Scott Sucher has been recreating historic diamonds for decades.
Long before grown diamond was available in meaningful sizes, Scott Sucher was cutting precise replicas of stones like the Koh-i-Noor, the Dresden Green, and the Wittelsbach — all in cubic zirconia, which has the closest optical properties to diamond than any other simulant and comes in a variety of colors.
What’s new is not the ambition.
It’s the material.
Using Diamond to Replicate Famous Historic Diamonds!
“For the first time,” Sucher is excited to announce, “we’ve found a manufacturer who can grow crystals large enough that we can begin doing these in diamond.”
At the moment, he’s working on models at half scale — which means roughly one-eighth the weight.
“It’s a lot cheaper while you work out the technical challenges,” he says, holding prototypes of the Dresden Green and the Wittelsbach. “As technology catches up, we’ll gradually increase.”
His long-term goal? The historic version of the Koh-i-Noor — in its earlier, roughly 186-carat form.
“I don’t expect that one for another decade,” he says. “It will take a piece of rough of approximately 600 carats. But we all have to have goals.”
“I Prefer ‘Grown Diamond’”
Sucher is particular about terminology. “I prefer ‘grown diamond’ over ‘lab-grown.’ They’re not really grown in a lab the way people imagine.” And regardless if created by chemical vapor deposition (CVD) or high pressure high temperature (HPHT), the term grown still applies.
And because they are diamond, the cutting behaves like… well, … it behaves like a diamond.
“You still have cleavage planes. You still have graining. You still have to orient each facet relative to the direction of polishing.” In other words — this isn’t just swapping materials. You now have to know diamond cutting.
What Makes a Replica Legitimate?
This is where the conversation gets serious.
“You can’t just cut a pear shape and call it a Cullinan III,” says Sucher. “You have to match the facet pattern. You need to match the angles. You need to match the structure.”
So, for Sucher, a proper historic replica means having the correct facet count, the correct facet arrangement, each facet shape and angle, the proper relationship between crown and pavilion, and faithful symmetry and asymmetry, where asymmetry exists. “Otherwise,” he shrugs, “it’s just a stone that looks similar.”
He’s not claiming exclusivity. There are other cutters who make replicas. But what he does claim is his eye for precision. For him, the standard is exacting geometric fidelity. “I aim for 0.01 mm in dimensional accuracy. I don’t always reach it, but I’m always within 0.1 mm.”
Half Scale
Photo by Gary Roskin
Reverse-Engineering an Historic Cut
The question most of us have is simple: how do you recreate a stone you cannot physically measure?
The Koh-i-noor no longer exists in its earlier famed shape. It no longer exists as a 186-carat mountain of facets. It was recut in 1852 into what we now know as a 105.60-carat Old Mine cushion.
“Usually, a photograph and dimensions is all I need for the simpler stones.” says Sucher.
That may sound casual. It isn’t.
A complex stone such as the historic Koh-i-noor required much more. A plaster model of the diamond, made of the original prior to recutting, was borrowed from the Natural History Museum in London. Over 700 photographs were taken to tease out the facet pattern, then the model was shipped to Antwerp for high-resolution laser scanning. This data was then used to build a digital model, overlaying the digital model behind his CAD workspace, and adjusting facets until the geometry aligned at high magnification. This two-year effort was summarized in the Summer 2009 issue of Gems & Gemology.
“Because of the limits of geometry, there are only a certain number of ways all those facets can fit together,” he explains. “Are there alternate solutions? Sure. But the math narrows it down to just one or two solutions that have insignificant differences.”
The more photographs — especially pavilion views — the better.
“Face-up isn’t enough,” he adds. “You have to see what’s happening underneath.”
The Wittelsbach — A Line He Won’t Cross
Sucher is careful — but firm — about the 2008 recut of the Wittelsbach.
“I will never touch the modern Wittelsbach,” he says flatly. “That’s a crime against history.”
Many in the antique and estate sector have expressed similar feelings since the recutting reduced the stone from 35.56 carats to 31.06 carats.
For Sucher, the issue isn’t weight loss. It’s information loss.
“If you look at high-resolution images of the original, every facet meet appears incredibly precise. Was magnification used in the original cutting? We don’t know and I can’t tell you how we could. But now we never will. The story of the stone has been completely erased. Just because we don’t understand the language doesn’t mean it didn’t have a story to tell.”
For Sucher, recreating the original geometry is imperative — and certainly explains his motivation.
Photo by Stephen Kolokithas, JewelrySetinStone.com
Color Isn’t Automatic
Matching geometry is one challenge. Matching color is another.
“We’re not just trying to match hue,” notes Sucher. “We’re trying to match hue, tone, intensity — everything.”
The Dresden Green prototype is close, he says. The Wittelsbach replica — face up — is also close.
“Close is close enough for now. But we’re still pushing,” says Sucher.
Lighting complicates everything. Any dealer who has tried to describe or photograph a colored diamond understands that. Seeing the stone in person, if available, is important.
And even that doesn’t solve the entire problem.
You may be able to grow rough in a specific color — but once you cut the stone, the face-up appearance might possibly shift. If that happens, your historical recreation may no longer be where it needs to be. This too must be considered, and why Sucher is creating half-scale models.
What Comes Next
The next planned project is a full-size recreation of the pink Hortensia, approximately 20.53 carats, expected to be completed no later than mid-April 2026.
“That will demonstrate we’re not limited to half size,” he says. “That we can go full size.”
Crystal size does remain the limiting factor. But that ceiling is moving.
Why This Matters
There are museums, researchers, and students who will never handle the original Koh-i-Noor or Dresden Green. Accurate replicas — cut in diamond — open new possibilities for study and teaching. And the effect on the jewelry trade remains to be determined, as now the gems of kings and queens can be duplicated.
Sucher doesn’t frame it as competition with the originals. “It’s about geometry,” he says. “It’s about understanding how they were cut.”
For decades, he has been doing that work in simulants. Now, the material is finally catching up.
To learn more about Scott Sucher and his projects in cutting,
Tap Here to go directly to his website, MuseumDiamonds.com
