A diamond is an extraordinary creation. Formed one hundred miles beneath the earth’s surface and ranging in ages between one and three billion years old, they are glittering remnants of ancient history. Some diamonds, however, are more special than others. All are classified according to their colour, clarity, cut and carat, but only a precious few receive the coveted status of Type IIA. Making up only about 1-2% of all natural diamonds, a Type IIA stone contains no nitrogen or boron atoms. These atoms are responsible for a diamond’s so-called chemical impurities. If none are present, then the stone possesses a quality known as ultra-limpidity – meaning that more light travels through the stone, giving it an extraordinarily clear radiance that some liken to an ice cube.

Elizabeth Taylor and Christina Onassis both famously wore Type IIA diamonds. Taylor, who was renowned for her love of big jewels, owned a 33.19ct ring given to her by Richard Burton. The Krupp diamond, as it was known, “humm[ed] with its own beatific life” according to Taylor. The ring spoke to her, she claimed, its message one of luminosity: “I want to share my chemistry, my magic, with you.”

An exceptional diamond requires exceptional design. British jeweller Pragnell often works with Type IIA diamonds in their Masterpieces: one-off extraordinary creations crafted to make exquisite stones sing. An emerald might be valued for its rich hues or a black opal for its size and scarcity, but a diamond like this is prized on complete optical transparency. When worn, it glitters like nothing else. One such Masterpiece is a recent 10.32ct Type IIA oval cut diamond that forms the centrepiece of a magnificent ring. Sourced in Botswana, this diamond is completely colourless and possesses an internally flawless clarity.

In Pragnell’s workshop, multiple generations of expertise are on hand to craft the ideal setting for such a rare stone. Overseen by their lead goldsmith and associate director, who has been with the house for 36 years, the stone is studied in depth both in person and via CAD designs that can be tweaked until every angle is perfect. Masterpiece jewellery exists at the intersection between high art and rigorous craft. It is entirely reliant on what one can do with one’s hands, often on the most minute scale.

Here the aim is to accentuate the gemstone’s singular properties. An oval cut diamond like this with kite and triangular facets needs to be at once elevated and elegant. The ring’s Deco design, paying homage to the striking silhouettes of the 1930s, features a classic four claw setting with additional diamonds set under the collet. The slightly tapered carré-cut diamonds on the shoulders draw the eye upwards towards the central stone, while additional step-cut diamonds provide pleasing contrast. Each diamond works as part of a sparkling symphony, a series of notes working together in crescendo towards that glittering focal point.

Jewellery craftsmanship is also a bridge between worlds old and new. Digital imaging may allow for an ever-greater degree of control (a design must look as good “from behind” as it does head on, according to Pragnell’s lead goldsmith), but nothing can replace the hands-on skills that take decades of practice, diligence, and concentration to master. Pragnell’s workshop specialises in traditional techniques, including using a century-old process that involves polishing at every stage - often using ultra fine thread - rather than just at the end.

A Masterpiece design like this is oriented around a stone that has been a billion years in the making - and requires not just many days in the final execution, but the accumulation of many years or even decades of hard-won expertise and knowledge. For Pragnell, where all aspects of craft are kept in house, it’s a way of not only offering an exceptional gem a new existence but keeping alive a strong heritage of artisanship for generations to come.