Honest Sourcing
Where our diamonds come from. What our gold was before it became ours. Which gemstones we accept, and which we decline. Stated plainly.
We know where our materials come from. We tell you what we know, and what we are still working to know better.
— The Since Love Sourcing Manifesto
A global craft, with documented origins
Our materials are sourced across four principal regions of the global fine jewelry supply chain. We select suppliers by standards and verification, not by geography alone. Hover a region to learn what we source there.
Design & 3D Modeling
Every piece begins in professional jewelry modeling software — we work primarily in Rhino and Matrix — where proportion, setting geometry, and on-hand comfort are balanced before a single physical step is taken. For bespoke clients, we hold to a strict principle: confirm first, produce after. The design moves through two structured revisions, and production does not begin until the client has approved the final rendering in writing.
Precision Wax Patterning
The approved design is printed at high resolution using DLP photopolymer technology — the standard for fine jewelry because it preserves the sharpness of edges, the geometry of settings, and the fidelity of proportional detail. A resin master is then translated into a wax pattern prepared for casting. For simpler structures, directly castable materials are used. For intricate work, the resin-to-wax translation ensures no micron of the design is lost.
Vacuum Precision Casting
We use vacuum casting — the technique preferred in fine jewelry for its stability and detail fidelity. Each metal is cast in its own temperature range appropriate to its melting point and flow characteristics: 14K and 18K gold, platinum, and 925 silver are each handled with separate protocols. A typical casting yields 5 to 20 raw pieces depending on structure, metal, and size.
Hand Filing & Finishing
Each raw casting passes through a sequence of filing and finishing steps: sprue removal, initial shaping, line correction, coarse polish, fine polish, pre-polish, and a final inspection before stone setting. Large-surface work is supported by machinery, but the critical decisions — edges, corners, prong seats, bezel frames, and detail areas — are finished by hand. This is where the piece acquires the quiet precision that separates fine work from ordinary casting.
Stone Setting
Setting is where our atelier's reputation is made. A one-carat center stone takes thirty minutes to two hours — longer for complex cuts and structures. A full band of micro-pavé can take three to eight hours of continuous work. Our setters work under a combination of loupes, bench-mounted magnifying lamps, and microscopes — the tool chosen for each setting by the requirements of the work, not the schedule.
Final Polish
Final polishing combines machine pre-treatment with hand finishing — but the last passes, the ones that determine how light reads across the surface, are always done by hand. The difference between hand polish and machine polish is invisible to the casual eye and immediately recognizable to a setter who has spent two decades knowing where to look.
Rhodium Plating
For white gold pieces, we apply rhodium plating as a final surface treatment — enhancing brightness, whiteness, and resistance to surface wear. Under normal wear, the plating lasts 6 to 18 months; depending on how frequently the piece is worn and its exposure to lotions, cleaning agents, and friction, we recommend clients return it for re-plating every 12 to 24 months. We treat rhodium plating as a finishing elevation, never as a way to mask inadequate surface preparation.
Quality Inspection
Every Since Love piece passes through two layers of inspection: self-inspection at each workstation by the specialist who performed the work, and a final review by dedicated quality control before shipment. Inspection covers stone security, prong alignment, surface integrity, ring sizing, weight, metal purity, symmetry, line continuity, and on-hand comfort. Approximately ten percent of pieces require refinement before approval — not major faults, but the small corrections that separate fine work from finished work.
The settings our atelier is known for
Our atelier practices the full range of fine jewelry setting techniques. Four in particular are where our setters have built their reputation — the areas where our work, at its best, competes with any in the world.
The foundation of fine jewelry setting — metal shaped, not forced, to hold a stone for decades. Our discipline: proportion of the center stone, symmetry of the prongs, and the quiet tension that keeps the piece secure without ever looking heavy.
A technique of layered proportion. The complexity is not in surrounding the center stone, but in keeping the halo visually light from the front, structurally sound from the side, and comfortable on the hand from every angle.
Dozens — sometimes hundreds — of small stones set by hand in a continuous line. Our discipline: alignment that is perfectly even, security that holds for decades, and minimal damage to the stones during setting.
A ring of metal that holds the stone fully around its girdle — protective, contemporary, and demanding of the metalwork itself. Our bezels are fitted to the stone, not forced around it, so the frame reads as part of the design rather than a correction.
The details you will never notice
True craftsmanship is doing exceptional work where no one will look. Our atelier follows four practices on every piece—details most wearers, jewelers, and critics will never see.
Pre-polishing the surfaces no hand can reach later
The undersides of center-stone seats. The interior of halo settings. The backs of sculpted heads. The spaces between prong bases. Once a stone is set, these areas can no longer be reached. Our setters polish them first — before setting begins — so the finished piece does not have a bright front and a coarse reverse. The client will never see these surfaces. The piece, nonetheless, is finished on all sides.
The district where fine jewelry is made.
A stone is never simply pressed into position. Before final prong closure, the setter verifies three things: that the table of the center stone sits level, that its girdle rests evenly in its seat, and that the prongs exert balanced pressure around its circumference. Only then does the setting close. This single discipline prevents the off-center stones, uneven pressure, and edge chipping that separate workshop-quality setting from atelier-quality work.
Looking beyond whether the stone holds
A well-set stone should stay in its setting. This is the minimum, not the achievement. Our inspection looks further: Are the prongs of equal height? Is their spacing symmetrical? Is the center stone precisely centered? In a pavé band, are the small stones arranged as a continuous visual line, or in a series that is merely close to straight? What a client reads as "refined" is most often the quiet geometry of these invisible alignments.
Preparing the surface beneath the plating
The brightness of a rhodium-plated piece depends almost entirely on the surface condition beneath the plating. A rhodium layer cannot disguise inadequate finishing — it can only amplify what is already there. Before plating, our white gold surfaces are cleaned and refined to a finished standard on their own. The rhodium is then a final elevation, not a compensating layer.
The Atelier, by the numbers
What this mission is not
It is not a campaign. Campaigns end. It is not a certification. Certifications can be purchased.
It is not a slogan. Slogans retire when the next creative director arrives. It is a standing invitation — to our team to build toward, to our clients to measure us against, and to the industry to rise to. We intend to be here long enough for it to matter.
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