Greg Yuna, an expert jeweler, participated in GQ's On The Rocks series. Yuna reviews some of his pieces for us and explains in detail the value behind the stones. He talks about the first piece he worked on, which was a Jewish piece. Yuna has created pieces for Shy Glizzy, Lil Yachty, and many others. Yuna says: "When I'm coming down in the bus, I only use VVS."
Discover our collection of hip hop jewelry and bling bling jewelry on our Emir ICE shop!
When a jeweler presents their pieces, they are showing the culmination of a long process. Between a client's request and the delivered piece, an order goes through a series of steps, none of which can be skipped.
It all starts with the brief: what the piece should represent, where it will be worn, and what volume is acceptable. These three pieces of information shape the entire project, well before the question of budget.
Next comes the design. Drawing or modeling, then validation of the actual proportions. This is the moment you discover that a superb pattern on a screen becomes illegible once reduced to four centimeters.
The actual manufacturing only starts afterwards. And the custom diamond jewelry only takes its final form at the very end, during polishing, when the surfaces finally reveal the quality of the underlying work.
Quality control in jewelry is not just a final glance. It is carried out at every stage because a defect detected late costs infinitely more than a defect detected early.
At the structure stage, we check the thickness of the walls and the regularity of the welds. A wall that is too thin will not withstand the pressure of stone setting; a porous weld will appear as a spot after polishing.
At the setting stage, we check the depth and diameter of each stone housing. A housing that is too shallow leaves the stone flush, a housing that is too wide will never hold it properly.
At the setting stage, we examine the alignment. On a paved surface, all stone tables must lie in the same plane. An offset creates dark areas that polishing will not fix.
At the final stage, we check the mobility of the joints, the hold of the clasp, and the cleanliness of the back of the piece, which is the best indicator of a workshop's professionalism.
| Step | Control point | Defect avoided |
|---|---|---|
| Structure | Thickness and welds | Deformation, spot after polishing |
| Housing | Depth and diameter | Flush or poorly held stone |
| Setting | Table alignment | Dark areas, irregular sparkle |
| Assembly | Joints and clasp | Breakage, loss of the piece |
| Finishing | Cleanliness of the back | Sloppy work, sharp edges |
A serious workshop documents these checks. For an important piece, asking for progress photos is not inappropriate: it is actually the best way to follow a project from a distance.
The most useful rule is to start with the intended use, not the image. A piece worn every day, a stage piece, and a gift piece do not call for the same construction choices.
Next, set the dimensions before the aesthetics. A 4 cm pendant and a 7 cm pendant are not worn the same way and do not require the same chain. Cutting out the intended shape in cardboard and wearing it for a day is the simplest test there is.
For the chain, apply the usual proportion: at least 4 mm of link for a 3 cm motif, 8 mm for anything over 5 cm. An undersized chain visually ruins a beautiful piece.
As for the stones, decide on the desired look before talking about quality: a dense and regular pave, or a few larger stones highlighted by bare metal. These are two opposing aesthetics.
Finally, plan for time. A serious custom piece is counted in weeks, and this duration is almost entirely occupied by manual operations that are impossible to speed up.
Five minutes of inspection upon delivery is enough to spot the essentials. Equip yourself with good light and, if possible, a small magnifying glass.
First look at the outline. The edge stones are the most exposed; they must be perfectly encased, with no visible gap between the stone and the metal.
Then run your fingernail over the set surfaces. It should not snag anywhere repeatedly. An isolated snag could be a poorly folded prong, which needs to be reworked.
Operate the joints and the clasp several times. Everything should be smooth, clean, with no stiff points or excessive play.
Turn the piece over. The back should be as finished as the front: no burrs, no weld residue, no sharp edges that would snag clothing.
If a point seems doubtful to you, report it immediately. A rework is simple in the days following delivery, much less so once the piece has been worn for several months.
Finally, check the consistency between the piece and its chain. A bail that is too narrow forces you to use pressure when passing the link, and this simple repeated action is enough to nick both elements. If the fit is not clear, it is better to have the bail widened than to insist.
One last reflex, often forgotten: weigh the piece. A weight significantly lower than what was announced signals a structure more hollowed out than expected, which is not necessarily a defect but deserves an explanation from the workshop before the piece is worn.
Four items from our catalog related to custom orders and inspection.
An overview of rap pieces is gathered in the complete guide to American rapper jewelry.
A custom project starts with a use and dimensions: prepare them before asking for a quote.
Several weeks in most cases. Most of the time corresponds to setting, a manual operation that cannot be accelerated.
Yes, as long as the setting has not begun. Afterward, the stones must be removed one by one, which is almost like starting from scratch.
Check the edge stones, run your fingernail over the pave, operate the clasp, and turn the piece over to examine the back.
Not necessarily. A visual reference, even an approximate one, plus dimensions and usage are enough to start a project.
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