 1920s with a an 1.18-carat Old European Cut diamond mounted in platinum prongs (Courtesy of Erstwhile).
Where does the story begin? Natural diamond engagement rings have long been an integral part of wedding traditions. Yet little is known about the origin story of the jewel. Some believe the ritual surrounding a diamond engagement ring took hold in modern times. Specifically, there is a misconception that it was a niche practice until 1947 when the De Beers “A Diamond Is Forever” advertising campaign was launched to promote it. In fact, diamond engagement rings were widespread by the turn of the 20th century. Beginning in 1890, Tifany & Co. was a pioneer among all the jewelers selling diamond engagement rings. The New York establishment made it easy to shop for diamond engagement rings through mail-order catalogs including paper ring sizers that were sent to homes across America. By the 1920s, in Hollywood’s silent movie era, it’s clear diamond engagement rings were an easily understood narrative device used to advance the plot; they appeared in countless films. But diamond engagement rings go back much further in time. Once called betrothal rings, they have been steadily worn since the 15th century.
While it is generally believed that the first diamond engagement ring was the one given by Archduke Maximilian to Mary of Burgundy in 1477, based on a painting of the bride wearing the ring, it was not the first. There’s evidence that suggests the concept was already underway. One of the earliest diamond engagement rings linked to a specific twosome was the jewel Costanzo Sforza, Lord of Pesaro, presented to Camilla D’Aragona of Naples in May 1475. Their four-day-long wedding near the Adriatic Sea included a poem read during the nuptials that said, “Two wills, two hearts, two passions are bonded in one marriage by a diamond.”
The History of Diamond Engagement Rings: A True Romance, a book by Marion Fasel that will be published in December 2024, traces the evolution of the style and the details that have remained a constant. From the beginning, the vast majority of diamond engagement rings focus on a central gem. The timeline of rings
chronicles diamond-cutting techniques and trends through the ages. Designs framing the central diamond is work done in millimeters that’s often overlooked because of its miniature scale. Some ring styles come and go relatively quickly, while others have been around so long they seem eternal. There are also custom creations that are absolutely singular.
The diamond engagement rings of high-profile lovers have played a major role in the story from the beginning. Designs worn by women ranging from Eleanor Roosevelt to Grace Kelly, Elizabeth Barrett Browning to Elizabeth Taylor, Beyoncé, Jennifer Lopez, Victoria Beckham and so many more contributed to the narrative. Many of their diamond engagement rings inspired others at the time they were received and some have been looked back at by generations for ideas.
Perhaps surprisingly, a diamond engagement ring doesn’t really have an ofcial role in a couple’s union; that’s the job of the wedding band presented during the ceremony along with the proclamation, “With this ring, I thee wed.” The engagement ring is a thing of beauty, often paired with the proposal, “Will you marry me?” Sometimes it is chosen later. Whenever it comes, it represents a promise and a plan, literal hopes and dreams for a better future together as a couple.
A tendency to subtly or flamboyantly show of a diamond engagement ring, particularly among the newly afanced, is one detail surrounding the jewel that has never changed. A 1543 portrait of the Duchess of Florence who wore her table cut diamond ring on her right forefinger, a 1931 photograph of Joan Crawford, and a series of pictures of Lady Gaga at the 2024 Venice International Film Festival document a few ways a diamond engagement ring has been publicly displayed through the ages. While each of the love stories behind these images and every romance is clearly unique, the constant of a diamond engagement ring symbolizing a union is proven to be one of the, if not the, most enduring traditions in jewelry.
Clockwise from left: Joan Crawford with her diamond engagement ring (Courtesy of Everett Collection); Beyoncé with her Lorraine Schwartz emerald-cut diamond engagement ring; The History of Diamond of Engagement Rings: A True Romance book cover.
DIAMOND DREAMLAND
By Lynn Yaeger
by Andrew Werner
Photographs
In Lynnland, time is measured in eras of diamond jewelry.
You only think it is the holiday season, 2024. Over here in Lynnland, it could be 1924, or even 1824. When it comes to our dream diamond gifts, we have banished the calendar, thrown the clock out the window, and retreated to a full-on fantasy land where we gallop mindlessly through the centuries, envisaging Imaginary Lynnie doing all the wonderful things past generations have enjoyed–and draped, of course, in natural diamond jewels. (Of course, since this adventure resides firmly only in Imaginary Lynnie’s head, we also have penicillin, air travel, contact lenses, air conditioning–and all the other modern necessities we have come to rely on.)
So, consider this your invitation to join Lynnie as she trips the light fantastic and time travels to places and eras that exist now only in her deeply personal, defiantly quirky reverie, with natural diamonds as her intrepid companions.
1. GEORGIAN EARRINGS
It’s the late 18th century, and Imaginary Lynnie is going to a holiday ball. You might think she is wearing a tortuous corset and layers of petticoats, but no! For a few short years during the Georgian era, women were actually trooping around in daring ensembles that left little (almost nothing) to the imagination: semisheer Empire-waisted muslin gowns and satin slippers, a simple ribbon wound around their curls. But if Imaginary Lynnie’s bod is semi-bare, the same cannot be said for her ears. In this particular fever dream of the past, her lobes are dazzling with these exquisite rose-cut diamond danglers.
2. VICTORIAN TIARA
It’s the late 19th century, and Imaginary Lynnie is–you guessed it–going to yet another December fête! Her cumbersome Victorian ensemble may be ouchy–no one promised that the life of an indolent spoiled Richie Rich is easy–but poised on her noggin is this unbelievably intricate diamond tiara–a work of art, whose trellised fretwork ofers an example of craft that cannot be duplicated today. Will it stay firmly on Lynnie’s head even as she waltzes the night away? Fingers crossed.
3. EDWARDIAN NECKLACE
Queen Victoria reigned for 63 years, from 1837 to 1901. In 1861, her husband Albert passed on, and for the rest of her life she was in mourning, swathed in black, and she took the whole gloomy commonwealth with her. So just think of the elation among Imaginary Lynnie and her pals when Vickie finally kicks the bucket in 1901, and her son, the fun guy Edward VII, takes the throne. The Edwardian era is everything the Victorian is not–modern and light-hearted, which is why this necklace of draped diamonds and rubies illuminates the holiday season–and Imaginary Lynnie’s neck–so joyously.
4. ART NOUVEAU PORTRAIT NECKLACE
Is that Imaginary Lynnie’s likeness on this portrait necklace? Is she wearing this exquisite Art Nouveau wonder as she commandeers a horse-drawn carriage to take her to the Moulin Rouge? And who is that guy furiously scribbling at the next table? None other than Monsieur Toulouse Lautrec, a denizen of Pigalle and a regular here. Should she amble over to him and order a round of absinthe for the two of them? Will he notice her necklace?
5. ART DECO WATCHES AND CLIPS
It’s the heart of the 1920s, the Art Deco era is going full blast, and Imaginary Lynnie needs to set her exquisite diamond wristwatch. She is checking the time on the famous clock at the Biltmore, waiting for her friends Scott and Zelda to indulge in a boozy night out on the town. Prohibition be damned! Hope it doesn’t get too crazy—these diamond clips decorating the collar of her flapper frock better not end up on the floor of the Stork Club.
William Goldberg photographed by Daniel Sheehan, courtesy of William Goldberg.
GOLDBERG WAY THE
The legacy of the man, the myth, and the legend, William Goldberg.
By SAM BROEKEMA
The Premier Rose Diamond, a 137.02-carat pear shape, courtesy William Goldberg.
Natural diamond dealer William Goldberg’s impact on the industry is showcased in a new book, written by Only Natural Diamonds’ editor-at-large Jill Newman and Jackie Caradonio. The William Goldberg Way is more than a biography, it is a chronicle of how the natural diamond industry in New York grew from a village into a thriving hub of the jewelry community worldwide. At the center of this story is a pioneer, whose bravery and foresight allowed him to take calculated risks that set trends we still follow today. Many of the most famous stones in the world passed through his ofce, cut to his exacting standards. Names that need no introduction, such as the Premier Rose, Moussaief Red, and the aptly named Pumpkin Diamond. It is also the story of Ashoka, the 62-faceted diamond cut, created and trademarked by William Goldberg. Jill Newman along with William Goldberg’s daughter Eve Goldberg, the company’s Creative Director, shared the backstory about what defines the company and the man.
“My father used to have these very successful jewelers come up to the ofce,” Eve Goldberg tells Only Natural Diamonds. “I remember one in particular— my father showed him a stone, and he took out a loupe to look at it. My father grabbed it from him and said, ‘You don’t need to look at it with a loupe. Just look at it. Isn’t it beautiful?’ He was all about beauty. That was so important to him. It wasn’t what the certificates said. He couldn’t care less about a piece of paper,” she recalls. This tendency to start with the wonder of natural diamonds instead of the stats set him apart as an iconoclast and delineated the company’s ethos.
2024 marks the 25th birthday of the Ashoka, a distinctive cut that has inspired countless designers since introduced in 1999. The
Ashoka was inspired by a legendary, nearly 42-carat D-flawless diamond named after the Buddhist emperor, Ashoka the Great. Sotheby’s auctioned the marvel in 1988, but an anonymous bidder swept in, and the stone hasn’t been seen again. William Goldberg worked for nearly a decade to perfect the cut. Federal patents, and a trademark of the Ashoka name, followed the triumphant release. The cut still inspires today, as evinced by this quote from Tafn’s James de Givenchy: “Nothing competes with a perfectly cut Ashoka. Put it next to an emerald cut of the same weight, and it looks a lot bigger, yet it has this beautiful soft fire. There is nothing like it out there.”
Jill Newman discovered his passion and verve consistent in every interview she conducted about William Goldberg, saying, “The book is timed to [Ashoka’s] anniversary, but it’s really telling the story of one of the founding fathers of 47th Street. He was a transformative person in making it what it is today. When he became the president of the Diamond Dealer’s Club [in 1973], he opened it up: he invited media and allowed women members for the first time, some of whose families had already been in the DDC for five generations. He made a diference.” This doesn’t mean that he craved the limelight. This larger-than-life personality enjoyed working behind the scenes for the community he loved. Heavyweights from politician Chuck Schumer to jewelry
Mexican actress María Félix poses with a portrait by Diego Rivera while wearing the original 41.37carat Ashoka diamond from William Goldberg.
The William Goldberg Way book cover, courtesy of William Goldberg
designer Glenn Spiro speak to his tireless eforts to elevate those around him. Newman demonstrates his influence, recounting, “If someone fell on hard times or had gotten on the wrong side of the industry, Bill would call the guy and ask him to meet on 47th Street and they would just walk down the street together. That showed people that Bill stood by him, and he was okay. ‘Well, if Bill is walking with this guy, he’s okay.’ I think that sums up how things were.”
William Goldberg knew the importance of the finer things, wearing custom-made suits by the same tailor as Nelson D. Rockefeller. Though Eve jokes, “We used to laugh saying Nelson Rockefeller doesn’t dress that well…but he loved that. He’d only travel first class; he would take the Concorde. But he would make sure to treat
everybody as equals. He loved to go into the factory, roll up his sleeves, and just hang out with the guys and have lunch with them.”
The famously discreet visionary designer Joel Rosenthal, known as JAR, sums up the man and brand in the book by saying, “Bill and [his wife] Lili and their adoring tribe were, and are, the brilliant— no pun intended—intermediary between earth and eternity, turning rock into beauty like no one else.”
William Goldberg passed away in 2003 and in 2006 the man’s impact was cemented in the stretch of 48th Street between Fifth and Madison, now known as William Goldberg Way for posterity.
The Goldberg family photographed by Nina Barnett, courtesy of William Goldberg.
This page: The Burlington Gallery in Hancocks London’s new Georgian townhouse. Next page: Guy Burton, Managing Director, Hancocks London. Photos courtesy of Hancocks London.
HOME SWEET HANCOCKS
HANCOCKS LONDON’S NEW HOME SHOWCASES
HERITAGE WITH STYLE.
By Jill Newman
“WE
ARE RETURNING TO OUR ROOTS.”
From the moment Charles Frederick Hancock established his business on the corner of Bruton and Bond Street in London in 1849, he created a buzz. Within a year, none other than Queen Victoria became a client and granted him a royal warrant.
Even in the mid-1800s, the royals were the ultimate influencers. So, when the 6th Duke of Devonshire wanted to impress the Russian aristocracy at Tsar Alexander II’s coronation in 1856, he commissioned C.F. Hancock to create a lavish seven-piece parure for Countess Granville, his nephew’s wife, who accompanied him to the grand event.
The famous Devonshire Parure, with diamonds, emeralds, sapphires, ancient cameos and intaglios, was hailed in London newspapers at the time as “matchless.” Nearly 170 years later, when Sotheby’s displayed it as part of the Treasures from Chatsworth exhibit in 2019 in New York, the auction house named it a “masterpiece of Victorian jewelry.”
Today, Hancocks London still holds a coveted position, one that has been carefully maintained by its present owners, the Burton family. In recent years, some of the most important jewels have passed through Hancocks: Princess Margaret’s Cartier diamond rose brooch that she wore to Queen Elizabeth II’s Coronation; a ruby and diamond necklace that was part of the French crown jewels; and the Anglesey Tiara, an 1890 tiara with over 100 carats of old European cut diamonds, previously owned by the flamboyant 5th Marquess of Anglesey, Henry Cyril Paget.
Hancocks remains the family jeweler to international royals,
well-heeled families, and new, younger buyers. Though Guy Burton, the house’s managing director, won’t divulge client’s names or stories. It’s that discretion and longtime familial relationships, along with an extraordinary collection of curated vintage diamonds and jewelry, that keep clients coming back generation after generation.
This year marked a new chapter in the storied jeweler’s legacy when it moved into an 18th-century Georgian townhouse at 62 St. James’s Street, near St. James’s Palace. It sits amongst London’s revered heritage brands, including Lock & Co., hat makers since 1797, Berry Bros & Rudd, wine and spirits merchants since 1698, and Church’s footwear, established in 1617.
“We are returning to our roots,” said Burton, referring to the original house the company occupied in the 1850s where it sold jewelry and silverware.
But don’t be fooled by the jeweler’s age. Hancocks isn’t stuck in a time warp. Under the leadership of 41-year-old Burton, it has evolved to include a wide selection of vintage diamonds, transformed into new rings and jewelry with a timeless yet contemporary flair. Its vintage jewelry selection includes wearable pieces that pair easily with today’s fashions. Of course, it ofers some of the finest examples of period jewels, from antique to retro, representing all the great houses. There are Art Nouveau works by Rene Lalique, Art Deco pieces from Boivin, Cartier, and Van Cleef & Arpels, and bold gold and diamond designs by Georges Lenfant.
With a wider breadth of designs, Hancocks outgrew its
Photos courtesy of Hancocks London.
Clockwise from left: Hancocks first home in 1849 on the corner of London’s Bond Street and Bruton Street; Hancocks workshop, picture taken circa 1910; Hancocks London are makers of The Victoria Cross; 6.51-carat old mine cushion cut fancy colored diamond gypsy set ring in 22-karat brushed gold; Hancocks stand at the 1873 Vienna Exhibition.
The Bruton Gallery in Hancocks London’s new Georgian townhouse.
Photo courtesy of Hancocks London.
“MORE PEOPLE WANT UNIQUE RINGS AND JEWELRY, AND VINTAGE; THEY WANT SOMETHING THAT EXPRESSES THEIR OWN IDENTITY.”
Clockwise from left:
Antique Pearl Star Tiara circa 1890; Princess Margaret wearing her Diamond Rose Brooch by Cartier in 1955; Old mine cushion cut diamond rings at Hancock London; Victorian antique diamond tiara circa 1890; The Anglesey Tiara. Photos courtesy of Hancocks London.
cramped but charming narrow space at London’s Burlington Arcade, which was often so crowded you couldn’t fit in the door. They have occupied that location since 1998, when Guy’s father, Stephen Burton, purchased Hancocks.
In more recent years, as the business developed under Guy and his sister Amy, Hancocks’ creative director, they wanted a gallery-style space where clients could have a more leisurely visit and enjoy a glass of Champagne or tea when browsing the jewelry.
After a four-year search, Burton found the home of his dreams in the St James’s Georgian house. He enlisted British interior designers Barlow & Barlow and architect Arke to create a space that seamlessly blends its history with a contemporary style. While visitors are greeted by a doorman decked out in a Savile Row tailored suit, there isn’t anything fussy or too formal about the space.
It is designed to welcome customers of all ages because the desire for distinctive vintage designs continues to grow among younger clients, says Burton. “It used to be that many people were only interested in brand and designer jewelry names, and that’s changed quite dramatically in the past five years,” he said. “More people want unique rings and jewelry, and vintage; they want something that expresses their own identity.”
“Guy has attracted the interest of a whole new generation of jewelry buyers with his new designs and engagement rings,” said Russell Zelenetz, a partner in Stephen Russell, the vintage and contemporary jeweler on Madison Avenue. While he says Hancocks London has always had a good reputation, he added, “Guy has taken the storied firm to a new level. The new shop is fresh and exciting.”
EXPLORING THE NEW HANCOCKS
The five-story house is an immersive experience, one that celebrates Hancocks’ history while showcasing vintage jewelry and silverware and an array of newly created diamond pieces. It has three levels of jewelry, each uniquely designed and named for one of Hancocks’ former locations.
The ground level Sackville Gallery is a walk-through of Hancocks’ illustrious heritage with displays of its ledgers and diaries with orders dating back more than 175 years (you’ll recognize royal and famous names), and a library of jewelry books. Bathed
in warm blue walls with a custom banquette, the inviting space feels like an elegant living room. The walls are lined with framed original sketches, historic images, and Queen Elizabeth, the Queen Mother’s royal warrant for goldsmith and silversmith. It’s one of four royal warrants that Hancocks was awarded.
One of its most coveted pieces on display is the huge silver Napoleon jug made by Hancocks for Napoleon III, the last Emperor of France, which was exhibited at the 1867 Paris Exhibition. There’s also an area showcasing the Victoria Cross medal, which Queen Victoria commissioned for the house in 1856. It’s the highest military award given to soldiers for acts of extreme bravery and is still produced by Hancocks today.
Hancocks is one of the few or perhaps only houses with a selection of exquisite vintage diamond tiaras for sale, which Guy says are popular today. “It is hard to find tiaras in really good condition,” he said. “We have clients looking for tiaras for their wedding and want to have one that stays with the family as an heirloom.”
The Bruton Gallery, with walls covered in green moiré fabric and swaths of fabric bows, showcases a curated selection of vintage jewelry. There’s a Van Cleef & Arpels diamond-covered bracelet from 1965, which is as fluid as a silk scarf, and a classic unsigned 1930s Riviere necklace with 44.14 carats of old cut diamonds. While Burton travels the world seeking vintage jewelry and diamonds, he said many pieces and stones come from families who have been multigenerational clients and have a trust level in selling to Hancocks.
The Burlington Gallery portrays a romantic mood with pink lime-washed walls and matching drapes, an Art Deco-inspired chandelier and a champagne bar. It’s the perfect setting for couples shopping for diamond engagement rings. Burton selects nearly every vintage stone and collaborates with Amy on redesigning them into rings. The newly reimagined rings and bespoke commissions are made by master jewelers in London, including one workshop that has made Hancocks jewelry for more than a century.
“I look for the most beautiful diamonds and gemstones, the ones that were hand-cut by the masters a century ago,” said Burton. “Now we have the space to tell the story of these beautiful stones,” he says.
The rings, both vintage and newly imagined with antique stones, range in size and price. Among them is an elongated 2.3-carat Asscher-cut diamond, circa 1920s, set in a ring with tapered French cut baguettes. “An elongated Asscher is hard to find because they didn’t make too many,” says Burton. Even smaller diamonds are of exceptional quality, like the 1-carat D internally flawless emerald cut, Golconda diamond, which Burton set in a carved onyx framed ring. There’s also a selection of fancy-colored diamonds, which Burton says are “phenomenally rare and hard to find.” From classic Art Deco settings to contemporary gypsy-set diamond rings, there’s a style for every client.
What’s the best part of being in his new Georgian home? “Having the space to show the breadth of our jewelry and sit down with clients and share our stories.”
A pair of antique Georgian diamond drop earrings with old cut diamonds, dated circa 1830/1840; Edwardian diamond, pearl and platinum garland necklace, circa 1910. Photos courtesy of Hancocks London.
A Special Gift for Your Special Someone
A foolproof guide to finding the ultimate sentimental gift this season.
BY BRANDON BORROR-CHAPPELL
I am not a good gift giver. A few years ago, I was hunting around for the perfect gift to give my one true love, who had a beautiful head of hair. I’d caught her eyeing this set of natural diamond encrusted tortoiseshell combs which she and I both dreamt of pulling through her luscious, cascading hair. The combs were well out of my budget, but it became one of those things, you know? I had this watch that had been in my family for a couple of generations, but I didn’t wear it because I didn’t have a proper strap for it. I pawned the watch and used the cash to buy the combs for my beloved. Well, I awoke Christmas morning to find she had shaved her head, sold her lustrous locks to a bespoke wig maker, and used the money she’d received to buy me a suitable strap for my grandfather’s watch!
Okay, I may have borrowed that story from O. Henry (does it bother anyone else that the girl’s hair will grow back but the watch is gone forever?). But it is true that I am not a good gift giver, and that most things are out of my budget. I’ve been coasting on the engagement ring I gave my wife but that was five years ago and I think it might be time to get back on my game. You may be wondering why you should bother reading a guide written by someone who isn’t good at giving gifts – well, if you are already fluent in this particular love language, then read no further. But if you, like me, find your mind goes completely blank when you try to envision your special person unwrapping something that genuinely delights them, then maybe we can figure this out together. It’s wonderful to receive something precious and valuable, so of course you can always take that well-traveled path. But I think you can enhance the value and meaning of your gift if you can find a way to link it to a memory specific to your relationship.
I have received wonderful gifts despite my assurances that she needn’t get me anything. Early in our relationship, Laura tracked down a first edition of my favorite book, The Hitchhiker’s Guide to the Galaxy. I felt molecularly known. For my 30th birthday, she got me a vintage Rolex. I’d never been a Watch Guy, and now I never leave home without its majestic weight wrapped around my wrist. Ideally, a traditional gifting occasion - like the rapidly approaching holidays - should not feel like a negative space you have to fill, or an obligation, but rather an opportunity to show your person that you truly know who they are.
I highly recommend you pull out your phone right now and create a new note titled “Gift Ideas” and make a habit of adding to it when you see them get excited about something - maybe their favorite band just announced a reunion tour, or maybe you see them light up and point at a particular display in a jewelry store window. This is a good idea to start doing now, but it won’t pay of until further down the road. I know, I knowyou’re desperate for guidance, and you’re losing faith that I have any sort of life raft to toss you. Listen: if you’ve found yourself a nice life partner, then the humming and drumming of your daily life together is certainly littered with beautiful natural diamonds of opportunity.
Now usually I dig up one of these moments, fold a piece of paper in half, illustrate it crudely, and write a loving message. (1) I am a staunch believer in the power of a handmade card, regardless of your artistic or literary prowess. An example: Laura has a beautiful antique French opaline lamp. I recently brought it to a hardware store to replace the socket. While it was there awaiting service, someone knocked it over and broke it. Not good! Here is a card I might make to help salve the wound. A bit glib, and in this case maybe a bit too soon. But just imagine Laura reading this note and giving me a wan smile but still grimacing at the destruction of her beloved lamp. As she takes a breath to thank me for the thoughtful card, I cut her of and say, “Sometimes a thing has to break apart for you to see the beautiful parts that make it up,” and I pull this bad boy from behind my back.
This Geometric Diamond Neckpiece (2) by Australian jeweler Stefano Canturi showcases the beauty of asymmetry and rough edges. It won’t put the lamp back together, but the hundreds of round brilliant-cut natural diamonds set in white gold links will probably help ease the pain. It even has a handy sapphire baguette to help you find the clasp! What I love most about a lot of Canturi’s designs is that they look like they crash-landed from outer space and exploded into their form, which is why I thought of them for this first vignette.
During a trip up to Massachusetts to visit my family, I realized a bit late that I’d accidentally booked the rental car for a day longer than I’d meant to. Instead of returning to New York as planned, we boarded a ferry to Martha’s Vineyard because Laura wanted to visit the general store where Larry David screamed at Alan Dershowitz. We drove a bit, strolled a bit, and ended the day licking ice cream cones as the sun was setting. In my fantasy of holiday heroism, I retell that story to my wife and then present her with this set of Marie-Hélène de Taillac’s Diamonds Dancing Emilie Earrings. (3)
I know they are elegant chandeliers of natural diamonds set in yellow gold, but to me, they are the ice cream cones we enjoyed on Martha’s Vineyard during the bonus day of our vacation. These would set me back $12,000 but by imbuing them with this story, they would become priceless.
Laura and I were aboard our honeymoon cruise around the Mediterranean and docked on the Greek isle of Spetses. We strolled to the restaurant we’d gotten excited about only to find it was closed that day. We wandered a bit and eventually found our way to a small touristy restaurant on the water patrolled by a lone grumpy-looking Greek man. We made friends with an orange cat under our table which turned out to be the guardian of our salty waiter’s heart.
“Most people think he’s mangy because his fur sticks up - but it’s just because of the salt. Every morning, he jumps in the ocean to fish,” he explained proudly. We sat for three hours eating, drinking, tossing crumbs to the fish, and petting the orange cat, basking in the smug glow of knowing we had skipped nimbly over the threshold separating bland tourists from appreciative guests.
Before he hugged us goodbye, our waiter introduced us to the kittens (4), who were closely guarded by their one-eyed mother. That afternoon is one of my absolute most treasured memories, and it wouldn’t have happened if our original plan had worked out. I would like to tell Laura this story she already knows, drawing out every detail, and then present her with this 1960s Boucheron cat brooch (5) whose face is encrusted not in Aegean Sea spray but rather round-cut natural diamonds. Maybe I am a good gift giver, I’m just missing the $7,000 in disposable income to realize it.
These are the events that make your relationship special and make your relationship yours. Not just the traditional milestones, but the yards and inches between them. Scroll through your photo roll and hunt for a moment where you know you were both feeling the same wonderful gratitude for each other. Or maybe there’s a broken lamp you can replace with something even better.
Maybe you went to your friend’s child’s birthday party and while you were resting out in the yard, you noticed that one of the children left their bubble soap and wand unattended in the grass. You picked it up and took turns blowing bubbles for the first time in who knows how many years and for a moment suspended in time felt like a kid with your crush. That could be a nice memory to commemorate with the Maggi Simpkins Bubble Ring. (6) This 1-carat pear shaped white natural diamond inlaid in Australian opal would sit nicely on your beloved’s finger and remind both of you to always look for and cherish moments of childlike joy together.
You don’t have to have a story. I don’t think there’s any way the million-dollar Maggi Simpkins In Bloom Ring could land badly. The 2.34-carat fancy pink natural diamond set in petals of rubies and pink sapphires tells a good enough story on its own. (7)
But if I had the budget for this ring, I would want a way to make it especially hers instead of just saying, “Hey, I love you a million dollars’ worth.” Perhaps she has been struggling for years to tend to a garden of begonias but has never managed to balance the pH of the soil. Well, this ring will be ‘in bloom’ for all eternity, as is my love for you, darling.
I know from experience that it can be easy to fall into the trap of feeling obligated but uncertain about how to give a meaningful gift to someone you love. I think you can escape from that trap by taking a couple of minutes to think about what you want your gift to mean and work from there. I think about how grateful I am to share this journey of life with someone grateful to share it with me. So, take a moment to reflect and find a moment that you shared, something that you only remember because you went through it together that otherwise might have just faded into the background hum of existing.
And you can bring an object of value into the relationship to commemorate this, like this pair of platinum and 1.4-carat heart shaped diamond stud earrings. (8) Because nice things are nice, and they last, and they hold their value. Just find something that helps you tell the person you love that you specifically love them. And trust me on the homemade card.
Boucheron 1960s Vintage Gold, Diamond, and Enamel Cat Brooch. 1stdibs.com. Marie-Hélène de Taillac Diamond Dancing Emilie Earrings. mariehelenedetaillac-us.com.
Sotheby’s Platinum and 1.40-carat Heart Shaped Diamond Stud Earrings. sothebys.com.
FOR THE BOYS
Thoughtful diamonds to suit every man’s personal style. By JOSH PESKOWITZ
What feels real is more important than ever. Placing yourself solidly in the real world is as much about a sense of self as how you manifest that to others. Jewelry has always played an important role in defining oneself and showing one’s character. As with so many other aspects of our lives (both digital and physical), the options have become nearly limitless. This can be overwhelming or liberating. The schools of thought on precious accessories explored here are decidedly liberating. The real is what we make of it.
1. OX; ox-ny.com
2. Uniform Object; uniformobject.com
3. Sidney Garber; sidneygarber.com
4. Boucheron; boucheron.com
5. Luis Morais; luismorais.com
6. David Yurman; davidyurman.com
7. Harwell Godfrey; harwellgodfrey.com
8. Piaget; piaget.com 1 4 5 6
Really Complicated
Due to a resurgent love for the 90s, traditional chain links such as the Cuban, Figaro, and Herringbone have been enjoying the spotlight over the last few years. So where do we go from here? For many geometrically gifted designers, chains have become more intricate, bigger, and, with the inclusion of precious stones, more dazzling. Like other art forms, jewelry must be balanced to be beautiful, and to achieve a design that is both pleasing and can stand the test of time is no easy feat. Folks invest a lot of money in these pieces and want to be able to wear them for years and even hand them down to future generations. The safe route is to stick with classic tropes. But rather than trying to be timeless, these bold pieces stand outside of time – their audacity makes them endlessly NOW. Complications have always figured into men’s fine jewelry in the form of mechanical watches. Movements such as tourbillons and perpetual calendars are exceedingly hard to produce, making watches more valuable. For this mentality to creep into other forms of adornment is most welcome – such as with David Yurman’s diamond inset deco link chains, or Louis Morais’ triple stack hinge rings. A discerning eye can tell if a stone is precious by the Four C’s, but truly captivating jewelry must go a step further. If it shows ingenuity, craftsmanship, and beautiful materials, then the bang is worth every buck.
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7 Really Elegant
A former boss of mine once said that it should take fifteen minutes to figure out if a man is well dressed or not. He was referring to the fact that it’s the details that set an excellently dressed man apart from a merely acceptably dressed one. The overall style of the clothes men wear has changed since then, but the sentiment is still valid. One of the most telling details of the excellently dressed are their accessories. Over the last few years, it’s been noted that men’s jewelry and watches have been getting smaller and more refined. This has taken several turns – from minimal to a little bit slutty –but has now settled into a very pleasing and elegant equilibrium.
Elegant does not mean simple or boring. In fact, it’s far harder to inject personality into such a small canvas and even more pleasurable when it’s nailed. Take the diamond tennis bracelet as an example: Brooklyn Jeweler Mociun’s Building Block bracelet staggers the diamonds out over links making it both subtle and impactful. They might not be noticeable right away but are sure to secure a second glance – or a fifteen-minute observation. Elegance is in the attitude and is present in every context and occasion. Therefore, this jewelry becomes part of the wearer’s everyday routine, blending in and always appropriate. The idea of true elegance is to choose wisely once and then never think about it again.
1. Bernard James; bernardjames.com
2. Graziela; grazielagems.com
3. Graff; graff.com
4. Rosario Navia; rosarionavia.com
5. Tiffany & Co.; tiffany.com
6. Eva Fehren; evafehren.com
7. Mateo; mateonewyork.com
8. Suzanne Kalan; suzannekalan.com
9. Nikos Koulis; nikoskoulis.com 2 1 3 4 6 8 5 9
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Really Organic
1. De Beers; debeers.com
2. Studio Renn; studiorenn.com
3. Fie Isolde; fieisolde.com
4. By Pariah; bypariah.com
5. Alighieri; alighieri.com
6. Beck; beckjewels.com
7. Ten Thousand Things; tenthousandthingsnyc.com
8. Todd Pownell; tapbytoddpownell.com
Jewelry designers dedicate time and efort to remove the imperfections in gems and metal. This is, of course, to enhance the beauty of the materials but also to show their mastery over them. As we’ve talked about before, this process can become so complicated that it bends the mind. This semi-mystical blending of natural materials by artists will delight some wearers, but to others, it borders on Byzantine. Some jewelers swing the pendulum to its farthest extreme by creating pieces that showcase or mimic the rawness of the natural world. They even incorporate decidedly non-precious materials into their creations. We’re talking wood and concrete. The juxtaposition of expertly cut diamonds with a fossilized shark tooth, or a hunk of barely polished Lapis Lazuli feels exciting, and a little daring. A gold ring that looks just a little bit like an amoeba or looks very much like it was hammered by hand won’t appeal to everyone, and that’s just what the wearer of such a piece wants. One’s choice of jewels should be intensely personal, and so trends in jewelry tend to be as varied as the wearer. Traditional just doesn’t sit right with these adherents to the organic, and after all, there’s something magnetic about someone with a rough edge to their refinement.
Really Regional
As the COVID-19 pandemic has subsided there have been thousands of trend articles breathlessly recounting consumers’ preference for experience over things. Hotels, hiking guides, and chefs are to rejoice; shopkeepers are to beware. No doubt there has been a surge in what has been called “revenge travel” these last two summers, but what is being underplayed is the traveler’s desire for keepsakes from their journeys. One can have terabytes of selfes, but afer a while, they all blend into each other. What are you lef with? Finding a talisman while perusing Istanbul’s Grand Bazaar or at a cool shop in Santa Fe, will remind you forever of a life spent living. And if you happen to fnd you have a certain appreciation for the way Indian jewelers design their links, and you want more? Luckily, they are only a hyperlink away. Nearly every culture has its own jewelry traditions and meanings. When one visits a culture and feels inspired (or gains an appreciation from researching it), it can be a great honor to take a piece with you and wear it respectfully. It’s also up to designers to take a celebratory and reverential approach to base inspiration from other traditions. It’s even better if crafspeople and artists from those cultures work on the project. All purchases are a choice, and those choices move markets and industries over time. Investing in pieces from places you visit and supporting designers and manufacturers who source equitably will always be in style.
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1. Jorge Adler; jorgeadler.com
2. Venyx; venyxworld.com
3. Silvia Furmanovich; silviafurmanovich.com
4. Marie Lichtenberg; marielichtenberg.com
5. Buddha Mama; buddhamama.com
6. Matturi Fine Jewellery; matturi.com
7. Jacquie Aiche; jacquieaiche.com
8. Michael Bondanza; michaelbondanza.com
9. Nada Ghazal; nadaghazal.com
10. Jacob & Co; jacobandco.shop
11. Harakh; harakh.com
LET'S TALK ABOUT IT
Starting at $175, these unique diamond jewels will have everyone asking about them. By ANNA MCFILLIN
Building a natural diamond collection can feel intimidating. There is no shortage of incredible pieces to choose from, but where do you begin? When it comes to jewelry, more is more. Enhance your earscape with Anita Ko’s double diamond loop earring or up your shell game with Yvonné Leon’s coral seashell ring. Whether you are shopping for someone special, or that special someone is you, let these jewels inspire and start a dream natural diamond collection. With prices ranging from $175 to $3,000, consider this gift guide a sampler of the coolest, quirkiest, and of course, timeless natural diamond jewels that are bound to strike up a conversation and adorn you or your loved one for a lifetime.
1. Lionheart, $2,295; lionheartjewelry.com
2. Henri Daussi, $2,200; henridaussi.com
3. Yvonne Léon, $2,700; yvonneleon.com
4. Buddha Mama, $2,750; buddhamama.com
5. Kwiat, $2,550; kwiat.com
6. Jemma Wynne, $2940; jemmawynne.com
7. Yi Collection, $2,450; yicollection.com
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Rings
Things
Diamond rings are the ultimate power piece, as history shows. In ancient times, pinky rings were known to be a symbol of status. In the 1920s, cocktail rings symbolized a woman’s independence and were occasionally known to grab a bartender’s attention at a cocktail party or two. So, who wouldn’t love a new ring? Lionheart and Kwiat have the perfect diamond signet rings to compliment your flute of bubbly. For the stack-and-go ring wearers, Henry Daussi’s diamond Wave Band is the ideal addition to any stack or great worn alone. Ritique’s flexible Wire Spiral ring is a unique and delicate twist on the average ring. For extra protection heading into the new year, Buddha Mama’s natural diamond and colored enamel Evil Eye Ring is the one. The good news is, today, there are no rules, so you can even stack them all.
Ear Party
Framing the face and lining up with the eyes, a diamond earring tends to be one of the first pieces of jewelry to capture attention. When someone at a fête asks where your earrings are from, you can tell them all about your afnity for natural diamonds. Whether you have multiple piercings or just one, a great way to start building a collection is with a solid earring lineup. If you are looking to add to someone else’s or your own, it’s always an (ear) party when natural diamonds are in the mix. If you have a music lover in your life, consider gifting Sorellina’s diamond and gold Guitar Pick Earrings. For something fresh and unexpected, indulge your ears with Lizzie Mandler’s diamond Croissant Studs. For a hint of sparkle, Katey Walker’s Pufy Diamond Heart Earrings will do the trick. No piercing? No problem. Gabriel & Co.’s Diamond Teardrop Ear Cuf adds the right amount of edge.
Letters of Love
There is arguably no better way to say “I love you” than spelling it out in diamonds. These diamond initials or “Letters of Love” will never disappoint and always serve to tell a sentimental story. Take inspiration from Hailey Bieber’s iconic custom diamond bubble “B” necklace designed by Alex Moss and go for Tacit’s bubble Mini Letter Necklace. Swap initials with your beau and match with Stephanie Gottlieb’s diamond and enamel Cigar Bands. No matter who’s initial you’re wearing, it holds special meaning. Mateo’s diamond Secret Initial Pendant is set behind quartz crystal for a little extra energy and Marlo Laz’s Letter Charm layers seamlessly with multiple necklaces or styled alongside other charms. TYPE Jewelry’s unique Lava Initial will draw attention with natural diamonds cascading over the letter.
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1. Mateo, $2,950; mateonewyork.com
2. Tacit, $1,250; tacit-jewelry.com
3. Stephanie Gottlieb, $1,300; stephaniegottlieb. com
4. TYPE, $2,250; typejewelry.com
5. Ali Weiss, $175; aliweissjewelry.com
THE FINEST HOURS
A guide to the timeless allure of natural diamond timepieces.
By
TANYA
DUKES
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Wild Kingdom
Nature is always among the chief inspirations for creative minds. Artful, almost abstract, interpretations of extraordinary flora and fauna—from the multicolored majesty of birds of paradise to the striped fur of a zebra—are the current fascination of designers who blur the lines between watches and jewelry. Whether someone special on your gift list identifies as a cat person, a dog person or none of the above, they’ll find lots to love in Damiani’s diamond-set masterpiece with two secret faces and pops of fancy yellow diamonds and emeralds or a swirl of diamonds and opals from Piaget reminiscent of a peacock feather. While the red carpet is the natural habitat for ultra-extravagant watches, there’s room to wear a wild-at-heart watch at any hour. To translate the idea for everyday wear, a streamlined Bulgari model that spirals around the wrist like the most seductive of snakes does the trick; its diamond-set bezel lights up a vivid jungle-green dial.
Take a Little Time
They may be tiny, but there’s a lot to love about itsy-bitsy cocktail watches. Where one of these goes, a party is sure to follow; they’re for occasions where the mood is as buoyant as a Champagne bubble. Falling squarely in the category of necessary indulgences, no one thinks they need a mini evening watch until they own one. Whoever gets one of these watches will be eternally grateful to know what they’ll wear on their wrist whenever it’s time to get fancy. Every cocktail watch requires a bit of natural diamond glitter to catch the light by night, whether from a candle, moonbeams or a disco ball spinning overhead. The magnitude of sparkle is up to you and your budget. Graf ’s is wrapped up in diamonds down to its coquettish bow and is undoubtedly a splurge, while many vintage watches that have seen a party or two are an accessible choice. For the romantic, opt for a watch on a satin ribbon or dainty leather cord or go modern with a style that mixes precious materials and graphic patterns like the new quilted 2.55 watch from Chanel. The gift of a little party watch is ultimately hopeful; it comes with the promise of good times to come.
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Play to Win
Do you think the athletes on your gift list have no use for diamonds? Think again. There’s a deluge of new watches designed for the sporty set and embellished with diamonds. It makes sense once you learn a little more about diamonds. They’re the hardest substance found in nature. And that’s one of the reasons they’re called into action for watches designed for the most rough and tumble of activities—racing, diving, running and the rest. Natural diamonds give a refined dressed-up spirit to sporty watches, even when matched with a heavy-duty rubber strap. There’s a deep roster of athletes who’ve worn diamond watches as they chalked up victories; Serena Williams won one Grand Slam after another in diamond set watches from Audemars Piguet, and Gabby Thomas won gold in the 200 meters at the Olympics in a diamond-studded Omega watch. Armchair athletes should feel free to look sporty and sparkly, too. (Anyone can have gold medal style.) The main takeaway is that diamonds should never be stuck on the sidelines.
Blue Skies Ahead
Surveys say it’s the most beloved color in the world, so don’t rule out blue when choosing a watch to give during the holiday season. It’s no surprise that a color associated with clear horizons and boundless optimism is a favorite among watchmakers, too. The full spectrum of blue was prominent among the most recent round of watch releases. Deep tones of marine bring to mind the mystical world of underwater depths and a meditative and dreamy mood. Meanwhile, soft, cerulean hues feel serene and lighthearted (and might tickle the fancy of The Devil Wears Prada fans). Traditional watch designs awash in azure, cornflower or navy suddenly feel unexpected and new, and natural diamonds bring fire and sparkle to the equation, whether they ride the vast waves on an Arnold & Son watch or emphasize the sculptural details in a jewelry timepiece from Buccellati. When someone opens a gift box with one of these watches, they’ll experience the best possible spin on feeling blue.
1. Buccellati; buccellati.com
2. Baume Mercier; baume-et-mercier.com
3. Arnold & Son; arnoldandson.com
4. Breguet; breguet.com
5. Beauregard; beauregard.ch
6. Chopard; chopard.com
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7. Vacheron Constantin; vacheron-constantin.com
Double the Fun
The Finest Wines
Know someone who fancies a seductive merlot? What about a lush Burgundy? Now is the time to indulge them with a gift that will tantalize their taste for color that’s fresh from the vineyard. Delectable wine tones exude a sultry sense of finesse that’s the perfect foil for diamonds; the brilliant stones stand out against a deep, dark background. Those black cherry tones are in the midst of a resurgence, whether it’s on the runway—see Gucci, Bottega Veneta or Saint Laurent for pointers—or on the wrist. What might sound like an unusual color choice for a watch isn’t as far out as it may seem. Wine is a neutral with potent visual impact. It’s a can’t-miss color across the style spectrum, from preppy Americana to Left Bank louche. There’s variation within the color family, too. Choose from hues that span from warm reddish hues to saturated near-purple tones. On a classic angular watch, like Jaeger-LeCoultre’s Reverso, a flash of red wine injects a sense of fun, while on muscular, sports watches, like the Audemars Piguet Royal Oak, the color gives a dash of elegance. Three cheers to that.
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Even during the holiday season, when frivolity is in the air, some people cannot resist the pull of practicality; the gifts they love most have a certain something that makes life a little easier and slightly more orderly. They’d be thrilled to find a label maker or vacuum under the tree, but you can do better than that. A watch is a spot-on gift for the preternaturally organized who would never consider abandoning their schedules for a second. Choosing a model with enough versatility for day in, day out wear is an even bigger bonus. For simplicity’s sake, look to two-tone styles that remove any question of whether it matches the other elements of any outfit. Even in our no-rules fashion era, some people break a sweat if all their jewelry doesn’t share the same metal. A bi-color watch will soothe an anxious Type A soul. And if you haven’t been taking notes on whether someone on your gift list loves white gold or yellow, rose gold or stainless steel, a bi-color watch is always a winner. Elevate the look with a flourish of natural diamonds. It’s a style that had its heyday in the 1970s and 80s, and like so many throwback looks --shoulder pads, bodysuits--it’s primed for a comeback.
This page: American Actress Gloria Swanson standing at a pair of NBC microphones, circa 1925.
Next page: Brent Neale One-of-a-Kind Platinum Pillow Ring with Oval Diamond.
THE OVALTINES
OVALS HAVE BECOME THE SUPERSTAR DIAMOND SHAPE FOR ENGAGEMENT RINGS
BY MARION FASEL
Before Lady Gaga formally showed of her giant oval diamond engagement ring from longtime love Michael Polansky at the Venice Film Festival in September, I had already read a headline in April that she was sporting an engagement ring. I immediately had a feeling it was an oval. My hunch came from the oval’s steady rise to be the hottest diamond shape for engagement rings in the 21st century.
Hailey Bieber has played a significant role in sparking interest in the elliptical diamond shape. Since receiving her oval diamond Jack Solow engagement ring from Justin Bieber in 2018, she has been taking close-up selfies with it. The Biebers doubled down on their love of oval diamonds when Justin gave Hailey a slightly larger, oval diamond Lorraine Schwartz ring just before the birth of their first child in August. The model showcased the new ring on Instagram, wearing it on her left ring finger and moving the original ring to her right pinky.
But Hailey wasn’t the first celebrity to get the oval diamond ring style rolling. Back in late 2011, Ryan Reynolds proposed to Blake Lively with a pink oval diamond Lorraine Schwartz engagement ring. In 2016, tennis champion Serena Williams started wearing the engagement ring with a giant oval flanked by triangular side stones that Reddit founder Alexis Ohanian gave her. The tennis GOAT loves the jewel, estimated to be worth millions, so much that she sometimes kept it in her bag on the court during Grand Slam tournaments. After winning, Serena would put it on for the on-court TV interview.
Other examples of high-profile ovals include the diamond Jesse Plemons slipped on Kirsten Dunst’s finger in 2017, the Lorraine Schwartz ring Travis Barker gave Kourtney Kardashian in 2021 and the 3-carat oval engagement ring by Zo Frost that Simone Biles received from football player Jonathan Owens in 2022.
Serena Williams and husband
Alexis Ohanian arriving at the 2018 wedding of Prince Harry and Meghan Markle in Windsor; Retrouvai
1.98-carat
Oval Diamond Impetus Interlocking Puzzle Ring.
Jessica McCormack
Tilted Oval 2.04-carat
Diamond Button Back Ring; Lady Gaga arriving in Venice for the 2024 Venice International Film Festival premiere of Joker: Folie à Deux
In the history of engagement rings, ovals have never enjoyed such a period of popularity. Sure, some celebrities wore them, but they were few and far between. In 1924, silent film star Gloria Swanson, who was something of a Lady Gaga in her day, known for her cutting-edge wardrobe and daring film roles, began wearing a giant moval which is a cross between an oval and marquise shape, when she became engaged to Henri, Marquise de la Falaise, a French nobleman. 10 years later, actress Ginger Rogers, who is famous for the musical films she made with Fred Astaire during the 1930s, received an oval diamond engagement ring from actor Lew Ayers in 1936. Rumor has it that when the couple divorced in 1940, Rogers didn’t want to give the ring back and bought it from the actor so she could keep it and maintain her peace of mind.
While ovals have just begun to enjoy a level of star status, the history of the cut goes back to at least the 17th century, but it was rarefied. In the 1920s, when advances in diamond cutting tools allowed lapidaries to refine the faceting of diamond shapes, bringing more brilliance and fire to the gems, the updates for ovals didn’t fully happen. It wasn’t until 1957 that the diamond experts at Lazare Kaplan in New York redesigned the shape.
It’s easy to see why oval diamonds have finally come into their own. Ovals stretch elegantly across a finger, giving the illusion of elongating the hand. They are the proverbial classic with a twist that is so hot in fashion. Versatile in design, ovals look good in any style of engagement ring, from elaborate to a prong setting. They can be artfully set in a tilted akimbo position too. I expect the period of popularity for ovals will continue for quite some time because engagement ring cycles last for long periods. Ovals are so much in favor right now; I feel pretty confident a certain celebrated Kansas City Chiefs football player will be looking into an oval for his singer-songwriter paramour when she is done conquering the world on her Eras tour.
Stephanie Gottlieb 1.30-carat Oval Bezel Set Solitaire Engagement Ring; Blake Lively at the Captives premiere during the 2014 Cannes Film Festival in France.
Thorne Sati Ring; Hailey Bieber at the 2023 Academy Museum Gala in Los Angeles.
WHEN DIAMONDS STOLE THE SHOW
CINEMATIC MOMENTS WHEN NATURAL DIAMONDS PLAYED A STARRING ROLE.
by Hannah Militano
1956: Grace Kelly in High Society wearing her own Cartier engagement ring.
sn’t it wonderful? Do you see what I mean, how nothing bad can ever happen to you in a place like this?” Holly Golightly asks while traipsing through Tifany & Co. “It isn’t that I give a hoot about jewelry, except diamonds, of course… Like that.” In the 1961 classic Breakfast at Tifany’s, actress Audrey Hepburn’s eyes widen in awe, setting her sights on the 128.54-carat yellow Tifany Diamond necklace sitting regally inside the jewelry case.
When it comes to the movies, we go to feel something real in a world of fiction –and natural diamond jewels do just the trick. Whether acting as a transformative tool in a beloved rags-to-riches story or a symbol of love, diamonds have an unrivaled ability to set the scene. Since the age of Old Hollywood, diamonds in film have captured our hearts in starring roles, stealing the show and deserving their own Oscar.
1933: SHE DONE HIM WRONG
Actress Mae West pulled from her own jewelry box for her 1933 portrayal of the Burlesque singer Lady Lou in She Done Him Wrong. The film was adapted from the 1928 Broadway production Diamond Lil, written by West herself. Based on the life of performer Lillian Russell, the nickname stemmed from her love for diamonds and her keen ability to persuade men to purchase them for her.
West wore her own diamond jewelry in the film, from her shoulder-scraping earrings to the stacks of Art Deco diamond bracelets, and plentiful assortment of rings. The actress sold a large portion of her collection to donate to the war efort, excluding a 1920s 40-carat diamond bracelet believed to have been worn in the film. The piece was later acquired by jeweler Neil Lane, who lent it to the costume department of Chicago for Catherine Zeta-Jones to wear.
1940: THE PHILADELPHIA STORY
In the 1940 comedy The Philadelphia Story, Katharine Hepburn stars as Philadelphia socialite Tracy Lord. Throughout the film, she wears a stunning emerald-cut diamond engagement ring by Verdura. At the time, loaning real jewels to films was still uncommon. Many believe either Hepburn or costume designer Adrian, made a special call to Duke Fulco di Verdura to accommodate the request.
1950: SUNSET BOULEVARD
Gloria Swanson made a habit of showing of her pair of Cartier rock crystal and diamond bracelets both on- and ofscreen. She wore the Art Deco hemispherical bombé-shaped bangles in her 1933 film Perfect Understanding, and later in 1950 as Norma Desmond in Billy Wilder’s Sunset Boulevard. In 1951, the Hollywood icon even wore the same bracelets to a New York party during a live radio link with the Oscars ceremony in Los Angeles as she awaited her results for the Best Actress category. In 2022, Cartier took inspiration from her trademark bangles with the diamond Libre Morphosis watch as an homage.
1940 1964 1950
1968
1967
Mae West in She Done Him Wrong wearing her own diamonds.
Anne Bancroft in The Graduate wearing Harry Winston diamonds.
Katharine Hepburn in The Philadelphia Story wearing Verdura diamonds.
Audrey Hepburn in My Fair Lady wearing a Chaumet diamond tiara.
Gloria Swanson in Sunset Boulevard wearing Cartier diamonds.
Elizabeth Taylor in Boom! wearing her own Bulgari diamonds and the Elizabeth Taylor diamond.
1968
1956: HIGH SOCIETY
1974
Ahead of her wedding to Prince Rainier III of Monaco, Grace Kelly starred in her final film High Society before giving up her acting career to become a royal. She starred alongside Frank Sinatra and Bing Crosby in The Philadelphia Story remake, with yet another co-star – her very own magnificent Cartier diamond engagement ring. The ring featured a 10.48-carat emerald-cut diamond, flanked by a pair of tapered baguettes. Kelly stars as Tracy Samantha Lord, who is wedged between three men vying for her attention. Looking at her new sparkler, her ex-husband tells her, “That’s quite a rock, Sam,” before turning to her new fiancé saying, “Some stone, George. Did you mine it yourself?”
1964: MY FAIR LADY
Audrey Hepburn stars as the Cockney working-class girl, Eliza Doolittle in the 1964 rags-to-riches musical My Fair Lady . After taking lessons to appear more educated and cultured, she makes her entrance as a member of high society at the Embassy Ball. Hepburn’s sky-high updo is embellished with a diamond chandelier tiara designed by Chaumet, teamed with a luxurious openwork choker and matching drop earrings. Her knock-out ensemble designed by Cecil Beaton even scored the f ilm an Academy Award for the wardrobe.
1990
1967: THE GRADUATE
Dustin Hofman’s character Benjamin Braddock begins a tryst with an older woman, Mrs. Robinson, played by Anne Bancroft in The Graduate. Throughout the movie, the Beverly Hills housewife adorns herself in Harry Winston jewels, from a diamond bracelet and cluster earrings to a juggernaut marquise-shape diamond Harry Winston engagement ring to complete her glamorous seductress persona.
1968: FUNNY GIRL
Throughout her stardom, Barbara Streisand garnered a reputation for incorporating her self-purchased antique and vintage jewelry collection on-screen. So, when it came to her role in the 1968 motion picture Funny Girl , Streisand selected the perfect Edwardian and Art Deco pieces, f it for the period in which the f ilm is set, the early 1900s. During her performance of “My Man,” Streisand’s character, Fanny Brice wears diamond teardrop earrings and a sparkling Edwardian-style diamond engagement ring. Many of the jewels worn in Funny Girl were reportedly purchased from the Fred Leighton boutique in New York City and remain in Streisand’s personal collection.
1968: BOOM!
As much a jewelry connoisseur as she was an actress, Elizabeth Taylor wore plenty of her own diamond Bulgari baubles in the 1968
Barbara Streisand in Funny Girl wearing her own diamonds.
Mia Farrow in The Great Gatsby wearing Cartier diamonds.
Julia Roberts in Pretty Woman wearing FRED diamonds.
1995 2001
film, Boom!, where she starred alongside her husband Richard Burton. Wearing countless diamond brooches, bracelets and more, Taylor also wore the famed Krupp diamond. The 33.19-carat Asscher-cut diamond ring was renamed the Elizabeth Taylor Diamond after Burton purchased it for a whopping $305,000.
1974: THE GREAT GATSBY
In the 1974 film adaptation of F. Scott Fitzgerald’s The Great Gatsby, Mia Farrow portrays the wealthy socialite Daisy Buchanan during the Jazz Age of the Roaring Twenties. To emulate the era, Farrow’s Daisy adorned Art Deco Cartier jewels, including a delicate diamond tennis necklace, pear-shaped diamond earrings, and a circular diamond wreath brooch. She also sported Cartier’s 1928 Love Bird brooch in the film, featuring two perched parrots made up of rubies, black onyx, and diamonds. Most famously, she wore a gigantic marquise-shaped diamond engagement ring with a diamond wedding band. Two years following the movie’s release, Cartier hosted the Louis Cartier Retrospective exhibition in New York, with many of the pieces from the film included.
1990: PRETTY WOMAN
Who could possibly forget the iconic scene in Pretty Women, when Richard Gere surprises Julia Roberts with a jewelry box and opens it to reveal a sparkling diamond and ruby necklace? When
2002
Roberts’ character Vivian reaches to touch the jewel, he snaps it shut, prompting her to break out in her famous uproarious laughter. Dressed in her red gown and white opera gloves, Vivian wears the necklace with 23 pear-shaped rubies coiled in natural diamond hearts from the French jeweler Fred Joaillier.
1995: WAITING TO EXHALE
Waiting to Exhale follows the lives of four friends played by Whitney Houston, Angela Bassett, Loretta Devine, and Lela Rochon. After Bassett’s character Bernadine is betrayed by her husband, she loads up his car with his entire wardrobe, pours on the gasoline, lights a cigarette, and sets his car on fire, making for one of the most legendary revenge scenes in cinematic history. Wearing black lace lingerie under her white silk robe, Bassett accessorized with a gold and diamond choker from Bulgari.
2001: MOULIN ROUGE
Baz Luhrmann’s 2001 Academy Award-winning cinematic adventure Moulin Rouge! features one of the most prominent pieces of diamond jewelry in film history. Set in 1899 Paris during the Bohemian Revolution, Nicole Kidman stars as the courtesan Satine, also known as the “Sparkling Diamond.” When the evil Duke tries to claim her for himself, he places an intricate diamond bib necklace around her neck, representing his possession of her.
Jennifer Lopez in Maid in Manhattan wearing Harry Winston diamonds.
Angela Bassett in Waiting to Exhale wearing Bulgari diamonds.
Nicole Kidman in Moulin Rouge wearing Canturi diamonds.
Named after the character, the necklace was designed by Australian jeweler Stefano Canturi and entered the Guinness Book of World Records as one of the most expensive pieces of jewelry ever made for a motion picture. Inspired by the opulent lace-like jewelry of the period and Louis XVI, the hand-crafted Satine necklace features 1,308 diamonds, totaling 134 carats with a 2.5-carat sapphire clasp. It took over four months to make, using 100-yearold techniques.
2002: MAID IN MANHATTAN
In the romantic comedy Maid in Manhattan, Jennifer Lopez undergoes a major fashion transformation. Her dramatic reveal comes during a Black-tie event at the Metropolitan Museum of Art when our heroine arrives in a coral Bob Mackie gown and the immaculate Harry Winston diamond wreath Cluster necklace and matching Cluster earrings. Chosen by costume designer, Albert Wolsky, the necklace features 180 marquise, pear-shaped, and round brilliant diamonds, totaling over 48 carats.
2003: HOW TO LOSE A GUY IN 10 DAYS
It’s a cinematic style moment that’s ingrained in our collective pop culture oeuvre: Kate Hudson in a backless lemon-yellow slinky gown with the glistening “Isadora” necklace in the 2003 rom-com, How to Lose a Guy in 10 Days. When Hudson’s character Andie Anderson attends a jewelry party, she’s invited to “frost” herself. While admiring
the Harry Winston collection of diamond jewels, Andie asks, “Is this real?!” A representative introduces Andie to “Isadora.” The diamond cluster necklace featured a 51.94-carat yellow sapphire drop pendant, matching her memorable gown.
2006: MARIE ANTOINETTE
In 2006, director Sofia Coppola sunk her teeth into the tragic tale of Marie Antoinette, the last queen consort of France before the French Revolution. Reimagined into a frothy, pastel dream world of regal grandeur, the film overflows with pastries, anachronistic 18th-century Manolo Blahnik footwear, and $4 million worth of antique diamond jewelry from the New York boutique Fred Leighton. The high-fashion period drama sees Kirsten Dunst star as the titular teenage queen, who historically treasured her own diamond jewelry collection. Showcasing the royal’s opulent and overindulgent lifestyle behind the gilded gates of Versailles, Dunst wears diamond feather brooches, diamond bracelets, and necklaces, with various pairs of drop earrings, like the 18th-century star and moon diamond chandelier earrings, totaling 25 carats.
2010: THE TOURIST
The Tourist sees Angelina Jolie’s character Elise Clifton-Ward wear an extraordinary diamond choker with a scintillating backstory. While the film was still in pre-production, Jolie called upon the jewelry prowess of Robert Procop to help her find the most captivating jewel
Kirsten Dunst in Marie Antoinette wearing Fred Leighton diamonds.
Kate Hudson in How to Lose a Guy in 10 Days wearing Harry Winston diamonds.
Angelina Jolie in The Tourist wearing vintage Cartier diamonds.
for her character. According to the jeweler, he went on an international search to narrow down the selection from 100 fine necklaces to seven. Together, they decided on a Cartier choker with an interwoven laurel leaf motif, featuring circular-cut diamonds in platinum. Originally crafted in a Parisian workshop in 1906 for Louis-Francois Cartier, the choker became an instant Hollywood star following the film’s release. Using the jewel to promote the film, SONY Pictures even built a traveling showcase to cart the diamond necklace around the world throughout the press junket. Since its cinematic debut, the necklace has been dubbed, “The Elise Choker” after Jolie’s character in the movie.
2012: ANNA KARENINA
In the 2012 screen adaptation of Leo Tolstoy’s classic novel Anna Karenina, Keira Knightley’s titular character is seen dripping in pearls and Chanel diamonds throughout the film including the iconic layered floral Camelia Poudré necklace. Set in 19th-century Russia, the precious jewels were deliberately more modern. As the face of Chanel’s Coco Mademoiselle perfume, the British actress had some pull. Thanks to Knightley, costume designer Jacqueline Durran had access to heaps of Chanel Joaillerie to the tune of $2 million.
2013: THE GREAT GATSBY
Baz Luhrmann took his turn at a film adaptation of F. Scott Fitzgerald’s The Great Gatsby in 2013 with Carey Mulligan as the
leading lady, Daisy Buchanan. Tifany & Co. took the role of the film’s jeweler to exemplify the Jazz Age through diamonds with the help of costume designer Catherine Martin.
F. Scott Fitzgerald was even known to frequent Tifany’s in his day. As Daisy, Mulligan wore custom pieces like a diamond and cultured pearl headband with a dramatic feather motif and an assortment of jeweled handpieces.
2021: HOUSE OF GUCCI
Ridley Scott’s House of Gucci is filled with diamonds, afuence, fashion, and murder. When Patrizia Reggiani, played by Lady Gaga, marries into the Gucci family, all hell breaks loose. But not before she rocks some ultra-luxurious jewelry from Boucheron and Bulgari. When Patrizia first meets her husband Maurizio Gucci (played by Adam Driver), she’s seen dancing the night away in a crimson dress and a Bulgari suite from the Le Magnifiche collection, styled by costume designer Janty Yates. Matching her gown, the necklace includes 11 oval rubies, totaling 24.92 carats, and 77 round brilliant-cut natural diamonds with matching earrings. In the film, Patrizia asks, “They had it all -- wealth, style, power. Who wouldn’t kill for that?” A tale of ambition and revenge, her jewels represent the grandeur and opulence only natural diamonds can capture.
Carey Mulligan in The Great Gatsby wearing Tiffany & Co. diamonds.
Lady Gaga in House of Gucci wearing Bulgari diamonds.
Keira Knightley in Anna Karenina wearing Chanel diamonds.
THELMA & LORRAINE
A bond forged over a shared last name, a love of diamonds, and an unforgettable experience in Botswana. By JANE ASHER
When jewelry designer Lorraine West reached out to fellow designer Thelma West over Instagram in 2021, it felt like a fortuitous meeting of the minds. “I’m thinking, hold up, do I have a sister somewhere in the jewelry industry,” remembers Thelma with a laugh. “We both got invited to be a part of Sotheby’s Brilliant & Black,” chimes in Lorraine. “I saw your work, I saw you, I saw your last name, and thought, wow, this is amazing.”
For Thelma, who lives in London and grew up in Lagos, Nigeria; and Lorraine, a New Yorker with Caribbean roots, it was love at first DM. The Wests became fast friends before they could even meet in person. Only Natural Diamonds brought the two talented designers together to chat about all things natural diamonds, the Black experience in today’s jewelry industry, and their recent trip to Botswana, where they got to see the journey of a natural diamond firsthand.
This interview was condensed for clarity and length.
LORRAINE: I knew I was going to be a professional artist since the second grade when I won an art contest. I continued the practice of visual art, sculpture, and diferent things growing up. I went
to FIT for illustration and have a bachelor’s degree in fine art.
During my junior year, I walked past a jewelry supply store called Toho Shoji. I was mesmerized by all the beautiful beads and supplies and just the order that they had laid it out. I walked in with $23, walked out with $0, a set of pliers, cutters, some wire, and beads.
It was supposed to just be for fun and some months later, when I sold my first little loc ring for $8, my business started. That was 1997. By 1999, my work started to look more refined and professional, and I started working with diferent materials. It wasn’t until 2011 that I had my first bridal clients, and that’s really when a career in fine jewelry opened up for me.
THELMA: You are a legend in the industry. I think you did an [Instagram] live a couple of years ago, Lorraine, and that was very insightful for me to learn about your journey before we met.
I grew up in Lagos, and I was not on a very creative path. I was in the science field, mostly fueled by my family and the environment in which I grew up—science was more dependable. You could be a doctor or an engineer. That paid bills.
Left to right: Thelma West photographed by Alessandra Finelli; Lorraine West photographed by Alain Simić
I grew up knowing how diamonds afected the continent, the good and the bad because you get to really feel it. While you’re there, you meet artisanal miners who do the work in the hot African sun, but they are earning a living, actually surviving.
On the other hand, I saw people coming to Nigeria from other diamond-producing countries because of conflicts, so it was very confusing. Choosing to study diamonds and really pursue it became intentional. I wanted to understand what they were and why they had so much power and influence. I found myself in Antwerp, where I studied gemology and diamonds, and I fell harder in love with the gem and the story, and I wanted to be a part of it.
After studying, I moved to London for work. Fast forward to friends asking me to create, and I started to design here and there, mostly around diamonds. That’s when my brand was born ofcially in 2012. The first piece I created was an engagement ring for a friend featuring an old-cut diamond.
L: It’s so cool that our entryway has been through the engagement rings. I always had a fascination with diamonds. They always seemed mysterious to me, but I didn’t know much about their history until I started getting older. So, I’ve had this curiosity. There’s got to be something good about them. They’re a gift the earth was blessed with millions of years ago, there has to be something special about this thing.
It wasn’t until 2011-2012 when a friend was looking to get engaged, and he asked for help. I had never done bridal, but I had experience making other types of jewelry. It was around the time of the year jewelers vacation, so there was nothing open, but I found a small, rough yellow diamond. Having to problem-solve in that way is how I got to where I am today. I had no formal training, and I am not a gemologist, but I do know a lot from experience.
The entryway to fine jewelry has changed my life for the better, from the people I’ve met, like you, Thelma; to so many amazing experiences and learning more about diamonds, how they do good, and how they give back. I am more educated and continually open to learning, so I can pass that on to my customers.
T: Isn’t the power of networking, friendships, and these connections amazing? This is what our industry is about. The people around you build you up, and that’s the energy that we strive for.
When I started at twenty years old, everyone would ask me questions like, ‘Who is your father? Do you own mines in Africa? What’s your connection to the industry?’ Like, you need to have a license or permission to be here. It’s been incredible navigating those waters where there’s constant doubt. It’s always been about trying to prove yourself one way or another, and it’s tiring to have to be creative simultaneously.
L: What we have in common, though, is—well, our last name! That name must hold weight for some reason. Because it’s a direction, right?
T: It is.
L: Our last name lifts us up. Every room we walk into, we must have integrity and do our best. We won’t be denied our place in history, right? We belong not only as human beings, as women, as Black women, as mothers, wives, and all those things, but we also have something to say through our work.
Every piece that we create has a deep meaning. Every time I see something new, or something archived of yours, I’m like, yes, okay, there she goes! It’s very exciting. I think that’s why I felt so connected to you and your work.
We both got invited to be a part of Sotheby’s Brilliant & Black, an exhibition featuring pieces by 25 of the world’s leading Black jewelry designers, but you couldn’t come to the U.S. at the time because of COVID-19. I’m cool with sharing space, and I love peer-ship. I respect my peers and their talent and abilities.
T: I was over the moon that Black jewelers had a space like this to show their work, but I felt incredibly disappointed that I couldn’t share this moment. But I felt like I was there because of you. You took photos from every angle. You took photos of people at my stand, trying on pieces. It was incredible what you did, Lorraine. It was amazing. I don’t think I’ve ever told you this in person, but it was absolutely brilliant.
L: I’m so happy that you appreciated it. I know what it’s like to miss out, to not be included, to not have your name mentioned. If I have the opportunity to share a moment with somebody who can’t be there, then I do it. Because once the moment is gone, it’s gone, you can’t go back. I felt a sense of peace knowing that you got to connect.
T: That was a big lesson for me because of how included you made me feel. And I love how honest and open you are. You talk about real stuf, what we’re actually going through, things that matter. Whether it’s finances, buying diamonds, or making a piece.
Sunset on a game drive at Seba Camp, Okavango Delta. Photo courtesy of Thelma West.
I love what I create. I create a hero piece, and I put it out there because it means something to me. We try to tell the story of what it means as much as possible and hope that the wearer of the piece appreciates it and feels something. I’ll tell younger jewelers to just create and put it out. It doesn’t matter that it’s one. That’s how it starts.
I always use this—I don’t know if I can call it the signature piece, but I created the Rebel Black ring. I put everything into it. I loved it so much. Yet I am still doing more with it. I’m trying diferent metals and compositions—you know how it is to be creative. You keep toiling, you keep digging until you think, this is it, this is the final piece, if there is such a thing.
L: I agree. I went through something similar with my 18K pave diamond nipple hoops. I came up with that design as a bangle twenty years ago, and in 2017, I made the hoops in brass. Then Serena Williams wore them, and eventually, in 2020, I started doing more fine jewelry.
It was the first time I presented a fine jewelry capsule collection for the market. I had never done it. It was always just custom fine or bespoke fine. When Melanie Grant and I went through the pieces for the second installment [of Sotheby’s Brilliant & Black], she chose the nipple hoops. She said, ‘Do that in fine.’ And it blew my mind because now it’s like I’m sitting at the bench with 18K gold wire and wondering how I am going to incorporate the diamonds. The diamonds told a deeper story, set on the little nipple part to represent breast milk or pouring into nurture. And that’s the basis of that piece. So, I can relate. It just takes time.
After Brilliant & Black, Thelma and Lorraine found themselves in Botswana at the same time, by happenstance.
T: I was invited by Forbes to go to Botswana. You were open and
honest about it, Lorraine, how you felt being on the continent, the efect you hoped the trip would have on you, and what you hoped you would see. It’s your candid spirit that I love. I like that you put that energy out there. At that moment, I remember I hugged you, and I was like, ‘You’re here, baby, you’re home, like come on, let’s enjoy it!’.
L: Since I was young, I had friends from diferent parts of the world and diferent parts of Africa. So, I have always heard stories about the diferent countries there. But I wondered, ‘Will I ever get an opportunity to go?’ Because it seemed like such a big trip.
I was invited by De Beers Group, and the project I was a part of was called Black is Brilliant. And that was a red carpet project. We partnered with celebrity stylists and went through the journey [together].
De Beers sourced and cut rough diamonds from Botswana and sent us a selection to choose from. We were supposed to visit Botswana before or during the design process, but ultimately went in 2023, post-pandemic. Music is one of my biggest inspirations, so I used the legendary Josephine Baker and Minnie Riperton as my muses for my design.
T: I enjoyed being around you on that trip because you were so in awe: your face, everything, and all the energy you have. You were loving it, just basking in the glory and joy of being there. I
Top to bottom: Thelma West Rebel Black Ring, Golden Sugar Cane Ring, Apòstrofe Necklace, courtesy of Thelma West.
Lorraine West and Thelma West at the Debswana Orapa Diamond Mine
remember wanting to tell you how amazing it is, ‘Look where we are, we’re standing in a place where we can trace the diamonds to the source! ’
The number of conversations I used to have about blood diamonds… I’d be like, ‘That’s not the whole story.’ It’s a very loud part of it, but it’s not the whole story, and it’s not fair to put all the attention on that because you sideline so much good that is being done.
If we don’t highlight the good, then more good doesn’t follow. You need to elevate for more people to join the path and see that there is a road to success, which is the community, it’s the people. It’s enriching the lives of the people who actually mine the diamonds, the communities where they’re from, and the environment.
L: The wildlife in these diamond mining countries, how it gives back to the people, they have healthcare, they have education, crime is low. All these regulations. We even went to the mine, which had zero waste and zero injury. There are women operating huge trucks and women at the production houses cutting diamonds. I had never seen diamond cutting before.
Since I have returned from Botswana... I have become more confident in myself, prouder of my lineage, and more educated. I now have friends from Botswana and am building relationships with other designers and industry stakeholders. Now, when we go to conferences, we know people and meet new people - it’s just incredible. I didn’t feel this confidence before because I didn’t have the entry path.
T: I am all for championing women who support women in the industry because I know how hard it is for them. Like you said, seeing a room full of female cutters in Botswana. I have been to other diamond-producing countries. I have seen the change and the growth, it’s incredible. Sometimes, I wish I could make a movie, like when Blood Diamond became a sensation. Show me a movie about how it’s changed from then until now. That is a magnificent story to me; this is what we should be talking about and where we should focus. Obviously, it’s not perfect, but there is growth and change and trajectory.
Every time I go to Botswana, I make it a point to talk to the locals, understand their mindset, and understand what they get from this resource that is very deep in the earth. It’s their blessing, right?
I visited a hospital in Botswana where I spoke with six doctors. I asked them where they all studied, and they all studied abroad. The fascinating thing for me was when I then asked how they paid for their education, they said diamonds. Diamonds paid for their education. I stopped and thought, “This is the American dream!” You went to school to become a doctor and came out debt-free. Are you kidding me?
L: Yeah, that’s how it should be.
T: This is why I champion places like Botswana and Namibia. As an African, I want that to be everywhere. I want Nigeria to be like, yes, we have sapphires, this is what we are doing, and we’re going to give back, and we want to challenge this, we want to be a part of this race. Make it a race but a race for good.
L: Yeah, diamonds really do good, and we are a living testament to how good they are for so many people. How is it done for us, you know? We are here because of natural diamonds.
T: I think we are lucky enough to have forged a path that means something. Like you say, the storytelling means something. On a personal note, being African means something. Natural diamonds mean a hell of a lot to me. And this is my fight with laboratory-grown diamonds. It’s not the people who make it, it’s the storytelling. Yeah, it’s an accessible gem, if you can call it that. But it’s no alternative, it’s no replacement for the real thing, not in how it builds communities, and fine jewelry is about community.
L: Many clients are educated on diamonds. They are fine jewelry connoisseurs or collectors. But there are many, especially younger people, that don’t know anything. So, to be able to be the introduction to that education is special. They get taller, too, in a sense, because they leave the transaction knowing that they can speak about its value.
They see the value on the appraisal form, where usually, the appraisal is worth more than what they paid. It is something they can pass down as an heirloom piece and also something that has value if they did run into hard times.
From the provenance of the diamonds to the final client wearing a piece, we are connected to the story. I will only work with natural diamonds. It is something I’ve accepted.
T: It’s such an enriching feeling. I fall in love with my clients, with the story, the journey. I love how they fall in love, not just with the rock on their finger but with the whole community that has built it up. That is special. You can’t buy that. You just can’t. And that is something you can’t get from something that is created in a lab.
Lorraine West Bespoke Engagement Ring, Ascension Halo Ring, and Waves Stack Set Ring, courtesy of Lorraine West.
Life after
HOW EXHAUSTED MINES ARE TRANSFORMED INTO FERTILE SOURCES FOR COMMUNITIES AND WILDLIFE FOR GENERATIONS TO COME.
Award winning wind farm at the Diavik mine, saving the equivalent of 135,000 tonnes of CO2 emissions since its installation in 2012. Photo courtesy of Rio Tinto.
Diamonds
By Jill Newman
Nature surrounding the Argyle Diamond Mine in Western Australia. Photo courtesy of Rio Tinto.
Above: Planting stakes at De Beers’ Victor mine in Canada as part of the award winning post-closure reclamation program. Photo courtesy of De Beers.
The mere mention of a Golconda diamond conjures images of a magnificent pure white stone, a rare jewel that originated from India’s legendary mines in the Golconda region. It’s been over a century since the mines were depleted yet a Golconda provenance still has gravitas. It signifies a diamond’s character, quality, and its journey. Natural diamonds are finite, and like the Golconda source, every mine has a limited lifecycle.
Today we expect our diamonds were responsibly recovered from the earth, and that they benefited the local communities where they originated. But what happens after the mine is exhausted? That is another chapter in a diamond’s story with a far-reaching impact for generations to come.
Over the past 30 years, as the diamond mining industry improved and evolved, it has made the process of the mine’s closure an integral part of the activity, one that is baked into the site’s development even before a single diamond is extracted. Mining companies have taken a progressive approach to rehabilitating the land and protecting wildlife in remote regions in Canada, Africa, and Australia, as well as partnering with Indigenous and local communities, and governments to create sustainable ecosystems, employment and business opportunities.
IT TAKES A VILLAGE
If it sounds too good to be true, consider what’s happening in Canada’s Northwest Territories, a remote, sometimes inhospitable region where some of the most beautiful, pristine diamonds are unearthed.
When De Beers Group prepared to close its Snap Lake Mine, it issued a $100 million plus contract to MET/Nuna, an Indigenous community-led joint venture between the North Slave Métis Alliance and Nuna Logistics, to manage the site’s closure and rehabilitation. The partnership ensures that Indigenous communities can prosper for years to come, says Marc Whitford, president of the North Slave
BY THE NUMBERS
Snap Lake (Canada)
• Operations ended in December 2015.
• $17 million in Corporate Social Investment between 2003 and 2015.
• +$2 billion spent with Northwest Territories businesses and joint ventures since 2004.
• Met/NUNA, a joint venture between Nuna Logistics and the North Slave Métis Alliance, received a contract of more than $100 million to close and rehabilitate the site at the end of 2021.
Métis Alliance. The project, he says, “will equip us to meet the challenges of tomorrow while still maintaining our strong ties to our lands and customs.”
Beyond delivering training, jobs, and resources to the region, the objective, says Whitford, “is to take a meaningful part in development and share our voice in equality alongside our other aboriginal governments.”
This was not always the case in the remote Northwest Territories. Back in the 1990s, after the gold mines were depleted, the Yellowknife community was left with two massive, abandoned mines and a lack of support, said Michelle Peters, the De Beers Group’s Closure Manager, Canadian Operations. When diamonds were discovered a few years later, she said the greatest obstacle was to build trust in the community. A native of South Africa, Peters has worked for De Beers for 21 years and moved to Yellowknife in 2013.
Even before the mining began, she said, “We started by soliciting the input from the elders to make sure their needs were met. They wanted to make sure that the water was clean, the fish edible, and know they could safely traverse the land. Those are the very simple needs that we are meeting today through very complex solutions.”
The fact is nobody knows the land better than the First Nations people who have inhabited the region for countless generations. Local leaders are working side by side with mining companies to ensure their plants, wildlife, and traditional ways of life are preserved. Still, Peters admits closing a mine is a complicated endeavor that requires resources, innovative thinking, and, most importantly, collaboration.
Five years before the Victor Mine in Northern Ontario ended mining operations in 2019, reclamation of the land began with the newly established Attawapiskat First Nation youth-based seed collection program to harvest and cultivate seeds from the region for future planting. The result: More than 1.4 million trees and shrubs were planted on the mine’s site.
Victor Mine (Canada)
• Close to 200 hectares of the site are undergoing active rehabilitation.
• Approximately 2,000 shrubs grown from seeds collected on-site were planted in October/September 2024.
• Active closure is expected to end in Q4 2024.
• The site will be monitored for approximately 20 years after completion of active closure.
• Operations ended in June 2019.
• $9 million in Corporate Social Investment between 2008 and 2019
• $843 million spent with Indigenous businesses and joint ventures since 2004.
• The open pit has fully recharged, and the surrounding aquifer has rebounded.
• 1.4 million trees have been planted and more than 5,500 kg of seed applied to date.
• Active closure at Victor Mine is expected to be complete by April 2025.
• Monitoring will continue until at least 2039.
• By the end of 2023, more than 750 truckloads of recyclable materials were removed from the site for resale/ reuse with proceeds being shared between Attawapiskat Enterprises and Priestly Demolition.
From massive initiatives, such as filling the Victor Mine pit with water using bioengineering to create an expansive lake, down to the small details, like recycling and reusing every piece of mine equipment, De Beers Group has partnered with stakeholders to adhere to the environmental standards while listening to the local needs.
Victor Mine’s new fishpond, for instance, is critical to returning the land’s natural resources. Teams worked together to create a robust habitat and spawning grounds for all types of fish native to the area, including Brook Stickleback, Northern Pike, and White Sucker.
Once systems are put in place, De Beers will continue to monitor the Victor Mine activations and support the community’s eforts for the next 20 years until at least 2039.
LIFE AFTER ARGYLE
Like a Golconda provenance, a diamond unearthed at the renowned Argyle mine in the remote east Kimberly region of Western Australia has a coveted legacy. The Rio Tinto-owned mine, which after nearly 40 years ended production, has been the world’s only consistent source of rare pink diamonds, and the even more rarified Argyle red diamonds.
As with the Snap Lake and Victor Mines, Rio Tinto began planning the mine’s closure even before it excavated the first diamonds. Located on the traditional lands of the Miriwoong, Gija, Malgnin, and Wularr people, the mining company enlisted their support to plan for life after the mine. It took into consideration water usage, biodiversity, and research into native plants and vegetation. This included the development of resources for those who will continue to live on the land long after the mine is closed. Argyle is working with Traditional Owners (groups who have an historical relationship to the land) to rehabilitate the area around the mine, undertaking revegetation activities to enable the re-establishment of a self-sustaining ecosystem that resembles the surrounding landscape, and
BY THE NUMBERS (CONT.)
Argyle Mine Closing (Western Australia)
• Operations ended in November 2020.
• More than 865 million carats of rough diamonds were recovered over 37 years.
• Demolition of all processing plant infrastructure is complete with the resulting materials sorted and downsized for safe disposal, repurposing, or recycling.
• Three to five years more to reshape the land and undertake revegetation
to enable the re-establishment of a natural ecosystem.
• Over 9 million cubic meters of land were reshaped in the waste rock landform and tailing storage facility.
• 542 hectares of land rehabilitated against a plan of 2000 hectares.
• Monitoring and maintenance will continue for at least 10 years.
returning it to the people who have occupied the land for tens of thousands of years.
The mine’s ‘Life after Argyle’ program is an innovative initiative that provides job training, and education, and helps nurture business start-ups. The closure process is expected to take some five years to decommission and dismantle the mine and rehabilitate the land, followed by another decade of monitoring.
This crucial initiative began in the years leading up to the mine’s final production and will be replicated when Rio Tinto closes its Diavik mine in Canada’s Northwest Territories in 2026.
A DIAMOND’S LEGACY
What happens after a mine closes also speaks to today’s conscientious consumers who want to know that their natural diamond purchase contributed to a positive and lasting impact.
Mine closings aren’t often discussed, explained Peters. “People get excited about diamond exploration and diamond discoveries, but mine closings are also something to get excited about,” says Peters. “It’s an opportunity to shape the future.”
What’s happening on the ground in the Northwest Territories, she says, sets new standards and shows what’s possible with capital and when people work together.
“This isn’t our story to tell,” said Peters, “but years from now, it will be the community’s story to share. They will be able to tell future generations that we didn’t walk away from the community, the land, and the water, and that we set aside the resources to restore and rehabilitate the land for the people and future projects. In the process, we invested billions in education, healthcare, and more.”
“We hope the diamond’s legacy will be one of collaboration, innovation, and opening opportunities for a better future.”
Opposite Page: Employee at the Diavik Diamond Mine in Northwest Territories of Canada. Photo courtesy of Rio Tinto.
Diamonds are Cutting a Path Through
THE NATURAL DIAMOND INDUSTRY IS SHAPING
Watersports during Diwali on a completed lake in Bharatmata Sarovar. Photo courtesy of HK.
India’s Water Crisis
A BRIGHTER FUTURE FOR MILLIONS.
By Grant Mobley
The natural diamond industry is a powerful force in India, particularly in Surat, the global diamond cutting and polishing hub. Here, the sector directly provides livelihoods to nearly one million people. The newly constructed Surat Diamond Bourse, now the world’s largest ofce building, is a testament to this booming sector. India cuts and polishes nearly 90% of the world’s natural diamonds, and artisans within the country make a significant portion of the fine jewelry featuring these gems. However, beyond the glittering image of natural diamonds, the industry’s influence extends far deeper into India’s social fabric, especially in rural areas. While Indian diamond companies are renowned for their expertise in transforming rough stones into polished gems, their most profound impact may be how they leverage their success to uplift vulnerable communities.
One of the natural diamond industry’s most impactful contributions is its investment in large-scale water management initiatives vital to some of India’s most underserved regions. Through projects that restore rivers, rejuvenate lakes, and construct dams, the industry is addressing the critical challenge of water scarcity in rural areas. These initiatives ensure reliable access to clean water, improving agricultural productivity, supporting public health, and enhancing the quality of life for millions. The eforts have stabilized the water supply and brought about lasting positive change. This demonstrates the industry’s far-reaching influence, extending beyond luxury into driving meaningful social and environmental progress in the world’s most populous country.
One of the most important contributors to water restoration in India’s diamond industry is Hari Krishna Exports (HK), which launched an initiative called “Mission River.” This ambitious project aims to restore rivers and lakes, particularly in regions where water scarcity is most prevalent. Since its inception, the program has restored 155 rivers and lakes, a staggering achievement currently storing at least 20 billion liters of water.
This initiative has directly benefited over 250,000 farmers who depend on reliable water sources for irrigation, ensuring the sustainability of their crops. Improved irrigation in the afected areas has increased farming yields by up to 100%, stabilizing local food production and mitigating the risk of waterborne diseases. These benefits also extend to local ecosystems, bolstered by the increased water flow, thus supporting biodiversity in otherwise arid regions.
Jayshree Ben Butiliya, an Anganwadi worker, spent years witnessing the devastating efects of malnutrition as barren fields and scarce water left families unable to feed their children adequately. But everything changed when Mission River began rejuvenating the land with much-needed water. Crops started to thrive, and families could grow their own food. Jayshree saw firsthand how, once frail and malnourished, children became healthier and stronger. For Jayshree, Mission River was more than just a water project; it was a beacon of hope that fundamentally reshaped the future of her community.
Shree Ramkrishna Exports (SRK) is a giant in the natural diamond industry that also plays a crucial role in addressing water-related challenges in India. One of SRK’s key initiatives is the construction of dams and canals in more than 100 villages, which has proven essential in managing water flow, preventing floods, and ensuring year-round access to clean water. These projects have provided stability in regions plagued by droughts and floods. Farmers can now cultivate crops with the assurance of a reliable water supply even during dry seasons, while the broader population enjoys improved access to clean water, transforming lives in countless communities. To date, SRK’s humanitarian projects have reached over 3.5 million people across India.
Diarough and Jewelex are two diamond companies that tackle issues in some of India’s most water-challenged areas through
Jewelex and VSSM founders surveying one of the completed lakes in Gujarat, India. Photo courtesy of Jewelex.
Painted storks gracing Naran Sarovar for the first time. An example of the transformation of the environment caused by the new lakes. Photo courtesy of HK.
their support of the Vicharta Samuday Samarthan Manch (VSSM) non-profit. Before their intervention, these villages faced extreme conditions—drought during the late winter and summer or flooding during the monsoon. The situation was dire, with natural wells running dry and groundwater levels plummeting to depths of 1000 feet. The result was a scarcity of drinking water and soil salinization, making agriculture nearly impossible. In the last two years alone, both Diarough and Jewelex’s lake restoration eforts have desilted and deepened 30 lakes across 29 villages, positively impacting almost 100,000 villagers. The water retention capacity has increased by over 300 million liters, providing a stable water supply supporting domestic needs and agriculture. This initiative has also helped rejuvenate local flora and fauna, restoring a natural balance to the ecosystem once lost over years of environmental degradation.
One particularly moving example comes from the Paadan village of Banaskantha’s Sui block, where groundwater is so saline that drilling borewells is not an option. The small village lake, normally dry outside of monsoon season, is a lifeline for the people. Thanks to Diarough’s eforts, the lake was deepened and expanded, and when the rains came, it filled to the brim, ensuring that the community would have access to water throughout the year.
To further support their water management initiatives, Jewelex implements rainwater harvesting at their facilities for gardening purposes. Additionally, they have installed ultra-efcient water fixtures, which contribute to saving approximately 450,000 liters of water annually in their operations.
Looking ahead, VSSM has set an ambitious target to desilt an additional 375 lakes by 2030. This initiative is designed to significantly enhance water availability and management in some of Gujarat’s most drought-prone regions, potentially benefiting hundreds of thousands of residents.
Ongoing maintenance and monitoring efforts, including regular checks and infrastructure upkeep, ensure the longterm sustainability of these projects. Collaboration with government agencies and local stakeholders ensures the projects continue to deliver bene f its well into the future. Additionally, these initiatives contribute to job creation, providing employment opportunities in construction and maintenance, which foster economic development and bring signi f icant social bene f its by alleviating poverty, improving health outcomes, and creating better opportunities for education in rural areas.
While natural diamonds are often synonymous with luxury and exclusivity, their actual value extends far beyond the jewelry industry. Like Botswana, whose people greatly bene f it from their country’s natural diamond resources, the revenue generated from diamonds in India empowers companies like Shree Ramkrishna Exports, Hari Krishna Exports, Jewelex, and Diarough to invest in initiatives that positively impact millions, ensuring their influence extends well beyond their own operations. This commitment underscores the importance of natural diamonds as objects of beauty and instruments of meaningful development and social responsibility.
The natural diamond industry’s impact on India’s development is profound, with many transformative projects in rural communities made possible through its support. As climate change increasingly threatens vulnerable communities, these initiatives are becoming more critical than ever. This work improves lives today and builds a resilient foundation for tomorrow, ensuring that all share the prosperity natural diamonds create. The legacy the industry is leaving in India is as enduring as the natural diamonds it transforms.
Above: One of the 2,000 diamond cutting artists working on a diamond in SRK’s facility. Photo courtesy of SRK. Below: A selection of natural rough diamonds waiting to be cut. Photo courtesy of SRK.
A passion for life and all its facets: actor and environmentalist Shailene Woodley.
By Sarah Cristobal
Photographed
by
Tina Tyrell
THE
NATURAL
Previous page from left to right: Prounis ring, Jade Ruzzo ring, Lizzie Mandler hoops, Dorian Webb rings. Isabel Marant jacket & skirt, Jimmy Choo shoes.
This page from left to right: Jenna Blake rings, HOWL ring, Bailey’s Fine Jewelry ring. Commission NYC bodysuit, vintage Prada dress, Lanvin shoes.
Anita Ko earrings, OX necklace and bracelet.
From left to right: Cartier rings, Tabayer ring. Vintage Gucci top, R13 trousers.
Jenna Blake earrings and necklace, Ten Thousand Things necklace and rings, Prounis bracelet. R13 sweater, Dsquared2 shorts, R13 heels.
According to Shailene Woodley, “Handshakes are grimy and, also, forgettable.” The actor prefers to go in for the real thing when meeting someone new, even if that person happens to be an awestruck fan. There could be a quick conversation (“Hey, where you from?”) or a genuinely solid hug. Woodley, 33, prides herself on being authentic, whether for a role she’s playing or how she conducts herself IRL.
This includes an ardent devotion to environmental causes, which she has championed for over a decade and has more than once resulted in Woodley being pigeonholed as an “idealistic hippie” in the press—a badge she continues to wear proudly. She is an active Board Member of Conservation International, dedicated to protecting global diversity for the well-being of humanity. She has traveled extensively with Greenpeace, and recently, Woodley went scuba diving in the Pacific Ocean in search of purple urchins for a PBS docuseries about sustainable seafood practices. Woodley admits that she is easily impressed by our connection to the Earth, including the otherworldly elements responsible for creating natural diamonds.
When we met to talk about her latest project, the 10-episode limited drama series Three Women, there was nary a publicist in sight, a rarity these days for an actor of Woodley’s caliber. Based on the 2019 best-selling book of the same name, the STARZ adaptation features Woodley as Gia—a fictionalized version of author Lisa Taddeo—who crisscrosses the country, researching a book about women, sex, and desire. The female-driven project—Taddeo served as both creator and executive producer of the show, and House of Cards’ Laura Eason was the showrunner—was somewhat of a salve for Woodley, who was grappling with personal issues during filming, including a very public breakup. But true to form, Woodley admits she’d prefer to tackle the complexities of life, Hollywood, and nature openly and head-on rather than being a passive player. “I like the idea of being intentional,” she says about her all-in-one approach to living well and collecting jewelry.
What is your relationship with jewelry? Diamonds, in particular.
I’m a sucker for diamonds and jewelry. I don’t come from a family with heirloom diamond earrings or pearls, but I want to start that [collection] for my family and my children and their children and their children. I hope to add to my collection of diamonds to tell the story of where I’ve been, who I’ve known, and how life unfolded. That is how I feel about it.
Diamonds are fascinating because they’ve been gestating on the Earth for millions of years.
Not to get too esoteric, but to me, diamonds, gold, silver, and all these materials we adorn ourselves with are pretty magical. I feel very, very, very particular about what I put on my body, so I find the idea of natural diamonds
This page: Taffin jewelry. Fendi top and skirt, Maryam Nassir Zadeh shoes.
Next page: Bailey’s Fine Jewelry necklace, HOWL necklace, Pomellato bracelet, Zahn Z rings. Coucou Intimates bra, Dior trousers.
Taffin earrings, Dezso bracelets and rings.
Issey Miyake dress, Isabel Marant heels.
quite sacred: this thing that’s been around for millions of years, being birthed in the womb of the Earth that somehow finds its way to connect with my body. That leaves me in awe.
Totally agree. Do you like to layer your diamonds if the mood strikes?
I think less is more because there’s a story and meaning. I mean, you can only cut a diamond with a diamond. There’s so much about it that is cosmically miraculous and mysterious. How can something sparkle and shine and tease all of my senses?
I was engaged briefly, and I remember the first time I put the diamond on my finger. It felt holy. I don’t know if it was because of the meaning attached to it, but I believe it felt holy because it is a very holy thing that comes from the earth.
What else is in your collection?
My friend Tini Courtney owns a company called HOWL, which stands for Handle Only With Love. She’s been in the game forever. When I hold her jewelry, it feels weighty. I have some pieces from other jewelers and things I’ve collected along my travels in antique stores.
This is the Realness issue. Your new show, Three Women, is adapted from Lisa Taddeo’s best-selling book about when she chronicled the true stories of women and their sex lives. Did it help to have Lisa on set to guide you through your portrayal of her?
Yes. The plot line and story of [my character] Gia are truthful to Lisa’s history but also fictional. She could relay her emotional complexities about those experiences. But when I met her, I was like, “Oh, you’re a soulmate.” I was going through a pretty heavy personal transition [when we filmed], and to come to work and see her face and have that grounding rod artistically and professionally was something that I’ll take with me forever.
True to the original material, the show features some highly charged scenes.
Three Women was like a high-alert experience; it felt very technicolor, and there was no safeguarding against any heightened situation. Everything was on the table, explored, and had the space to be precisely what it was without any pretense or presentation.
This page: Gabriel & Co. jewelry. R13 T shirt, vintage Miu Miu skirt, Jimmy Choo shoes. Next page: Jenna Blake necklace, Bailey’s Fine Jewelry ring. Commission NYC bodysuit, vintage Prada dress.
“I DON’T WANT TO PRESENT AS A CHARACTER OR A FACADE, I WANT TO SHOW WHO I AM.”
What kind of impact do you think the show will have?
I can relate to the micro-elements of all these charac ters, including Gia. One of the things that causes the most sufering in my life is this feeling of existential aloneness, which is diferent from loneliness. Three Women has become a pillar [for me] to feel less alone with my experiences and the emotional complexities of having a human heart. I hope it can ofer the same thing to other women. There is room for conversations or connections to happen. It’s good to have art in the world that shares this idea.
You’ve been acting since you were five, which is a tremendous feat. Not to be impolitic, but do you have a good bullshit detector?
Yes, it’s one of the things I really pride myself on. I feel like it’s one of my superpowers. In the past, when something happened that would throw me of, it would break me because I felt betrayed. I also used to think that I could be a force of positivity or aid in a shift, but now I’ve realized it’s only if an individual or a situation wants to adapt that it will. I’ve done a lot of work on myself [to figure that out].
How do you maintain your core self and perspective in Hollywood?
I’ve never had a problem with saying no. No circumstance could ever convince me to compromise the things that provide me with a fulfilled, joyful life. It’s easier for me to say no and walk away than to feel like I gave up a piece of myself. If I make a decision that doesn’t feel authentic to what I want, the only person who gets emotionally and mentally beat up is me. I think, ‘Why did I let that happen?’ and that’s a shitty way to live.
What about how you present in terms of fashion?
I don’t work with a stylist at the moment. I have yet to find somebody who understands me. I look back at past outfits, like, “What am I wearing?” So until I meet somebody with whom I have a true and synchronistic relationship, I do that on my own. And then I have very few people that I trust hair and makeup-wise. I’m not very materialistic, but it is important when I’m promoting a film or when doing a fashion week thing, I’m representing myself. I don’t want to present as a character or a facade, I want to show who I am. I can do that by being in control of how I dress, what I say, and what I look like.
What kind of brands are you favoring these days?
I like innovative designers like Jonathan Anderson. I’m fascinated by his references. I’ve read that he will base collections on old buttons from Japan or ceramics from a small town. Other than that, I’d say 80% of my wardrobe is from thrifting. I’m a massive fan of The RealReal. I’ve replaced Instagram scrolling with The RealReal scrolling.
How would you describe your style at this point?
If you took an LA Dogtown surfer and put her in Paris with some Japanese influence.
You mentioned that you’re an outdoorsy type. Do you run or hike?
I do everything and anything. I’ll go to the gym and do 20 minutes of weightlifting because I love the way that makes my body feel. I like to feel strong. But otherwise, I’m constantly hiking or biking, surfing, and swimming. I’m a mover and a shaker. I love to be active.
Do you have any of those gadgets that track your activity?
I don’t. In my early twenties, I went through a phase of having too much body awareness. Total body dysmorphia. I’m sure Hollywood had something to do with it…[Laughs] I don’t track my weight or calories because I can be too influenced. I just want to live a happy life and not think about it.
Aside from Three Women, you have at least five other projects in the works. Are you always creatively stimulated?
Yes, by the juice of life. I get moved by human experience and emotions. And also by nature. I don’t do drugs [laughs] but I find it so miraculous that we’re even alive—even when I’m experiencing my pain, elation, grief, joy. To bring it back to diamonds, it’s like, how do we exist?
I don’t want to lose sight of that. It helps me stay sane and creative in a world that is constantly trying to get us away from our imaginations. I try to make every day feel like Neverland because I don’t see why not. I can’t wait to have kids, so I have an excuse to be this way. Right now, I just look like an insane woman in my early 30s whose friends look at her and go, “You’re so weird”.
Zahn Z earring, Cartier necklace, Bulgari bracelet and rings. Vintage tank top, Dior trousers.
Photographer: Tina Tyrell; Stylist: Marissa Baklayan; Creative Director: Lizzy Oppenheimer; Hair: David von Cannon; Makeup: Misha Shahzada; Manicurist: Mamie Onishi; Entertainment Editor
At Large: Glynis Costin; Set Design: WayOut Studio; Creative Production: Petty
Cash Production; Photo Assistants: Alonso Ayala, Brandon Jones; Digital Tech: Jennifer Czyborra; Set Assistants: Otavio Barile, Joaquim Stevenson Rodriguez; Fashion Assistant: Sam Falb; Tailor: Susan Balcunas.
Written by TODD PLUMMER
Chase For The
by RYAN PFLUGER
Photographed
Uniform Object ring, Zydo ring. COS tank top, Louis Vuitton jeans.
Eva Fehren necklace, David Yurman bracelet, Suzanne Kalan ring, Reza ring. Dolce & Gabbana jacket, COS tank top.
Rising star Chase Stokes isn’t interested in Hollywood. Well, he’s interested in acting and diamonds. You’ve probably seen his breakout role as John B on the hit Netflix series Outer Banks, and you’re definitely about to see him in Valiant One, a military adventure flick due out in early 2025.
For a leading man with dashing good looks and talent to boot, Mr. Stokes seems all but uninterested in pandering to the scene—the actor divides his time between Nashville and Charleston, far from the glimmering lights of Hollywood. 7.7 million Instagram followers notwithstanding, this is an actor’s actor. He lives for stunt work, for fine-tuning the details of each performance, and for really getting into a character, as we’ve done with him here for Only Natural Diamonds.
Adorned with pieces from the likes of Uniform Object and De Beers, styled by Grant Woolhead, Stokes was all too happy to indulge us in a game of dress-up. Like the chameleon that he is, he feels at ease with experimenting with his style. “The styling was just so sick,” he said of our shoot. “There was this [Eva Fehren] bolo tie with diamonds, and I had never seen anything like that. There’s part of me that wanted to ask if I could just steal it.”
Here, we’re peeling back the layers with Stokes. From his unlikely origin story in Orlando, Florida, to his self-care practice, to the treasured keepsake he pilfered from his girlfriend, musician Kelsea Ballerini— he’s laying it all out on the table.
Previous page: Lizzie Mandler necklace, Sylva & Cie bracelet, Single Stone ring. Louis Vuitton jacket and shirt.
This page: Cartier necklace, London Jewelers bracelet, De Beers ring. Fendi trousers and tank top, Saint Laurent shoes.
Tell me about your path to acting. Was it always your dream, or did you just fall into it?
I definitely fell into it. I played ice hockey for a long time, and I was also taking television production in high school first period, it was solely because I knew that the teacher was a huge hockey guy, so he would let me sleep for the first twenty minutes of class. So, over the two years that I took that class, I ended up becoming a producer. I was producing the morning announcements and producing commercial segments and whatnot. That’s when I fell in love with the idea of working in television. One of the anchors for our morning announcements was sick one day, and I had to fill in because I knew how to run the show. That led to everybody saying, “You’re kind of funny, you should think about doing the acting thing.” And I thought, we live in Orlando so that isn’t a really viable option. And then the same girl got booked on a Disney campaign, and they needed somebody to fill in as her younger brother. And so, I did, and I made like three hundred bucks, and I got a free Disney ticket. I was like, “holy shit, I can do this in Orlando.”
So how did you get started?
I made this bold decision to pretend to be a manager, and I went on IMDb Pro, and I emailed every major agency in Hollywood saying, “I’ve got this great young guy from Orlando, he’s kind of green, but if you give him a shot, I think there’s something here.” One thing led to another, an agent responded, and when we got on the phone, within thirty seconds I was like, “I’m lying, I’m not the manager, it’s me.” And he said, “I know what you just did, but the amount of efort that it took to do that tells me you’re going to continue to put in this efort. So come to LA, let’s get you in acting class.” So, I packed my car, and I left.
How old were you at the time?
I think I was 22.
What was that like as a young person, to uproot your life and move to Hollywood?
So scary, so intimidating. I was sleeping on somebody’s couch for months. I was in a home that was unfamiliar in a city that felt large and very superficial. I’m not the most confident human being, per se. Going into rooms with people you had seen on television or in film and pretending like you had some form of a shot was very, very terrifying.
What drove you to pursue acting?
With hockey, the smallest details can make you great or hold you back, so there’s something I love about detail-oriented work. When I started out, I didn’t have the finances to get into acting
Luis Morais necklace. Saint Laurent shirt.
“Doing stunts brings out this crazy level of performance and forces people to be really authentic.”
classes full-time, so I used YouTube and would watch behindthe-scenes footage, and actors’ roundtables, and I got a sense of how detail-oriented this career is.
The other thing that was so enticing was that for the longest time, I didn’t really know how to present my emotions. I really kept everything in and acting felt like a safe space to express those emotions. It’s a form of therapy for me. This feels like the perfect combination of meticulous work, mixed with allowing my emotions to flow in a way that I just was never able to, and that to me is my drug of choice. I’m not a drug user, so I can only imagine that craving! But, you know, it’s like the morning cup of cofee when you wake up and your eyes are still glazed over. This is exactly what I’m supposed to do.
What do you love about the work you’re doing now?
I grew up loving Indiana Jones, so for me, I’m kind of living out my childhood fantasy. I wanted to have the whip and the cowboy hat and be in Raiders of the Lost Ark… And Outer Banks is the most physical show on TV. I love the physical element of it. Doing stunts brings out this crazy level of performance, and forces people to act on instinct and be really authentic.
Sounds like you’ve been on a wild ride!
You know, in the first scene of the first season of Outer Banks that I shot, I was coming out of a house on the marsh with a beer in my hand. And now we’re shooting in Morocco. As an artist, you never know where a story is going to take you, but I’m just very thankful that the stories continue to go in that direction.
Suzanne Kalan necklace and bracelets, SHAY ring. COS tank top, Tom Ford trousers and boots, stylist’s own belt.
Your new film Valiant One sounds like it was a thrill to shoot, as well.
It’s so cool, it’s based on true events, and it’s a spinof of the hero’s journey with this modern soldier. In the blink of an eye, my character goes from being a guy who’s supposed to be on the compeer to being responsible for a lot of people’s lives. It was one of the most invigorating experiences I’ve ever had. We had this military consultant on set who helped with everything, from the way I’m dressed to the way my boots are tied, to all this detail-oriented stuf
And you love details. I do, yes.
How do you relate to your fame? Has it been challenging for you?
Fame has been the hardest component of this chapter of life. I do a pretty okay job of navigating it myself, but it’s hard to see how it has shaped and shifted life for my family. But it’s a necessary component. It’s part of the growth, and sometimes growth is uncomfortable for all parties. This is a byproduct of creating something that people connect to, and if that is a component of doing good work, then I think I’m doing my job well. You know,
fame is like an old, stinky pair of shoes. It’s something you have to have, and it’s a part of life, and it’s a part of who you are—but it’s not definitive.
How do you balance fame with your mental health?
I started to dip my toes into therapy when I was 18, and that’s become a safe space to understand myself better. Mental health is never about reaching the top of the mountain. I think it’s about finding safe spaces, practicing mindful time with yourself to process the things that you need, and having a great support system. I’m very lucky that I have a partner and a family who understand mental health in the ways that I do and see me not just as the artist that the world sees me as, or as John B from Outer Banks.
Tell me about your self-care practices.
I love my skincare routine. I have a Therabody mask that makes me look like I’m Darth Vader. [My girlfriend] Kelsea [Ballerini] and I sit in bed at night, both of us with our masks on, and it’s nice to have a moment to disconnect. Or in the mornings, lathering up with my favorite serum and taking a second to not be on my phone and just take care of myself for a second. I like finding those moments throughout the day where I can disassociate from the world and connect with the things that are super important for me and my mental health.
Do you have any jewelry or heirlooms that are meaningful to you?
I have a ring. It was a cufink of my great-, great-grandfather. He had these tiger’s eye cufinks, and after he passed my mom had them into this beautiful ring. And I also have this little necklace that was Miss Ballerini’s, and it just says “Virgo” because we are both Virgos. I stole it early on in our relationship, and it literally only comes of for work. There was a cute little diamond in it, but I’ve worn it to the point where the diamond fell out. So that was a big discovery recently where I was like, “Oh shit, I’ve got to do something about that!”
I’ve also worked with David Yurman a lot over the last few years, and from that, I have a platinum Cuban chain that has diamonds in it. It’s kind of insane, kind of bougie, but I love wearing it.
How do you select jewelry pieces to add to your collection?
When I’m shopping for jewelry, I never look for something specific. I don’t go into the store and say, “Okay, this is a piece I’ve been looking at.” It’s always kind of a browsing experience, and I’ll find something I gravitate towards, and I’ll do it. Like, randomly, when we were shooting the new season of Outer Banks in Morocco, I was with one of my co-stars Drew Starkey, and we were walking through the Medina and met a jeweler from the Sahara Desert. He had a bunch of handcrafted sterling silver pieces. I saw this cool ring and immediately bought it, and it’s become one of my staple pieces.
Suzanne Kalan necklace and bracelets, SHAY ring. COS tank top.
Photographer: Ryan Pfluger; Stylist: Grant Woolhead; Creative Director: Lizzy Oppenheimer; Groomer: Catherine Furniss; Entertainment Editor
At Large: Glynis Costin; Creative Production: Petty Cash Production; Set Designer: Natalie Falt; Photo Assistant: Travis Chantar; Lighting Tech: Nicol Biesek; Digital Tech: Joseph Mitchell; Fashion Assistant: Karla Garcia; Tailor: Tatiana Sali-Souleiman.
Cartier Nature Sauvage High Jewelry diamond earrings in 18K white gold. Price upon request. Available by appointment only at select Cartier boutiques nationwide. Visit cartier. com or contact 1-800-CARTIER.
THE MOST EXTRAORDINARY PIECES FROM PARIS HIGH JEWELRY
Photographed by BENJAMIN BOUCHET
Dior Fine Jewelry
“Diorama & Diorigami Tiara” from the Diorama & Diorigami high jewelry collection features 26.78 carats of diamonds set in yellow gold. Price upon request. Available by special order. Contact 1-800-929-DIOR.
De Beers “Spirituality Choker Necklace” from the Forces of Nature collection. 14.72 carats total, featuring a 2.53carat fancy grey cushion cut diamond at its center. Visit debeers.com.
“Flots” Brooch from the Carte
High Jewelry Collection Or Bleu. Rows of alternating round diamonds of different sizes are set with chip settings. As the metal around the stones appears to disappear, diamonds realistically mimic the movement of water. 500 hours of work. Set in 18K white gold. Visit boucheron.com.
Boucheron
Blanche
Pomellato “Gemme Superlative Earrings” from the Milanese Color Prism chapter of The Dualism of Milan collection features two dark brown diamonds totaling 4 carats, two light brown diamonds totaling 2 carats, and two white diamonds totaling 1 carat, surrounded by 392 brown diamonds at 4.68 carats, and 86 white diamonds at .88carat. Visit pomellato.com.
Van Cleef & Arpels
“Ballantine de Diamant” ring from the L’Île au Trésor collection features diamonds set in 18K white gold and yellow gold. Price upon request. Visit vancleefarpels.com or contact 877-VAN-CLEEF.
Chao
into the natural dynamic form of branches,
with pear shaped and oval
set in 18K rose gold along the branches’ nodes, resembling glistening dewdrops dripping from the branches after the spring thaw. At its center, a 6.15carat pear shaped diamond. Price upon request. Visit cindychao.com.
Cindy
“White Diamond Walnut Necklace” features walnut wood sculpted
adorned
shaped white diamonds
Anna Hu Skylight Ring featuring a 2-carat oval modified brilliant fancy intense green diamond, 74 round brilliant cut white diamonds, and 186 tsavorites totaling .94 carats, set in 18K karat white gold. annahu.com.
Cartier Nature Sauvage High Jewelry diamond necklace in 18K white gold. Price upon request. Available by appointment only at select Cartier boutiques nationwide. Visit cartier.com or contact 1-800-CARTIER.
Photographer: Benjamin Bouchet; Prop Stylists: Lune Kuipers, Alban Diaz; Photo Assistant: Camille Coutherut.
Anita Ko ear cuffs, Reza necklace, Nikos Koulis bracelet, Van Cleef & Arpels ring.
Full look Tom Ford.
From left to right: Lionheart ring, Tiffany and Co. ring, Norman Silverman ring, Greenwich St. Jewelers ring, Mellerio earrings. Gucci coat.
Chanel high jewelry. Chanel jumpsuit and belt.
Musician and actress Ella Hunt is having the most brilliant year, dazzling the red carpets at Cannes and Toronto International Film Festivals in natural diamonds, promoting two of this year’s major ensemble films: Kevin Costner’s epic Western saga Horizon, in which she plays Juliette Chesney, a teacher on the Oregon Trail, and Jason Reitman’s biopic comedy Saturday Night, which recreates the nail-biting 90 minutes prior to the first episode of Saturday Night Live in 1975, where she embodies the iconic comedian Gilda Radner, literally leaping and pirouetting like a fairy dusting the stage with magic.
Only Natural Diamonds sat down with Hunt and got real about experiencing diamonds for the first time, expressing the multifaceted layers of herself, and capturing disparate characters from vastly different eras in her latest work. She imitates no one and is truly in a class of her own, reflected in photographer Mark Lim’s take on the powerful woman, heightened by exciting cuts of natural diamonds in the bold jewelry of Reza, Nikos Koulis, and mirrored in the sharp lines of vintage Italian sports cars.
David Webb earrings and rings, Tiffany & Co. bracelets. Hermes turtleneck.
Van Cleef & Arpels earrings, Suzanne Kalan ear cuff, Nikos Koulis bracelet. From left to right: Lionheart ring, Nikos Koulis ring, Reza ring. Versace top, vintage Comme des Garcons skirt, Dolce & Gabbana tights, Jimmy Choo shoes.
De Beers earrings and necklace, Chopard ring. Luar top and pants.
irst: Let’s talk about jewelry! You wore some incredible pieces in this shoot. Those David Webb earrings look made for you. Do you have a first memory of a diamond?
I didn’t grow up around diamonds. I remember my mom had a beautiful Tuareg (Saharan nomadic tribe) necklace that she wore on special occasions. Jewelry is a world that until recently, I’ve had very little understanding of. My stylist Sarah Tooley has a very emotional relationship with jewels. She has an amazing eye for pairing jewelry with a piece of clothing, to bring out the shine in a belt or a pair of shoes. I see her face change when she opens something that feels right with an outfit or lays it on my chest or passes me some rings to stack on.
This year, Chopard sponsored me for the Cannes Film Festival. They threw a dinner for Kevin [Costner] and the cast, and I wore a yellow diamond necklace and ring. Before I put them on, I thought, “Diamonds? Whatever. I don’t care. It’s not my world; I’m not moved.” But when I put them on, I actually gasped. I couldn’t believe the power of the pieces, and I felt so struck by their beauty.
Just the fact that diamonds take millions of years to form under Earth’s pressure is a lot to fathom. Feeling the weight of the gems and seeing their brilliance on your body is surprisingly powerful.
I don’t want to sound too woo-woo about this, but there is a spirit in those pieces. Just looking at them was exciting.
Tell me a little about your style. Do you have any jewelry you wear regularly?
I sort of have two personas: One is very pared back and kind of
From left to right: William Goldberg bracelet, Martin Katz earrings, Tiffany & Co. bracelet, Nikos Koulis bracelet. Louis Vuitton corset and pants.
David Webb earrings, Tiffany & Co. bracelet. Hermes turtleneck, pants and belt.
Norman Silverman Jewelry. Dolce & Gabbana jacket, Falke tights, Louis Vuitton shoes.
“I LOVE EMOTIONAL MATERIAL, BUT I’M A PLAYFUL GOOFBALL IN MY REAL LIFE . I AM A RELENTLESSLY, MAYBE OBNOXIOUSLY, OPTIMISTIC PERSON.”
uniform, the other is opposite in an extreme way. I love going out in a wig. I have a collection of wigs – a purple wig, a platinum wig, a long blonde one. It’s not just a disguise; it’s a means to access elements of myself that I don’t give myself permission to enter without a little push. I like going out wearing a little safety pin in my ear and I love androgyny. I really enjoy going out in a men’s suit or a tie. I like being a shapeshifter in both my life and my work.
It’s interesting that you say shapeshifter—I see that as your keen ability to access different parts of yourself, exhibited in the vastly different roles you’ve played lately. What was it like playing a 1970s comedian after playing roles in long-gone eras?
It was such a departure for me. Before Saturday Night, I was playing very stoic, quiet, sad people. I love emotional material, but I’m a playful goofall in my real life. I am a relentlessly, maybe obnoxiously, optimistic person. Still, when this audition came through, I messaged my agent: “There’s no world where I get cast in this, right? They’re looking for comedians, they’re looking for funny people, they’re looking for Americans.” He dared me to go for it. I was really intimidated but once I started watching videos of Gilda and thinking about incorporating her characters and comedy into who she is behind the scenes, I got excited. I taped my audition wearing this orange top with a picture of my cat on the front that my mother made for me for Christmas. I thought it was very Gilda. Still, I was embarrassed. I told my team something along the lines of, “If this is bad, we don’t have to send it.” Within an hour of sending the tape, I got a call from John Papsidera, the casting director. The rest is history.
That’s amazing. I want to see that top.
I might wear it for something during this press tour although I don’t think orange is my color.
Tell me about how you got into the character of Gilda.
When I got the role, Jason [Reitman] sent me one of the loveliest emails I think I’ve ever received. He wrote that his goal with the film was to capture the essence of these people and the spirit of that night, and that he saw some of Gilda in me. This film is about the dynamic of this collective before they were beloved by the world. It’s about how they each dealt with the anticipation of this moment in their lives. He said that with a film like this, there’s often a desire to understand and learn every minute of the person’s life you’re portraying. He begged me not to do that and told me to do whatever I needed to get into character, but to remain truthful to her at that moment in time.
I come from a music background, so voices are the first thing I think about. Gilda’s voice was so specific; she had this amazing s-lisp. The minute you do the s-lisp, so much just changes about your face–your cheeks come up. Learning her voice then impacted the way that I moved as well. Playing her, I felt a buoyancy in my body.
I love that insight about how altering the way one speaks can be
transformative. Changing how one sounds—like altering one’s appearance through fashion and jewelry—can totally transform the way one feels and moves through a day.
It’s a great feeling to be transported by a piece of clothing or jewelry. Especially as women, our appearance speaks for us before we’re even heard in a conversation. Sometimes that’s frustrating, but other times I feel really excited to wield that power, that magic. Especially as a queer person, clothes and fashion are such important parts of feeling safe and in control in the world, being able to access diferent parts of oneself, allowing fantasy, and enjoying it.
You mentioned how important that is for queer people. In the past, you spoke candidly about how difficult it can be to articulate one’s sexuality.
That time was funny, we were coming out of the pandemic and going into the second season of Dickinson. In my private life, I felt so fierce, but in the public sphere, I felt so intimidated and uncertain. During that press tour, I was reminded of how safe and loving the LGBTQ+ community is, both online and in person. Once I leaned into the safety of that space, I felt much more comfortable. Now, I’m less anxious, I feel at ease. It also helps that I’m a bit older–I’m 26. I’ve lived away from home in New York and in my body for five or six years now, and I feel a whole lot clearer. But I do think we have to give a lot of grace and space to young people who are working it out and who may not know how to speak about it. Everyone’s lives are online now. I’m very grateful that people were as kind to me as they were and for the honesty of those online. The conversation has broadened massively over the last few years. I think it’s an amazing time to be alive in that way.
How do you stay grounded with all the forward movement and excitement surrounding you these days?
I feel fortunate that I grew up on a rural farm in England. I spent a lot of time alone in a field or up a tree, taking things in – whether it was a butterfly or the way the river changed from one day to the next in that kind of magical way it does. Last night, when I got back from Toronto, I realized I’d been in junket land and hadn’t been outside for four days. I went for a walk around Morningside Park. Usually, when I’m walking through the city, I have my headphones on, but this time I walked without them and just noticed my home, the trees, and the season, and I felt connected. It’s important for me to slow down and remember my relative smallness within them.
Have you ever imagined yourself in a moment like that? Coming home to your own apartment in New York City after promoting a film you starred in?
This is pretty high up in the dream sphere for me; I’m excited. This past weekend, Horizon played in Venice and Saturday Night played in Toronto. I keep happy crying; I’m so grateful. I don’t really know how it happened—a lot of hard work and luck, too.
Reza earrings, Dauphin necklace, Greenwich St. Jewelers rings. Vintage Alaia coat, Falke tights, Louis Vuitton shoes.
Photographer: Mark Lim; Stylist: Anatolli; Creative Director: Lizzy Oppenheimer; Hair: Jacob Rosenzberg; Makeup: Carolina Dali; Entertainment Editor At Large: Glynis Costin; Creative Production: Petty Cash Production; Set Design: WayOut Studio; Lighting Director: Will Wang; Photo Assistants: Alex Ryerson, Larry Pang; Fashion Assistant: Chardonnay Taylor; Set Assistant: Otavio Barile; Tailor: Maria; Picture Cars: Veloce Picture Cars.
By Sam Broekema
THE
LESSONS.
Joy of Living
Photographed by Vincenzo Dimino
A DAY IN
LIFE OF JEWELRY DESIGNER LAUREN HARWELL GODFREY AND ALL ITS
Do you live to work? Work to live? Do you work hard and play hard? These questions pervade the discussion about the elusive work-life balance. What if there’s another way? Lauren Harwell Godfrey ofers a master class on how every day presents an opportunity to take inspiration from the quotidian. She invited Only Natural Diamonds to spend a day in her life in Marin, California, and shared how every moment informs her work as a designer and human.
The path to jewelry design was not a straight line for the creative. She previously worked in some of the Bay Area’s top restaurants, such as Bar Tartine and Chez Panisse, followed a career in advertising. Each chapter provided lessons. Godfrey observes, “I feel like my work is autobiographical. There are little nods to my world throughout my work; the saltshaker is a new one, for example. I went to culinary school, and I feel that the key to good cooking is salt. And I was like, ‘Wait, what if we made diamonds into salt?’ I make caviar pendants and a honey bear pendant, too. These are all things that I just love.” When asked to describe how she brings her skills in the kitchen to jewelry design, she explains, “I think with anything creative, we all have a finite set of ingredients that we are working with, and it’s how we put our spin on them that makes them diferent. How do you take these things that we are all playing with and manipulate them to be unique and an expression of you? There are also sharp objects in both my lines of work [laughs]”.
Harwell Godfrey jewelry pulls of a hat trick possessing singularity, approachability, and luxury. Godfrey’s internal barometer and design boundaries help her maintain a clear vision. “I don’t like doing redundant things,” she says. “If they already exist, what’s the point? I’m always asking, ‘How can I surprise people?’ I think the 11:11 watch [which debuted at the 2024 Couture show] is my surprise moment this year.” She was inspired by the mystical time 11:11, which many see as a message from the universe to be optimistic. Godfrey was surprised, but not overly so, at how much this resonated with her clients and fans. “Some people see the watch and they just freak out saying, ‘You’re in my brain!’ she laughs. “But I think there’s a part of us that wants to connect to the magic of the universe. It’s that energy of manifestation that I want to tap into.”
As she develops the brand, she continually challenges herself to stretch what Harwell Godfrey jewelry can be. She views it as a design universe and maintains a balance between surprising herself and her clients while remaining true to her brand identity. She holds that this constant internal push forward is a surefire way to stay engaged and authentic. “I think the rules for what you can wear are out, which I love,” she says. “I think part of this is how much vintage and upcycled jewelry everyone incorporates into their lives. It’s less about trends and more about finding who we are to define our personal style.” She boldly mixes metals and has recently embraced platinum, especially for everyday pieces. “I just love how platinum amplifies diamonds in this incredible way,” she says. Her only regret is that she hadn’t worn a tennis necklace in platinum with a yellow gold clasp the day we met. But every day is a new day for self-expression.
Surprisingly, for a designer well known for her maximalist style—she wears seven bangles, seven rings, two necklaces, eight pairs of earrings, and a watch during our rendezvous—she starts each day afresh. “I will not sleep in it. And it’s a lot of pieces,” she laughs. “But I think it’s good practice because it keeps my brain working on how I style myself every day. Often, this is how I discover there’s a hole in the collection. What is this thing that I want?” This was how a new collection of diamond ear cufs came
to be, launched in September. “If I want ear cufs, somebody else is gonna want ear cufs.” Godfrey likes the word “eclectic” and dislikes matching. Layering is a key to her personal style. “I feel like more jewelry reads more casual than less jewelry, which feels more dressed up, more special occasion if you will. I’m kind of more is more. There are a lot of layers happening here.”
Godfrey remains her own best client and touchstone, saying, “I do consider myself a big muse for the work. To me, realness is not asking, ‘What do I think someone is going to buy?’ The question is about what I think is interesting. What do I like? If it’s something I truly love, maybe someone else will love it, too. I’d rather come from the heart than from a place of pure profit. Maybe that’s part of a bigger question mark about the kind of businessperson I am.” Market research doesn’t play into the equation for her, but she does think a lot about what people are wearing or what is missing from her own jewelry wardrobe. Jewelry serves an emotional and a stylistic purpose, but the emotional connection must come first.
Retail has expanded her ability to hear from her clients firsthand. She recently moved her ofce to the space above her first
eponymous store in the Marin Country Mart, where her “neighbors” are more like family. She puts it succinctly, saying, “It’s my local, and it’s really fun. There’s a lovely energy here, and there’s a sense of community. Sometimes, it’s hard to get work done because everyone’s here-the gang’s all here! I’ve been hosting a happy hour every month and have met some great new people but there are also a lot of familiar faces.”
Godfrey lives 10 minutes away and has always been a customer at the celebrated arcade. A tiny, 100 square-foot space had always called to her, and she promised that if it ever became available, she would “throw her hat in the ring.” She further stipulated that she would only open a store if that exact space became available. One day, she noticed the store was vacant, so she reached out to the owner—a friend of a friend—and the rest, as they say, is history. A new jewel box opened with her shingle out front. For decoration, the power of kismet continued, as existing custom brass cabinets seamlessly integrated into her design aesthetic. She installed a rainbow chandelier, and with a fresh coat of dark eggplant paint to contrast a new gold leaf ceiling, she felt right at home. She explains, “I knew going in that I wanted to do something very diferent. In Northern California, we have a bit of a hippie vibe, which is cool, but that’s not what I do.”
The store is a bit of a laboratory, based on what clients are asking for, but also serves, perhaps, as jewelry therapy. Godfrey’s personal style and confidence grant people permission to experiment and have fun. She describes the conversations with clients, saying, “I tell people not to be afraid to wear jewelry, don’t be afraid to pile it on and layer all those pieces. I encourage people to try things and break out of their comfort zone a little.” Many clients are shopping for themselves to celebrate or to find jewelry that becomes their signature. What is most notable is that shoppers are looking for something they don’t see on everyone else. They have found themselves in the right place and with the right guide.
Above the store is the studio where Godfrey designs each collection. A collection of African handicrafts adorns the walls and shelves, many of which she collected during a trip to Botswana. This is more than décor, she explains, “This is what I want to live with, in my home and in my ofce. It infuses my work naturally. I love pattern, I love texture. I feel like my work is informed by my life.” These traditional handicrafts inspired a recent collection of natural diamond jewelry called ‘Masego’, which means “good fortune” in Setswana. However, as this is Harwell Godfrey, the designs are not literal but capture the essence of the inspiration. Godfrey explains, “I didn’t go out to make a literal basket in jewelry, but there was something about the intricate shapes that led me to do a detailed engraving in diamonds which just felt like Botswana to me, but my own interpretation.”
Her journey through Botswana did more than motivate a collection of jewelry. Godfrey expounds, “It showed me the impact that a resource can have on the world. Part of what makes me nervous about lab-grown diamonds is that these economies can be impacted in such a devastating way. To see Botswana do such a beautiful job of mining responsibly and using that resource to give back so much to its people makes me proud to support natural diamonds.” This reminds Godfrey how precious life is and how the natural diamonds she works with deserve her respect. “Jewelry is just diferent, and I think people need to connect with it. As a fan of other designers and their jewelry, the pieces that resonate for me are those when I can tell a lot of thought and care went into making them.”
The newest collection ‘Supernova’ takes the magic of the universe as a starting point. One of the masterpieces of the collection is a unicorn horn because, as Godfrey says, “What is more magical than a unicorn? But how can I create a pendant that doesn’t look like it’s made for a 10-year-old? I like to give myself briefs. How do I make this piece where you still get unicorn, and I want to wear it too.” This one-of-a-kind piece is the most complex she has made. It took several rounds through CAD to get it right. It presented such a challenge in setting the diamonds. The most important part of the design, however, was emotional. “I love how it turned out. It makes me really happy. I love a talismanic piece of jewelry. I feel like there are people among us who have magical vibes. I was channeling some of those people close to me. I think there is a spirit for people who get it, and it’s been fun to see people react to [the unicorn pendant]. I think there is this part of us as adults who still want to connect to the magic of the universe, and it’s important to us.” The universe of Lauren Harwell Godfrey is charmed, that much is sure.
“THERE’S A PART OF US THAT WANTS TO CONNECT TO THE MAGIC OF THE UNIVERSE.”
The sense of joy and wonder that defines Brent Neale’s jewelry collections extends to her Midtown Manhattan ofce space which functions as a place to meet with clients, a showroom and studio. “I wanted it to be a warm and welcoming space,” explains Brent who designs in the ofce every day. “I have a running sketch list of stuf I am supposed to work on that my team organizes for me, highlighting priorities from custom projects to collections I need to finish.”
The designer, who launched her company in 2017 after years of working behind the scenes in the jewelry world, surrounds herself with art as well as books about inspirational 20th century masters. She also has the supplies she uses to design by hand, the old fashioned way. It's a mode that harkens back to fine jewelers of yesteryear who, like Brent, worked side-by-side with clients to realize their most personal pieces. The wide range of custom jewels Brent has created extends from a ring set with family gems to gold and gem-set pendants commemorating children’s drawings.
by CLAIBORNE SWANSON FRANK
1.
The Desk
It’s a mid-century partners desk from a Danish architect with enough room for me to cross my legs in the back. And I love all the cubbies in the front where I put books and some pottery that my children made in kindergarten.
The Flower Vases
They are Murano glass from the 1960s and carry through the color theme. podcasts about the Murdaugh murders.
3.
Your collection of pencils
I use Faber Castell pencils and store them in cups from a company called Glass Baby. They are actually handmade for votive candles, but I just use them to hold pencils and brushes.
4.
The design materi als on your desk
I draw everything on vellum over graph paper to scale. Then, I put it on paper and that gets a date, collection name or a client’s name. When I am working with stones, I take the dimensions and lay them on top of the drawing to make sure what I have sketched is to scale. The green stencil has cutouts in the size of gem carat weights. Someone asked me what I would take if the ofce was burning and it would be that stencil. I can’t find them anymore and I only have one.
5. MUSHROOM ON THE WALL
It is modeled after my Magic Mushroom pendants like the one I am wearing in the picture. The gem accents are mirrors and the surface is hand painted to look like malachite.
6
THE IVY PAINTING
When I was thinking about how to get green into the ofce, I thought of the artist Jason Bereswill’s ivy paintings. We took measurements for a huge panel and he made the work.
Photography
BRENT NEALE, MAGGI SIMPKINS AND SARA BELTRÁN
SHARE DETAILS OF THEIR DESIGN PROCESS FROM THEIR DESKS WHERE THE MAGIC HAPPENS. BY MARION FASEL
Maggi Simpkins
A creative free spirit, Los Angeles-based designer Maggi Simpkins doesn't typically make collections. Instead, she focuses on one-of-a-kind jewels. That's how her design career began over 10 years ago when one of her first commissions came from Will.i.am. Since then, she has built a reputation through word of mouth, social media and some creations that have gone viral, like the Bose earbuds she reimagined with marquise diamonds and gold last May when she teamed up with the audio company. The jeweled accessories were worn by Kenzie on the red carpet at Billboard Women in Music Awards and an image of the earbuds alone received over 750,000 likes on Maggi's Instagram. While Maggi clearly has the design talent to create just about anything in jewelry, she primarily focuses her attention on engagement rings. The designer brings all kinds of imagination to the jewels, embellishing diamond center stones with glorious frames of colorful gems or making strong minimalist signet-style rings. “I enjoy designing engagement rings because it’s something that lives on someone’s hand every day,” Maggi explains. “I put everything I have into it.” Photography by
1. Ring Trays
Ring Trays: I have a ring sizer in the tray on the bottom. The black tray has gemstone signets featured on my website. And there are diamond bands I keep around so people can try them on to see how a band stacks with their engagement ring. A handful of settings without center stones are in the blue tray.
2.
The caliper and gems
I love gemstones and try not to prescribe to any rules about how I use them, but setting them is a work of precision. The caliper is for measuring every little thing down to .01 millimeters. Scale is really important and half a millimeter can make a diference.
3. The flowers and eucalyptus
I am always gardening, love nature and try to have some flowers in the ofce. The eucalyptus clippings just smell so good. They are in a vase by Rachel Saunders. My friend at Glo Flo here in Los Angeles did the flowers.
4.
The candle
The name of the brand is D.S. & Durga. It creates an ambiance.
VINCENZO DIMINO
5.
Polaroid camera
6.
The cross on the wall
I am inspired by vintage crosses. They remind me of falling in love with my great-grandma’s jewelry as a kid. I designed the emerald one I am wearing as a passion project and blew it up to 14 inches in brass and put a mirror behind it. It’s the first large scale item I made from metal.
7.
The sketchbook I don’t leave home without a Moleskin sketchbook and mechanical pencil. I am always taking notes.
We like to have fun in the ofce and I am always experimenting with how we can take pictures of things. 1 2
8. The drink I usually have a kombucha but that’s an Erewhon rose water.
DESK OF
1.
The wax and stamps
My mom is an artist and she used to have a store. She would make a little card and sign with her signature for every purchase. I thought it was elegant. So every order from my website is packaged and wax stamped. My stamps have my initial and a little shark fin motif.
2.
The carved rock crystal shell paperweights with one polki diamond
Not every man wears jewelry, so I started making those objects in India as a special gift for men.
3.
The gold, diamond and black enamel cuffs
I am obsessed with cufs. I normally wear five at a time. They were inspired by gold Victorian memorial cufs that often have black enamel. I only make them in my rose gold which is an alloy I spent 18 months creating to get just the right color. It is soft without too much red.
4.
Tray of pendants
Many of them are gem pendants I have specially carved in India. I go there to work with the craftsman to make sure the pieces reflect the natural beauty of shells. They are in perfect order in the trays because I am super OCD. I am not a person of paperwork. I am visual, so everything is in perfect order.
5.
The genuine shells and books of shells
I do collect shells at the beach, but I also spend a lot of time sourcing vintage shells or other styles I find in books. I search for hours online and at some places in Paris.de Corps and probiotics, so I am moisturized, and my gut flora is on point.”
6.
The chokers
I really like the choker length. I wear around four at a time. I feel like it looks strong sitting together.
7.
The notebook
I call it my magic notebook. It’s from India with artisan handmade paper and a black matte cover. I keep notes on prices and meetings. I draw things after they are created. I do paint but I usually design on the spot with the craftsmen in India. A lot of my design process happens through the materials I collect.
8.
The drink
Throughout the day, I always have an iced cofee with a splash of oat milk in a handetched glass from India next to me. I should be drinking water, but it’s always the cofee.
DEZSO DESIGNER SARA BELTRÁN
For almost 20 years, the sea has been a source of inspiration for Sara Beltrán’s collection named Dezso, which means desire in Latin. Real seashells and gems hand-carved into shell shapes form pendants. Shark fins painted in black enamel cover gold bracelets and necklaces. Sara’s selfies on glorious beaches around the globe punctuate the jewelry posts on her Instagram. And the designer has perfectly sun-kissed skin year-round. All of these details might lead you to believe the collection is bohemian. “It’s not a beach line,” was Sara’s direct response to that concept from her by-appointment-only 750-square foot boutique located in the Soho neighborhood of New York City. So what is it? It’s a sophisticated reflection of Sara’s elevated and meticulous style and her passion for researching techniques and crafts. It has roots in 19th century jewelry. And, it expresses her love of the sea and practice of shell collecting, which goes far beyond a way to pass time. It’s an obsession with the artistry of Mother Nature. Photography by VINCENZO DIMINO
RETAIL PARTNERS
Visit one of Natural Diamond Council’s of f icial retail partners, offering a broad selection of high quality, ethically-sourced natural diamond jewelry.
NORTHEAST:
Cornell’s Jewelers, NY
Day’s Jewelers, ME/NH
Greenwich St. Jewelers, NY
Hamilton Jewelers, NJ
London Jewelers, NJ/NY
Lux Bond & Green, CT/MA
Orr’s Jewelers, PA
SOUTHEAST:
Aucoin Hart Jewelers, LA
Davis Jewelers, KY
Diamond District, FL
Hamilton Jewelers, FL
Lee Michael’s Fine Jewelry, LA/MS
Loring & Co. Fine Jewelers, AL
Marquirette’s Exquisite Jewelry, AL
Shane Co, GA/KY/TN
Sissy’s Log Cabin, AR/TN
Underwood Jewelers, FL
MID-ATLANTIC:
Bailey’s Fine Jewelry, NC
Brown & Co. Jewelers, GA
Donald Haack Diamonds, NC
Radcliffe Jewelers, DE/MD
MIDWEST:
Albert’s Diamond Jewelers, IN
Alson Jewelers, OH
Gunderson’s Jewelers, IA/MN/ NE/ND/SD
James Free Jewelers, OH
Jim Kryshak Jewelers, WI
Lasker Jewelers, MN/WI
R.F. Moeller Jeweler, MN
Riddle’s Jewelry, IA/KS/MN/ MO/NE/ND/SD
Razny Jewelers, IL
Shane Co, IN/KS/MN/MO
SOUTHWEST:
Bachendorf’s, TX
Ben Bridge, AZ/CO/NV/TX
BC Clark, OK
David Gardner’s Jewelers, TX
Hyde Park Jewelers, AZ/CO
Lee Michael’s Fine Jewelry, TX/NM
Lewis Jewelers, TX
Riddle’s Jewelry, CO
Shane Co, AZ/CO
Susan Eisen Fine Jewelry, TX
Walters & Hogsett Jewelers, CO
WEST:
Ben Bridge, AK/CA/HI/OR/WA
Gleim The Jeweler, CA
Heller Jewelers, CA
Huntington Jewelers, NV
Hyde Park Jewelers, CA
Frederic H. Rubel Jewelers, CA
Lee Read Diamonds, ID
Pacific Diamond Wedding Rings, HI
Polacheck’s Jewelers, CA
Riddle’s Jewelry, MT/WY
Shane Co, CA/OR/UT/WA
CANADA:
Bijouterie Italienne, Quebec
La Maison d’Or Jewellers, Ontario
Lugaro Jewellers, British Columbia
For more information, visit www.naturaldiamonds.com/official-retail-partner-locations
Formed deep within the Earth billions of years ago, these finite and unique natural wonders are the oldest objects you will ever touch. Natural diamonds provide employment, education, and healthcare for local communities from the Northwest Territories of Canada to Botswana in Southern Africa and protect vulnerable ecosystems for the future.
naturaldiamonds.com
Natural Diamond Council Global Ambassador, Actress Lily James
