ong before Taylor Swift’s engagement ring went viral, Aline Debusigne had been creating jewellery with old cut diamonds, which have fewer facets than modern cuts and, until now, had been largely overlooked by other designers.
Prior to making jewellery her chosen career and launching her Debusigne label in 2018, the Basel-based jeweller studied ancient history and philology. Initially, she bought antique brooches which she dismantled for the stones, but found that only one in ten gems passed muster, prompting her to turn to specialist suppliers.
We first met her at the GemGenève fair in 2021. Her designs are contemporary though with a subtle nod to antiquity, hovering between past and present. “Antique jewellery has always been a part of my life,” she says. “My tastes lie somewhere between the late nineteenth century and early Art Deco, when designers were beginning to explore more contemporary, geometric lines.” She prefers settings that don’t monopolise the light, instead leaving the stones free to express their full brilliance—which is probably why she prefers the look of natural white gold, without rhodium plating, noting how “the metal changes colour in different lights and takes on warm hues.” But why this love of old cut diamonds?
Europa Star Jewellery: You’ve always worked with old cut diamonds. Why?
Aline Debusigne: It’s a choice I made over a period of time. My first piece was a ring set with Old European Cut diamonds. These are quite large stones whose irregular facets add to their organic aspect. Combining them with a perfectly symmetrical centre stone produced a wonderful contrast and I wanted to explore this further. From there, I developed a line of jewellery that would establish my signature style of contemporary designs that give prominence to antique stones.
What do old cuts have that other cuts don’t?
They are utterly fascinating, which I know is completely subjective! I just find them so magnificent. They give each of my designs their individuality.
Old cuts have fewer facets than modern cuts. What does this imply in terms of brilliance and lustre, and does it add to their charm?
When these stones were cut, the criteria that dictate the perfect modern brilliant didn’t exist. They don’t have the brightness we expect today. Old cuts are deeper, with fewer, less uniform facets. They have a warmer glow. Reflected light produces colours that are more marked, like brushstrokes, whereas modern cuts display more brilliance. Also, an old cut diamond often has a truncated culet, which isn’t to everyone’s taste. Personally, I find old cuts more alive. They have a softer sparkle compared with the sharp white of modern brilliants. These characteristics appeal to me more than modern stones, which all look the same.
Are old cuts harder to find? Where do you source them?
Like any jeweller, I’ve established a network over the years. It’s a constant search. These are unusual materials. The majority of demand tends to be for modern stones, sourced from the major diamond exchanges such as Antwerp for Europe, although there are diamantaires such as Fima Diamonds that deal in unusual shapes, as well as merchants who specialise in old cuts, mainly for larger gems. Smaller stones are traded through a “peripheral” market that requires a discerning eye.
How do you feel about the “Taylor Swift effect”?
I don’t feel it concerns me, given that old cuts have been central to my designs from the very beginning, although I can see how a trend might start, driven by notions of historical legacy or sustainability, which could influence the diamond market. Proportionately, I’d say the modern brilliant is still the reference for the majority of jewellers and customers. It matches our perception of jewellery as something quite polished and sleek. It’s a co-dependent relationship. Even so, I think we’ll be hearing a lot more about old cut antique jewellery, whether as collector’s pieces or for the originality of the designs. As a fashion accessory, old cut jewellery really hits the mark. You only need look at the nineteenth-century brooches worn at the opening of The Winter Show in New York, late January. Meanwhile, rare signed pieces are setting new records at auction, the work of Suzanne Belperron being a good example.
Has this sudden surge of interest in old cut diamonds made a difference to your work?
Of course. It means I can position myself in relation to trends and, more importantly, let people know what I’m doing. I create unique, bespoke pieces and old cut diamonds lend themselves to this.
Are you finding it harder to source old cuts?
The market is finally giving old cut diamonds the space they deserve, although sourcing them is still a more complicated process than buying classic cuts. There’s definitely an element of scarcity as, regrettably, large quantities of old cut diamonds were recut as brilliants and other modern cuts during the 1980s. Thankfully the trend now is to let these original stones shine. Old cut diamonds in various sizes are performing well at diamantaires. Criteria are more supple than with modern cuts. There is greater tolerance with regard to colour and clarity. At the same time, we’re seeing unusual modern cuts emerge as part of contemporary creation. It seems the market has learned to branch out, which can only be good news.
What is it about old cuts that appeals to customers?
The modernity they bring to a design, despite their age, and a distinctive lustre that’s impossible to ignore. Old cuts have immense character and should be appreciated for their unique origin. Clients know how to engage with these stones. They listen, observe. When they try the piece on, that’s when the metamorphosis takes place. Nothing compares to the light produced by the unbroken surface of a pavé of old cut diamonds. Matter comes to life.
Aline Debusigne is showing her jewellery on the Fima Diamonds booth at GemGenève, May 7-10, 2026.
