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Cut Name↕ | Shape↕ | Number of Facets↕ | Era Developed↕ | Known For↕ |
|---|---|---|---|---|
Round Brilliant | Circular | 57–58 | 1919 (Marcel Tolkowsky's ideal proportions) | The undisputed king of diamond cuts — mathematically optimized by Marcel Tolkowsky to maximize light return and fire, accounts for over 75% of all diamonds sold, 58 precisely angled facets create the maximum sparkle the eye can perceive, the standard against which all other cuts are measured |
Princess Cut | Square | 50–58 | 1980 (Betzalel Ambar & Israel Itzkowitz) | The most popular fancy-shape diamond — a square or rectangular face with brilliant-style faceting underneath, modern and edgy compared to the round, retains more rough diamond weight than a round brilliant reducing cost per carat, sharp corners must be protected by prong settings |
Emerald Cut | Rectangular with cut corners | 50–58 (step cut) | 1940s formalized (step cutting from 1500s) | Long parallel facets create a 'hall of mirrors' effect with dramatic flashes of light rather than sparkle — originally developed for emeralds (hence the name) because step cuts reduce pressure during cutting, favored by Art Deco designers, shows clarity flaws more readily making high-quality stones essential |
Marquise Cut | Elongated with pointed ends | 56–58 | 18th century, commissioned by Louis XV | Legend says Louis XV commissioned a diamond cut to match the lips of his mistress, the Marquise de Pompadour — the elongated shape makes fingers appear longer and more slender, creates the largest face-up area per carat of any cut, pointed ends are vulnerable and require V-prong protection |
Pear Cut (Teardrop) | Rounded end tapering to a point | 56–58 | 1458 (Lodewyk van Berquem) | A hybrid of round brilliant and marquise combining the best of both — the rounded end captures brilliance while the pointed end adds dramatic length, stunning in pendants and drop earrings, Elizabeth Taylor's famous 69-carat diamond was a pear cut, orientation is a personal choice |
Oval Cut | Elliptical | 56–58 | 1960 (Lazare Kaplan) | An elongated round brilliant that looks larger than its carat weight suggests — the stretched shape creates an illusion of greater size, flatters short fingers by creating visual length, has experienced a massive popularity surge since 2018, some ovals show a dark 'bow-tie' effect across the center |
Cushion Cut | Square or rectangular with rounded corners | 58–64 | 19th century (evolved from old mine cut) | The dominant diamond shape of the 19th century, now experiencing a vintage revival — soft rounded corners give it a pillow-like appearance, larger facets produce broad flashes of light called 'chunky brilliance,' the cut of many famous diamonds including the Hope Diamond and the Regent Diamond |
Asscher Cut | Square with deeply cut corners | 58 (step cut) | 1902 (Joseph Asscher, Amsterdam) | A square step cut with mesmerizing concentric square facets creating a hypnotic 'endless hallway' optical effect — the Asscher family developed it and cut the legendary 3,106-carat Cullinan Diamond, quintessentially Art Deco, its geometric precision appeals to architectural minds |
Radiant Cut | Square or rectangular with trimmed corners | 70 | 1977 (Henry Grossbard) | Combines the elegant outline of an emerald cut with the brilliant faceting pattern underneath — the first rectangular cut designed for maximum brilliance, trimmed corners make it durable for everyday wear, its 70 facets create more fire than any other rectangular shape |
Heart Cut | Heart-shaped | 56–58 | 16th century earliest examples | The most romantic diamond shape — requires exceptional cutting skill to achieve symmetrical lobes and a well-defined cleft, best appreciated in sizes above one carat where the shape is clearly visible, Mary Queen of Scots sent a heart-shaped diamond ring to Elizabeth I, the ultimate symbol of love in gemstone form |
Trillion / Trilliant Cut | Triangular | 31–50 | 1960s–1970s (Asscher family, Amsterdam) | A triangular brilliant cut that makes an excellent side stone flanking a larger center diamond — its broad flat surface makes it appear much larger than its actual carat weight, can be cut with straight or curved sides, as a center stone it's bold and unconventional, maximum light dispersion for its size |
Baguette Cut | Narrow rectangle | 14 (step cut) | 1920s Art Deco era | Named after the French bread loaf it resembles — a long narrow step cut with only 14 facets producing clean architectural lines, the ultimate Art Deco accent stone used to flank center diamonds or line eternity bands, simplicity and geometry over sparkle, clarity must be exceptional as flaws are visible |
Rose Cut | Domed top, flat bottom | 3–24 | 16th century, possibly India | A flat-bottomed dome of triangular facets that predates the brilliant cut by centuries — produces a subtle, romantic glow rather than modern sparkle, the cut of choice from the Georgian era through early Victorian, experiencing a major renaissance among designers seeking vintage character and organic beauty |
Old European Cut | Round with high crown and small table | 58 | 1890s–1930s (pre-Tolkowsky) | The predecessor of the modern round brilliant, cut by hand before mathematical optimization — higher crown and smaller table produce broader, chunkier light flashes with more fire than modern brilliants, highly sought by collectors and vintage jewelry enthusiasts, each one was hand-cut making every stone unique |
Briolette Cut | Elongated teardrop, faceted all around | 84–112 | 12th century (possibly earlier, India) | A fully faceted teardrop with no flat bottom or table — designed to hang freely and catch light from every angle as it moves, the most complex cut requiring skill to facet an entire three-dimensional form, Queen Victoria's briolette earrings sparked a fashion craze, the chandelier of gemstone cuts |
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