Futer Bros. Blog

The Smithsonian National Museum of Natural History just welcomed a breathtaking new addition to its National Gem Collection: the “ZaZa Azul Paraiba.” This 13.34-carat, flawless Paraiba tourmaline — a dazzling example of October's birthstone — was gifted to the museum earlier this year by philanthropists Sandi and Bob Kolitz.



The gem’s name reflects both personal meaning and geographic heritage. “ZaZa” is the affectionate nickname Sandi Kolitz’s grandchildren use for her, while “Azul” is Portuguese for blue — an homage to the stone’s vivid neon hue and Brazilian origin. The gem was discovered in the 1980s at the famed Batalha Mine in Paraíba, Brazil, the birthplace of the world’s most sought-after copper-bearing tourmalines.



Paraiba tourmalines are celebrated for their electric, almost “Windex” blue glow, a color phenomenon caused by trace amounts of copper within the crystal structure of the mineral elbaite. While similar copper-bearing tourmalines have since been found in Nigeria and Mozambique, those from Brazil’s early discoveries remain the rarest and most prized. Few achieve the size, clarity and vibrancy of the ZaZa Azul, making it a fitting new member of elite gemstones housed at the Janet Annenberg Hooker Hall of Geology, Gems, and Minerals.

Adding to its allure is its mounting: a Bvlgari “Trombino” ring, an iconic design that features 44 diamonds totaling six carats, set in white gold with yellow gold accents. Remarkably, this is also the first Bvlgari jewel to enter the Smithsonian’s collection, marking a milestone for both the museum and the storied Italian house.

For jewelry lovers, the ZaZa Azul exemplifies the allure of October’s tourmaline. While the gem family encompasses nearly every color of the rainbow, the Paraiba variety has captivated collectors, connoisseurs and museum visitors alike with its unforgettable neon glow. Its rarity, history, and now its place at the Smithsonian, underscore why tourmaline continues to shine as one of the most intriguing birthstones.

Tourmalines range from 7 to 7.5 on the Moh’s scale of hardness, which makes them durable enough to be used in any type of jewelry. Tourmaline has been an official birthstone for October since the original list was published by the National Association of Jewelers in 1912. Opal is the month’s other official birthstone.

Credits: Photos courtesy of Smithsonian.

When I recently toured The Breakers — the 70-room, 138,000-square-foot Italian Renaissance-style palazzo that served as the Newport, RI, cliffside summer home for Cornelius Vanderbilt II and his family at the turn of the 20th century — one detail stopped me in my tracks: the shimmering platinum wallpaper that lined sections of the mansion’s morning room. It was a precious-metal flourish so extravagant that even Anderson Cooper, in his bestselling book Vanderbilt, highlighted it as an emblem of his family’s unrivaled wealth. (Cornelius was Cooper's great-great-grandfather.)



This glimpse of Gilded Age opulence sets the stage for a new chapter in the Vanderbilt story. On November 10, Phillips Auction House will present “The Vanderbilt Family Jewels” at its Geneva Jewels Auction: V, held at the Hôtel President. Twelve pieces once owned by Gladys Moore Vanderbilt, the youngest daughter of Cornelius Vanderbilt II and Alice Gwynne Vanderbilt, will cross the block, offering collectors a rare opportunity to acquire heirlooms of extraordinary provenance.



Gladys, who spent childhood summers at The Breakers and returned there as a widow later in life, embodied the transatlantic alliances of her era. In 1908, she married Count László Széchényi of Hungary, bridging American industrial wealth with European nobility. Her jewels — many commissioned for her wedding or gifted by her mother — reflect both personal milestones and the artistic ambitions of the Gilded Age.

The highlight of the collection is the Vanderbilt Sapphire, a 42.68-carat sugarloaf Kashmir sapphire and diamond brooch by Tiffany & Co., estimated at $1 to $1.5 million. Its “Royal Blue” hue and remarkable clarity place it among the most coveted sapphires ever to appear at auction. Originally presented to Gladys by her mother, the jewel symbolizes both family affection and dynastic ambition.



Another offering is a Cartier diamond brooch, once part of a magnificent tiara commissioned for Gladys’ marriage. Designed as sprays of lilies and adorned with interchangeable stones, the tiara could be dismantled for versatile wear — a hallmark of Belle Époque ingenuity. The surviving brooch, featuring a 4.55-carat pear-shaped diamond, carries an estimate of $100,000 to $150,000.

Other treasures include a ruby and diamond Cartier vanity case monogrammed for Gladys, a delicate diamond comb, and an emerald-and-diamond bow brooch. Together, the collection paints a portrait of the Countess’ life amid glittering court society and her enduring ties to America’s most storied dynasty.

“The Vanderbilt Family Jewels stand as the purest embodiment of Gilded Age elegance,” said Benoît Repellin, Phillips’ Worldwide Head of Jewellery. “They are pieces of extraordinary beauty, historical resonance and fascinating provenance.”

Ahead of the auction, the jewels will embark on an international tour, with stops in Hong Kong, New York, Singapore, Taipei, London and, finally, Geneva.

For visitors to The Breakers today, the platinum-leaf panels of the morning room remain a reminder of the Vanderbilts’ audacity in material form. In Geneva, that same spirit of extravagance will sparkle once more — this time under the lights of a Phillips auction room, where history and luxury meet at the highest level.

Credits: Jewelry images courtesy of Phillips; Gladys Vanderbilt portrait by Philip de László, Public domain, via Wikimedia Commons. The Breakers photo by UpstateNYer, CC BY-SA 3.0, via Wikimedia Commons. Platinum wallpaper photo by Renata3, CC BY-SA 4.0, via Wikimedia Commons.

Russian mining giant Alrosa has announced that its Smolensk-based Kristall cutting facility has successfully implemented high-tech automation across several stages of the diamond cutting process. The move is designed to dramatically increase efficiency while maintaining the precision and artistry associated with the famous “Russian Cut.”



According to Alrosa, automation has reduced the labor intensity of cutting operations by up to 80%, accelerated production timelines and lowered costs — all while preserving the hallmark quality that distinguishes Russian diamonds on the global stage.



The new system begins with advanced scanners that create precise 3D models of each rough diamond, mapping both external and internal structures, including inclusions. Based on these scans, digital cutting plans are generated, offering multiple options to optimize yield and maximize value. Once the plan is selected, the stones undergo automated laser sawing and shaping.

At the final stage, Kristall’s master craftsmen step in. While technology has taken over much of the heavy lifting, artisans still complete the most delicate aspects of polishing and faceting. They are supported by a trio of technological assistants: parameter scanners, real-time polishing quality monitors and navigational devices that ensure perfect facet alignment. The result is a diamond that meets the uncompromising standards of the “Russian Cut.”

More a quality benchmark than a specific shape, the Russian Cut is internationally recognized for its exceptional brilliance, precision and balance of carat weight and sparkle. It reflects a long tradition of Russian gem-cutting artistry, now enhanced by modern innovation.

As the world’s largest producer of rough diamonds by volume, Russia remains a dominant force in the industry. In 2024, the country produced 37.3 million carats, representing roughly 32% of global output and valued at $3.335 billion.

Credits: Images courtesy of Alrosa.

Welcome to Music Friday, when we feature songs with jewelry, gemstones or precious metals in the lyrics. Today, we revisit Jim Croce’s 1972 folk-rock gem, “Tomorrow’s Gonna Be a Brighter Day,” a tender anthem of reconciliation in which the singer uses the imagery of diamonds and pearls to express his longing to be a better husband and father.



In the song, Croce paints a vivid picture of devotion through gifts he cannot afford to give. He imagines fabricating a present from the stars from the heavens and making a chain “out of diamonds and pearls from a summer sea.”

The metaphor is powerful: diamonds, pearls, and even stars become symbols of promises, regret, and the depth of his love. Yet, lacking material wealth, all he can truly offer is “a kiss in the morning and a sweet apology.”

The lyric reveals the vulnerability of a young man caught between the demands of a blossoming music career and the needs of his family at home. Later, Croce underscores the song’s theme of growth and redemption with another piece of imagery: “Nobody ever had a rainbow, baby, until he had the rain.”

Released as the second track on his breakthrough album You Don’t Mess Around with Jim, the song captures Croce’s talent for storytelling — everyday struggles expressed through simple, heartfelt poetry. The album launched Croce into stardom with other classics like “Operator” and “Time in a Bottle,” cementing him as one of America’s most beloved singer-songwriters.

Tragically, Croce’s career was cut short just 17 months after the release of this song. In September 1973, at the height of his fame, he died in a plane crash in Louisiana at the age of 30. The loss stunned fans worldwide. Just days before, he had written to his wife, Ingrid, sharing how much he missed her and their infant son and revealing plans to give up touring in favor of a quieter life writing stories and spending time with his family.

Croce’s legacy continues to shine. His music — often marked by themes of love, regret, humor and resilience — remains a staple of American folk and soft rock. "Time in a Bottle" became his first #1 hit in December of 1973, three months after his death. In 2012, Croce was inducted into the Songwriters Hall of Fame, a testament to the enduring power of his words.

With “Tomorrow’s Gonna Be a Brighter Day,” Croce leaves us not just with a melody, but with a promise — that love, like a diamond or pearl, can endure even through lean times and hardship.

Please enjoy Croce's performance of “Tomorrow’s Gonna Be a Brighter Day.” The lyrics are below if you’d like to sing along…

“Tomorrow’s Gonna Be A Brighter Day”
Written and performed by Jim Croce.

Well, I’m sorry for the things that I told you
But words only go so far
And if I had my way
I would reach into heaven
And I’d pull down a star for a present
And I’d make you a chain out of diamonds and pearls from a summer sea
But all I can give you is a kiss in the morning
And a sweet apology

Well, I know that it hasn’t been easy
And I haven’t always been around
To say the right words
Or to hold you in the mornin’
Or to help you when you’re down
I know I never showed you much of a good time
But baby things are gonna change
I’m gonna make up for all of the hurt I brought
I’m gonna love away all your pain

And tomorrow’s gonna be a brighter day
There’s gonna be some changes
Tomorrow’s gonna be a brighter day
This time you can believe me
No more cryin’ in your lonely room
And no more empty nights
‘Cause tomorrow mornin’ everything will turn out right

Well, there’s something that I’ve got to tell you
Yes I’ve got something on my mind
But words come hard
When your lying in my arms
And when I’m looking deep into your eyes
But there’s truth and consolation
And what I’m trying to say
Is that nobody ever had a rainbow, baby
Until he had the rain

And tomorrow’s gonna be a brighter day
There’s gonna be some changes
Tomorrow’s gonna be a brighter day
This time you can believe me
No more cryin’ in your lonely room
And no more empty nights
‘Cause tomorrow mornin’ everything will turn out right

It’s gonna, it’s gonna, it’s gonna be a brighter day
It’s gonna, it’s gonna, it’s gonna be a brighter day
It’s gonna, it’s gonna, it’s gonna be a brighter day
It’s gonna be, it’s gonna be, it’s gonna be a brighter day
Come on tomorrow
Come on tomorrow
It’s gonna be a brighter day



Credit: ABC Records, Public domain, via Wikimedia Commons.

One of the most audacious creations in the history of numismatics goes under the hammer today at Stanley Gibbons Baldwin’s in London. "The Crown Coin: Her Masterpiece" — a dazzling work of art commissioned by The East India Company in 2022 to honor Queen Elizabeth II’s Platinum Jubilee — will headline the auctioneer’s September 25 evening sale.



The 24-karat gold piece carries a conservative pre-sale estimate of £2 million to £3 million (about $2.7 million to $4 million), although its last independent valuation placed its worth closer to £16 million ($21.5 million). Given its rarity, craftsmanship and cultural significance, experts suggest the final hammer price could soar well above the estimate.

(The current record for the most expensive coin ever auctioned is held by a 1933 American “Double Eagle,” which sold for $18.9 million at Sotheby’s New York in June 2021.)

Measuring an imposing 235mm across — nearly the size of a dinner plate — The Crown Coin weighs 3.61 kilograms (7.96 lbs) and glitters with 6,426 GIA-certified diamonds totaling 483.57 carats.

Its centerpiece is a 1-kilogram legal tender coin with a face value of £10,000, encircled by 10 one-ounce coins that together bear five official portraits of Queen Elizabeth II and the six virtues — Truth, Justice, Charity, Courage, Victory, and Constancy — depicted on the Victoria Memorial at Buckingham Palace.



The diamond array on the multi-coin face is said to be inspired by Elizabeth II’s tiaras. The diamond formation on the effigy side of the coin follows the lines of the British flag. The outer ring is inscribed with passages from her 1953 coronation oath, including the vow, “Throughout all of my life and with all my heart I will strive to be worthy of your trust.”



The creation of this singular tribute was a global collaboration involving 83 artisans across many countries. The design was conceived in Britain, refined in Sri Lanka and England, engraved in Singapore, minted in Germany and the Netherlands, and assembled in India. Diamonds were cut and polished in Australia, South Africa, and Canada before being certified by the Gemological Institute of America.

“This is more than a coin; it is a cultural artifact,” said a spokesperson for Stanley Gibbons Baldwin’s. “The Crown Coin: Her Masterpiece stands alongside the greatest numismatic achievements in history, a once-in-a-generation tribute to Britain’s Golden Queen.”

The sale will be conducted live from Stanley Gibbons Baldwin’s London flagship at 399 Strand, with international bidding available online. In keeping with the house’s embrace of innovation, cryptocurrency payments will be accepted subject to due diligence, signaling the auction’s appeal to next-generation collectors.

Beyond its staggering materials and craftsmanship, The Crown Coin represents continuity, loyalty and the shared admiration Queen Elizabeth II inspired worldwide during her record-breaking 70-year reign. For collectors, today’s auction presents an unparalleled opportunity to own a piece that unites artistry, heritage and majesty in a form unlikely ever to be replicated.

Credit: Images courtesy of Stanley Gibbons Baldwin’s Auctions.

For Raynae Madison and her family from Cookson, OK, a nephew’s birthday celebration turned into the adventure of a lifetime when they unearthed a 2.79-carat brown diamond at Arkansas’ Crater of Diamonds State Park in Murfreesboro on September 13.



Armed with little more than a beach digging kit and sand sifters purchased at a dollar store, the family picked a spot near the Prospector Trailhead in the park’s 37.5-acre search field. After filling a few buckets and carefully sifting through the dirt, Madison spotted an oblong, shiny stone.

“At first I thought it looked really neat, but I wasn’t sure what it was,” she said. “I honestly thought it was too big to be a diamond!”

They brought the gem to the park’s Diamond Discovery Center, where staff confirmed it as a 2.79-carat chocolate-brown diamond with distinctive inclusions. The family named it the “William Diamond” in honor of Madison’s nephew.

According to park interpreter Emma O’Neal, brown diamonds from Crater of Diamonds often owe their color to “plastic deformation,” a natural process that creates structural defects within the crystal lattice. These imperfections reflect red and green light, which combine to produce the diamond’s warm hue.



Arkansas diamonds often look like pebbles or polished stones, with rounded edges and surfaces. This is in contrast to the more classic, sharp, octahedral crystal shape of rough diamonds from other regions. Arkansas diamonds have a brilliant, reflective and metallic-like shine. This luster helps them stand out against the darker soil, especially after a rainfall.

The William Diamond ranks as the third-largest diamond found at the park this year.

“[It] has been a great year for large diamond finds,” O’Neal said. “So far, we have registered four diamonds weighing over two carats.”

As of mid-September, 403 diamonds have been registered at the park in 2025. Since the first diamonds were discovered in 1906 by farmer John Huddleston, more than 75,000 diamonds have been unearthed on the site. In 1972, the land officially became Crater of Diamonds State Park, the only public diamond-producing site in the world where visitors can keep what they find.

The park has produced some of the most celebrated diamonds in American history, including the 40.23-carat “Uncle Sam” diamond discovered in 1924 — still the largest diamond ever found in the U.S. — and the celebrated 3.03-carat Strawn-Wagner, later graded as a D-flawless “perfect” diamond and now on display at the park’s visitor center. The Uncle Sam diamond is now part of the Smithsonian's mineral and gem collection and can be seen at the National Museum of Natural History in Washington, DC.

For Madison and her family, the William Diamond is a sparkling reminder of a special weekend spent together — and proof that with a little luck and persistence, anyone can take home a piece of history from Crater of Diamonds State Park.

Credits: Images courtesy of Arkansas State Parks.

Rio Tinto has launched its final "Beyond Rare Tender," a historic sale that signals the closing chapter of two of the world’s most celebrated diamond mines. Titled "Into the Light," the third and final installment of Rio Tinto’s Art Series presents 52 lots of rare pink, red, violet, yellow and white diamonds — treasures drawn from both the shuttered Argyle mine in Australia and the soon-to-close Diavik mine in Canada.



The collection, totaling 45.44 carats, includes six “Masterpieces” that showcase the very best of production from these two legendary sources. Also featured are 39 single diamonds and seven curated sets, each carefully assembled to reflect the unique legacies of Argyle and Diavik.

Patrick Coppens, Rio Tinto’s general manager of sales and marketing for diamonds, emphasized the gravity of the moment: “It is hard to overstate the importance of this final collection from two extraordinarily beautiful places on earth — the East Kimberley region of Western Australia and the Northwest Territories of Canada.”

The Argyle mine, which ceased production in 2020, was the world’s primary source of rare pink and red diamonds. Among the highlights of the Into the Light tender are one Fancy Red diamond, 12 Fancy Violet diamonds, and 76 Fancy Pink, Purple-Pink and Purplish Pink stones. These gems are drawn from the final legacy inventory, representing some of the last of their kind in existence.

Unlike yellow or blue diamonds, which owe their hues to trace elements such as nitrogen or boron, pink and red diamonds derive their color from distortions in their crystal lattice structure. This natural phenomenon ensured Argyle’s global prestige and enduring influence in the diamond world.

From Canada’s Diavik mine — scheduled to cease operations in 2026 — comes a set of dazzling white and yellow diamonds. Headlining this group are two D-color, Flawless stones cut from the same rough: a 5.11-carat emerald cut and a 3.02-carat pear shape. A 6.12-carat Fancy Vivid Yellow diamond adds a vibrant flourish to the collection.

Into the Light follows two earlier Art Series tenders: 2023’s "Born of This World," featuring 46 lots of 87 diamonds (29.96 carats), and 2024’s "Colour Awakened," which included 48 lots of 76 diamonds (39.44 carats). With its third and final edition, Rio Tinto concludes the series — and, with it, its decades-long role as steward of the world’s rarest fancy-colored diamonds.

The 52 lots will be exhibited in Hong Kong, Australia and Antwerp before bidding closes on October 20, 2025. Collectors, connoisseurs and jewelers alike are expected to compete for these once-in-a-lifetime gems.

Credit: Image courtesy of Rio Tinto.

Only Elton John could turn one of life’s more painful experiences into glittering works of art. In the new World Gold Council documentary "Elton John – Touched by Gold," the legendary performer reveals how his surgically removed kneecaps were transformed into “timeless” jewelry pieces by London-based designer Theo Fennell.



The two-minute kneecap segment begins with John recounting his 2024 double knee replacement surgery. True to form, he couldn’t resist asking for an unconventional keepsake.

“I asked my surgeon if I could keep the kneecaps, which she was rather startled about,” John recalled. Once John had them in his possession, he called on Fennell, known for his bold and whimsical creations, with a simple instruction: “Do what you want with them.”

Fennell obliged in spectacular fashion. The bones were first “baked” to dry them out, leaving a porous, pumice-like texture. They were then reinforced with acetate, polished and finally mounted in gold. The right kneecap became a pendant necklace with a chain crafted from gilded bone, while the smaller left kneecap was turned into a brooch.

What might sound macabre at first quickly takes on deeper meaning in the 27-minute film. The necklace’s pendant bears a Latin inscription that reads, “I will no longer bow to any man.” John joked about the irony — without kneecaps, he literally cannot bow — but the phrase also reflects his defiant spirit and survival through countless challenges, both personal and professional.

Examining the finished pendant, John marveled at its resemblance to an ancient relic: “It looks like an old artifact from Egypt or something.” Fennell agreed, calling the pieces “talismanic,” objects that, in a thousand years, may still be instantly recognized as Elton John’s.

The “Rocket Man” singer has always been synonymous with sparkle, from his rhinestone-studded stage costumes to the dozens of gold records lining his walls. Gold, he reflected in the documentary, is eternal—ravishing, overwhelming and universally symbolic. By immortalizing his kneecaps in the precious metal, John found a way to transform pain into permanence.

“I honestly think these are timeless pieces that will last for centuries,” he said. True to his words, John even wore the necklace at the London premiere of his 2024 biopic Never Too Late.

In the end, the golden kneecaps are more than eccentric curiosities. They are a reminder of how jewelry — whether fashioned from gemstones, precious metals or even the unexpected — can embody personal history, resilience and a touch of irreverent glamor.

Check out the two-minute "kneecap jewelry" segment of "Elton John — Touched By Gold," starting at the 11:05 mark.



Credit: Elton John photo by Raph_PH, CC BY 2.0, via Wikimedia Commons. Kneecap jewelry screen grab from "Elton John - Touched by Gold," via YouTube / World Gold Council.

Welcome to Music Friday, when we spotlight songs that feature jewelry, gemstones or precious metals in the lyrics or title. Today, we revisit Anita Baker’s dreamy 1988 ballad, "Priceless," a song where the seven-time Grammy winner likens her beloved to a precious jewel and declares their bond more valuable than diamonds or gold.



Baker opens the song with a sentiment that resonates deeply with jewelry lovers: “You are to me like a precious jewel, so valuable, baby / Think it shines so bright lighting up my life, with pure delight.” Just as a gemstone captures light and reflects it back in dazzling brilliance, she describes her partner as a radiant force who illuminates her world.

The metaphor deepens when she sings of treasures that cannot rival true love: “Gimme all the gold in the world, it will not replace this love, baby / Take a diamond ring, worth a lot — what we got cannot be bought or sold.”

Here, Baker acknowledges the traditional symbols of wealth and romance — a diamond ring and shimmering gold — only to conclude that their love is beyond measure, beyond price. In the world of jewelry, value is tied to rarity, beauty and emotional meaning. Baker captures all three in a few simple lines, suggesting that her relationship is as unique and enduring as the rarest gem.

Released as the opening track on her blockbuster album Giving You the Best That I Got, "Priceless" set the tone for an era-defining project that reached #1 on both the US Billboard 200 and the Billboard R&B Albums chart. The record went on to sell more than five million copies worldwide and brought Baker three Grammy Awards along with three Soul Train Music Awards.

Baker’s journey to stardom was anything but easy. Born in Toledo, OH, and raised in Detroit after being abandoned by her mother, she faced loss early when her foster parents passed away while she was still a child. By age 16, she was performing in Detroit nightclubs, where her remarkable voice caught the attention of bandleader David Washington. That opportunity led to her role as lead singer of Chapter 8, and ultimately to a solo career that defined R&B in the 1980s and beyond.

Her enduring artistry was celebrated in 2018, when Baker received BET’s coveted Lifetime Achievement Award. More recently, she returned to the stage for The Songstress Tour in 2023, her first full tour in nearly three decades, delighting longtime fans with her signature blend of elegance, warmth, and vocal mastery.

Whether or not Baker will continue to tour is unclear, but songs like "Priceless" ensure her voice — and her message — remain timeless. Please enjoy the audio track of Anita Baker performing "Priceless." The lyrics are below if you’d like to sing along…

“Priceless”
Written by Garry Glenn. Performed by Anita Baker.

When you ask me how I feel about you
I try to find the words that best describe you
You are to me like a precious jewel, so valuable baby
Think it shines so bright lighting up my life, with pure delight

You are so priceless to me and loving you has made me see
With your love I can do most anything
You are so priceless to me, you’re like the first rainbow in spring
Your love comforts my heart with joy you bring

I envision you and me in love together
Getting closer, as we share each day together
Gimme all the gold in the world, it will not replace this love baby, yeah
Take a diamond ring, worth a lot — what we got cannot be bought or sold

You are so priceless to me and loving you has made me see
With your love I can do most anything
You are so priceless to me, you’re like the first rainbow in spring
Your love comforts my heart with joy you bring

Never had a lover, babe
My baby, my baby, my darlin’

You are so priceless to me and loving you has made me see
With your love I can do most anything
You are so priceless to me, you’re like the first rainbow in spring
Your love comforts my heart with joy you bring

You are so priceless to me and loving you has made me see
With your love I can do most anything
You are so priceless to me, you’re like the first rainbow in spring
Your love comforts my heart with joy you bring

You are so priceless to me and loving you has made me see
With your love I can do most anything



Credit: Photo by MC2 Erica R. Gardner, USN, Public domain, via Wikimedia Commons.

Taylor Swift’s recent engagement to NFL star Travis Kelce has officially ushered in what The Knot is calling “The Swiftification of Weddings.” According to a new report, the ripple effects of the couple’s love story will drive $2.2 billion in incremental global wedding spend over the next two years — $1.8 billion in the US alone. And at the heart of this phenomenon is jewelry, especially Swift’s vintage-inspired engagement ring.



Designed by New York City jeweler Kindred Lubeck of Artifex Fine Jewelry, Swift’s ring features a striking 8-to-10-carat Old Mine Cut diamond set in yellow gold. This antique cut — often squarish in shape with chunky facets and a romantic glow — predates the modern brilliant and was most popular during the Victorian era. Its timeless character perfectly suits Swift’s reputation as a storyteller with one foot in the past and one in the present.



According to The Knot’s study, Swift’s choice is more than symbolic: It’s a market mover. The report projects a $350 million bump in US wedding jewelry spend alone, as couples emulate her engagement style. Searches for vintage-inspired engagement rings and heirloom settings are already trending upward. Couples will be seeking out jewelers who specialize in Old Mine cuts, as well as other antique styles like Old European cuts and rose cuts.

The Knot’s survey of engaged and pre-engaged couples shows that 85% of partners currently opt for diamond engagement rings, a figure expected to rise as Swift’s influence spreads. What’s more, the report suggests that average spend per ring could climb, as couples gravitate toward larger center stones and unique antique settings reminiscent of Swift’s design.



This consumer excitement is extending beyond engagement rings to wedding bands. Once Swift and Kelce reveal their own choices, jewelers may see another surge in interest. Bands that complement Old Mine cuts — think hand-carved gold, vintage-inspired pavé or stacking sets — could experience outsized demand.

The jewelry sector is not the only beneficiary of Swiftification, but it may be the most directly impacted. As Esther Lee, Deputy Editor at The Knot, explains: “We expect outsized impact across jewelry, fashion and floral design. One highly visible love story is reshaping everything from ring preferences to the modern wedding wardrobe.”

The parallels to past cultural wedding moments are striking. Kate Middleton’s sapphire engagement ring sparked a global wave of colored gemstone sales, while Meghan Markle’s minimalist three-stone ring popularized timeless simplicity. Swift’s Old Mine diamond may well cement vintage-inspired cuts as the defining trend of the mid-2020s.

The Knot predicts that the Swift/Kelce union will spark cultural enthusiasm for weddings, influencing couples’ choices across attire, décor and overall event style. Couples will likely invest more in florals, photography, video, stationery and day-of styling, along with creative “Easter egg” details inspired by the singer’s signature storytelling. Their celebration could also stimulate local economies and tourism, depending on the wedding destination.

"The Swiftification of Weddings: A Report by The Knot" combines primary research from multiple studies, including a recent onsite survey of engaged and pre-engaged couples on The Knot, fielded during the first week of September 2025 (n=1,200+), an onsite survey of The Knot wedding professionals, fielded during the first week of September 2025 (n=90), and a survey of engaged and pre-engaged members of The Knot Insiders community, fielded August 28–September 1, 2025 (n=142). Respondents represent individuals from all over the country with various ethnicities, income levels, race, age, sexual orientation and gender identity.

Credits: Images via Instagram / taylorswift and killatrav.