The Verdelle
There are pieces that exist to be admired, and pieces that exist because no other form would have been correct. The Verdelle belongs to the second category. It is an object that arrived at its shape through the logic of the Plume setting – the House’s proprietary technique and through the particular demands of the design, built entirely in Zambian emeralds.
The earring is composed of two distinct elements: the crown and the drop. Above, an open arrangement of pear-shaped and round brilliant-cut diamonds, set in 18-karat white gold. Below, a dense body of marquise-cut Zambian emeralds, narrowing from its widest point to a single, precise terminus.
The Verdelle is singular within the House for the scale at which the Plume setting is deployed. The emerald body is set fully all around, marquise stones layered across every surface, three hundred and sixty degrees, with no flat back, no hidden face, no concession to a side that would not be seen. The design stays true from every angle of the earrings.
The Plume Setting
Plume is a proprietary Diviano technique. At its centre lies the marquise form; stones layered and arranged in deliberate progression, each placed in relation to the one beside it, not to mirror it, but to complement it. No two stones refract the same way.
Plume emerged from the House’s desire to explore richness without repetition: to work with many stones while maintaining balance, clarity, and control. The challenge was never how many stones could be used, but how each stone could retain its own presence within a larger composition.
In The Verdelle, this challenge is met at full intensity. Each prong is set in the colour of the stone, so the metal recedes entirely and the green flows uninterrupted across the surface. From a distance, the body reads as a single mass of colour. Closer, hundreds of individual stones become visible, each catching and holding light in its own way, each contributing its own voice to the structure.
Chromatic cohesion defines the composition. The emeralds are never considered in isolation, but as an ensemble – tone, saturation, and luminosity evaluated collectively, so that colour flows across the surface.
The Crown
The upper element of The Verdelle, the crown, operates in deliberate contrast. Where the drop is dense and colour-saturated, the crown is open and luminous. Pear-shaped diamonds are arranged in a fan formation, each stone set at its own angle, each holding light differently from the one beside it.
The transition between crown and drop is managed through a collar of pear-shaped diamonds, which marks the boundary between the two elements without interrupting the flow of the composition. Diamond meets emerald; precision meets density. The two halves of the earring are presented in a dialogue.
Zambian Emeralds
The emeralds in The Verdelle are Zambian in origin, selected not for the colour alone, but for clarity, transparency, and the way light passes through the stone. Each marquise is chosen for its capacity to exist within a unified chromatic field, to contribute to the whole structure.
The assortment of the emeralds is rigorous, stones are matched for tone and saturation before they are placed. What appears instinctive in the finished piece is, in reality, the result of exacting selection and careful placement.
The Object
The Verdelle is not an earring designed to be seen from the front. The Plume body is fully dimensional, set on every surface, composed all around. The profile view is as considered as the face. The design curves, carries weight, and narrows to a point that shows the entire composition.
Bold. Layered. Dimensional.
An object made within the House, in a language of the House.
The Verdelle.
Diviano · The Plume Setting · 18K White Gold · Zambian Emeralds · Natural Diamonds