Weckström's key insight in the use of gold came when he understood the nature of the material in its natural nugget form. Weckström had been troubled by the focus on the monetary value of gold in the design of gold jewelry, which symbolized social status. However, when he saw the inherent beauty in gold itself, he wanted to express it in his own jewelry design.
 

The sculptural approach to the design of gold jewelry was revolutionary not only in Weckström's own artistic language and in Finland but also on a global scale. His unpolished surfaces, asymmetrical designs, and pieces created using the casting technique, without sparing any material, were something shockingly new and initially met skepticism among retailers in his home country. After Weckström's international breakthrough in 1965, this innovative style began to be appreciated domestically as well, with its roots in the nature of Lapland.

Gold in Weckström's jewellery  design represents  the heat, intensity, and dynamism. It also carries symbolic power due to the material's history, which Weckström utilizes, for instance, in his dramatic Cardinal necklace.

Weckström's desire to discover something new and deviate from the conventions of jewelry design also extended to gemstones. Crystals and the fractured surfaces of gemstones preceded his collaboration with the German lapidary Bernd Munsteiner, whose fantasy-cut stones were as revolutionary in their field as Weckström's jewelry revolution had been. The seamless collaboration between these two artists has produced some of Weckström's most breathtaking gold jewelry.