Symbols Beyond Time
In every diamond lies a reflection of time. In every ruby — a hidden promise. The Oracle is the place where ancient legends meet modern myths, where gold becomes the language of power and platinum — the cold whisper of eternity. This page is for those who feel the weight of centuries at their fingertips. For those who know that rings can be amulets, and pendants — codes deciphered only by the chosen.Do you remember how Cleopatra wore emeralds to bring out the color of her eyes, and how Queen Tamar chose sapphires as a symbol of eternal wisdom? How Vera Kholodnaya hid her secrets in diamond brooches, and Grace Kelly turned pearls into emblems of purity and grace?
Here, you’ll find stories of legendary jewels, books about the secret symbols of jewelry craftsmanship, tales of those who turned gold into poetry and gemstones into memory.
The Oracle is an encyclopedia of treasures, where every pendant is a chapter, every bracelet — a poem, and every crown — an entire dynasty. Let this section become your personal archive of strength, beauty, and hidden knowledge. Here, you will find not just jewelry, but symbols that whisper to you of the past and guide you into the future.
Silent titans of the industry, whom the world hides shyly behind diamonds.
Jewelers are the most concealed caste of the luxury industry. Their faces don’t appear on covers, their stories aren’t told in interviews, their contribution is dissolved into the brand like a jeweler’s name into the carat weight of a stone. And yet it is they who shape the face of modern adornment. They compose the mythology of the body, the culture of touch, the politics of brilliance. At Chaumet’s atelier, for example, from the late 90s to 2012, the key designer was Agnès Pellé. Her name barely appears in the press, but it was she who defined the code of new French refinement in high jewelry. At Van Cleef & Arpels, designer Julie Coudray worked for years — her sketches are now exhibited in retrospectives. Boucheron had Japanese collaborations as early as the 2000s, but no one ever sought to name the designers behind those pieces.
Still, the world is changing. In recent years, jewelry brands with strong authorial voices have emerged: Harwell Godfrey (Lauren Harwell), Nikos Koulis (Greece), Elie Top (France, former designer at Lanvin), Silvia Furmanovich (Brazil), Vram (USA). These names increasingly surface at fairs like PAD and TEFAF, as well as at Sotheby’s jewelry auctions. A jeweler is not merely a craftsman, but a conceptualist. They work not only with form, but with context. They must know the history of costume, understand the microscopic anatomy of metals, and engage with the philosophy of time. The modern jeweler is a synthesis of architect, sculptor, and dramatist. Their task is not simply to mount a stone, but to create a narrative from silent materials. I believe the age of anonymity must end. That’s why Oracles will speak of names. Of those who craft meaning and brilliance. Of those who know how to make gold out of silence.
And That Is His Power.
And yet, the wave is rising. Books are appearing, dedicated to designers. Exhibitions are beginning to showcase sketches, drafts, photographic documentation of process. Curated collaborations are emerging, where jewelers work alongside architects, fashion designers, philosophers. These are no longer mere accessories. They are a form of art. A manifesto of touch. And brands are beginning to understand this. Because today’s buyer is not just wealthy — he is educated. He wants to know. He wants to understand. He will not buy a €300,000 ring unless he knows where the idea came from, who conceived it, and why that curve is shaped exactly so. And if the brand fails to explain — it loses him.
That is why brands are beginning to develop new formats: catalogs where designers are named, videos where they explain their concepts, press releases that no longer use the generic phrase “our craftsmen,” but instead include real names. And this is a revolution. A quiet, aesthetic, yet fundamental one. Because the moment you give the author a face, you change the entire structure of status. You declare: the jeweler is not a tool of the brand. He is the architect of beauty.
да That is why it is essential right now to create pages like ours: archives, platforms, stages where jewelers become visible. Where their names are not hidden on an interior tag, but become the leitmotif of a new culture. Because jewelry is no longer just luxury. It is a metaphor of thought. It is the language through which the era speaks. And the one who shapes this language — deserves to be heard.
The language of diamonds has always spoken of money, but in recent decades it has shifted into the register of political aesthetics. High jewelry is no longer merely beauty in a showcase—it is a demonstration of power, of visual literacy, of belonging to a closed code. Jewelry exhibitions have become theaters where the game is not gold but status. It’s not only brands that participate in them, but also collectors—faceless heroes, often unknown to the general public, yet they define the culture of “belonging.” Who are they? Why do they buy necklaces for 7 million euros, and which necklaces become the true objects of collecting? And why is it that high jewelry today is going through an era of new rituals?
High Jewelry collections from Cartier, Boucheron, Van Cleef & Arpels, Dior Joaillerie, Graff, Chaumet, Chopard, and Bvlgari are displayed each year in heavily guarded mansions in Paris or Geneva, accessible by invitation only. These are not places where items are sold—they are places where it is decided who is allowed to buy. A high jewelry exhibition is not a showroom. It is a masquerade of power, where each necklace is a symbolic title that must still be earned.
Jewelry houses do not open their doors to the “rich” but to the “initiated.” Clients may be millionaires, but if they are not part of the ecosystem—they will not be sold to. A jewelry collector today is not necessarily a collector in the museum sense. She is a curator of her own biography. Often— a woman constructing the visual code of a family, a lineage, a status. Or an heir buying not for style, but to maintain influence within a specific cultural stratum.
Many brands, including Van Cleef and Cartier, have begun forming archives not just of those who purchase but of those who collect. Such clients are written into the history of the Maison. For instance, a client from Dubai who assembled 27 unique necklaces with enamel and tourmalines from Boucheron has been included in the brand’s private curator list. Her name is not disclosed, but at the last show in Hôtel de Crillon her seat was missing—she participated as an “invisible hostess.” Thus, a new architecture of status is born—through silence. Major exhibitions, especially within Paris Haute Couture Week, have become cultural events. Editors, researchers, and insiders attend. Curators associated with Fondation Cartier or the Louvre des Antiquaires track new forms of gemstone-symbol interplay. Today, particularly valued are pieces constructed around metaphors: necklaces as symbolic alphabets, brooches as sculptural manifestos, rings as symphonies of rubies and negative space. Interest in jewelry exhibitions has especially grown after the pandemic. Private showings, intimate installations, “glassed dreams” inside antique mansions have become new ways of speaking about a world where access is determined not by wealth but by proximity to the “family table” of the brand. It has become an almost esoteric experience—gaining trust. The jewelry house becomes a closed family, where each new piece continues the lineage. One of the key themes today is collectible jewelry. Pieces created not merely to be worn, but as “transmittable texts.” They are collected like rare books or artistic manifestos. In this sense, Graff and Harry Winston play a special role in the U.S. and Middle Eastern markets: their pieces become part of dynastic strategies. For example, a necklace with a 90-carat yellow diamond sold in Saudi Arabia in 2023 is already designated as a future wedding gift for 2040.Collecting high jewelry is an act of power, unrelated to the present moment. It is a long game, a myth. Women collecting Cartier Cactus brooches often do not wear them on their bodies, but keep them in showcases as aesthetic capital. Collections are sometimes built thematically: flora, astrology, antique lock forms. Jewelry philosophers have even emerged—experts analyzing new forms of precious poetics. The investment appeal of jewelry collections has also become part of the game. Major houses collaborate with analysts. High jewelry becomes a financial asset, evaluated not by weight but by narrative. In 2024, over 14 deals were recorded involving the sale of high jewelry through private auctions not as items, but as intellectual property objects.
A high jewelry exhibition is not just a display of pieces. It is a rehearsal of power. When a Maison unveils a showcase with an €11,000,000 necklace encrusted with gems sourced from six continents, it is not about fashion. It is diplomacy. It is an alphabet of empires, encrypted in precious stones.
Every summer in Paris, as part of haute couture week, Cartier, Bvlgari, Chaumet, Van Cleef & Arpels hold private presentations of their new high jewelry collections. These events take place in private mansions, within hotels on Place Vendôme, or in carefully selected Parisian townhouses with legendary acoustics and architecture. Access is not for the press. It is only for collectors, museum curators, high-ranking guests from Asia, the Middle East, and select families from the U.S. and Europe.
Behind the scenes—waiting lists stretching years. The pieces do not appear in boutiques. They exist for just a few days on display, after which they either move into private safes or disappear into museum archives. Each item is like a diplomatic coin issued by the Maison as a symbol of cultural superiority.
Thus is born a new figure—the jewelry curator. At once a collector, an intellectual, an architect of legacy. In this new class, the client becomes not merely a buyer but an author of the cultural code. Their choice is not a whim. It is a statement.
On the inner side of the clasp, a name was engraved: Loree Rodkin. I didn’t know who she was. I just knew that this bracelet felt my life better than my ex did. And, as usual, I did what every self-respecting woman with high heels and a light obsession does: I started following her. Loree Rodkin isn’t just a jewelry designer. She’s a woman who encrusted pain into gold and then told the world: “wear it.” She doesn’t have tender stories about “grandmother’s necklace” and “first sparkle under the tree.” She has Cher, rock-n-roll, long claws, oxidized silver, skull bracelets, rings that wrap the whole finger like armor. She has a past that doesn’t ask permission to be loud. She began her career in Los Angeles as an interior designer. She decorated homes. Then — looks. Then — women. But at some point she understood: walls collapse, outfits change, but a ring can stay with you even after the wildest party and the hardest breakup. Jewelry is something closer to the body than any man. And maybe even more honest. “I never wanted to be trendy. I wanted to be true to who I am. I’ve always been a little bit of a rebel,” she says in one of her rare interviews. And you understand: her jewelry isn’t for everyone. Not for those in love with pearls. Not for those who wear studs with the single word “delicate.” Her pieces are for those who have survived something. And now wear it — sparkling.
The emoji bracelet series I saw first was almost cruel in its irony. There were smiles, hearts, tongues, winks — laid out in diamonds and yellow gold, sometimes with the addition of black stones, as if even Rodkin’s laughter could be dark. These bracelets looked as if Kim Kardashian met Maleficent, and they decided to found a cult. “Even a smile, when set in diamonds, can be lethal,” Loree said, and I wrote this quote on the inside wall of my planner. Because yes: if you don’t know how to smile with diamond teeth — you’re not ready for real love.Everything in Loree Rodkin is duality. She works with black gold, sterling silver, palladium, with materials not about tenderness but about strength. And yet each piece seems made for a woman who still feels. This is not soulless armor. This is armor with a heart. Listen, her rings look like you could press them — and a poison capsule would open. They’re not for princesses. They’re for queens who once lost their throne but then built a new one — out of stones and their pain. I found an old article where she was asked why she doesn’t make “feminine” designs. She replies: “I don’t see femininity as weakness. But I do see prettiness as a lie.” And it felt like a blow. Because that’s exactly what I felt at that moment: that all my “prettiness” was a fake, that behind the smile were sharp edges, and maybe that’s why I craved a bracelet that smiles — but also protects. Rodkin is often compared to rock-n-roll, and yes — her pieces were worn by Mick Jagger, Ozzy Osbourne, Madonna, Cher, Evan Rachel Wood, Lenny Kravitz. But to be honest, there is much more of morning loneliness in them than of the stage. These are pieces you can wear on the red carpet — or in bed, when you don’t want to forget who you are. “Jewelry should reflect your essence, not your outfit,” — another of her quotes. And that’s the whole secret: you wear Loree Rodkin not to “enhance your look.” You wear her when you have no look — only the truth. And let it be laid out in diamond.
She has a ring with a black cross that Cher wore in a 1996 video. There are bracelets that look like ritual shackles. There are cuffs wrapping the ear like a dragon hidden in your hair. She’s called a gothic jewelry witch. But honestly? She’s just the first who dared to say that pain doesn’t have to be healed — it can be worn with pride.
And those emojis… God. I couldn’t take my eyes off them. I browsed lookbooks, scrolled Instagram, messaged stylists, searched resale. They appeared in my dreams like exes you don’t want, but still remember. Because they awakened something in you. “A woman’s jewelry should be her mythology. Not her accessory,” Loree said. And I thought: what if this is my myth? Not Chanel, not Van Cleef. But a smile, laid in diamonds, on a backdrop of oxidized gold, laughing at me — but also with me. I ordered one. A small one. Not for the whole wrist. One smile. Shiny. I wear it when I’m not sure who I am. And it reminds me: you are the one who can smile even in hell. Because you’re in diamonds. And maybe that’s the secret of real jewelry: not the price, not the grams, not the certification. But that it recognizes you — when you’ve forgotten yourself.
Loree Rodkin doesn’t create jewelry. She creates things that remember you better than you do. And one day, when you wake up among scattered dresses, with a head full of “what ifs,” and a hand with a little diamond smile — you’ll remember everything.
The Diamond Smiles Back at You
A Ring Like a Brand.
Loree Rodkin and Jewelry Design as a Declaration of Powe
Often the inner part is engraved by hand: a name, a date, a spell, a phrase. They are assembled one phalange at a time in Rodkin’s Los Angeles workshop, where only people work who “know how to create jewelry as if you are building an organ.” That’s how she says it.“Jewelry should never flatter. It should protect. If it just sparkles, it’s not mine,” she declares in an interview for W Magazine. This is not a metaphor. Her rings are truly heavy. Sometimes — with sharp edges. Sometimes — with cutouts for the skin. They demand adaptation. They don’t want to be comfortable. Because power is not comfort, but awareness of weight.Loree Rodkin’s workshop is not a workshop, not a factory, but a laboratory — like in alchemy. Metals are sourced from verified suppliers: 18K white gold, black gold, palladium, oxidized silver, sometimes platinum. Stones are always real: black and gray diamonds, moonstone, onyx, emeralds, baguettes, sapphires, smoky quartz.She often uses stones with a “complicated history” — with cracks, inclusions, scars. Because she believes: a perfect stone is a lie. A living stone is the truth.The process begins with a sketch — but not on paper. She often draws the wax model right on the finger and then casts it in metal. The work is built around the body, not the other way around. Her words: “The ring must know the finger before it knows the world.”Each ring is finished by hand, polished for dozens of hours. The craftsmen say Rodkin has no “deadlines.” Only a state: “if the ring hasn’t breathed, it won’t leave.” Rodkin rings are worn by rock stars. This is no accident. Their aesthetic is the same: an intimate wound carried into publicity. Jagger, Ozzy Osbourne, Tyler, Kravitz — all choose rings as symbols of control, a manifesto.
They don’t play — they live inside the ring that says: “I’m here, I survived, and I will not be quiet.”In a world where luxury jewelry increasingly offers “tenderness,” Rodkin remains the only brand that offers power.
One of Rodkin’s most famous rings — Seven Knives. A massive ring embedded with seven spikes resembling stilettos. It doesn’t cut, but visually threatens. Another — Domina Mea, with a Latin inscription inside, referencing both psalms and sexual manifestos.
A third — Eye Remembers, with an inlay in the shape of an eye, looking outward and inward. All of this — not jewelry lines, but texts written in metal.She works with clients directly. Often, when someone orders a ring, she first conducts a conversation. What are you silent about? What must be said? She says the first question to a piece of jewelry is not “how many carats?” but “why?”She has no standard sizes. She has measurements taken from the hand, from the gaze, from the gesture. Sometimes she creates rings based on photographs of palms.She says the hand is like a soul: it cannot be repeated. Rodkin does not do custom in the usual sense. She does incarnation. This is the word she loves.
“I don’t do personalization. I do incarnation. That’s different.” That’s why her rings are bought not for beauty, but for inner resonance. She has no large flagships. She sells through boutiques like Maxfield (LA), The Webster, sometimes in private pop-up spaces.The main method — via personal correspondence or Instagram @loreerodkin.
Because this is not a brand. It is a relationship. A vow. A woman who puts on a Loree Rodkin ring seems to sign a contract: I will not hide what is sharp within me. I will not smooth edges for approval. I will not unclench my fingers if they carry my story.These rings do not romanticize pain — they channel it, turn it into a sign, into a sound, into a jewelry note that resonates even when you are silent.
They stay on you when you take off your dress. They stay in the box when everything else is already sold.They are passed on to a daughter — not as memory, but as magic that cannot be broken.For other brands, a ring is eternal love. For Rodkin, a ring is eternal power.
“A ring is a memory that refuses to fade. That’s why I make them hard to forget,” Loree Rodkin once said. And it’s true. None of her rings you will forget. Not one will be just a “detail.”
All — like voices left on your hand, so you will never doubt: you are alive, you were, you are.
🖋 Elaya.Space – ORACLES
LOREE RODKIN
The inscription LOREE RODKIN feels engraved like a spell, and the finger beside it — as if it has already paid for its luxury with pain.
This is not just jewelry. This is the magic of power, the kind they never speak of in boutiques.
The Unique Show Monte-Carlo: A New Cartography of Contemporary High Jewelry.
June 21, 2025, Saturday, Monte-Carlo. The air above the sea was one of those that smells like golden glasses after noon and the leather of a beloved notebook left on a sunbed. At the Le Méridien Beach Plaza hotel — the only one in the principality with a private beach — something truly special unfolded over these days: The Unique Show Monte-Carlo stretched across two floors, overlooking a horizon where yachts had long since replaced birds. It wasn’t loud, it wasn’t flashy, it wasn’t for random passersby — it was intimate, conceived as a personal invitation into a private universe where every stone mattered like a name. The exhibition’s organizer is Dalila Daffara — gemologist, curator, and a woman with twenty years of experience in the world of auctions and precious craftsmanship. The idea of The Unique Show was born even before the pandemic in London, as a challenge to the overheated market of mass fairs. Initially, the project settled in Lugano, then in St. Moritz, but it was Monaco that became its natural continuation — almost like a final chord played without a single mistake. In Monte-Carlo, the show is being held for the second consecutive year, but it was this time that it brought together more than fifty brands from all over the world — from Lugano, Como, Geneva, Abu Dhabi, Istanbul, and Paris. This is not a show for selfies — it is a platform where jewelers, gallerists, designers, and collectors speak the language of gold, platinum thread, carat resonance, and the memory of forms. The show’s ideology is curatorial. There are no crowds here, no rows of stalls, no banners. Here, there is soft lighting, muted fabric tones, glass showcases that contain not just jewelry, but thoughts embodied in metal. Every piece is like a letter from a jeweler to a buyer. And every buyer is not merely a client but the final point in an artistic transmission. The very location — Le Méridien — is ideal for this philosophy. Its architecture allows for the creation of a semi-transparent club effect, where the guest need not speak loudly. Here, observation is valued, as is pause, a slight nod of the head, a restrained gesture of a gloved hand. This is not where selling happens — this is where connection begins. Some showcases were literally transformed into theatrical stages: with lighting, with black velvet on which emeralds shimmered as if competing in breath. The exhibition wasn’t limited to display alone. Private cocktails, discussions, closed-door masterclasses, meetings with journalists, and lectures — all of this created a sense of private synesthesia: you didn’t just watch — you participated. It is in this way that new meanings are domesticated in the art world. It is in this way that the jeweler becomes not a craftsman but a storyteller. Why Monaco? Because here, in this microcosm-state, glamour has long ceased to be a scream. It has become a background — calm, like a white cashmere coat. Here, people value not scale, but essence. Not brightness, but purity. And The Unique Show chose this place not by chance. Against the backdrop of other European events, here the emphasis is on intimacy and the quality of dialogue — not with the press, not with the public, but with the one who seeks that one piece of jewelry to be passed on to a daughter on her wedding day. That weekend at Le Méridien, every table held a story. There — a woman in a diamond necklace by Diva Jewels, with a jewelry handbag that reflects light in the way only faceted diamonds do. There — a couple discussing a potential commission with a Geneva-based brand, for whom pearls are not just pearls but a philosophy of life. There — a reporter catching reflections in a showcase — not to take a photo, but to capture the moment when a gem seems to glance back. The Unique Show Monte-Carlo is an exhibition where nothing happens by accident. Here, every brooch is matched to a gesture, every ring — to a line of fingers. Here, people don’t talk about luxury — they show it. And those who were present have already understood — there are not many shows like this. And one of them now takes place once a year in the most refined pocket of Europe. In a principality where gold never screams. It simply glows.
A. Gul KG Diamonds, a company founded in 1967, is one of the most recognizable Turkish players in the colored diamond market. At the Monte-Carlo exhibition, their showcase attracted light like an altar, decorated in a pastel palette of rare fancy pink and purple stones. Particular attention was drawn to three diamonds of saturated pink hue: a cushion, a round, and a radiant cut — each demonstrating exceptional color distribution, indicative of top-tier polishing craftsmanship and a meticulously curated selection of crystals. These stones fall into the natural fancy color category, and their market value may exceed $1 million per carat, especially when accompanied by GIA certification. A. Gul KG does not merely sell stones — they shape global aesthetic trends around rare shades that go beyond the familiar white spectrum.
Devji Aurum (India) structured their display around golden pendant medallions approximately 20 mm in diameter, executed in repoussé and inlaid with large citrines and yellow sapphires. Onyx and aquamarines add depth. The gold carving technique evokes Vasari-style Florentine chasing — the pieces feel like delicate bas-reliefs rather than simple adornments. This is not statement jewelry, but intellect, peacefully rooted in the traditions of Gujarat.
DiA (international brand) showcased a collar necklace fully crafted in lace-mesh technique from white gold. At its center — a drop-cut emerald of approximately 5 carats, rich green in color, surrounded by a pave diamond mesh totaling ~3 carats. The gemstone is set in a platinum bezel, and the delicacy of the setting enhances the power of the color. Visually, it resembles a living leaf framed in gold — every petal of the collar reflects the emerald’s glow and maintains a balance between minimalism and ornamentation.
Diva Jewels (India/UAE) — the star of the show. Their Scarlet Macaw mourning bird brooch worn on the wrist, crafted in rose gold, is covered in sapphires of every hue — from ruby-swallow tones to aquamarines. Wings and tail are rendered in a gradient of pink-to-violet tones, and the finesse of this gradient is visible to the naked eye: the sapphires were selected within a 2/3 shade variation. The body is adorned with a minimalist enamel painting — Emaux de Limoges — which softens the gem-like shine. This is not surface decoration — this is volume; the surface comes alive, like a precious avatar.
Dorion Soares (Brazil/Spain) brought to the show a duet necklace-ring: a gleaming panel of massive parallel rows of pave diamonds (~10 carats), holding a pendant stack — an oval green beryl of ~7 carats. The high-crowned oval cut enhances the color, while the crisp lines of the pave create a mosaic of light. A precious duet — a bright example of the Latin approach: passion, attraction, and while the base is white brilliance, it is the beryl that sets the emotional tone.
Goko (Tokyo, since 1970) — Japanese school of miniature luxury. Their necklace and ring express a commitment to color purity: a cushion-cut ruby of ~6 carats surrounded by a thorned crown of pear-cut diamonds. The ruby’s color is pure pigeon blood, rich, without brown undertones. The necklace holds the ruby in a cassette setting, without visible prongs — the gem appears to float against its backdrop — perfect Japanese restraint. Even the slightest deviation would ruin the balance. Every facet is visible, every margin — this is precision in the Ginza style.
GOLDESIGN brings into the jewelry landscape a tender graphic of floral utopia: their earrings, encrusted with pinkish-lilac beryls surrounded by a scattering of small diamonds, are constructed like a botanical symphony. Here, each petal is a diamond facet, each stem — the invisible effort of a jewelry architect creating compositions in which romance becomes form. The composition is dominated by oval cuts, emphasizing the purity of the colored center and enhancing femininity through thoughtful symmetry.
HASSANZADEH appears as an embodiment of Eastern monumentality and discipline in handling emeralds. Two pear-shaped emeralds of a rich, oily green hue are embraced by voluminous structural diamonds, arranged in complex dynamic forms — reminiscent of a vortex frozen in time. These are adornments in which geometry serves ritual, and light — becomes material for a manifesto of power. The metal is platinum, with a cold sheen that contrasts with the living density of the gemstones.
INBAR AVNERI demonstrates the rarest sculptural audacity: a jewelry object referring more to an art piece than to an accessory. In the curved and elongated forms of brass or gold metal lies the charm of postmodern bestial plasticity. The stylistic direction is organic, almost biomorphic, with a surrealist undertone: curved tendrils, elements resembling wings, vertebral outgrowths. As an insert — a citrine or topaz of warm honey shade, enhancing the sensation of amber glow inside the metallic body.
JMG DESIGNER constructs jewelry aggression as an aesthetic strategy: a brooch in the shape of a flower is made of hundreds of rubies in pear and round cuts, set in a rhythmic pave composition and framed with diamonds. The design simultaneously resembles a peony and an exotic creature with spikes of black enamel or onyx. This jewelry creature is not only a decorative object but also a gesture. An ornament that does not tell a story but attacks sensuality. The inlay is dense, the technique — of high level, with a clear inclination toward Haute Joaillerie.
KRISONIA Milano bets on Hollywood luxury — large, cascading diamonds arranged in the shape of droplets gradually converging toward the center of the neck. What matters here is not only the quality of the stones but also the setting: the diamond cuts — mainly pear and baguette — create a waterfall-like effect. The jewels are designed for evening dresses, red carpets, ultra-feminine looks. The jeweler’s light work is impeccable; the entire setting is calculated so that each diamond is visible at the right angle. The style is unmistakably classic, yet with a modern purity of lines.
LA PRIMA GIOIELLI, on the contrary, seeks perfection in the simplicity of geometry. Their signature earrings are gold in the form of rosettes with the finest notching and delicate engraving, ending in a central insert of ruby or spinel. The structure of the piece is a repeating spiral motif, like an ode to kinetics. In these pieces, one feels the influence of antique form and Italian rational modernism. The work with gold demonstrates mastery of microprocessing, reminiscent of the technique of bulino or millegrain. The stone acts more as a color accent than the main character.
LANGI ROMA appeared as the embodiment of Italian architectural rigor and restrained sensuality. From Rome, the brand brought a signature piece — a wide cuff ring in the shape of a cross, carved from rare wood, lacquered and framed with a rim of rose gold with pave diamonds. This is not just an ornament but a sculpture executed in the format of haute joaillerie, where surface and silhouette play the leading role. Langi operates at the intersection of minimalism and Etruscan heritage, combining ancient forms with modern proportions, favoring purity of line, refined matte luster, and rare materials.
LORINI, on the other hand, bets on expression and color saturation. Their ring with a rectangular London topaz framed by platinum petals encrusted with white and pink diamonds resembles a night flower blooming in the moonlight. The “rose cut” emphasizes the play of light on the surface, and the centrally placed rubies add dramatic tension. Lorini skillfully balances between classic and fantasy, creating pieces with an emphasis on compositional complexity and layering.
LOUISA WESTWOOD is a master of jewelry metaphor. The ring presented at the show, in the form of a tiger’s head, is cast from gold with an oxidized surface, and the predator’s eyes are made of sparkling diamonds in brilliant cut. This ring is not just an adornment, but a totem of strength and protection. Louisa uses ancient allusions and symbols, turning jewelry art into a shamanic practice, where each object has hidden energy and meaning. Her pieces often carry the character of a trophy or artifact suitable both for collectors and for those who perceive jewelry as a form of ritual.
MAHESH NOTANDASS brought an emerald symphony to Monaco. His necklace, built on a cascade of heart-shaped Colombian emeralds, polished by hand and set in a platinum base, is designed as a floral waterfall converging on a central heart-cut stone. Around it — a dense scattering of pear-shaped diamonds creating the sensation of light breaking into drops. This is the school of Indian high jewelry tradition, where massiveness is replaced by fluidity, and the abundance of stones — by an organic symphony of lines and mass.
MAYYAN JAFFAR appeared as one of the most modern and fashionable interpreters of geometric minimalism. Her massive necklace in the form of semi-rings made of white gold with transparent inserts of rock crystal or quartz is an example of 21st-century jewelry architecture. Inside each segment — secured baguette diamonds, with emphasized strictness of proportions and graphic quality. Mayyan’s pieces are a dialogue between fashion and high jewelry, where there is no place for excess, but there is deep respect for form, texture, and bodily rhythm.
MINH LUONG is a jeweler-fantast, offering sensual, almost surrealistic images. His heart-shaped earrings, executed in the technique of micro-sculpture from rose and white gold, scattered with yellow and violet sapphires, resemble alien seeds or crystallized emotions. Minh Luong creates pieces that look like artifacts from other dimensions, playing with asymmetry, unusual color transitions, and surface texture. His creations demand close viewing and bodily involvement — they are not so much decorative as they are emotional.
PAVIT GUJRAL (India)
Fully inspired by the Indian tradition of high jewelry, the brand presented a necklace resembling wings: the right half — a mass of white diamond pavé, the left — equally dense ruby pavé. The central stone — a large cushion-cut pink sapphire, which “ignites” the composition. The work with color is a masterclass, where a playful yet not screaming color solution is combined with jewelry virtuosity: the stones were hand-selected, the platinum is perfect in shape, the combination of the cushion sapphire and micro-inlays demonstrates impeccable material handling and balance of light.
SACLÀB (Italy)
Created in Italy, a travel bag as a continuation of jewelry ambitions. This is not a classic handbag, but a hybrid: brown exotic lacquer, a metal clasp in a gold setting, a perfectly polished leather gradient — there are no gemstones here, but the sense of captured attention remains. Saclàb is an example of Italian “premium-laconicism,” where luxury is not only in jewels but also in form, material, and expression.
SETHI (India)
Classic jewelry in a new form: a massive necklace and earrings where Colombian emeralds in oval cut alternate with blue sapphires and round-cut diamonds. The series is executed with concrete symmetry: it’s immediately clear that this is the work of masters, where the stones are of the same clarity and tone. The effect? A push of light, a soft gradient, a sense of air-permeable stone stucco.
SHIV NARAYAN (India)
Half-classic, half-moon of the East. A choker necklace with a sequence of pear-shaped emeralds, each around 3–4 carats, surrounded by rose-cut rubies and rose-cut white diamonds. The central idea is a floral motif: curves, pavé, drop pendants. Airy, yet with a dense visual pattern, the rhythm of the pendants and gentle mobility make it the ideal choker format for ceremonial looks.
TREASURE (presumably Italy/Europe)
A mini-brand that presented jewelry art objects at the Unique Show. In the photo — a brooch-clip in the shape of a fluffy tassel or brush, using the “cantillistic” technique with tiny cultured pearls fixed on threads that emphasize the texture of the tassel. White and yellow gold, a few diamonds at the base. This piece should be considered a miniature art sculpture, where the tradition of pearl strands intertwines with modern design.
YING CHEN CHEN (Taiwan)
From Palm Beach suns at the Unique Show — to the photo of a large artifact ring. A cabochon opal about 20 mm in diameter, with playful opalescence, but set gently, like a cloud, over an openwork rose gold and platinum base. White and pink micro-pavé diamonds along the wavy rim. The color palette is marine, delicate, almost pastel, but with a sudden accent: like a pearl drop of light.
From Italy, one of the oldest jewelry Houses arrived at the exhibition — Busatti 1947, whose story began over seven decades ago. From generation to generation, they have preserved a vow of artisanal dignity and aesthetics, where beauty shines not through ostentatious luxury but through the perfect precision of every faceted line. Their sapphire petal cascade earrings, built on the principle of architectural drapery, resembled the movement of a fan in a ballet scene — light, rhythmic, yet strictly measured. Each fragment is encrusted with royal blue sapphires, framed with tiny diamonds like pearl dust along the edge of silk.
From Hong Kong came Karen Suen, whose name is associated with the virtuoso poetics of precious materials. Her jewelry language is not merely composition but a true visual symphony. One of the key pieces in her exposition was a ring in the shape of a blooming tree, made of white gold and encrusted with diamonds, at the center of which is a large pink coral, like a drop of dawn on the crown of branches. The play between the density of the metal and the lightness of airy forms makes Suen’s work closer to sculpture than to classical jewelry. One can feel the Asian tradition of synthesizing nature and spirit in them.
Next — a subtle gesture from Tehran. Kyan Jewelry, a designer brand from Iran, presented earrings transformed into tiny paintings. At the center — filigree enamel, handcrafted in the style of Persian miniature: delicate lines, soft gradients of purple and saffron, landscapes reminiscent of sketches in an old manuscript. These pieces are not so much about preciousness as about memory: each stroke — like a brush mark in the history of the East. The frame is made in gold, accented with amethysts and garnets reminiscent of flowers in a carpet pattern.
From Japan — the minimalist and bold Z Jewelry, whose minimalism challenged the classical. On the brand’s stand, earrings with large diamonds in open sculptural settings drew attention, where the metal nearly disappears, yielding the stage to the cut. This is a dialogue between light and air, where the stone seems to hang in space, touching neither ear nor metal. Such a style demands ultimate precision: the slightest deviation ruins the illusion of levitation. But this is exactly where Eastern precision lies, Buddhist silence in the architecture of form.
The brand JMG Designer, which came to the exhibition from Lebanon, captivated the public with an outstanding piece — a brooch in the shape of a flower covered in rubies in shades of punch and garnet. At the center of the composition was a pear-shaped ruby, framed by a cascade of smaller stones and diamond drops laid along the waves of petals. The jewel embodies sensuality — like Arabic poetry, where every word is faceted with passion. This is a jewelry confession of love, enclosed in dense red geometry.
And finally, Asia again — Zeno Jewelry, a brand whose Lebanese founder lives and works in Kuwait, presented earrings that resembled installations assembled from diamonds and citrines. Images of sunlit wind, frozen in a moment. Their works are built at the intersection of Middle Eastern baroque and minimalist austerity. Long forms, graphic curves, deep pear-shaped inserts, and high jewelry enameling techniques create objects one wants not only to wear but to contemplate like architecture.
AURA
Saudi Arabia presented at The Unique Show the brand Aura — minimalist and at the same time sensual, focused on the architecture of white diamonds. Their jewelry emphasizes the aesthetics of fingers, lips, and facial lines, turning female features into precious geometry. Especially striking are the cluster rings with large faceted stones — strict yet exquisitely Eastern, like a jewelry prayer addressed to the light.
AYMER MARIA
The Spanish brand from Barcelona, Aymer Maria, showcased golden rings with geometric inlays, executed in the spirit of Catalan urban intelligentsia. These are pieces for those accustomed to the silence of art galleries and the glassy sparkle of a Barcelona sunrise. The simplicity of form meets jewelry restraint, creating a sense of intelligent intimacy — a ring as a manifesto of personal taste.
BAHATI
From Nairobi, Kenya, came the brand Bahati — and immediately stood out thanks to a sculptural ring depicting a figure in a veil of golden threads. These pieces resemble cultural artifacts more than accessories — as if they emerged from an ancient ritual and landed directly on the runway. Volume, texture, power — Bahati operates at the intersection of fashion and ethnography, conveying in metal the image of strength, memory, and origin.
CASSANDRA MARIA IOSUB
The Romanian brand Cassandra Maria Iosub brings to the show rings that resemble miniature architectural projects. A rectangular aquamarine set in a frame of gilded lines looks like a fragment of an avant-garde building, where every corner is a deliberate gesture. It’s a play with plane and volume, an intellectual approach to jewelry as a constructive solution. Romania is represented here with a strikingly modern accent.
CONSTANCE SCHÜRCH
Switzerland is traditionally strong in classical jewelry — and the brand Constance Schürch confirms this. Their rings are baroque, hand-engraved, with diamond inlays — as if made for an 18th-century aristocrat, but found themselves in the 21st. Particular attention is drawn to the details: filigree patterns, vintage profiles, decorative elements that evoke the feeling of a family heirloom. This is not just a piece of jewelry, it is a relic in pure gold.
DEGHUPTA
Deghupta from India offers at the show not jewelry pieces, but textile art objects — leather handbags created using sculptural drapery technique. Their models are the embodiment of conceptual design: vibrant like a painting and pliant like contemporary sculpture. An orange handbag with a sharply graphic silhouette looks like a scenographic element for theater, where at the center is a woman creating the world around her with gesture and form.
GEM FACTOR
The company GEM FACTOR from Colombia presented what could be called a true manifesto of raw material — the emerald as absolute, as being, as the green coin of nature. No setting, nothing extra — just the stone, of perfect cut, clarity, and color. The brand specializes in Colombian emeralds of the highest category and, in essence, acts as a cultural operator, restoring the status of the gemstone as a protagonist, not merely a component of jewelry. These stones exist in and of themselves — not as part of a piece, but as its meaning.
KOSTIN’S LAB
The Russian brand KOSTIN’S LAB works in the field of next-generation lab-grown stones and high-tech faceting. At The Unique Show the brand presented a ring with a teardrop-shaped bright turquoise stone, inlaid into a track of diamonds, visually referencing the motif of a tear or raindrop. Here, it is not just the piece itself that matters, but the idea of a lab-grown gem as an emotional code of the future, where sustainability, aesthetics, and precision converge. The brand works with the philosophy of “gem as code” — the jewel as a language of the new world.
IN FINE
The French brand In Fine presented a ring with a dramatic opal insert and colored stones, immediately remembered as something alchemical, dreamlike, almost hallucinatory. This is not a piece of jewelry in the conventional sense, but rather an artifact assembled from sounds, colors, and memories. Founded in Paris, the designer creates pieces rich in symbolism, where color, form, and metal act as an incantation. Here, beauty is not decorative, but manifestational.
ISABEL OLIVEIRA
The Portuguese brand Isabel Oliveira, founded in Lisbon, specializes in high jewelry with a focus on colored stones, especially rubies and diamonds. At the exhibition, the brand presented a sparkling bracelet with a central stone in a hot Malibu shade — a saturated ruby in a bright cut. Isabel Oliveira’s pieces always feel like part of an evening portrait, they create a sense of completeness, elegance, strength, and deliberate luxury. One senses Portuguese restraint and an eternal love of light.
NURATI JEWELRY
Nurati Jewelry — a brand with Eastern roots, based in Dubai, presented at the Monaco exhibition a jewelry brooch in the shape of a fantastical flower, composed entirely of pink and green sapphires, tourmalines, and diamonds. Each piece by Nurati is a kind of miniature garden, where everything is subordinate to emotion, to line, to living movement. This brand speaks the language of nature — not through literalism, but through its sensuality, volumes, and myths. The pieces look like fairy tales told in stones.
PETRONILLA
The Italian jewelry house Petronilla presented at The Unique Show a ring reminiscent of a calla lily, crafted in micro-setting technique with the tiniest diamonds, transitioning from white to yellow. This piece is like a sculpture, frozen at the moment of unfolding. At Petronilla, everything is done by hand — from the wax model to the final polish — and each piece preserves a special organic quality of Italian artisanal heritage. This is not just a piece of jewelry, it is an amulet of glowing metal, turned into the shape of breath.
Rembrandt Jordan
From the Netherlands, where architectural lines merge with the philosophy of refined form, came Rembrandt Jordan — jeweler and sculptor in one. His creations are not merely adornments, but micro-monuments. At The Unique Show, he presented objects with expressive cuts, where each stone is framed in a setting that resembles not a mount but a work of minimalist design. As if Bauhaus has been reborn in sapphires, and every structural element resonates like a score of silence.
Royal Shine
A brand from the UAE, or perhaps from an aesthetic future, Royal Shine doesn’t create jewelry — it ensures its immortality. This is a premium jewelry cleaner, offered as part of a ritual. Here, purity is not just a technical parameter, but an ideology of brilliance. As if the spirit of Dubai embedded the philosophy of luxury into the very act of care, transforming the mundane into the ceremonial, and technology into a form of attention worthy of a crown.
Silvana Bohorquez
From Colombia, a country where color walks hand in hand with magic, designer Silvana Bohorquez offers jewelry filled with transparency, as if infused with the air of tropical heights. Rings with turquoise stones are flashes of water, drops of Caribbean sky, fixed in golden trajectories. Silvana’s work contains the lightness of breath and the sensuality of structure: her jewelry lines never press — they follow the body’s movement like a dance.
Tara Lois Jewellery
From Ghana, from the very heart of the African continent, Tara Lois brought jewelry full of strength, light, and identity. Her collection is not an ethnic stylization but an open story about womanhood, land, and ritual. Peridots, gold, copper hues — all evoke sand, sun, and a rhythm that knows no pause. Tara Lois’s jewelry is not delicate — it lives, demands attention, and responds to every movement of the wearer like a living amulet.
Varvara Collection
From Russia, where the Orthodox cross is not a symbol but a code, Varvara presented at the exhibition pendants that merge Byzantine geometry with the density of baroque passion. The jewelry — crosses and hearts covered in cascades of rubies and diamonds — seem collected from an iconostasis passed down through generations. But their presentation is not museological, it is defiant: gothic meets glamour, and the spiritual meets the glow of the nightclub.
ViVansi
A brand from India, but as if from a laboratory of light. ViVansi offers rings with yellow diamonds, in which transparency becomes the main force. This is neither classic nor challenge — it is a world where form accentuates color, and color becomes architecture. The ring presented at the show looks like a bridge of gold built between two rays of light, and in the center — a diamond, pure as a moment of happiness.
On the edge of the bay, where the azure of the Mediterranean meets the architecture of brilliance and intonation, The Unique Show in Monaco concluded not merely as an exhibition — but as an artistic statement, as a choral performance of hundreds of hands, hearts, workshops, gem-cutters, and dreamers. Over the course of three days, jewelers from four continents did more than present jewelry — they unveiled future archetypes. Here, stones were not ornaments in the banal sense; they were declarations. Just as an artist exhibits a canvas without explaining its intention, so too does the jeweler of the 21st century open a display not offering a product, but an act of metaphysical communion: with nature, with memory, with the body, and with the market.
With every step between the showcases, it became more evident that jewelry art has entered an era of new synthesis. Where ancient crafts are not rejected but dissolve into intuitive engineering, into microtechnologies of setting, into the laboratory clarity of synthetic stones that are no longer ashamed of their origins. Some stands breathed the silence of precious traditions — like those of Fratelli Piccini or Isabel Oliveira — while others, like Bea Bongiasca or Kostin’s Lab, offered a new, chemically pure post-glamour. Color played a role not decorative, but psychological. It’s no coincidence that so many designers chose lapis lazuli, Paraiba tourmaline, chrysoprase — colors of consciousness, clarity, and vigor. And this is not merely a trend, but a signal. Today’s jeweler thinks in terms of states, not matter. They work not only with stone, but with emotion.
The Unique Show became a space where commerce gave way to culture. There were no aggressive sales pitches or speeches about scarcity — on the contrary, transparency reigned. Jewelry houses, for the first time, spoke openly about the origins of stones, about synthesis technologies, about new alloys. Many spoke of clients not as consumers but as co-authors. Some came with completed commissions, others — to finalize emotional collections, where a ring is not just an accessory but the final touch to a life chapter.
That is why the exhibition did not resemble a marketplace, but rather a salon: intellectual, emotional, spiritual. Conversations sparked, glances were exchanged, declarations of love for detail echoed. The hall was filled not only with traders but with poets — in the form of artists, stylists, philosophers, and women who know how to listen to a ring as if it were music. Even technology — whether Royal Shine with its alchemy of cleaning, or the laboratory innovations of Silvana Bohorquez — resonated here as art, not techno-domination.
It can be said with certainty: The Unique Show has become a new ritual in the jewelry culture of Europe. Its atmosphere — warm, bright, confident — proved that even in an era of turbulence and a saturated market, there remains a space for true art, for sincere perspective, and for a respectful dialogue between creator and wearer. The question is not whether the show will be repeated. The question is — how it will transform. Perhaps it will become nomadic. Perhaps next time its showcases will rise in the desert, in the mountains, on water. But one thing is certain — it will return. Because the stone wants to be heard. And a person, if they have not lost their ear for beauty, will always answer the call.
DIVA: The Shape of a Feeling.
Risha Mehta does not merely hold the title; he participates daily in the creation process, from idea to final embodiment. Unlike many modern houses where art directors are credited with the achievements of entire teams, at DIVA Jewels the designers’ personal involvement remains genuine. He is the one behind the visual concept of Sacred Geometry — a collection exhibited in the UAE and London, constructed on the harmony of golden lines and points of energetic equilibrium, inspired by ancient architectural codes. In these jewels, there is not a single superfluous form: each element is like a note in a score woven from symbols and the algebra of light. This is not merely geometry — it is sacred engineering in gold.
But perhaps the brand’s most recognizable gesture remains Marvels of Nature — a collection where DIVA Jewels transitions from the cosmos to flora and fauna. Here we see iridescent bird feathers trembling on barely visible springs using the en tremblant technique, invented in the 19th century to create the illusion of breath. Flowers whose petals quiver with movement, as if reacting to light. These elements, set on microscopic springs, create vibration, living motion, a sense that the jewel is not worn — it lives. For DIVA Jewels, it is important not merely to recreate nature, but to give it rhythm, as if the stone were a nerve sensing the touch of the world.
The use of en tremblant is not a technical effect for the sake of sparkle. It is a philosophy. They say: if nature moves, a jewel cannot remain still. That is why every object in Marvels of Nature is not a copy, but a continuation of motion, like an echo inside metal. One such object is a ring with a predatory bird, whose feather seems to sway from the breath of the skin. Another — a floral brooch, pulsing on the chest in time with the wearer’s step. All this demands not only artistic sensitivity, but the highest level of craftsmanship — a level close to the absolute. We can compare it only to something beyond human. Some call it inspiration, but in the DIVA workshop they call it something else: the divine level. The level of God.
In this sense, the Dance of Nature collection — a concept of jewelry shoes — becomes not an episode, but a manifesto. At The Unique Show in Monaco, the brand presented lacquered shoes entwined with golden vines, adorned with precious stones — not just a designer object, but a philosophical one. This is footwear as artifact, as altar of movement. Not for the street, not for the runway, but for a space where a step becomes a gesture and leaves not a trace, but a sign. It was this pair that became the moment the audience held its breath: not a necklace, not a brooch, but shoes turned out to be the brand’s strongest statement. Perhaps because in them, architecture, ornament, and the body coincided — everything that constitutes the essence of 21st-century jewelry art.
In the process of creating these objects, the owners are not merely observers. Mukesh Mehta leads the business as a curator and diplomat of beauty. His role is to ensure the brand’s perfect reputation, create opportunities, expand markets — but not for a moment compromise on aesthetics. He allows no concessions. The family’s participation in the process remains complete: from purchasing stones at exhibitions in Geneva to discussing the curve of a single line on a sketch. That is why the brand preserves a living, unalienated soul. They are not building an empire. They are preserving a home.
A home where each jewel passes through seven stages of control. Where the technique of enameling or inlaying is born not in a factory, but in the personal choice of the artisan. Where even the packaging is designed as part of a ritual — velvet surface, radiance, fabric, scent. Because DIVA Jewels is not a product. It is a moment in which mastery, history, and the desire to be worthy of the secret voice that resounds in stone are united.
When we gather all this together, we see that DIVA Jewels is not merely an Indian brand with an international career. It is a jewelry philosophy embodied in metal. It is an artistic system in which gold breathes, stones pulse, and design speaks the language of the gods. DIVA is not a name. It is a code. It is pronounced as an acronym, but in essence, it is the name of a spirit that lives in each creation. The company has no loud slogans, no public vows. But the moment you step into their atelier, it becomes clear: they are not working on objects — they are working on revelations. A jeweler sits at the bench like a priest before an altar. He picks up the tweezers not for work, but for dialogue with the stone. The stone, like a living being, demands tact, feeling, and tone. Not everyone knows this, but at DIVA, each jeweler works in silence. No radio. No conversations. Because silence is part of the technology.
In this house, everything breathes tradition. But not the museum kind — the living kind. The family still leads. Mukesh Mehta, the founder and pillar of the brand, is not a businessman in the classical sense. He is more of a curator, a guardian of discipline. His philosophy lies not in expansion but in depth. He does not like compromises and does not chase scale. His goal is for every jewel to live its own destiny. Beside him is his son, Rishi Mehta — designer, thinker, architect of form. He is the one who creates DIVA’s visual language. His work is not to “create,” but to “clarify.” He does not add — he purifies. He does not follow trends — he departs from them. His style is a silent gesture, in which there is more meaning than in any press release.
They are not building an empire. They are building a home. And in this home, the client is not a client — but a guest. Every meeting unfolds in an atmosphere one could almost call sacred. Without pomp, but with respect. The customer does not choose a “model.” They tell a story. And the designer responds not with a catalog — but with a feeling. They can spend hours discussing how a ring’s line should curve — like a branch in the client’s garden. Or how the shape of a brooch might reflect the character of the woman it is meant for. This is the essence: at DIVA, a jewel is not an object. It is a trace.
They work only with natural stones. Only hand-cut. Only individually selected. Sometimes a single sapphire requires a three-week journey. But they are in no rush. There is no panic in this brand. Time is an ally. Not an enemy. Even the packaging is a ritual: velvet, fragrance, light. Because an object must enter the hand like a poem — at the right moment, in the right fabric, with the right intonation.
A special theme is experimentation. DIVA does not mass-produce. But sometimes they create an object that could be called a letter to the future. A brooch with a bird’s wing, where feathers are set on different levels, creating a three-dimensional vibration. In movement — a rustle. In light — a shadow. This is not jewelry. This is kinetic sculpture on the scale of the body.
In their philosophy, there are no loud words. But there is a great silence. The brand does not rush to the press. They rarely update their website. They barely maintain social media. And yet, they are known. Because true beauty does not need advertising — it needs presence. At international exhibitions, they do not try to be “ahead.” They try to be themselves. At The Unique Show in Monaco, their stand was like the breath of a forest: gold embedded in transparent vitrines, green threads, minimal lighting. People approached not because it was “trendy.” But because it “called.”
And this is exactly how it should be in the 21st century. We are tired of noise. We are seeking revelation. And DIVA is one of those rare brands that does not showcase jewelry — it transmits a state. When you hold one of their pieces in your hand, you don’t think about how much it costs. You think: why me?
