The Maison
Craft is a response to the demands of the object.
Before technique, there is always one question: what does this piece need to become.
From this thinking, the two methods emerged: the Plume
Setting and the Lamella Technique. Neither was conceived in advance, both were
developed in the process of solving specific problems of form, proportion, and
surface. Born from necessity. Defined by the making.
01 · Proprietary Technique
The Plume Setting.
The challenge that gave rise to Plume was one of dimension and flow. The House wanted to create compositions that moved, that had the quality of a wave, a curve, a natural progression across a surface while remaining seamless, three-dimensional, and free of visible structure. The stone had to read as the whole. The setting had to disappear.
Plume answers this through the marquise shape. Emeralds, rubies, sapphires arranged in deliberate progression, each layered over the next in careful succession, like the scales of a pine cone building outward from a centre. The prongs are set in the colour of the stone, so that metal recedes and colour flows uninterrupted.
From a distance, a Plume piece reads as a single mass of colour; unified and complete. Closer, it reveals itself: individual stones, each catching light differently, each contributing its own voice to the whole.
02 · Proprietary Technique
The Lamella Technique.
The House wanted to bring artistry to the band of a ring, not just to the stone above it, but to the surface that sits between the fingers. The part that exists quietly, seen only by the wearer. The challenge was to create something intricate and layered without adding bulk.
The solution was a method of layering rose-cut stones, primarily sapphires, individually articulated and placed one over the next, like fish scales in succession. Each stone is held and angled so that the layer builds naturally, creating depth and movement across a surface that remains remarkably slim.
The experience of a Lamella piece is felt as much as it is seen. It sits between the fingers as something intricate and alive, a work of art that does not announce itself to the world, but makes itself known to the person wearing it.
“Two methods. One standard. Both emerged from the making process itself, from the House pushing its own thinking until a new possibility revealed itself. Slowly. Deliberately. Always in service of the object.”
— Yash Hirawat, Co-Founder