Pieces with weight to them.
A small, signed annual edition of high jewellery from Palladio's bench in Vancouver. Each piece carries a stone we waited months to find and a story we'll tell you in person.
Limited editions, never more than nine of any one design.
Sixty-one years of practice distilled to nine pieces a year.
High jewellery at Palladio is not a separate house. It is the bench we already have, running at the slower tempo a serious stone deserves. The Bosa family has worked one block of West Hastings since 1965 — first under Flora, since 2018 under Jason — and our high jewellery editions are the work that the room has been quietly capable of for thirty years.
We do nine designs a year. Each is signed inside, photographed once, and let go. Where a piece sells, we will not remake it: we make the next idea instead.
High jewellery, when the bench earns the stone.
The first stones
Andrea Bosa sets important stones for Vancouver families from a Granville Street bench. The high-jewellery instinct begins here.
A signed house
Flora founds Palladio and begins drawing one-of-one pieces for clients who bring a stone and a story rather than a catalogue page.
The annual edition
Under Jason, the bench formalises a nine-piece annual edition — each drawn from the city, signed inside, and let go once.
Burrard, after rain.
“For the way light moves on the inlet at five in the afternoon.”
A pair of triangular Australian black opals, their colour shifting the way the water does at dusk, set in a cascade of marquise and pear-shaped diamonds over blue-green titanium.
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Plate i. · “Burrard, after rain”
Plate ii. · “Stanley evening”Stanley, evening.
“The light through cedar — a stone that holds it without trying.”
A 4.8 ct Muzo emerald, drawn for one wearer over six iterations. The platinum gallery is a hand-fabricated leaf, sized so the ring sits flush against the next finger without the bezel touching skin.
See the piece →Lions Gate, at dusk.
“Blue for the towers at dusk, the week the bridge turned ninety.”
A cushion Ceylon sapphire held between two lustrous pearls in a diamond-set white-gold gallery, milgrained by hand in a pattern taken from the bridge's deck railing.
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Plate iii. · “Lions Gate, at dusk”
Plate iv. · “First snow, Grouse”First snow, Grouse.
“Diamonds the colour of the mountain the morning after the first fall.”
A continuous line of old-mine brilliants in white gold, each matched for colour and cut, thinning toward the clasp like a treeline.
See the piece →Gastown, gaslight.
“Pearls the colour of the lamps on Water Street.”
Lustrous cultured pearls set either side of a cushion sapphire in a slim platinum bar, drawn from the light of the steam clock at the blue hour.
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Plate v. · “Gastown, gaslight”See the editions in the room.
Each high jewellery piece is shown once — by appointment, on the wrist or in the hand, at 900 West Hastings. The work makes more sense in person.
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