Marlii Lab

I can usually tell within seconds whether a stone is right.

Old mine cushions take a little longer. They’re cut by hand, the facets are broad, and the light comes back in big slow flashes rather than pinpoints. So I hold them up to the window and wait.

This one is packed and ready for London.

Our client wanted an old mine marquise that sat low and wide, nothing perched or pointed. So we turned it east-west and let two arcs of brushed gold wrap around it, passing each other like they haven’t quite finished closing.

It’s always hard to let the bespoke ones go.

An old mine moval in a Georgian collet. Fine claws, a slim band, and nothing else asked of it.

Every ring is made singly, after it is chosen, which means almost nothing we make is ever sitting in a room. A private viewing is the exception — the settings together on one table, with loose stones beside them, and the person who drew them there to answer for the decisions.

The signet has always been the most confident ring to wear. This one sets a ch*****ne antique oval east-west within the frame; the stone flush to the gold, sitting wide across the finger rather than rising above it. Old stone, old form, completely new decision.

No stones. No setting. Just the Shell Band — polished 18K yellow gold, shaped like something that already existed.

A spectacular natural Paraiba Tourmaline out of a ring no longer worn, moving into one that will be.

Still in the workshop. Almost done.

Old mine cushion in the rope setting.

I spend more time selecting stones than I do anything else.

Getting the right diamond for the right piece before any of it reaches a client — that’s the part that takes the longest and matters most. These ones are coming to our next private viewings.

Book your appointment via the link in bio.

We’re forever seeking out the most exceptional ch*****ne diamonds.