diamond jewelry

Vagues étincelantes necklace in white gold with diamonds, Souffle de diamants ring in white gold with diamonds, Van Cleef & Arpels High Jewelry; dress, Gemy Maalouf. Photo: Joseph Degbadjo
Having begun her journey in the musical sphere at the young age of 14, Farrah El Dibany is no stranger to the fine arts. The mezzo-soprano isn’t just the first Egyptian-African singer to join the Paris Opera Academy, she also holds a master’s degree from the Berlin University of the Arts and a bachelor’s in architecture at Technische Universität Berlin. Given her eye for the most intricate details, it would be safe to assume that this multifaceted woman aims at excellence in every sphere of her life—fashion included.
Often seen draped in elegant gowns, Farrah El Dibany takes over the pages of Vogue Arabia’s November 2022 issue sparkling in a new collection by Van Cleef & Arpels. This month, the French luxury jewelry house is celebrating its Legend of Diamonds line, which comprises two chapters: The 25 Mystery Set Jewels, and the White Diamond Variations. Here’s everything you need to know about both.

25 Mystery Set Jewels
Châtelaine earrings with detachable pendants in white gold with diamonds, Collerette Mystérieuse transformable necklace in white and rose gold with diamonds, pink sapphires and rubies, Hollywood bracelet in white and rose gold with diamonds, Collerette Mystérieuse ring in white and rose gold with diamonds and rubies, Van Cleef & Arpels High Jewelry; dress, Gemy Maalouf. Photo: Joseph Degbadjo
Over the years, Van Cleef & Arpels has repeatedly highlighted the undeniable beauty of colored gemstones with collections including Collection of the Century (2002), Pierres de Caractère (2006), Pierres de Caractère – Variations (2013), Émeraude en majesté (2016), and Treasure of rubies (2019). Now, the fashion house unveils the 25 Mystery Set Jewels, a collection of 25 statement creations, all of which feature painstakingly cut diamonds that come from one rough diamond of 910 carats, the Lesotho Legend. “Finding a stone of this size in its natural state is truly emotional,” the Director of the Van Cleef & Arpels Stones Department shared. “It’s the kind of thing we dream of but don’t dare to imagine. We are here at the beginning of this diamond, after its formation, when there has not yet been any human intervention. When I see a rough stone like this, I would like to keep it this way, because it is so beautiful.”
The Lesotho Legend, which is counted as the fifth largest rough diamond in both size and quality ever mined, found its 67 brilliant fragments embedded in a series of stunning jewelry pieces. The Van Cleef & Arpels Design Studio ensured that the brand’s trademark style was recognizable throughout. Designers worked closely with expert gemologists and the High Jewelry Workshops to design precious settings inspired by the history of the Maison. For an extra dimension, Van Cleef & Arpels accompanied each diamond with precious gems, bringing together curved lines, and an intense play of colors—via rubies, sapphires and emeralds.
White Diamond Variations
Châtelaine earrings with detachable pendants in white gold with diamonds, Roaring Twenties transformable long necklace in white and rose gold with diamonds, Hollywood bracelet in white and rose gold with diamonds, Van Cleef & Arpels High Jewelry; dress, Alexandre Vauthier. Photo: Joseph Degbadjo
The second chapter in the Legend of Diamonds series, the White Diamond Variations collection, takes us back to the importance diamonds hold in the world of Van Cleef & Arpels. Celebrated since the time the very first VCA piece was sold in 1906 – a heart set with brilliant-cut diamonds – the diamond takes centre stage in this 82 piece line, which takes inspiration form the Maison’s rich heritage.
From cascading necklaces that take inspiration from the Roaring Twenties, to sparkling chandelier earrings that can be transformed into a clip, the White Diamond Variations pieces truly convey the absolute versatility of this most precious of stones. Jewelry enthusiasts will also delight in the Dear Liz earrings (inspired by the 1920s Bow brooch that belonged to Elizabeth Taylor), the Vagues étincelantes necklace, which is crafted to sit gently on the skin like a foam of diamonds, and the gorgeous Boogie-woogie bracelet, reminiscent of the Maison’s archival designs from the late 1930s through the 1940s.
Below, take a closer look at Van Cleef & Arpel’s captivating creations, as seen on Farrah El Dibany.

Diamond Chandelier transformable earrings in white gold with diamonds, Diamond chandelier clip in white gold with diamonds, Collerette Mystérieuse ring in white and rose gold with diamonds and rubies, Van Cleef & Arpels High Jewelry; jacket, pants, Alaïa. Photo: Joseph Degbadjo
Diamond Chandelier transformable earrings in white gold with diamonds, Fabulous Fifties necklace in white gold with diamonds, Van Cleef & Arpels High Jewelry; dress, Gemy Maalouf. Photo: Joseph Degbadjo
Diamond Chandelier transformable earrings in white gold with diamonds, Fabulous Fifties necklace in white gold with diamonds, Van Cleef & Arpels High Jewelry; dress, Gemy Maalouf. Photo: Joseph Degbadjo

Style: Anna Klein Digi tech:Dope ParisProduction: Danica Zivkovic Hair: Annesofie Begtrup at Wise & Talented Makeup: Annabelle Petit at Wise & TalentedNails: Adrienne at B-agency Photography assistant: Patricia Zheng

Dior Print earrings and necklace in white gold with diamonds, Dior High jewelry. Photo: Luc Braquet
Dior never fails to dazzle the world with its extraordinary mastery. And this season, the French luxury fashion house has outdone itself with a high jewelry collection that demands to be admired.
Consisting of 137 remarkable pieces that fit as perfectly as an haute couture gown, Dior’s new jewelry line, named Dior Print, was inspired by the creative director of Dior Joaillerie Victoire de Castellane’s desire to “draw prints on jewelry”. So, the pieces feature liberty prints, checks, stripes and tie-dye motifs, all of which appear not on clothes, but on necklaces, earrings, bracelets, and more.
Solitaire necklace in pink and yellow gold with diamonds and emeralds, Tie and Dior bracelet in white gold with diamonds, emeralds, sapphires and tsavorite grenats, Dior print ring in white, pink and yellow gold with diamonds, emeralds, sapphires, tourmalines, tsavorite, violet garnets and red spinels, Dior High Jewelry. Photo: Luc Braquet
The journey to get here was anything but easy—Victoire de Castellane spent a great deal of time researching on how to make one-of-a-kind jewelry pieces, studying lace in Dior Dior Dior in 2018, textile dye effects in Tie & Dior in 2020, and braids in Galons Dior in January 2022. And the hard work paid off—Dior’s latest offerings, seen in the pages of Vogue Arabia on Saudi Arabian actress Aseel, jump off the page with their sharp cuts and undeniable charm. Think structured earrings, ribbon-like chokers, and stunning floral rings. The Dior Print collection also boasts a dreamy range of drop earrings, pendants and cufflinks, proving that the fashion house has something to offer to just about everyone.
Dior Print earrings and necklace in pink gold with diamonds and rubies, Dior High Jewelry. Photo: Luc Braquet
Look closer, and there’s missing the impeccable craftsmanship that has gone into each Dior Print creation. To make the fabric motifs work on jewelry’s intrictae scale, Dior’s jewelers reworked and adjusted two main factors—the type of setting, and the density of the multicolored gems used in each piece. “When ribbons undulate, the print must follow,” Victoire de Castellane explained. “As with couture, it’s a process that requires a series of adjustments. The work is all the more precise due to the settings’ curved surfaces, which distort prints and lines.” Bringing together a melange of precious stones, from diamonds and Colombian emeralds, to Madagascar sapphires and Mozambique rubies, this jewelry line is one for the books.
Dior Print earrings, necklace, rings in white gold with diamonds and sapphires, Dior High jewelry. Photo: Luc Braquet
Gem Dior necklace and ring in white gold with diamonds, Dior High Jewelry. Photo: Luc Braquet
Photography: Luc Braquet Style: Elena Psalti Producer: Danica ZivkovicOn-set producer: Julia Ibatullina Hair: Taan Doan at L’Atelier68 Makeup: Claire Gil at Noob agency Manicure: Audrey Cheri at B Agency 

Photo: Courtesy Balmain
Balmain’s first fine jewelry presentation was reminiscent of Pierre Balmain’s spectacle of French luxury in the 1950’s. Fast forward to today, and this opulent yet modern take on the brand’s fine jewelry approach was nothing short of powerful and authentic; Oliver Rousteing impressively dedicated the collection to today’s rebellious spirit, with the richness of couture heritage. The collection also featured Balmain’s most well-known signatures—both classic motifs, pulled directly from the house’s rich archive, were present in this debut collection.
Oliver Rousteing, the house’s brilliant artistic director, brought the idea of paying homage to Pierre Balmain to life with the showcase, by “building upon that unique heritage by having our first jewelry collection’s riff on a host of items pulled from our archives, including Monsieur Balmain’s legendary Labyrinth pattern, the house’s distinctive coat of arms and the couture-like embellishments of my Fabergé collection, which I first sent down the runway ten years ago.” The historically striking pieces that use onyx and diamonds are of a particularly striking note to the legacy of Balmain. 
Photo: Courtesy Balmain
The house chose to focus its fine jewelry collection on the celebration of the self, identity and gender neutrality. Emblem and Labyrinth are symbolic of belonging to a greater whole, creating pieces that work interchangeably. Each piece marked a statement, relying on a brilliant mix of yellow gold, diamonds, onyx and tsavorites to reference the heraldic language of the Balmain Blazon and the masterful embroideries of one of Olivier Rousteing’s most influential runways, the Fabergé collection of 2012.
Balmain’s fine jewelry collection explored French opulence, allegiance, with notes of medieval heritage, while boldly addressing today’s modern world. The house’s creative director successfully produced Balmain’s first high jewelry presentation with an intriguing complexity to today’s diverse world. Bravo.  

Below, take a closer look at some of the pieces from Balmain’s debut jewelry line.
Photo: Courtesy Balmain
Photo: Courtesy Balmain
Photo: Courtesy Balmain
Photo: Courtesy Balmain
Photo: Courtesy Balmain

Fine jewelry designer Maria Tash Photo: Courtesy Maria Tash
This summer, fine jewelry designer Maria Tash celebrated a milestone moment: the opening of her newest store, located in Prestige at The Avenues, Kuwait. Spread across a whopping 2,100 square feet, the new space is officially the third Maria Tash destination in the Middle East, with the first two opening in Dubai Mall in 2018, and Mall of Emirates in 2021. It’s clear that the entrepreneur has come a long way, having opened her first store in Manhattan’s East Village in 1993.
For Tash, it was important for the jewelry house’s Kuwait edition to tell her story through its interiors. Best known for pushing the envelope with minimalistic sparklers that tempt every shopper to load up on piercings, the designer’s new space is all about clean lines, sleek shapes, and modern detailing, bringing together a palette of soft grays, custom glass and leather and metallic accents. Perched right next to Fauchon, Tiffany, and Van Cleef & Arpels, the boutique also boasts a private ‘women’s only’ lounge, ensuring that every visitor has a comfortable shopping experience.
Maria Tash boutique in Kuwait. Photo: Courtesy Maria Tash
“It has been a long journey,” Tash says triumphantly about the Kuwait store during a chat with Vogue Arabia. “I did two very successful pop-ups in 2016 in Kuwait and I have been waiting to open in the country since. I signed the store lease in the Prestige section of The Avenues a couple of years ago, but we could not get into the country to establish all of the corporate setups and fly specialized employees in due to Covid.” After years of waiting, the new flagship doesn’t just stand out for its envy-worthy interiors and invest-worthy customizable creations, but also for its futuristic touches. “It is the first location to have special tools I invented to visualize and preview jewelry for the patented Tash Helix and Hiddlen Tash Rook piercing locations,” she elaborates, proving that the only way for this fine jewelry designer is up.
A closer look inside the Kuwait store. Photo: Courtesy Maria Tash
She may still be basking in the glow of the success of her Kuwait store, but there isn’t much time to stop and smell the roses in Maria Tash’s world. As she gears up for her next big openings—Maria Tash will soon be making homes in Los Angeles, Dallas, and Paris—the designer of the moment sits down with Vogue Arabia for a quick chat, where she reveals her biggest jewelry insights, from her favorite memories, to the key pieces every woman should own, and much more. Dive in!
What is your first memory with jewelry?
My first memory is rummaging through my mother’s jewelry box and draping almost all of the pieces inside on myself.  She had a great laugh when she saw me with all of her necklaces on my tiny body. Little did she know how it would manifest later in life!
You’ve been in the jewelry industry for close to two decades now. Can you tell us how your love for jewelry came about?
My love of jewelry expressed itself [in my childhood] when I was drawing flowers and imagining them in jewelry. When I was 9, I was hammering metal sheets and wrapping wire into basic shapes. In my early teens, I started doing more daring designs, like attaching necklaces to studs between my ears, creating a suspended ear-to-ear effect, and wrapping wire between two fingers to create a “two finger ring”.
As a teen, I also became more involved with music—specifically goth and punk—and developed a love for multiple ear and nostril piercings. By the mid 1980s, I was gluing a gem in my navel (navel piercing were not available back then), because I thought it was beautiful, and was enamored by books showing images of Indian weddings and their elaborate multiple lobes, cartilage, nostril, and septum jewelry.
In the late 1980s, I moved to London and got my nostril double pierced and added multiple ear piercings. After completing college, I took a leap and opened my first store in the East Village, designing and fabricating jewelry and performing piercing daily on all areas of the body. My love for jewelry has been with me since I was a child, and continues today as I am still enthralled with gorgeous stones, unusual diamond cuts, clever mechanisms, and unique piercing locations.
The lapis luis collection. Photo: Courtesy Maria Tash
From New York and London to Dubai and Kuwait, your customizable fine jewelry seems to have global appeal. Do you notice a difference in the tastes of the Maria Tash consumer in different regions? What makes the Middle Eastern customer unique?
Social media has been a great way to equalize demand for certain ear curations. My Middle East clients love bold diamond pieces for all areas of the body, and are not afraid to get multiple piercings. My lotus marquise clusters are popular in the region, as well as my threaded diamond charms and studs in pear and marquise shapes. They also like the large silhouette-cut diamonds (a shape I have cut for the brand), as well as our floating diamond tassel earrings. I feel like my minimalistic, invisible diamond settings, patented mechanisms, and attention to detail are appreciated in the region. Much of what is popular in the Middle East is what I wear personally, and I’m very happy about that fact.
From your own collection, what are the key pieces that you think every woman should own, and why?
I really love my Floating Diamond Tassel Earrings, and my Floating Diamond Charm Studs. The Tassel Earrings I wear in both my earlobes and helix and are a favorite because they are just so lightweight, full of movement, and very sparkly. The diamond charm studs are a hybrid between the desirable movement features of a charm and the versatility of a stud, because they can be worn almost anywhere on the ear.
Invisible set diamond star stud earring in 18k white gold. Photo: Courtesy Maria Tash
I love movement and I love extremely minimalist stone settings. I gave a lot of thought with these studs as to how the beautiful diamond shapes could be gently suspended in the air, held minimally, emerge from hidden parts of the ear if desired, and sit perfectly flush with the ear. Also, I think a Maria Tash essential are my diamond eternity rings, like the five row pave rings, marquise invisible set rings, and invisible set round diamond rings. I like them in a snug fit with or without a charm hanging off for movement. These rings look great regardless of your piercing angle, sit so close to the skin, and feature my signature invisible setting and minimal pave setting.
Could you please share your top three tips on buying jewelry? 
First, find a piece you really love, and ideally can wear continuously. I strive to make pieces that are very “low profile” so that they sit extremely low to the skin, which makes them very comfortable for long-term wear. I believe everyone should wear pieces that are low profile, especially studs sticking off the ear and finger rings with stones that sit on top of the finger.  A very deliberate low profile setting prevents catching the stone settings on apparel, or the piece turning (on the finger) or pointing down or out (for ear studs) due to the weight and height of the jewelry above then skin.
Pearl and diamond eternity triple linked hoop earring and cuff in 18k rose gold. Photo: Courtesy Maria Tash
Secondly, I think investing in pieces that are at least 14k-18k or platinum is a wise investment because elemental gold, as a commodity, is at an all-time high. Diamonds also tend to hold their value. I have made the decision not to work with any diamond that is less than VS2/G in clarity/color so they continue to hold their value.  I would also choose a piece that is alloyed without nickel. In the US, almost all white gold is mixed with nickel, which makes it white.  The EU has a stricter standard, and it has always been part of the Maria Tash brand to keep nickel out of all of our gold, so no one will have an allergic reaction.
Lastly, really loving a piece of fine jewelry [is important] because of its beauty or its symbolism, and having it add confidence and pride in how you see yourself is its true value.

Photo: Getty
This year, Queen Elizabeth II will be celebrating her Platinum Jubilee, the first British monarch in history to reach such a milestone. Seven decades have passed since the death of her father, King George VI, during which she has earned a reputation not only of devotion to the monarchy and her people, but also as one of the best dressed women of our time.
None of the Queen’s outfits would be complete without her jewelry, however – from historic gems passed down from queen to queen through the centuries to recently acquired jewels. In the daytime, she is almost never seen without a pearl necklace, glittering brooch, and pearl earrings. For formal evening events, a necklace or tiara will be pulled out from the vault.
Despite having access to an awe-inspiring number of jewels, the Queen views them casually as being part of her uniform. Her sister, Princess Margaret, once marveled that Her Majesty was the only woman she knew who could put on her own tiara while walking down the stairs to attend an event.

Here, Vogue highlights key jewelry moments from each decade of the Queen’s 70-year reign.
Posing after her historic Coronation ceremony in 1953
Photo: Getty
For the actual moment of crowning, the gold St Edward’s Crown was used, but was then switched for the Imperial State Crown for the rest of the day. The Imperial State Crown was designed by Rundell, Bridge & Rundell for Queen Victoria in 1839. It is set with several historic stones: St Edward’s sapphire, Queen Elizabeth I’s pearl earrings, The Black Prince’s ruby, the Stuart sapphire and The Cullinan II. It was remade by Garrard in 1937 to be lightened for King George VI, but still weighs 2.3 pounds.
The Queen has spoken about the weight of the crown when worn during the State Opening of Parliament. “You can’t look down to read the speech – you have to take the speech up. Because if you did, your neck would break, or it would fall off. So there are some disadvantages to crowns, but otherwise they’re quite important things.”
The necklace and earrings worn that day are appropriately known as The Coronation Necklace and Earrings. In the 1850s, Queen Victoria had to return a number of Hanoverian heirlooms to her cousin the King of Hanover, including her grandmother Queen Charlotte’s diamond necklace. As a replacement, Queen Victoria had this new necklace and earrings created by dismantling jewels from “swords and useless things” belonging to King George III.
Attending the Royal Variety Performance in 1967
Photo: Getty
The Lover’s Knot Tiara was made by Garrard in 1913 for Queen Mary using stones from a tiara she was given for her wedding. Queen Mary had a passion for jewels, especially those with family history, so she had Garrard copy the design from a tiara belonging to her grandmother Princess Augusta, which was inherited by her aunt. The Queen inherited the tiara from Queen Mary in 1953 and later famously gave it to Diana, Princess of Wales as a wedding present. It’s now worn by Kate Middleton, Duchess of Cambridge.
The necklace worn by the Queen was a Golden Jubilee gift to Queen Victoria from a committee called The Women’s Jubilee Offering. Originally the committee hoped to raise £10,000 to create a statue of Prince Albert, but when more than £84,000 of donations poured in, the committee set aside £5,000 to purchase this necklace from Carrington & Co. Queen Victoria designated this piece as an heirloom of the Crown.
The earrings worn by the Queen are from Queen Alexandra’s Wedding Parure, given to Queen Alexandra by King Edward VII for their wedding in 1863. The diamond bracelet on the Queen’s wrist was a wedding present from Prince Philip. Philip had used diamonds from a tiara given to him by his mother, Princess Alice of Greece, to design a bracelet and engagement ring for his future wife. The Queen has worn the bracelet frequently throughout her reign but in recent years has loaned it to the Duchess of Cambridge.
On a royal visit to Finland in 1976
Photo: Getty
The Vladimir Tiara was made for Grand Duchess Maria Pavlovna, wife of Grand Duke Vladimir in the 1870s. Designed as a row of interlocking diamond circles with pearl pendants, it is believed to have been made by Bolin, and often graced the head of the Grand Duchess during her famous parties. The Grand Duchess was forced to flee Russia during the Russian Revolution, leaving her jewels behind hidden in a secret compartment in her St Petersburg palace. Eventually, on behalf of the Grand Duchess, a British officer dressed as a worker snuck into the palace, retrieved the Grand Duchess’s famous collection of jewels, and returned them to her once out of the country.
After the Grand Duchess’s death in 1920, her children sold part of her collection, this tiara being purchased by Queen Mary. Once in London, the tiara was repaired, having been damaged during the escape from Russia, and Queen Mary had the pearl drops made interchangeable with the Cambridge Emeralds: a collection of emeralds inherited from her grandmother Princess Augusta (who won them in a lottery in Frankfurt shortly after her marriage in 1818).
The Queen inherited the tiara in 1953 and enjoys wearing the drops interchangeably. On occasion, she will go for an all-diamond look and wear the tiara without any drops. The necklace and earrings were made by Garrard for Queen Mary to wear at the 1911 Delhi Durbar using some of the Cambridge Emeralds.
The Dorset Bow Brooch is pinned to the Queen’s sash. It was a wedding present to Queen Mary in 1893 from the County of Dorset. Queen Mary later gave it to the Queen as a wedding present in 1947.
Greeting members of the public on a state visit to Portugal in 1986
Photo: Getty
Here, the Queen is wearing the oldest set of jewelry in her collection, the Kent Amethyst Parure. The parure belonged to Princess Victoria, Queen Victoria’s mother. Consisting of a necklace, earrings, three brooches, and a pair of side combs, the parure was made an heirloom of the Crown by Queen Victoria. The parure is vary rarely worn, but the Queen enjoys wearing the brooches. On one occasion in 1902, Queen Alexandra wore the necklace cascading down the skirt of her dress.
The tiara worn here is the Queen’s favorite, referred to affectionately as Granny’s Tiara. The Girls of Great Britain and Ireland presented this to Queen Mary in 1893 as a wedding present. The tiara is designed with diamond festoons and scrolls on a detachable diamond base. It was originally topped with pearls, but these were removed and used to create the Lover’s Knot Tiara. The Queen has worn this tiara most frequently, and it is probably her most recognizable piece, being featured on currency around the world.
Attending a state banquet in 1990
Photo: Getty
The necklace and earrings worn here are some of the Queen’s most cherished jewels. Her father King George VI purchased them from Carrington & Co in 1947 and gave them to her as a wedding present. In the 1960s, the Queen found she was without a sapphire tiara, and in 1963, she purchased this one at auction. Her diamond and sapphire bracelet was acquired the same year, completing the parure.
The brooch pinned to the Queen’s sash is the Albert Sapphire Brooch and was given to Queen Victoria by Prince Albert on the eve of their wedding in 1840. Queen Victoria recorded in her diary, “My precious Albert gave me a splendid and lovely brooch of an immense sapphire, set round with diamonds; it is quite beautiful.” Queen Victoria designated this piece as an heirloom of the Crown, and it has been worn by every Queen since.
Smiling in the middle of a trip to Malta in 2005
Photo: Getty
Prince Philip was stationed with the Royal Navy in Malta between 1949 and 1951, and on her visits there, the Queen was able to briefly experience life as any other newlywed wife. Prince Philip’s cousin Lady Pamela Hicks recalled, “The Queen really loved living in Malta because she was able to lead a normal life, wander through the towns and go shopping. It was the only place that she was able to live the life of a naval officer’s wife, just like all the other wives.”
Prince Albert designed the Oriental Circlet Tiara, which was made in 1853 for Queen Victoria, who designated it as an heirloom of the Crown. Originally, the tiara was set with opals but Queen Alexandra believed opals to be unlucky and had them replaced with rubies. The tiara was a favorite of the Queen Mother, so much so that the Queen allowed her to retain it after ascending the throne when it should have been passed on.
The Queen’s necklace is known as the Baring Ruby Necklace, as it was acquired from the Baring Collection in 1964. She paired this set of jewels with Queen Mary’s Ruby Earrings. The earrings, which consist of large rubies surrounded by nine diamonds, were a birthday present to Queen Mary from King George V in 1926.
Hosting a state visit in 2019, one of her last before the pandemic
Photo: Getty
The Burmese Ruby Tiara was created by Garrard for the Queen in 1973. The rubies used in the tiara were from a necklace presented to the Queen as a wedding present from the Burmese people. The necklace consisted of 96 rubies, which by Burmese custom would protect the wearer from the 96 diseases that can afflict a human. The diamonds used in the tiara were taken from another wedding gift, a tiara from the Nizam of Hyderabad. The new tiara is designed as a wreath of ruby roses, inspired by the Tudor rose, connected by diamond and ruby sprays.
The necklace and earrings worn by the Queen were made for Queen Victoria and originally set with opals instead of rubies. They were left as heirlooms of the Crown by Queen Victoria. Queen Alexandra had the opals replaced with rubies in 1902.
Her outfit is completed with the diamond-studded insignia of the Order of the Garter and the Family Orders of King George V and King George VI. Royal Family Orders are given to female family members by the monarch and feature their miniature portrait in a diamond frame on a silk ribbon.
Originally published in Vogue.co.uk

Photo: Getty
The splendor and sparkle of the diamond has inspired us for generations; their rarity, value and the way they delicately reflect light. Whether they’re worn as status symbols, bought as investments or emblems of endless love, diamonds are still the most prized stone in the world.
The tale of the Taylor-Burton diamond is glamorous to a fault. The story begins in 1966, when a 240 carat rough was found in the De Beers-owned Premier Mine in South Africa, the same mine that had produced the Cullinan and Golden Jubilee diamonds. It was snapped up by the American jeweler Harry Winston, who decided to make the larger half into a perfectly proportioned pear shaped diamond.  Winston sold the diamond to Harriet Annenberg Ames, sister to billionaire publisher and diplomat Walter Annenberg, who planned to wear it as a ring, but felt too conspicuous wearing such a huge stone in her native New York City.  Ames didn’t keep it for long, putting it up for auction in 1969. When Elizabeth Taylor and Richard Burton heard about the upcoming sale, they had to see the stone, so it was flown to Gstaad where the couple were holidaying.
Burton set his ceiling price at $1 million, and had his lawyers bid via telephone from London.  Despite his efforts, the winning bid, $1,050,000, came from Robert Kenmore representing Cartier, who outbid Burton, Greek shipping magnate Aristotle Onassis and the Sultan of Brunei. A proviso of the sale stated that the diamond’s buyer could name the diamond, so naturally the stone was christened the Cartier Diamond. It’s reported that Richard Burton, livid not to have won the diamond, had his lawyer contact Cartier the very next day to buy the gem.  Robert Kenmore did indeed agree to sell it to Burton, for an undisclosed amount, but on the condition that Cartier was able to display it in store before it was handed over to the couple. Over 6,000 people a day flocked to Cartier’s Fifth Avenue store to see the celebrated stone, now of course named the Taylor-Burton Diamond.  Shortly afterwards the diamond was delivered to the couple on their yacht in Monaco, where they were anchored to attend Princess Grace’s 40th birthday. Taylor wore the legendary 69.42 carat diamond on a double strand necklace of smaller diamonds for the first time in public at Princess Grace of Monaco’s party.
Over the years, the diamond has continued to be a treasure, be it in the form of a sparkling solitaire or set in a delicate tennis bracelet. If you, like so many around the globe, have a soft spot for the April birthstone, here are 37 jewelry pieces worth investing in this month.
Earrings, Astley Clarke
Ring, Auvere
Earrings, Alicia Jane
Choker, Ananya
Necklace, Anita Ko
Earrings, Annoushka
Earring, Maria Tash at Browns Fashion
Earrings, Venyx
Bracelet, Cindy Chao The Art Jewel
Necklace, Pomellato
Necklace, Fernando Jorge
Ring, Sorellina
Ring, G by Glenn Spiro
Earrings, Greenwich St Jewelers
Necklace, Graff
Ring, Hirsh London
Earrings, Jade Trau
Bracelet, Katkim
Bangle, David Morris
Earrings, Kimberly McDonald
Necklace, KIAIA London
Ear jackets, Kiki McDonough
Earrings, Nikos Koulis
Earrings, Messika
Bangle, Lucy Delius
Necklace, Roxanne First
Ring, Dina Kamal
Earrings, Robinson Pelham
Cuff, Shahla Karimi
Cuffs, Shaun Leane
Necklace, State Property Fine Jewellery
Earrings, Suzanne Kalan
Necklace, Thelma West
Choker, Diane Kordas Jewellery
Necklace, De Beers
Ring, Vintage Ring Company
Necklace, Bee Goddess
Originally published in Tatler.com

Photo: Instagram.com/nickiminaj
The world of diamonds may be dazzling, but it’s also serious business. Yet somehow, for 25-year-old Ashna Mehta, the industry is anything but daunting. “I have always thought about designing, since I grew up in a house where diamonds were always a topic of conversation, and my mother is an incredibly talented designer,” says the young entrepreneur, who, as an heiress to Indian-Belgian company Rosy Blue, comes from a legacy of diamonds, and first started the journey by designing pieces for herself. In fact, one of her fondest—and earliest—memories related to the line takes us back to her childhood, when her grandfather Dilip Mehta celebrated earning Belgium’s highest civilian honor, ‘Baron’, by taking her along to his office and asking her to pick a stone she’d like to wear once she completed school. “I chose a fancy intense yellow cushion cut diamond, and then set it onto a simple ring with a halo of brilliant cut diamonds around it. This was the first piece of jewelry I had the freedom to create and design by myself.  The ring evokes the fond memory of that day in my grandfather’s office, the feeling of pride of what he has built, as well as motivation to continue and create my own legacy.”
Ashna Mehta at work on a special piece for Nicki Minaj. Photo: Courtesy Ashna Mehta
Like a true Gen Z-er, Mehta’s creations are influenced by her travels—New York and Dubai are on top of the inspo list—along with pop culture, hip-hop, and her lifelong love for sports. So it was only natural for her pieces to make their way into the world she identifies best with. This year, Mehta’s creativity earned her a spot on a global platform, aka the Instagram account of Nicki Minaj. ICYMI, the much-loved rapper recently dropped a series of pictures and videos of herself iced out in a sparkling ‘Barbie’ necklace, which comes from Mehta’s workshop. Styled with a lilac crop top + skirt set by Marc Jacobs, matching fluffy bomber, hot pink heels and a cotton candy hairdo, Minaj’s newest jewelry find is all about making a big statement. “I love Nicki’s music. She’s remarkably talented and someone I have dreamt of wearing my jewelry,” Mehta shares with us. “I spoke to Rushka Bergman (Minaj’s creative director), and we discussed collaborations, and things I should design for my jewelry line, and I was inspired by her and Nicki’s music to make a Barbie necklace.”
Photo: Instagram.com/nickiminaj
Bringing together 104 diamonds—that’s 60+ carats, all VVS—in 18k white gold with bright pink enamel, this isn’t your average neckpiece. “It was very important to get the right measurement of the stones. Each diamond was hand picked as per my design, and it took hours to create, as all the colors and clarity had to match, so the final setting would look unified and radiant.” Now, with her big jewelry debut done and dusted, Ashna Mehta only plans to go bigger and brighter. Below, excerpts from Vogue Arabia’s chat with the budding designer.
Your relationship with jewelry is an old one. How did you first gain an interest in this line of designing?
I am constantly inspired by moments in history, galleries, and museums. During my first year in college, I went to the Metropolitan Museum of Art and saw a show about Indian jewels from the Al-Thani collection, and this shifted my perspective. Seeing objects, such as a Mughal era flask from the 17th century, altered my perception of what was possible. The flask is made of the most beautiful crystal, but embedded on its surface are rubies and emeralds that have the most intricate settings.
You’ve been designing jewelry for years with your mother. What’s the biggest lesson you’ve learnt from her?
There are so many lessons I could mention. My mother, Payal Mehta, the haute couture jewelry designer of Payal New York, is the most organized woman I have ever known. She has taught me the importance of being detailed with each facet of the design process from start to finish. She taught me about different types of colored stones such as the rare padparadscha from Sri Lanka, and about different shapes and phenomena available like cabochons and chatoyancy.
She is so particular when choosing colored gemstones like rubies or emeralds for her pieces, because the colored stone industry is much less regulated than the diamond industry. In fact, 80% of colored stone mines are artisanal, and often include a lot of horrific human rights violations. Learning about the injustices involved in the colored gemstone world inspired me to improve conditions for miners through my family’s CSR initiatives. My mother and I have worked together on policy development with the United Nations Global Compact for child labour exploitation in mines around the world, and we will continue to ethically source all the stones we use while building a sustainable supply chain.
How would you say your aesthetic is different from that of others, or even from your own family’s?
I would say my aesthetic is modern and timeless. I like playing with certain classic elements like white gold and diamonds, and pairing them with bright colored enamel. The designs of my family’s pieces are more delicate and dainty in comparison, but there are several things I will carry on as a jeweler that I share with my family, such as a focus on sustainability, ethical sourcing, and using top quality stones.
Tell us a little bit about your sports-themed jewelry line—what inspired that? What elements did you bring in to get that look?
I grew up in New York playing sports my whole life. I find sports to be a unifier, a place where political and economic differences are set aside. They create freedom, camaraderie, and they bring out the best in people.
We’re launching in the near future, but the birth of the line came from a custom piece my friend Iman asked me to make for her. After making her earrings, I started making different variations of the piece, and landed on what will be my debut line. To get the right look, I use orange sapphire to represent the basketball and white gold for the shape of the hoop. The net is made out of delicate 18k gold chains and the backboard, which is my favorite part, using different materials, from lapis lazuli to rhodolite. I love the juxtaposition of the sturdy backboard against the fragile and precious net.
Ashna Mehta’s jewelry pieces take inspiration from the city of New York and her love for sports. Photo: Courtesy Ashna Mehta
You’ve got Nicki Minaj on your list of clients now. Which other celebrities would you like to see wearing your pieces one day?
Artists like Rihanna and actors like Angelina Jolie would be incredible. For my sports line, it would be really fulfilling to design one-of-a-kind pieces for professional athletes and their families. It would be a special way to celebrate their time at the height of their careers.
Jewelry can be so personal. How do you go about customizing pieces for different people? What are the key factors you like to keep in mind?
Everyone is different, so each piece is unique and bespoke for the specific individual. Jewelry designing is like dreaming, but when you actually create, there are so many techniques you have to think about. This makes the process exciting. When designing, I have to consider what materials to use, how to source the materials, how to make it work, what exact measurements are needed, how to set the piece, how it will fall, and then finally, how it will look best.
From what we’ve seen so far, your jewelry is quirky, fun and young. Is that a reflection of your personal style? Who is the ideal ‘Ashna Mehta’ woman?
Yes, I would say that’s a good description of my personal style at times. I would say my style is like a multifaceted diamond… I can be elegant and sophisticated, or fun and young. I love having an array of colors in my collection of diamonds. Inspired by their hues, I express myself based on the mood that their tones and saturation bring out. The ideal Ashna Mehta woman is particular about quality. My pieces are not gender based though, and I’m drawn to people with styles that go beyond stereotypes and conventional thinking.
In your opinion, what are three pieces of jewelry every woman should own, and why?
I love statement rings because they speak for themselves. You don’t need to wear anything else when you wear a large ring. Next, I would say everyone should have a solitaire necklace, it is an essential staple and can be layered easily for a contemporary feel. Lastly, I would say diamond stud earrings because they can be worn day to night, anytime and anywhere.