Platinum 950 Three Stone Ring Setting
This custom made ring setting is engineered to accept a range of center gemstones including sapphire, ruby, emerald, and other colored gemstones, and it is available in a comprehensive selection of metals, 14K Rose Gold, 18K Rose Gold, 14K White Gold, 18K White Gold, 14K Yellow Gold, 18K Yellow Gold, Platinum 950, Silver, 14K Yellow and White, 18K Yellow and White, allowing precise matching of hue and hardness to the chosen stone. The design incorporates four side stones in tapered baguette form, cut to complement the center stone geometry, and the setting architecture is compatible with three stone, pave, and wedding set configurations. Craftsmanship tolerances are held to tight specifications, with seat depths and prong heights machined and hand finished to within fractions of a millimeter, ensuring secure retention and optimal optical alignment. The shank geometry shown in the images demonstrates a dual band integration, with two pavé rows milled into the upper shoulders and a contoured lower band for seamless stacking, and the gallery is shaped to provide both light admission for the pavilion and a low profile for everyday wear.
The wedding set variation is conceived as a coordinated pairing, the engagement ring frame and the companion wedding band being dimensionally matched so that they nest together with almost imperceptible gaps, producing a unified silhouette. The mating surfaces are machined to complementary radii, and the inside faces are polished to exact concentricity to prevent rocking when the rings are paired. Where pavé meets pavé, the bead setting patterns are registered so that the lines of melee continue across the joined rings, preserving continuous scintillation, and where baguettes abut the junction, the tapered ends are chamfered and micro filed to avoid stress points. In white gold executions we recommend high quality rhodium plating post assembly to harmonize color and increase surface hardness, whereas platinum 950 offers native wear resistance and a consistent white tone without plating. Finish options include polished high gloss, brushed satin for a softer sheen, and selective milling of the bands to produce contrast between mirror surfaces and pavé pavements.
The three stone rendition is executed with deliberate attention to facet interaction and light return, representing past, present, and future through graduated gem sizes and complementary cuts. The central position is engineered to accept a variety of faceting paradigms, round brilliant or modified brilliant cuts for maximum scintillation in sapphires and rubies, and step cut profiles for emeralds that emphasize color saturation and clarity. The tapered baguette side stones are set in low profile half bezel or prong shoulders to maintain axial symmetry and to channel light into the center stone, their step facets providing linear contrast to the center stone brilliance. Seat geometry for step cut and brilliant cut combinations is calibrated so the table planes align and the pavilion apexes sit concentrically under the crown, maximizing light transmission and minimizing undesirable shadowing. The prong count and form are selected to balance security with optical unobtrusion, typically four prongs for open visibility or six prongs for added security when the center stone is larger, and prong heads are burnished and polished to remove any burrs that could abrade the girdle.
The pavé execution on this setting is a study in micro engineering, small round melee are held in close proximity by bead or grain work to create a continuous surface of reflected light. We employ both French pavé techniques where the stones are set into scalloped channels and micro pavé where holes are drilled and tiny beads are raised to capture the girdles, the choice dictated by stone size and desired visual effect. Melee are selected for tight color and clarity ranges to avoid color banding, typically G to H color for white diamonds paired with VS to SI clarity in scaled melee, or matched colored sapphires when a colored pavé is specified. The transition between pavé rows and the component baguettes is engineered with graduated stone sizes and tapered channel walls, preventing stress concentration at the junctions and ensuring that the pavé line continues the visual axis established by the tapered baguettes. Milling of the seat grooves, hand setting under high magnification, and final bead tightening are followed by ultrasonic cleaning and steam polishing to return maximum brilliance to the small facets.
The moment the center gemstone is placed into this engineered cradle is transformative, it is the instant when geometry and light converge to complete the object. Technically, the setter aligns the pavilion apex with the center axis of the seat, confirming table orientation and tilt under loupe magnification, and then lowers the crown gently so that the girdle sits flush with the intended seat line. Prongs are work hardened and pre set to exacting tension, and as each prong is negotiated over the girdle, the stone seats deeper into optical harmony, the crown height and table plane now matching the bezel of the side stones, and the facet arrays begin to integrate. Final burnishing compresses the metal to secure the stone without inducing stress fractures, and the entire assembly is inspected for light leakage, crown tilt, and facet alignment before polishing. In that instant, the center stone animates the pavé field and the linear baguettes, reflected fire and color radiating from the junctions, the composition moving from engineered components to a singular jewel. If you would like to explore specific center stone cuts, color saturations, or metal pairings, I can recommend sapphire and ruby color grades and facet patterns or emerald clarity treatments that will best complement the chosen metal, and I can outline the setting and finishing options to achieve the precise optical and wear performance you desire.
