When Taylor Swift’s new engagement ring — a glittering old, mine cut diamond estimated at eight carats — was revealed last week, it reignited public fascination with a centuries-old style of diamond cutting.
Long before modern technology brought flawless symmetry and machine precision to diamonds, old mine cuts were crafted by hand, shaped to catch light from a flickering flame. And in a city like Philadelphia — long known for its historic Jeweler’s Row, the oldest diamond district in the United States — this revival feels especially resonant.
Old mine cuts stand apart visually. Their wide back facets give them a softer glow, while their hand-cut nature often results in irregular, “wonky” shapes. By contrast, modern diamonds are precision cut with computer mapping, producing perfect symmetry and the high-intensity, heavily marketed sparkle.
That irregularity, said Lancaster jeweler Jess Lynne of Mae Jean Vintage, is part of the charm. Her clients are drawn to what she calls the “romance, elegance, and mystery” of antique cuts.
No two old mine cuts are exactly alike; each shaped to follow the rough diamond’s natural octahedral form, resulting in rounded-square silhouettes with chunky facets and, often, a visible culet — the flat facet at the bottom of the stone.
“They don’t have the same symmetry or sparkle as today’s stones, but that’s what makes them so special,” said Steven Billig of Billig Jewelers in Marlton, N.J.
With their cushion-shaped outlines, smaller tables, and high crowns, old mine cuts emit a glow often described as “candlelight brilliance,” as opposed to the icy sparkle of today’s cuts.
For years, many in the trade dismissed old mine cuts as “potatoes” or even “frozen spit.” But as Philadelphia jeweler Emily Phillippy of Emily Chelsea Jewelry points out, the Swift effect is quickly changing that perception.
“They’re a beautiful reflection of diamond-cutting traditions from the 18th and 19th centuries,” said Sheila Donnelly of Benari Jewelers in Newtown Square.
The challenge for consumers, Brett Sandler of House of Milner Jewelers said, will be finding a jeweler with the inventory, knowledge, and network to source a diamond like Swift’s — something not every shop is equipped to do.
Old mine cut diamonds — with elongated ones being the most coveted and rare — are hard to come by. Few diamonds are mined today that are properly cut into these shapes; the chance of new stones entering the market isn’t very likely.
Sandler said there are likely half a dozen wholesalers throughout the country that have inventory of these types of stones, and they tend to be particular regarding the shops that they work with.
Still, the Philadelphia region and surrounding Pennsylvania towns are home to a wealth of jewelers who specialize in antique and heirloom stones, making it one of the best places to seek out an old mine cut ring.
Philadelphia-based designer Angela Monaco said her clients increasingly want engagement rings that feel intentional rather than mass-produced, and many are drawn to the history and energy of stones with a past life. Because old mine cuts are antique, no new mining is required — a fact that adds to their appeal.
And it’s more than just star power.
Harry Merrill of Harry Merrill & Son Jewelers believes that it’s important to let the stone’s quirks shine when designing with old mine cuts.
“Some clients love estate styles, and so we lean toward honoring the original looks the stones were intended for. Others appreciate more modern settings, allowing us to combine the old with the new,” he said
Both these approaches celebrate the stone’s journey through time, helping it be loved by multiple generations.
Consumers are increasingly drawn to sustainability and craft history, and antique diamonds embody both, notes Maddie Hirsch, founder of Tshatshke Jewelry Studio in Port Richmond.
Many of the stones she works with are heirlooms.
“Where stories get muddled or lost over time, there is a physical object tying these lives together through so many generations,” she said.
“Customers love when their jewelry can tell a story, and so do the jewelers who work with these stones.”
The resurgence, Sandler notes, has been especially strong among younger buyers. While demand has grown across all elongated shapes in recent years — ovals, cushions, radiants, and marquises — elongated old mine cushions have led the surge.
Most of these clients, he said, are in their late twenties to mid-thirties: educated, affluent, and often women guiding their partners’ choices.
He adds that the return to antique styles is unfolding alongside a broader market shift toward lab-grown stones, that have opened up engagement rings to a younger demographic, creating space for experimentation with antique-inspired cuts.
Even in lab-grown form, old mine cushions carry the distinctive chunky faceting, deep profiles, and open culets. Many clients, Sandler notes, are drawn to their warm color tones and the fact that they often “face up” whiter than their official grading would suggest.
Buyers, these days, tend to care less about lab reports and more about aesthetics — choosing a stone for its character rather than its paperwork.
While celebrities may spark curiosity, most jewelers agree that clients ultimately choose what feels personal. Swift’s engagement, they say, is simply opening the door for more conversations about antique cuts.
For Monaco’s clients, old mine cuts feel like stones with a story. “Clients will say things like, ‘This stone feels like it’s lived a life before me,’ or, ‘I love that it’s imperfect but still feels so lux and special,’” she said. Designing around one of these diamonds, she adds, is like collaborating with the stone itself — her textured bands and organic bezels are meant to enhance quirks, not erase them.
Ultimately, Philadelphia’s connection to old mine cuts predates the Swift-Kelce engagement. The stone denotes legacy. From Jeweler’s Row to small independent studios, the region has long been a hub for craftsmanship and design, a place where history and artistry meet.
Ashley Gardner of Rendrag Jewelry said Philadelphia’s long history in jewelry has made the city a front-runner in design and manufacturing.
Old mine cuts, she added, are often a “when you know, you know” choice — one-of-a-kind diamonds set in one-of-a-kind designs that excite both buyers and jewelers.
For Hirsch, their imperfect beauty resonates in a distinctly local way. Philadelphia, she notes, is a city built on grit and history, not polish.
“We are made of chunky facets, we are made of really strong stuff and we glimmer from the heart.”