Ancient Egyptian

c. 3100 BCE to 30 BCE; beaded ornament is older still. Egypt.

Broad collars, coloured beadwork and compact amulets give this look its clear outlines and strong colour contrasts. This entry focuses on pharaonic jewellery, particularly Middle and New Kingdom forms. Materials matter as much as motifs: similar blue-green colours can come from turquoise, faience or glass. Dress ornaments and funerary jewellery belong to the same visual tradition, but they should not be mistaken for the same use.

• Motifs: Scarabs and wedjat eyes recur; recognise the whole ornament rather than identifying it from one symbol.
• Metals and materials: Gold, carnelian, lapis lazuli, turquoise and faience. Faience is the oldest vitreous material; glass appears from the New Kingdom.
• Gems and cuts: Beads, polished stones and shaped inlays rather than modern brilliant cuts. New Kingdom blue-green elements are often faience or glass, not turquoise.
• Techniques: Bead stringing, gold wire, granulation, sheet gold and cloisonné-style inlay. Wedjat-eye amulets are usually moulded blue-green faience; stone examples were carved.

For a new design inspired by amulet shapes, explore the idea in the Atelier.

Signature pieces on the board

• Diadem: A gold band with coloured elements, worn around the head.
• Earring: A curved, open-ring ornament worn through the ear.
• Broad collar: A wesekh or usekh collar of bead rows covering the upper chest.
• Pectoral: Chest ornament; many New Kingdom examples were funerary, not everyday dress.
• Wedjat-eye amulet pendant: An eye-shaped amulet suspended at the neck, usually in blue-green faience.
• Armlet: A band encircling the upper arm.
• Bead bracelet: A strand or several rows of beads encircling the wrist.
• Scarab ring: A finger ring carrying a beetle-shaped scarab.
• Girdle: A strung body ornament, probably worn low on the hips.

This is a brief introduction to a much richer history. We hope it piques your curiosity and encourages you to explore the books, collections and craftsmanship behind this style.

Colour is a good place to begin. Explore our tourmalines for a new design with a vivid personal palette.

Classical, Greek and Roman

c. 800 BCE to 400 CE; the Greek world and Roman territories.

Leaf-shaped gold, knotted bands and coiled snakes give this look flowing outlines, while rings and necklaces bring coloured stones into smaller, compact forms. This entry brings together Greek jewellery, including Hellenistic forms, and Roman jewellery. Shared motifs can make them look closely related, but a wreath, a diadem and a bulla have different shapes and wearing positions.

Leaf and knot details can be a starting point for a personal Atelier design.

• Motifs: Leaves, knots and snakes shape the selected metalwork; these motifs are not exclusive to Classical jewellery.
• Metals and materials: Gold is central, alongside pearls, coloured stones and glass. Distinguish the metal structure from its suspended or inset elements.
• Gems and cuts: Garnet, carnelian, amethyst, emerald, pearl and glass are typical of the period palette. The illustrations use beads, polished stones and an engraved ring stone, not modern brilliant cuts.
• Techniques: Look separately at shaped metal leaves, curved bands, linked necklaces and engraved signet stones.

Signature pieces on the board

• Gold wreath: Greek leaf-shaped gold ornament worn around the head.
• Heracles-knot diadem: Greek Hellenistic knotted headband worn across the forehead.
• Drop earrings: Greek suspended ornaments worn through the ears.
• Snake bracelet: Greek Hellenistic coiled serpent ornament worn around the wrist.
• Bulla: Roman rounded amulet pendant suspended at the neck.
• Signet ring: Roman finger ring with an engraved stone used for sealing.
• Pearl and gem necklace: Roman linked ornament worn around the neck.
• Pearl hoop earrings: Roman hoops carrying pearls, worn through the ears.
• Gold hairpin: Roman metal pin worn in arranged hair.

This is a brief introduction to a much richer history. We hope it piques your curiosity and encourages you to explore the books, collections and craftsmanship behind this style.

Gothic

c. 1150 to 1500; medieval Europe.

Compact rings, circular brooches and suspended crosses give this board clear, easily readable outlines. The focus is medieval European jewellery, bringing together dress ornaments, devotional objects and signs of identity. Their different purposes matter: a signet carries a sealing image, while a reliquary holds sacred contents. Look at the whole object before deciding what its decoration tells you.

• Motifs: Crosses and devotional imagery are more prominent in this selection; they also occur in neighbouring periods. Lettering and engraved devices add meaning without requiring elaborate silhouettes.
• Metals and materials: Metal bands, frames and pendant bodies contrast with polished stones and strung beads. The board’s metal colours are illustrative, not material identifications.
• Gems and cuts: Cabochons, polished natural crystal shapes and simple cuts are the working palette here, not modern brilliant cuts.
• Techniques: Engraving, inscription, stone setting and bead stringing distinguish the pieces. A reliquary’s container structure matters as much as its outer ornament.

To explore an architectural setting for a new piece, start with the Atelier.

Signature pieces on the board

• Crown: A raised circlet worn on the head.
• Ring brooch: A circular brooch securing clothing at the chest or neckline.
• Reliquary pendant: A small container for sacred contents, suspended at the neck.
• Pectoral cross: A cross-shaped ornament worn on the chest.
• Rosary: A string of prayer beads carried or worn suspended from clothing.
• Signet ring: A finger ring bearing an engraved device used for sealing.
• Gem-set finger ring: A finger ornament with a stone held above the band.
• Posy ring: A finger ring carrying a short inscription.
• Pilgrim badge: A devotional badge attached to clothing.

This is a brief introduction to a much richer history. We hope it piques your curiosity and encourages you to explore the books, collections and craftsmanship behind this style.

Arabesque

c. 1000 to 1700; selected Fatimid, Nasrid al-Andalus and Ottoman traditions.

Curling stems, interwoven lines and repeated shapes draw your eye across the ornament rather than towards one central stone. Arabesque is a pattern language of interlaced vegetal and geometric ornament in Islamic art, not one period. This board is a teaching composite spanning medieval Fatimid and Nasrid traditions and the early modern Ottoman world.

For a new design around interlaced or curling patterns, bring your ideas to the Atelier.

• Motifs: Follow branching stems, returning curves and geometric repetition. These patterns cross regions and media; they do not establish a piece’s origin by themselves.
• Metals and materials: The board uses illustrative metal colours rather than asserting gold or silver for particular objects. Its emphasis is the relationship between ornament and open space.
• Gems and cuts: No gems are assigned to these pieces. Stone identification and cutting belong to the individual object record, not to the word “arabesque”.
• Techniques: Distinguish a pattern from its manufacture: interlaced decoration does not necessarily mean woven wire. The illustrated arrangements explain ornament, not verified workshop construction.

Signature pieces on the board

• Interlaced earrings: Fatimid, 11th century; paired ear ornaments with interwoven decoration.
• Interlaced necklace: Fatimid, 11th century; interwoven ornament arranged around the neck.
• Interlaced bracelet: Fatimid, 12th century; wrist ornament carrying repeated interwoven decoration.
• Vegetal earrings: Nasrid al-Andalus, 14th century; ear ornaments carrying curling plant decoration.
• Vegetal bracelet: Nasrid al-Andalus, 14th century; wrist ornament with repeating plant forms.
• Vegetal necklace: Nasrid al-Andalus, 15th century; neck ornament carrying linked plant decoration.
• Turban ornament: Ottoman, 16th century; ornament attached to a wrapped head covering.
• Geometric bracelet: Ottoman, 17th century; wrist ornament carrying a repeated geometric pattern.
• Thumb ring: Ottoman, 17th century; thumb-worn ring, distinct from an ordinary finger ring.

This is a brief introduction to a much richer history. We hope it piques your curiosity and encourages you to explore the books, collections and craftsmanship behind this style.

Ancient Chinese

c. 1600 BCE to 220 CE; China.

Carved birds, curved pendants and pierced rings make shape, rather than sparkle, the first thing to notice. This selection follows Shang through Han traditions, separating ornaments worn with dress from objects placed in burials. It is not Western jewellery as we know it: a pendant assembly and a burial disc serve different purposes.

• Motifs: Birds and dragons sit alongside arcs, rings and discs. These forms cross periods; a familiar outline alone cannot establish a date.
• Metals and materials: “Jade” here means nephrite, not jadeite. The board concentrates on nephrite objects rather than suggesting that every ornament in this long span used one material.
• Gems and cuts: Look at the carved silhouette, openings and surface, not modern gemstone faceting. Keep a slit ring, a complete ring and a broad disc visually distinct.
• Techniques: Carving, piercing and suspension are the features to examine. A pendant set should read as an assembled ornament, not as unrelated carvings placed together.

Interested in shape-led jewellery? Explore contours and proportions in the Atelier.

Signature pieces on the board

• Jade bird pendant: Shang nephrite dress ornament, suspended from clothing or a cord.
• Jade hairpin: Shang nephrite dress ornament, worn in arranged hair.
• Jue slit-ring earring: Zhou nephrite dress ornament, worn at the ear.
• Huang arc pendant: Zhou nephrite dress ornament, suspended as part of an ensemble.
• Pei pendant set: Zhou nephrite dress ornament, suspended together from clothing.
• Huan ring pendant: Zhou nephrite dress ornament, suspended by a cord.
• Bi disc: Han nephrite burial object, placed with the deceased rather than worn.
• Dragon pendant: Han nephrite dress ornament, suspended from clothing or a cord.
• Jade hair ornament: Han nephrite dress ornament, worn in arranged hair.

This is a brief introduction to a much richer history. We hope it piques your curiosity and encourages you to explore the books, collections and craftsmanship behind this style.

Renaissance

c. 1400 to 1600; Europe.

A pendant jewel, an ornamental chain or a pearl hanging beneath the ear gives this look a clear focal point. In Renaissance Europe, jewellery belonged to the whole outfit: ornaments appeared on hats and at the waist as well as around the neck and on the fingers. This selection brings those wearing positions together, including the pomander, a decorative scent container.

For a newly made piece with rich colour, browse rubies and emeralds.

• Motifs: Crosses connect jewellery with devotion; ornamental shapes draw attention to the jewel itself. These cross styles, so neither establishes a Renaissance date alone.
• Metals and materials: Distinguish the metal body from any pearl or stone. The board uses illustrative metal colours not material identifications for individual pieces.
• Gems and cuts: The pearl drop earring gives a rounded contrast to metal ornament. No particular gemstone identity or cutting style is assigned to the other jewels here.
• Techniques: Examine surface decoration, linked construction and suspended elements separately. A chain’s rhythm, a ring’s engraved face and a pendant’s silhouette are different kinds of detail.

Signature pieces on the board

• Pendant jewel: Decorative jewel suspended from a chain or cord at the chest.
• Hat badge: Complete ornamental badge attached to a hat, rather than a separate fastening.
• Cross pendant: Cross-shaped jewel suspended at the chest from a chain or cord.
• Chain necklace: Linked metal ornament worn around the neck, with or without a pendant.
• Girdle chain: Ornamental chain worn around the waist, sometimes with a hanging end.
• Signet ring: Finger ring with an engraved face used to impress a seal.
• Gem-set finger ring: Finger-worn ornament with a stone as its visual focus.
• Pomander: Decorative scent container suspended from a chain, including at the waist.
• Pearl drop earring: Ear ornament with a pearl suspended below its upper element.

This is a brief introduction to a much richer history. We hope it piques your curiosity and encourages you to explore the books, collections and craftsmanship behind this style.

Drawn to rich colour? Explore our rubies and emeralds as starting points for a newly made piece.

Georgian

c. 1714 to 1837; Britain and Europe.

Rows of stones, branching earrings and ribbon bows give this look its sparkle and movement. Georgian jewellery ranges from ornaments for formal dress to smaller pieces carrying personal remembrance or affection. A necklace and matching-looking earrings may catch your eye first, but a memorial ring or locket tells a different part of the story.

• Motifs: Bows are more common in this look, but continue into Victorian jewellery. Crosses and sentimental themes also cross period boundaries; none establishes a date by itself.
• Metals and materials: Separate the metal framework from the stones and any memorial decoration. The illustrations use schematic metal colours, not material identifications for particular objects.
• Gems and cuts: Diamonds and a wide range of colored gemstones, pearls, and paste (hand-cut leaded glass) were used in Georgian jewellery
• Techniques: Examine linked construction, suspended elements and decorative surfaces separately. The movement of an earring and the opening body of a locket serve different purposes.

To explore a cluster setting for a new gemstone, visit the Atelier.

Signature pieces on the board

• Riviere necklace: A continuous row of stones worn closely around the neck.
• Girandole earrings: Branching ear ornaments with three hanging drops beneath an upper element.
• Memorial ring: Finger ring carrying decoration or an inscription commemorating a person.
• Bow brooch: Ribbon-shaped ornament pinned to clothing at the chest.
• Locket: Opening pendant worn at the chest to hold a personal keepsake.
• Aigrette hair ornament: Upright, spray-shaped jewel worn in arranged hair.
• Cluster ring: Finger ring with stones grouped into a compact decorative head.
• Cross pendant: Cross-shaped jewel suspended at the chest from a chain or cord.
• Sentimental bracelet: Wrist ornament carrying a motif or keepsake expressing affection or remembrance.

This is a brief introduction to a much richer history. We hope it piques your curiosity and encourages you to explore the books, collections and craftsmanship behind this style.

Victorian, Romantic phase

c. 1837 to 1860; Britain and Europe.

Curling serpents, leafy bracelets, flowers and heart lockets give this look its intimate, affectionate character. Early Victorian Romantic jewellery brings botanical ornament and personal keepsakes together, including bracelets made from hair. Phase names and boundaries are trade conventions: Romantic starts c. 1837 (one dealer uses c. 1839), with the next phase beginning c. 1860 or c. 1861 depending on source.

A meaningful motif can begin a personal design in the Atelier.

• Motifs: Hearts, serpents, clasped hands and botanical ornament are more common in this look, not exclusive to it. Cameos span several phases.
• Metals and materials: Hair is a working material, not simply decoration: a hair bracelet can combine hairwork with a gold clasp. The illustrations use schematic metal colours.
• Gems and cuts: Turquoise and amethyst belong in this phase’s palette.
• Techniques: Look separately at hairwork, leaf-shaped metal ornament and articulated bracelet construction. A clasp belongs to the complete bracelet, rather than standing as a signature piece itself.

Signature pieces on the board

• Floral hair spray: Flower-shaped ornament secured in arranged hair.
• Drop earrings: Ear ornaments with suspended decorative drops.
• Heart locket: Opening heart-shaped pendant worn at the chest to hold a keepsake.
• Cameo brooch: Carved-relief ornament pinned to clothing at the chest.
• Serpent bracelet: Wrist ornament shaped as a curling snake.
• Clasped-hands bracelet: Wrist ornament incorporating a pair of joined hands.
• Hair bracelet: Hairwork wrist ornament completed with a gold clasp.
• Foliate bracelet: Wrist ornament decorated with leaves.
• Gem-set ring: Finger ring illustrated with amethyst as its central stone.

This is a brief introduction to a much richer history. We hope it piques your curiosity and encourages you to explore the books, collections and craftsmanship behind this style.

Victorian, Grand phase

c. 1860 to 1880; Victorian jewellery, particularly the British jet trade and archaeological-revival work.

Broad bracelets, substantial pendants and carved black jewellery give the Grand phase its darker, heavier look. This middle-Victorian style brings together black materials and archaeological revivals, with ornament that recalls ancient jewellery. Not everything is black: archaeological earrings and star hair ornaments belong alongside jet necklaces and pendants. Trade dating varies: some dealers run the Grand phase to c. 1885 and begin the Aesthetic phase c. 1885, so work from c. 1880 to c. 1885 can sit in either.

• Motifs: Archaeological-revival ornament is more common in this phase; scarabs, serpents, stars and cameos also appear, but none belongs exclusively to it.
• Metals and materials: Jet, bog oak, vulcanite and French jet—the last is black glass—create dark surfaces. Metalwork provides a contrasting part of the look.
• Gems and cuts: Carved jet, rounded jet beads and relief-cut cameos make shape and surface especially important. This look is not defined by one gemstone or faceted cut.
• Techniques: Carving and bead-making shape the black ornaments. Archaeological-revival work uses imitated granulation: small bead-like details arranged across the metal surface.

For a contemporary interpretation of a bold silhouette, explore the Atelier.

Signature pieces on the board

• jet bead necklace: A strand of black jet beads, worn around the neck.
• carved jet pendant: A carved black ornament suspended from a necklace.
• archaeological earrings: Revival earrings with ancient-looking ornament, worn at the ears.
• hinged bangle: A rigid bracelet that opens on a hinge and closes around the wrist.
• Egyptian-revival scarab bangle: A wrist ornament incorporating a beetle-shaped scarab motif.
• star hair ornament: A star-shaped jewel secured in the hair.
• cameo brooch: A relief-carved cameo mounted as a brooch and pinned to clothing.
• bog oak brooch: A carved dark-wood ornament pinned to the bodice or another garment.
• serpent bracelet: A bracelet shaped around a snake motif, worn at the wrist.

This is a brief introduction to a much richer history. We hope it piques your curiosity and encourages you to explore the books, collections and craftsmanship behind this style.

Victorian, Aesthetic phase

c. 1880 to 1901, using the jewellery trade’s phase convention; late Victorian jewellery in Britain, with Japanese artistic influence.

Small celestial brooches, insect jewels and softly glowing stones give this late Victorian look a lighter, more varied character. The Aesthetic phase brings artistic interests, including Japonisme—the influence of Japanese art—into jewellery, rather than defining everything by one gemstone or motif. Crescents, stars and insects are more common in this look, but they also appear in other Victorian phases. Trade dating varies: some dealers begin the Aesthetic phase c. 1885 and run the Grand phase to c. 1885, so work from c. 1880 to c. 1885 can sit in either.

For a fresh colour palette, browse sapphires and spinels.

• Motifs: Crescents, stars, beetles and hand-shaped ornaments sit alongside Japanese artistic influence. These are overlapping interests, not motifs exclusive to this phase.
• Metals and materials: Gold and silver accompany pearls and coloured stones; grey gold also appears. Tortoiseshell provides a contrasting material for hair combs.
• Gems and cuts: Opal, moonstone, demantoid and pearls broaden the palette alongside diamonds. Smooth stone surfaces and rounded pearls contrast with the small faceted diamonds of star brooches.
• Techniques: Carving shapes tortoiseshell combs; gemstone setting builds the outlines of celestial brooches. In hand and insect brooches, the recognisable shape of the whole ornament is an important part of its design.

Signature pieces on the board

• cuffed-hand brooch: A brooch shaped as a hand emerging from a cuff, pinned to clothing.
• beetle brooch: An insect-shaped jewel worn on the bodice or another garment.
• dog-collar necklace: A broad, close-fitting necklace worn high around the neck.
• diamond star brooch: A radiating star set with diamonds and pinned to clothing.
• crescent brooch: A curved moon-shaped ornament worn on a garment.
• tortoiseshell hair comb: A comb with a decorative upper section, secured in dressed hair.
• moonstone pendant: A moonstone-set ornament suspended from a chain at the neck.
• opal ring: An opal mounted in a ring and worn on the finger.
• pearl necklace: A necklace of pearls worn around the neck.

This is a brief introduction to a much richer history. We hope it piques your curiosity and encourages you to explore the books, collections and craftsmanship behind this style.

If expressive colour catches your eye, browse sapphires beyond classic blue or explore our spinel collection.

1800s Chinese

c. 1800 to 1900; Qing-dynasty adornment in China, with Manchu court dress and Han dress treated separately.

Rounded beads, smooth jade, long hairpins and extended nail guards give this selection several different silhouettes. The focus here is nineteenth-century Qing adornment, not a single style worn by everyone. Manchu court dress and Han dress are separate contexts, not interchangeable labels for an ornament’s appearance. Look first at the wearing structure: the board compares forms, but their shapes alone cannot establish a date or a wearer’s dress tradition.

• Motifs: Shape matters as much as decoration in this selection: circular bangles, cylindrical thumb rings, tapered nail guards and long hair ornaments have distinct outlines.
• Metals and materials: Jade and metal provide contrasting surfaces on the board. A smooth stone ornament and a decorated metal hairpin call for different ways of looking.
• Gems and cuts: This selection emphasises rounded beads, carved pendants and polished jade forms rather than faceted gemstones. Follow the contours and carving before interpreting colour.
• Techniques: Stringing assembles beads; carving shapes stone; metalwork gives pins and finger ornaments their outlines. The wearable structure should remain readable beneath the decoration.

To explore smooth contours in a newly made piece, bring a shape idea to the Atelier.

Signature pieces on the board

• court bead necklace: A long ceremonial bead necklace arranged to hang over robes.
• jade bangle: A continuous ring of polished jade worn around the wrist.
• nail guards: Long finger ornaments shaped to cover extended fingernails.
• Han hairpin: A single-shaft decorative hairpin, shown separately from the Manchu headdress.
• Manchu headdress: A complete structured head ornament, rather than an individual attached fitting.
• earrings: Paired ornaments suspended from the ears, without assigning a particular wearing arrangement from appearance alone.
• archer’s thumb ring: A broad cylindrical thumb ring whose name identifies its association with archery.
• jade pendant: A carved jade ornament suspended from a cord against clothing.
• Han double-prong hairpin: A two-pronged hair ornament shown as a complete piece, with its decorative head joining the shafts.

This is a brief introduction to a much richer history. We hope it piques your curiosity and encourages you to explore the books, collections and craftsmanship behind this style.

1800s Japanese

c. 1800 to 1900; Japan, within mainstream Edo-period and Meiji dress traditions.

Decorated hairpins and combs sit alongside small suspended cases, carved toggles and cord beads: this is dress-accessory culture, not Western body jewellery. The focus is nineteenth-century Edo into Meiji dress, in which Western-style body jewellery was not in common use. Women’s hair ornaments and men’s suspended accessories explain the forms better than a list of necklaces, earrings and rings would. Ainu and Ryukyuan traditions are outside this entry’s scope; Ainu tamasay glass-bead necklaces belong to a distinct adornment tradition.

For a new design inspired by a natural motif, explore the Atelier.

• Motifs: A decorated hairpin head, a carved toggle and a patterned bracelet offer different spaces for ornament. Their practical forms remain visible beneath the decoration.
• Metals and materials: Metalwork accompanies carved accessories and bead ornaments. Shakudo and shibuichi are distinct metal alloys, not gemstone names; the export bracelet belongs to the metalworking side of this selection.
• Gems and cuts: Coral or jade can form the rounded bead of a tama kanzashi. Smooth bead shapes and carved surfaces matter more here than arrays of faceted stones.
• Techniques: Carving, bead shaping and decorative metalwork serve different purposes. Cord holes and suspension channels are essential to understanding how an inro, netsuke and ojime worked together.

Signature pieces on the board

• kanzashi: A women’s decorative hairpin inserted into arranged hair.
• tama kanzashi: A women’s bead-headed hairpin, with a rounded coral or jade ornament above its shaft.
• kushi: A women’s comb worn within a dressed hairstyle, with its decorative back visible.
• kogai: A women’s elongated hair ornament; here the term means the hair accessory, not the similarly named scabbard spike.
• obi-dome: A women’s ornament worn on the cord across the obi, becoming popular mainly in Meiji dress.
• inro: A men’s compartmented case suspended by cords from the sash.
• netsuke: A men’s toggle anchoring a suspended accessory’s cord at the sash.
• ojime: A men’s sliding cord bead used to hold the suspension cords of an inro together.
• Meiji export shakudo bracelet: A bracelet representing export metalwork by makers who had earlier made sword fittings.

This is a brief introduction to a much richer history. We hope it piques your curiosity and encourages you to explore the books, collections and craftsmanship behind this style.

1800s Middle East

c. 1800 to 1900; Ottoman and Qajar Persian adornment, treated as distinct traditions.

Upright head ornaments, decorated belts and curved arm ornaments give this board its range of shapes. The focus is nineteenth-century Ottoman and Qajar Persian jewellery, not a single “Middle Eastern style”. The illustrations compare schematic forms rather than reproduce dated historical objects: look first at the difference between an upright ornament, a hanging piece and a wearable band. Gulf, Bedouin, Yemeni, North African and Mughal work belong to separate traditions and are not covered here.

• Motifs: Upright sprays, hanging outlines and repeated decoration across bands create different rhythms on the board. A plume-like silhouette alone is not a distinction between Ottoman and Qajar work.
• Metals and materials: The illustrations use contrasting metal tones to make their structures readable, not to identify an alloy. The enamelled pendant illustrates surface decoration rather than a particular historical colour scheme.
• Gems and cuts: No specific gemstones or cuts are assigned to these schematic pieces. The comparison concentrates on complete outlines rather than using stone colour as a shortcut to attribution.
• Techniques: Follow the relationship between a band, its decoration and its openings. On hanging ornaments, distinguish the suspension point from the decorative body; on belts, read the fastening as part of the complete piece.

For an original piece with an ornamental silhouette, start a design in the Atelier.

Signature pieces on the board

• Ottoman turban ornament: An upright head-ornament form, shown separately from the turban to make its outline readable.
• Ottoman belt: A complete waist-belt form, shown in a shallow curve with its fastening integrated.
• Ottoman bracelet: A wrist-band form whose decoration follows the curve of the band.
• Qajar armband: An upper-arm-band form, distinguished from the smaller wrist ornament on the board.
• Qajar enamelled pendant: A hanging chest-ornament form with a suspension point and a contrasting decorated surface.
• Qajar aigrette: A spray-shaped head-ornament form, shown upright and separate from headwear.
• Qajar earrings: Two hanging ear-ornament forms, shown together with their attachment points visible.
• Ottoman paired bracelets: Two coordinating wrist-band forms, arranged together for comparison with the single bracelet.
• Qajar paired armbands: Two coordinating upper-arm-band forms, arranged together for comparison with the single armband.

This is a brief introduction to a much richer history. We hope it piques your curiosity and encourages you to explore the books, collections and craftsmanship behind this style.

Art Nouveau

c. 1890 to 1910; the focus here is the Art Nouveau look rather than a regional tradition.

Stems curl around settings, insect wings spread outward, and flowers become the outline of a piece rather than decoration inside a frame. Coloured gems are an important part of Art Nouveau’s expressive palette: opals, amethysts and aquamarines can become flower centres, insect bodies or suspended drops. Enamel contributes a separate source of colour. This nature-led look brings together whiplash curves, insects, flowers and flowing women’s hair motifs, with materials chosen for their visual effect as well as their value. The illustrations are original design studies, not representations of particular historical objects.

To explore a flowing botanical setting, try your idea in the Atelier.

• Motifs: Insects, flowers, leaves, serpents and flowing hair. Look at how they shape the whole piece; these subjects also appear in neighbouring styles.
• Metals and materials: Gold, enamel and coloured gemstones work together in many Art Nouveau jewels; pearls and diamonds can provide contrasting accents. Transparent plique-à-jour enamel can give wings a stained-glass effect, but enamel is fused glass, not a gemstone. Follow the metal outline and distinguish enamel panels from separately set stones.
• Gems and cuts: Documented examples include oval amethyst cabochons and fire-opal drops in a Lalique necklace of c. 1897–99, and a cushion-cut aquamarine with an aquamarine briolette in his damselfly necklace of c. 1902–04. Opal, moonstone, turquoise and tourmaline also belong to the movement’s gem vocabulary. Smooth cabochons, carved stones and faceted gems offer different textures; their integration with the flowing design matters more than any single gem variety.
• Techniques: Flowing gold contours, openwork and gem settings can be combined with translucent or opaque enamel. Plique-à-jour enamel spans small cells without a continuous metal backing, while cabochons have smooth domed surfaces and faceted stones have cut planes. These effects should be read separately; a drawing alone cannot authenticate a material or manufacturing method.

Signature pieces on the board

• dragonfly corsage ornament: A broad insect-shaped design for the bodice, with spreading wings forming its main outline.
• floral hair comb: A complete comb for arranged hair, with curling floral decoration rising above its teeth.
• floral pendant necklace: A necklace design carrying a flower-and-stem pendant at the chest.
• foliate plaque choker: A close-fitting neck ornament designed around a broad leaf-and-stem plaque.
• iris brooch: A flower-shaped design for pinning to clothing, with curling petals forming its silhouette.
• foliate bracelet: A wrist ornament whose connected leaves and stems follow the bracelet’s curve.
• sinuous serpent bangle: A wrist design in which the serpent’s body forms the encircling band.
• floral ring: A finger-ring design with petals and stems flowing into the shoulders.
• botanical drop earrings: Paired hanging ear ornaments designed as elongated leaves and curling stems.

This is a brief introduction to a much richer history. We hope it piques your curiosity and encourages you to explore the books, collections and craftsmanship behind this style.

Belle Epoque

c. 1895 to 1914; the focus here is the garland or Edwardian look rather than a regional tradition.

Fine platinum or other white-metal outlines, diamonds and pearls give the garland look its lace-like appearance, but its jewellery was not exclusively colourless. Sapphires, rubies, emeralds and other coloured gems could provide striking centres, repeated accents and hanging drops within the delicate framework. Diamonds and pearls remained the most frequently used gems in the Edwardian jewellery discussed here. Symmetrical swags, tied bows and ribbons arranged around open spaces contrast with Art Nouveau’s freely growing curves. The illustrations are original design studies, not representations of particular historical objects.

• Motifs: Garlands, wreaths, bows, ribbon loops and suspended swags. These motifs cross periods; their balanced, lace-like arrangement is the useful clue here.
• Metals and materials: Platinum allowed delicate, lace-like settings; documented jewels also combine platinum with gold. Diamonds and pearls establish a characteristic pale framework, while blue sapphires, red rubies and green emeralds can bring substantial colour. Open spaces preserve lightness even around a strongly coloured centre.
• Gems and cuts: Coloured gems were a significant part of the repertoire, although diamonds and pearls predominated. Documented c. 1905 examples include a square-cut emerald necklace with pearls and diamonds, a bracelet of oval-cut rubies with rose- and old-mine-cut diamonds, and an oval sapphire ring with old-mine-cut diamonds. Faceted stones, cabochons and beads all occur in Edwardian jewellery; cut alone cannot establish a date.
• Techniques: Fine openwork and narrow gem settings outline ribbons, wreaths and swags. Millegrain edges and diamond-set details can give the framework a textile-like delicacy. Coloured centres, articulated links and suspended drops are integrated into this structure rather than replacing its characteristic open spaces.

For a newly made piece with delicate proportions, explore a setting in the Atelier.

Signature pieces on the board

• garland tiara: A curved head-ornament design for placement above the forehead, with graduated wreaths rising from its base.
• lavalière pendant: A necklace design for the chest, with delicate hanging drops beneath an openwork centre.
• pearl sautoir: A long pearl-necklace design extending down the front of a dress.
• diamond bow brooch: A design for pinning to clothing, with open ribbon loops and trailing ends outlined in diamonds.
• garland corsage ornament: A broad bodice-ornament design combining suspended swags and ordered foliage.
• pearl drop earrings: Paired ear-ornament designs with pearls hanging beneath delicate diamond-set upper sections.
• diamond bar brooch: A slender horizontal design for pinning to clothing, with decorative accents along its diamond-set line.
• pendant watch: A chest-worn watch design with a decorative case and a complete suspension chain.
• garland bracelet: A wrist-ornament design with linked openwork sections carrying repeated wreaths and ribbon loops.

This is a brief introduction to a much richer history. We hope it piques your curiosity and encourages you to explore the books, collections and craftsmanship behind this style.

Art Deco, early

c. 1920 to 1929; the focus here is the early Art Deco look rather than a regional tradition.

Straight lines, repeated shapes and sharp contrasts give this jewellery a clear, ordered outline. The early Art Deco focus here is the twenties look: symmetrical panels, stepped edges and coloured accents set against diamonds. Geometry organises the whole piece, from a long necklace to a compact ring. The nine illustrations below are design studies of that vocabulary, not representations of particular historical objects.

For a new geometric design, explore the shapes in our sapphire collection.

• Motifs: Rectangles, triangles, stepped outlines and repeated geometric panels. Look at how these shapes organise the whole piece, rather than treating one angular detail as a style identifier.
• Metals and materials: The illustrations use silver-toned outlines beside diamonds and coloured accents to show the look’s contrasting palette. A drawn metal colour does not identify a particular alloy.
• Gems and cuts: In these studies, faceted diamonds trace borders while coloured elements emphasise central panels. Follow their arrangement rather than treating an individual stone shape as a date marker.
• Techniques: The studies show linked sections, narrow settings and open spaces between geometric elements. They illustrate structure without identifying a particular manufacturing method.

Signature pieces on the board

• straight-line bracelet: A wrist-ornament design with a flexible row of stone-set links, consistent width and repeated pattern.
• tassel sautoir: A long necklace design extending down the front of a dress and ending in a hanging tassel.
• geometric dress clip: An angular ornament design for attachment at a neckline or another edge of clothing.
• stepped drop earrings: Paired ear-ornament designs with graduated geometric sections forming an elongated outline.
• cocktail ring: A finger-ring design with a broad decorative top organised around a central stone.
• rectangular wristwatch: A wrist-worn timepiece design with an angular case and a complete linked bracelet.
• bandeau headpiece: A narrow head-ornament design for placement across the forehead, with a geometric front.
• stepped brooch: A design for pinning to clothing, with repeated angular levels shaping its outer edge.
• geometric pendant necklace: A necklace design carrying an angular, balanced pendant at the chest.

This is a brief introduction to a much richer history. We hope it piques your curiosity and encourages you to explore the books, collections and craftsmanship behind this style.

For a fresh interpretation of geometric jewellery, start with a stone whose outline you love. See our 2.08 ct light bluish-violet, emerald-cut sapphire, or browse the sapphire collection.

Art Deco, mid

c. 1930 to 1939, a trade-convention phase; scope: jewellery of Europe and North America.

Mid Art Deco jewellery looks crisp and orderly: straight edges, stepped outlines and balanced arrangements, often in silver-toned metal with strong colour contrast. Rectangular stones and repeated rows give even small pieces a clear structure. The design works through rhythm and proportion, with dark or coloured accents sharpening the outline rather than hiding it beneath ornament.

• Motifs: Steps, chevrons, parallel bars and mirrored shapes; angular geometry is more common here than Retro’s rounded scrolls.
• Metals and materials: A cool, silver-toned appearance, with bright surfaces set against dark or strongly coloured accents.
• Gems and cuts: Rectangular and step-cut stones emphasise straight lines; smaller round stones can soften edges without changing the geometric outline.
• Techniques: Closely fitted stone rows, repeated settings and openwork create patterned surfaces with clear borders and deliberate gaps.

To explore crisp lines and contrasting colours, begin a design in the Atelier.

Signature pieces on the board

• Clip brooch: A geometric brooch with a clip attachment, worn on a garment.
• Drop earrings: Articulated earrings with descending geometric sections, worn as a matching pair.
• Geometric pendant necklace: An angular pendant suspended from a chain, worn centrally at the neckline.
• Double clip brooch: Two coordinated geometric clips forming a balanced brooch, worn together or separately on clothing.
• Dress clip: A compact angular ornament clipped to a neckline or another garment edge.
• Geometric bracelet: A bracelet of angular, stone-set sections, worn around the wrist.
• Strap bracelet: A broad, flexible bracelet of repeated geometric links, worn closely around the wrist.
• Cocktail watch: A decorative wristwatch with a small geometric dial and an ornamental bracelet.
• Cocktail ring: A prominent ring with a stepped or angular face, worn as a hand’s focal point.

This is a brief introduction to a much richer history. We hope it piques your curiosity and encourages you to explore the books, collections and craftsmanship behind this style.

Retro and the legacy of Art Deco

c. 1940 to 1950s, a trade-convention span; scope: jewellery of Europe and North America.

Retro evolved from Art Deco and overlaps with its later years, but the names are not interchangeable. Rounded gold forms, ribbon folds and prominent coloured gems give Retro its own character.

Rounded bows, curling ribbons and substantial links give this look sculptural volume, with warm yellow and rose gold tones around larger coloured stones. “Retro” and its dates are trade conventions. Broad curves make the metal itself part of the ornament, rather than simply a frame for stones. Forms overlap with Mid-century modern in c. 1945 to the 1950s; symmetry-led bows and scrolls distinguish this look from freer outlines.

For a fresh interpretation of sculptural curves, explore the Atelier.

• Motifs: Bows, ribbons, scrolls and flower sprays; rounded, balanced arrangements are more common here than in mid Art Deco.
• Metals and materials: Warm yellow and rose gold tones are more prominent, sometimes combined within one piece.
• Gems and cuts: Larger faceted coloured centres draw attention; smaller stones accent ribbon edges, knots or flower heads.
• Techniques: Curved surfaces and raised centres build volume; linked sections let necklaces and bracelets follow the body.

Signature pieces on the board

• Bow brooch: A rounded ribbon bow with a raised knot, pinned to clothing.
• Clip earrings: Curved, substantial earrings held against the earlobes as a matching pair.
• Gold link necklace: A necklace of broad, sculptural gold links, worn around the neckline.
• Gold link bracelet: A flexible band of broad, rounded gold links, worn around the wrist.
• Bracelet watch: A small watch integrated into a substantial linked wrist bracelet.
• Cocktail ring: A prominent coloured centre framed by curved shoulders, worn on the hand.
• Flower spray brooch: A cluster of flowers and curling stems, pinned to a garment.
• Dress clip: A sculptural scroll or ribbon ornament clipped to a garment edge.
• Scroll brooch: An ornament of curling, raised metal forms, pinned to clothing.

This is a brief introduction to a much richer history. We hope it piques your curiosity and encourages you to explore the books, collections and craftsmanship behind this style.

Mid-century modern, MCM

c. 1945 to 1969, a trade-convention span used here; scope: jewellery of Europe and North America.

Free-form outlines, textured metal and open spaces make these pieces look like small sculptures, from irregular loops to radiating starbursts. Here, MCM is a later design label applied to jewellery. Forms overlap with Retro in c. 1945 to the 1950s, but asymmetrical arrangements are more common in this guide’s MCM look than balanced bows and scrolls. Gaps, surface texture and changes in direction carry the ornament without needing a dense covering of stones.

• Motifs: Abstract curves, organic outlines, circles and starbursts; free-form arrangements are more common here than Retro’s ribbon shapes.
• Metals and materials: Textured gold-toned surfaces contrast with smooth edges; silver-toned examples also emphasise the sculptural outline.
• Gems and cuts: Faceted centres punctuate the illustrated designs; stone-free pieces put the emphasis on metal and space.
• Techniques: Open construction, contrasting smooth and textured surfaces, and overlapping forms make the outline and depth easy to see.

For an original piece with a sculptural outline, try your idea in the Atelier.

Signature pieces on the board

• Abstract brooch: An irregular sculptural ornament with open spaces, pinned to clothing.
• Starburst brooch: A brooch with rays spreading from a centre, worn on a garment.
• Button earrings: Compact rounded earrings with sculpted or textured faces, worn against the earlobes.
• Abstract pendant necklace: A free-form pendant suspended from a chain, worn at the neckline.
• Cuff bracelet: An open-ended sculptural band, worn around the wrist.
• Sculptural cocktail ring: A prominent ring with raised, irregular shoulders, worn on the hand.
• Circle pin: A circular brooch with an open centre, pinned to clothing.
• Cufflinks: Paired ornaments with abstract faces, worn through shirt cuffs.
• Tie bar: A slim ornament worn across a tie to hold it against the shirt.

This is a brief introduction to a much richer history. We hope it piques your curiosity and encourages you to explore the books, collections and craftsmanship behind this style.

1970s to early 1990s vintage

1970s to early 1990s; an approximate period grouping for this guide, focused on Western fine jewellery.

Bold gold, substantial chains and generous proportions give this period much of its character. Broad cuffs, hoop earrings and rounded rings bring a confident presence, while coloured gemstones add a focal point. Brushed and textured surfaces sit alongside smooth, high-polished curves, offering different ways to enjoy the warmth of gold. This selection follows those looks from the 1970s into the early 1990s; individual designs and finishes often continued beyond those years.

Explore our finished jewellery for pieces with colours and proportions that appeal to you.

• Motifs: Coin discs, repeated links, hoops and domes give these pieces full, rounded silhouettes. Compare their weight and compactness with the open abstractions in the MCM selection.
• Metals and materials: Gold-toned surfaces dominate this selection, with brushed, textured and polished finishes providing contrast.
• Gems and cuts: Large faceted centres add colour to rings; stone-free pieces emphasise metal.
• Techniques: Surface texture contrasts with smooth borders; closely fitted angled links give herringbone chains a flat appearance.

Signature pieces on the board

• Coin pendant necklace: A framed coin suspended from a chain, worn at the neckline.
• Herringbone chain necklace: A flat necklace of closely fitted angled links, worn around the neck.
• Hoop earrings: Substantial curved earrings, worn through the earlobes.
• Gold brooch: A compact gold ornament with a rounded face, pinned to clothing.
• Textured gold cuff: A broad, open-ended gold band with a textured face, worn around the wrist.
• Bracelet watch: A watch integrated into a metal bracelet, worn on the wrist.
• Dome cocktail ring: A raised, rounded ring with a coloured centre, worn on the hand.
• Signet ring: A broad-faced ring, worn plain or engraved on a finger.
• Cufflinks: Paired ornaments with decorative faces, worn through shirt cuffs.

This is a brief introduction to a much richer history. We hope it piques your curiosity and encourages you to explore the books, collections and craftsmanship behind this style.

Prefer to discover a finished piece? Browse our jewellery collection and look for proportions and colours you enjoy.

Y2K minimalism and hip-hop bling

Mid-1990s to late 2000s; two parallel strands within a broader period, with a focus on Western fine jewellery and hip-hop’s influence.

Two contrasting strands help tell the story of jewellery from the mid-1990s through the late 2000s. One is the pared-back side of Y2K style: fine chains, simple settings and clean, polished shapes. The other is hip-hop bling: substantial links, custom pendants and diamond-set surfaces designed to make an unmistakable statement. Both offer a way to express identity, whether through restraint or exuberance.

These are useful points of contrast, rather than a complete definition of Y2K jewellery or everything worn in these years. Hip-hop’s jewellery traditions were already established before this period, and both approaches continued to evolve afterwards.

• Motifs: Minimalism favours spare circles, smooth bands and single-stone settings. Hip-hop bling brings bold links, personalised initials and statement pendants into focus.
• Metals and materials: Polished white metals suit the cool, streamlined selection shown here; yellow gold and platinum also support the substantial, diamond-rich bling strand.
• Gems and cuts: A single diamond or a quiet row of stones can provide a restrained accent. Closely set diamonds across a pendant, ring or watch create a much more expansive effect.
• Techniques: Simple settings leave space around the stone or metal form. Pavé and other close-set arrangements cover larger surfaces with diamonds, while custom design makes names and symbols personal.

To explore a personal pendant or a different scale of setting, visit the Atelier.

Signature pieces on the board

• Solitaire pendant: A single diamond in a simple setting on a fine chain, worn close to the neckline.
• Slim hoop earrings: Paired slender hoops whose clean outlines keep the emphasis on shape.
• Minimalist band: A smooth, unadorned ring with a gently rounded profile.
• Diamond stud earrings: A pair of individually set diamonds, shown here at a restrained scale.
• Diamond line bracelet: A flexible row of diamond settings, worn alone or as part of a more lavish arrangement.
• Heavy curb-link chain: A substantial necklace of interlocking, flattened links associated here with hip-hop styling.
• Diamond initial pendant: A large, diamond-set initial suspended from a substantial chain, making personal identity part of the design.
• Diamond-set statement ring: A broad-faced ring covered with closely set diamonds for a bold, sparkling effect.
• Diamond-set bracelet watch: A wristwatch with a diamond-set bezel and bracelet, combining function with conspicuous ornament.

This is a brief introduction to a much richer history. We hope it piques your curiosity and encourages you to explore the books, collections and craftsmanship behind this style.

Contemporary: jewellery as personal expression

2010 to today; an open-ended grouping for this guide, highlighting personalised fine jewellery and a broad range of influences.

Personal expression takes centre stage in contemporary jewellery. A favourite colour, a meaningful gem or an unexpected combination can become the starting point for a piece that feels entirely your own. The mood is open and individual: delicate pieces, bold statements and references to different eras can all find a place in the same collection.

One especially exciting direction is maximalism with a richer palette. The exuberance of diamond-rich jewellery carries into coloured gemstones as clients discover varieties they may never have encountered before. Paraíba tourmaline, spinel and fancy-colour sapphires offer possibilities for striking centres, unexpected colour pairings and generous, gem-filled compositions. Diamonds can frame the colour, add contrast or share the spotlight.

Inspiration can reach from Ancient Egyptian motifs to Mid-century modern sculpture, with room for fresh interpretations and entirely new forms. More accessible computer-aided design (CAD) and 3D printing have expanded what designers can model and produce, including intricate structures and settings tailored to an individual stone. These tools work alongside skilled casting, hand finishing and stone setting, bringing more options to the conversation between client and jeweller.

Explore colour combinations with tourmaline, or develop your idea in the Atelier.

• Motifs: Personal symbols, unexpected asymmetry and freely combined historical references. Ancient Egyptian forms and MCM-inspired curves can be reinterpreted for an individual wearer.
• Metals and materials: Yellow, white and rose gold, platinum and contrasting finishes offer different settings for a personal palette. The choice follows the piece and its wearer.
• Gems and cuts: Paraíba tourmaline, spinel and fancy-colour sapphires feature in this selection alongside diamonds. Mixed cuts, unusual colour combinations and generous clusters make the gems part of the design story.
• Techniques: CAD modelling and 3D-printed prototypes or casting models help explore fit, structure and bespoke settings. Skilled finishing and stone setting bring the design into its final, wearable form.

Signature pieces on the board

• Paraíba tourmaline statement ring: A vivid blue-green centre surrounded by a generous arrangement of coloured gems and diamonds.
• Spinel drop earrings: Mismatched but balanced drops that pair pink and violet spinels in an individual colour story.
• Fancy-colour sapphire bracelet: An articulated bracelet combining sapphires in a deliberately varied palette.
• Egyptian-inspired pendant: A modern interpretation of a winged scarab motif, personalised through its gems and proportions.
• Sculptural openwork ring: An intricate, flowing openwork setting designed around the shape of a single coloured gem.
• MCM-inspired cuff: An open, sculptural gold cuff with an off-centre gemstone, drawing on Mid-century modern forms.
• Personalised gem pendant: An initial pendant with a small, meaningful selection of coloured gems.
• Coloured-gem cluster brooch: An exuberant, asymmetrical arrangement of different gem colours, shapes and sizes.
• Mixed-shape stacking rings: Individually wearable rings that fit together around complementary coloured stones.

This is a brief introduction to a much richer history. We hope it piques your curiosity and encourages you to explore the books, collections and craftsmanship behind this style.

Find your own colour story in tourmaline, spinel and sapphire. For a playful contemporary example, explore our Matt Crookshank × Skyjems yellow-sapphire tardigrade cufflinks.