Anabela Chan’s gemstone jewellery captures editorial acclaim

Anabela Chan’s jewellery has begun to circulate through the editorial world with the ease of pieces designed for those who understand the grammar of genuine luxury. The London atelier’s most recent placements reflect a coherent vision: gemstones chosen for their depth rather than their obvious brilliance, paired with white gold that recedes almost entirely from view, allowing the colour to breathe.

The Pariaba Rose Ariel necklace, which appeared in Elle Singapore, exemplifies this restraint. Pink tourmaline and paraíba tourmaline alternate with diamond set gold elements that resemble small shell forms, each one hand finished. The effect is neither maximalist nor demure; it simply draws the eye of someone who knows the difference between costume and investment.

The Blade of Grass earrings, featured recently across multiple platforms, demonstrate the jeweller’s formal vocabulary more sharply. Two aquamarine drops suspend from slender posts, their geometry precise, their scale confident. The design reads as sculpture rather than decoration. Similarly, the Ruby Cupid’s Bow earrings work through silhouette alone: crimson stones set into stylised arcs of white gold that catch light without cluttering it.

What distinguishes these pieces from contemporary jewellery generally is the absence of narrative. Anabela Chan does not inscribe messages into metal or make reference to a personal mythology. Instead, each piece operates as a formal study: in colour relationship, in the balance between void and solid, in the particular way a faceted stone throws light. This intellectual approach to adornment has begun to resonate with editors and collectors who have grown weary of branded opulence.

The jeweller’s work is available through selected international retailers and via her studio in London.

Imagery courtesy of Anabela Chan (@anabelachan).