New York-born Ryan Bernell (below) is on a mission to revolutionise men’s jewellery by establishing a new category of high-end pieces worthy of history’s greatest names. Now based in London, Bernell has assembled master craftspeople to realise his distinctive and ambitious vision.

Since its founding in November 2025, Alexandria has produced three designs featuring Genghis Khan, Alexander the Great, and Julius Caesar, each rich in historically accurate details and made in the UK to Bernell’s exacting standards.

TJE: What was the inspiration behind Alexandria?

RB: It was literally born from the frustration at not finding any jewellery that I loved.

I had started a men's fashion consulting business ten years ago, and I felt like I had developed an eye for detail and a taste for beauty. Since then, I’ve been looking for men’s rings that I love, but there haven't been any good options that are masculine and bold, but also beautiful, elegant, and comfortable for daily wear.

I was certain I wanted something unmistakably masculine—a statement piece that was  well-crafted—which led me to found Alexandria. I began creating the pieces I had long sought but never found.

TJE: Tell me about your artistic background?

RB: I come from a musical family, and I grew up playing drums and guitar. Apparently, I played the guitar for my guests at my third birthday party. In my teens, I began to get into jazz, inspired by a family friend who was a jazz pianist, and I attended a music and dance high school, where I could further develop my love of music. I was heading for a career as a professional jazz drummer.

Jazz is a wonderful art form that’s becoming extinct, which I liken to the jewellery-making techniques that we employ. Like jazz, they are incredibly difficult to master, and there's a similar artistry and creativity in jazz musicianship. It’s about the subtleness of the blends and how crucial it is that every component is precise and measured and contributes to a perfect yet complex whole that appears effortless, which makes me think that the likeness between the two drew me to jewellery. 

TJE: What makes Alexandria’s jewels unique?

RB: Quite simply, I don't think there’s anyone out there doing what we're doing in the realm of men’s jewellery. I challenge myself to make the best possible men's jewellery in the world.

I am partly inspired by the Super Bowl rings the football players wear, as they are distinctly male and bold, but I wanted to refine and elevate the concept.

From the start, I was very clear that I wanted a very specific look and very precise designs, so I sought out the best in each field, from designers to master craftspeople. It took me longer than expected to find the right people, but it was worth the time and effort. 

And then obviously the historical element, which is really at the heart of the brand. As a teenager, to boost my confidence, a friend recommended that I read biographies of great men throughout history. The first one I picked up was the biography of Alexander the Great, which blew me away as it was 300 pages of a man simply conquering everything in his path, which at that age left a huge impression on me. I went on to read about Julius Caesar and other great men in history, and was introduced to these larger-than-life figures who became the initial inspiration for my jewellery brand.

I am doing my best to honour the great empires and men of the past, and when looking at a jewel, I ask myself, ‘Would Alexander the Great wear this? Is it worthy of a monarch, an empire builder, a man who changed the world?’ This is how history and craftsmanship come together in my jewels.

TJE: How does the historical element come through in your jewels?

RB: Everything I do is as historically accurate as possible and present in every detail. For the Face of Rome ring, we used the C16th century bust of Julius Caesar by Andrea Ferucci to capture an accurate likeness in three-dimensional gold. I chose rubies and a rich red grand feu enamel, kiln-fired at around 800°C, layered over a deep, geometric guilloché pattern to create depth and the play of light, evoking majesty, power, and the colours of the Roman standards. The shoulders of the ring are in the shape of a scutum shield.

The Alexander the Great ring is based on an ancient Greek drachm coins, sculpted in a white agate hand-carved cameo, set in a frame of emeralds and gold in the shape of a shield. The story continues on the sides of the ring with cameos of Zeus and Bucephalus,  Alexander’s horse, as in the original drachms.

The nephrite jade in the Khan’s Dominion ring is not only the most desirable A+-grade, translucent, vivid apple green, but from the same Siberian source favoured by the Mongols.  The gold sculpture of Genghis Khan on his horse is set into a white gold ring. The circular face of the ring is in the shape of a Mongolian shield including the rivets, while the cascading sides are based on Mongolian armour, reminiscent of the metal-working  techniques of the era.

Even the openwork on the inside of the Khan's Dominion and Face of Rome rings  reference motifs from the corresponding culture of these historic characters.

TJE: Why is craftsmanship so important to you?

RB: When I set out to create Alexandria, I spoke to experts in the field of jewellery,  who raved about the exquisite craftsmanship of historic Fabergé pieces and others, while lamenting how nothing made today comes close, so I saw that as a challenge.

Once I assembled this team of expert artisans, I then encouraged them to go further in a quest to create the ultimate work of its kind. The jewels are all made by hand, using techniques increasingly hard to find. For example, with the Face of Rome ring featuring Julius Caesar, we achieved something experts told me was impossible: we guillochéd an entire flat sheet of 18-carat  gold and then wrapped it around three sides of the ring. The seemingly impossible was achieved, which gives our rings that special quality and richness of detail, and now we have the blueprint for how to make it.

It was a long quest to find the right artisans for each stage of production. It took a year and a half to bring together the grand feu enameller, the guilloche engine turner, the goldsmiths who cast the structure of each ring and the lapidaries who carve the cameos. I found them in all sorts of odd places, but I persevered in tracking them down. They are all over the UK, and many of them are the last few to preserve and excel in their craft.

Each ring presents its own challenges and all are difficult to make, and there are very few people in the world who can make jewels this way. We didn't always know if the final pieces would actually come together, but we put in the time and effort and are incredibly proud of the outcome.

Ultimately, I am honouring historical characters, making jewels to the highest standard, worthy of these great men. I ask myself whether Julius Caesar, Alexander the Great or Genghis Khan would wear one of my rings. I hope they would.

TJE: What are your plans for the future of Alexandria?

RB: I have a lot of ideas for new rings, necklaces, and other jewels and objets, but it takes time, as each piece is a new universe, and requires a large amount of work to decide how to make it.

New themes bubbling in my head include Achilles, Babylon, and Cyrus. I am not short of ideas. I also offer a bespoke service that reflects a client’s story and heritage, telling it through jewellery and objets.

My dream is to build a workshop where I can gather all these talented artisans, who are among the last to master these dying arts, we are making progress but still a little way off.

In the meantime, I am continuing on my path of building up Alexandria, which I call: a new  high jewellery house for the modern conqueror.

Author Beth Bernstein shares insights and intriguing extracts from  the book 'Jewelry Creators: Dynamic Duo & Generation Gems,' which she co-wrote with Jewelry Editor and Journalist Sonia Esther Soltani.

If you look back at the most storied jewelry houses throughout history, their success has often been rooted in family ties, generational continuity, and creative partnerships. These relationships helped define their aesthetic, drive innovation, and ultimately built the enduring allure of each maison.

Consider  Coco Chanel and her early collaboration with Fulco di Verdura before he went out on his own, or Jeanne Boivin’s visionary decision to bring in designers such as Suzanne Belperron and later Juliette Moutard. Family legacies also played a pivotal role. Louis-François Cartier founded the legendary maison, which was later led by his son Alfred Cartier in 1874. Alfred’s three sons—Louis, Pierre, and Jacques—along with the creative forces of Louis and Jeanne Toussaint, and later Claude Cartier and Alfred Durante, were instrumental in establishing Cartier’s global prominence.

Across the Atlantic, Tiffany & Co. began with the vision of Charles Lewis Tiffany, which was carried forward by his son, Louis Comfort Tiffany, whose groundbreaking designs transformed the brand. Over the years, Tiffany & Co. also collaborated with an extraordinary roster of designers, including Jean Schlumberger, Paulding Farnham, Donald Claflin, Elsa Peretti, Paloma Picasso, and Angela Cummings. Alongside these stories are the enduring generational and family bonds of houses such as Bulgari, Van Cleef & Arpels, and Buccellati, whose trailblazing influences continues today.

Sonia and I were inspired by these remarkable histories and the ways in which they shaped the foundation of the jewelry industry from the 19th century onward.  Our combined experience as jewelry journalists led us to further explore the narratives of the human relationships, creative exchanges, shared visions and connections of the contemporary brands we had been covering throughout our careers. This led us to develop the concept for our book, structured around two chapters: Dynamic Duos and Generational Gems.

Dynamic Duos explores the alchemy of partnership—married couples, siblings, parents and children, and friends whose complementary talents and perspectives have given rise to some of the most compelling contemporary creations.

Generational Gems celebrates continuity and evolution, highlighting those who have jewelry in their DNA: designers who learned from trailblazing predecessors and built their reputations by balancing heritage with innovation. It also showcases a new generation of talent—individuals who have inherited knowledge and passion from those before them and are now forging their own paths with modern sensibilities, new technologies, and evolving techniques.

Some of the brands featured in each chapter share aspects of their dynamics and relationships, in their own words:

Dynamic Duos

ARTËMER

Tomer Michaelin & Tanya Michaelin Relationship: Husband and wife

“We share a great friendship and a beautiful marriage. Together, we have built a family and established a jewelry brand. We also share hobbies, chores, dreams, ideas... pretty much everything in our lives and work,” says Tomer. Tayna adds,  “We are both very visual and imaginative people, and it turned out that we are best at brainstorming ideas together. When we are together, we just pull out this creative force from one another and it doesn’t matter if it’s a piece of jewelry, a rose garden, or a perfectly executed strawberry pie.”

OX

Jessica Busiashvili & Michael Busiashvili Relationship: Siblings

“The brand is just the two of us, so we work very closely together. We first share a vision—the excitement and madness of creation; then we share the duty—the cost, the anxiety. I have learned there is no such thing as a role when we are in a period of ‘it’s gotta get done.’” Jessica continues, “I tend to think big, with long-term ideas, while Michael is often the one saying, ‘let’s build upon the smaller steps to get there.’ The beauty is that we are in sync with each other.” Michael jumps in, “Jess is a dreamer, and I am a realist. Supporting her creative vision has been the most rewarding experience of my life and has shown me that even realists can be dreamers too.”

Single Stone

Ari Madilian & Corina Madilian Relationship: Husband and Wife

Corina talks about how her and Ari met, “we had mutual friends who introduced us. After our initial meeting, we kept running into one another, always in unexpected locations. It was so random! Los Angeles is huge so it felt like serendipity after it happened multiple times.” She continues, 'We were dating and both knew where our relationship was heading and wanted to build something together. We each had different skill sets that we felt would complement one another.' Ari adds, “I love designing together. Collaborating with Corina is  most exciting for me as we share creative ideas and a partnership that has allowed us to grow and evolve the business which I started one year before we met. I am not sure I could have come this far without her.”

Walters Faith

Mollie Faith Good & Stephanie Walters Abramow Relationship: Friends

“We met while working at another fine-jewelry house. We immediately clicked —not just as friends but as creatives with a shared vision,” Stephanie explains, “Mollie is the designer and creative force behind the collection, handling jewelry design, social media, the website, and all things visual. I manage operations, retail partnerships, and the business side of the company. For the first five-plus years, we consulted each other on every decision, but now we trust each other in our respective roles, with support from our team."  Molly says, “When we started, we were hyper-focused on a core concept—bold links and mixed metals. Over time, we’ve introduced new materials, textures, and design directions while maintaining the DNA of Walters Faith.”

Generational Gems

Nadine Aysoy
Third generation, designer

“My grandfather P.N. Ferstenberg was a sightholder for De Beers, created a diamond-cutting factory with about 300 workers, and trading offices in Antwerp, Tel Aviv, New York, and Sydney. In the ’60s and ’70s, he was the main supplier of diamonds to companies such as Bulgari and the King of Belgium. We used to have lunch at my father and grandfather’s office twice a week when I was in school. My sisters and I used to play with the stones and also helped to create the special paper envelopes. Because I was still young, it felt totally normal to me to be surrounded by diamonds.” Nadine explains how she went into finance and then came back to jewelry years later. “I always wanted to study gemology. Then, due to life changes, I finally followed my passion when I turned 50. However, I realized that I preferred jewelry making to the profession of gemologist or diamond dealer. I created my brand under my married name so as to become known on my own for my contribution to the industry. I found that it is never too late to start a new career or activity at any age, as long as you have a passion and are willing to take risks, follow your heart, and grow.”

Omi Nagpal, Preeti Nagpal, Niveet Nagpal ,First, fifth, and sixth generation, Founders of Omi Gems and President of Omi Gems and Omi Privé

Omi reflects, “I have learned, when you first join a family business, you spend time asking questions, gaining knowledge, displaying patience while listening to the more experienced family members until you have enough experience yourself and find your niche." Niveet lets us in on part of the family’s secret of success , “My father always says, ‘Don’t worry.’ He can even say ‘Don’t worry’ in several different languages. His optimistic and humble nature keeps us all grounded” he adds, “The world has evolved with technology. Yet the relationships we build are still vital—business done with a handshake—and the passion for what we do is the same as it has always been and will continue to be.”

Selim Mouzannar, Ranwa Mouzannar, Namir Mouzannar, third and fourth generation, CEO & COO, Brand Manager, and Head of Laboratory and Workshop Innovation

“Initially, I resisted the idea of joining the family business,” Selim confides,  “I had dreams of becoming a journalist. However, my family’s heritage in the jewelry trade ultimately drew me back and I found my passion in the world of design and craftsmanship.” His daughter Ranwa adds, “My passion was in gastronomy and hotels, so I began my studies and career in that field. However, I eventually decided to return home and join the family business. The skills I acquired during my hotel management studies and work have proven invaluable. Namir, Selim’s son, explains, “Encouraged to explore my own interests, I was drawn to science and the challenge of understanding how things work. Studying mathematics sharpened my analytical thinking, which naturally led me to the fascinating world of gemstones and the family business."
Selim concludes, “While we have maintained the core principles of traditional jewelry-making, we’ve introduced a more emotional and creative approach. Our aim is to inject more joy and contemporary elements into the designs, all while honoring the craftsmanship and techniques passed down through the generations."

Demetra Lalaounis
Third generation, CEO International

“At the dawn of the jet-set age in the 1960s, and with personalities such as Aristotle and Jackie Onassis putting the spotlight on Greece, my father, Ilias, set out to reimagine ancient Greek artifacts and transform them into contemporary jewelry creations,” Demetra says. “My earliest memories are of my three sisters and me, in our original workshop at the foot of the Acropolis, hammering away; more often than not, deconstructing rather than creating anything, but always with great zeal and passion.” In talking about the four sisters’ approach today, Demetra continues, “We have built on traditions rather than change them and continue to use all our hand-crafted signature techniques. It means a lot that we can work with jewelers associated with our company for generations, who pass their expertise and traditions to the younger ones.” The company believes in empowering women, bringing in more female jewelers to the company. Demetra concludes, “since the 1980s, we have used family members as models for our marketing campaigns. This was quite unconventional at the time but became a trademark and forged an unexpected connection between our clients and the LALAoUNIS brand.”

 Founded in 1895, La Biennale di Venezia  is one of the world’s oldest and most influential art fair staged in Venice every two years. It is widely regarded as one of the contemporary art world’s most important recurring exhibitions. For artists, curators and countries alike, participation in the Biennale remains one of the art world’s most prestigious events for international visibility.

Every two years, Venice transforms into a global cultural stage as exhibitions unfold across the city’s historic palazzi, churches and foundations. At the centre of the Biennale are two emblematic sites: the Giardini and the Arsenale. The Giardini, public gardens created during the Napoleonic era, house many of the permanent national pavilions where countries including Britain, France, Germany and the United States present their official exhibitions. Nearby, the Arsenale,  the vast former shipyard of the Venetian Republic, provides monumental industrial spaces for large-scale contemporary installations and the Biennale’s international exhibition. Together, the Giardini and the Arsenale form the institutional heart of the Biennale, while exhibitions and collateral events spread throughout Venice’s palazzi, churches and foundations during the months-long event.

Over more than a century, the Biennale has helped define the international contemporary art conversation, launching or consolidating the careers of some of the most important artists of the modern era. 

This is the context in which Bvlgari has announced its role as Exclusive Partner of the International Art Exhibition until 2030. The agreement marks the first time the Biennale has granted a luxury maison this type of long-term exclusive status, signalling a notable evolution in the relationship between major cultural institutions and private patronage.

Luxury brands have long supported exhibitions, museums and restoration projects in Italy, but traditionally through sponsorships tied to individual events, pavilions or heritage initiatives. Bvlgari’s partnership goes considerably further. Rather than acting solely as a sponsor, the Roman jeweller is embedding itself within the Biennale through commissions, exhibitions and institutional collaborations extending across several editions.

The maison will inaugurate its role in 2026 with two major artistic initiatives. At the Giardini, the newly created Bvlgari Pavilion will host Canadian artist Lotus L. Kang, whose installations explore transformation, memory and the passage of time through light-sensitive film and evolving sculptural elements. At the Biblioteca Nazionale Marciana, meanwhile, Fondazione Bvlgari — launched in 2024 to expand the brand’s cultural and philanthropic activities — will present works by Italian artists Lara Favaretto and Monia Ben Hamouda. Favaretto, one of Italy’s most respected contemporary artists, is known for large-scale works examining fragility, disappearance and the instability of monuments, while the younger Milan-born Tunisian-Italian artist Ben Hamouda has gained international attention for installations exploring language, spirituality and Mediterranean identity.

The partnership also reflects Bvlgari’s broader strategy of embedding itself within Italy’s cultural landscape. Over the years, the maison has contributed to major restoration projects including the Spanish Steps in Rome, the mosaics of the Baths of Caracalla and works at Venice’s Doge’s Palace and Murano. At the same time, it has strengthened ties with contemporary art through collaborations with institutions such as MAXXI in Rome and the Whitney Biennial in New York.

For the Biennale itself, the arrival of a long-term exclusive luxury partner reflects the growing importance of private funding within the cultural sector. For Bvlgari, the partnership offers visibility while placing the Roman jeweller in close proximity to one of the art world’s most influential international platforms.

_{The 61st International Art Exhibition of La Biennale di Venezia runs from 9 May to 22 November 2026, with preview days taking place from 6 to 8 May. The exhibition unfolds across the Giardini, the Arsenale and various locations throughout Venice. Main Biennale tickets include access to both the Giardini and the Arsenale, while collateral exhibitions across the city may be free, ticketed or require advance booking, depending on the venue.}

The word ‘considered’ comes to mind to express the mood at Watches & Wonders 2026, the largest and most important watch show of the year. Gone were the excesses and extravagances of past years, and in their place were refined upgrades with an emphasis on dial decorations. There was little innovation to be found in the space in between the entry-level watches and the high end, the buzz concentrated at either end of the arc.

The very high end proved its robustness with show stoppers such as Parmigiani Fleurier’s platinum anniversary editions and Jaeger-LeCoultre’s Master Hybris  Gyrotourbillon.Icons and entry level models were at the forefront of brand strategies with a surprisingly well-priced priced Rolex 100th Anniversary edition of the Oyster with the new colourful patterned Jubilee dial for a mere £5,600 for the 36mm steel version. The Rolex Oyster is arguably one of the most refined products of our lifetime, its design and mechanics thoughtfully improved year after year, yet remaining faithful to the original. The rigour of its design and performance make it one of the best priced high-end watches you can find. 

Where there was mechanical innovation, it was with a clear purpose such as IWC’s Pilot's Venturer Vertical Drive (above) with a Ceratanium case that eliminates the crown in favour of a patent-pending rotating bezel system paired with a rocker switch on the side of the case, allowing winding, home time, and mission time functions to be operated by an astronaut wearing pressurised suit gloves.

Parmigiani Fleurier’s Tonda Chronograph Mysteriéux (above) is a stand out example of mechanical advancement with a practical end and the best watch of the show. The disarmingly elegant watch conceals a chronograph that simply vanishes when not in use. At rest, the mineral blue grain d'Orge guilloché dial has but three hands, serene and uncluttered. Press the single monopusher at 7:30 and five coaxial hands choreograph a mechanical transformation, as rose gold hands emerge beneath to quietly continue keeping time. Parmigiani calls it complex minimalism, embodying the house philosophy of ‘private luxury’.

Chanel offered the usual array of Mademoiselle Chanel animated watches with the famous couturier spinning around on dials, as a miniature pendant watch or holding court on a bejewelled chess set. The watch that most captured my attention, however, was the realtively restrained Noued de Camelia cuff secret watch (above). As much a work of couture with exquisite embroidery and beading by Lesage as watchmaking, it epitomises the style of Gabrielle Chanel and the house’s skill in preserving meticulous craftsmanship to create stylish and beautiful objects with enduring and cross-generational appeal.

Cartier has revived the Baignoire (above), first created in 1958. Named for ‘bathtub’ in French the new models feature a pattern of Clou de Paris gold pyramids across the case, dial and bangle, bringing a contemporary and edgy look to this classic design.  The sculptural and angular elements of the Clou de Paris contrast with the smooth, sinuous form of the watch creating a fascinating tension that marks Cartier’s most successful designs, and a key feature of Art Deco designs that underpin the house style.

Piaget has refined the Andy Warhol watch that was created in 1972, with the anodyne name of  '15102' that became one of the American artist’s favourites. Renamed to reflect the collaboration  between Piaget and the Andy Warhol Foundation, this year's additions include dials in tiger’s eye and black opal with sapphires (above) confirming the adaptability of the original 1972 design and its place as a stalwart in the Piaget line-up.

It may be a canny timing by Bvlgari to launch a Gold & Steel series of watches and jewellery in the light of record highs for the price of gold and elevate steel to the level of a precious metal. But the result confirms that the move is design-led, and harks back to the 1970s when the house used steel in its Tubogas creations, propelling the utilitarian metal and the ubiquitous gas pipe (tubo gas) into the realms of luxury. The designs are dramatic and offer taut compositions of minimalism tempered by the soft glow of gold and the opulence of diamonds. Gold & Steel was in fact one of the most exciting and progressive launches of Watches & Wonder, proving that Bvlgari is a directional force in luxury design.

At Watches & Wonders Geneva 2026, Chanel did not attempt to compete on technical escalation. Instead, it continued to refine a distinctive approach, treating time as secondary to form, identity and craft.

The most explicit expression of this approach appears in the Noeud de Camélia embroidered cuff, a limited series of 20 pieces. The watch is almost incidental. A diamond-set camellia in white gold conceals a 10 mm dial, while the bracelet itself — a black grosgrain-effect ribbon — is embroidered with sequins by Maison Lesage . Acquired by Chanel in 2002 and integrated into its Métiers d’art division, Lesage remains one of the last great Parisian embroidery houses, historically supplying couture clients from Dior to Balenciaga, and still working across the industry today. Its role here is not decorative. The embroidery reinforces the illusion: this is read first as couture, then as jewellery, and only lastly as a watch.

That displacement of time becomes more explicit in the Coco Game collection, developed by the Chanel Watch Creation Studio under the direction of Arnaud Chastaingt, who has led watch design at the house since 2013. The most ambitious piece — a one-off chessboard set in ceramic, gold and diamonds — was already sold and not presented on the booth. Its absence does little to diminish its conceptual weight. In this work, Gabrielle Chanel appears as both player and symbol, with time hidden inside two queen figures that can be worn as pendants . The gesture is clear: time is no longer displayed, but embedded within a narrative system built from the house’s codes.

The rest of the Coco Game pieces extend this idea in more wearable forms. The Boy·Friend watch translates Gabrielle Chanel into a graphic playing card figure, in black and white with the clarity of a symbol . A long necklace presents her as a sculptural silhouette in diamond-set tweed, translating couture into high jewellery . Another version pushes further, reimagining her in a pixelated, video game-inspired form that echoes early 8-bit graphics. Gabrielle Chanel becomes a constructed image made of individual units, where pixels replace stitches, diamonds or tweed. Her identity carries across mediums through this shift in language . Across these pieces, the same logic applies: timekeeping is present, but never central. Identity, image and transformation take precedence.

Set against this conceptual exploration, the J12 provides a point of continuity. First introduced in 2000, it remains Chanel’s most recognisable watch, defined by its use of highly resistant ceramic and its pared-back, graphic design. Here, it appears in a 28 mm format with a textured black rubber strap, marking a subtle but considered shift. The material is sporty, but the finish evokes grosgrain ribbon, quietly echoing the codes seen elsewhere . There is no attempt to reinvent the model. Instead, Chanel adjusts it with precision, maintaining its position as a stable foundation within the collection.

The Première Galon brings the presentation to its most distilled form. A braided bracelet in white gold, lacquer and diamonds frames a black dial reduced to its essentials . The contrast of black and white, the twisted braid motif and the restraint of the composition all point to the same objective: clarity. After the layered narratives of the Coco Game pieces, this is Chanel at its most controlled.

Across these releases, the message is consistent with Chanel’s broader watchmaking direction. Rather than focusing on complication or performance, the house continues to use watchmaking as a medium through which its visual language — from embroidery to ceramic, from couture to graphic abstraction — can be expressed with precision. Time remains present, but it is no longer the central focus.

Stark, contemporary and edgy, the pairing of steel and gold brings a fresh energy to the house's classic designs. The move is not a rejection of the opulence and colourful extravagance that the house is known for, but a confirmation that design is king.

The very best designs work in different materials as witnessed by the B.zero1, Serpenti, Tubogas and high jewellery creations that proudly wear the new combination of steel and gold. Humble steel is worked with the same attention to detail as its more precious cousins to create a striking and original effect, all the more remarkable for its daring reversal of expectations.

Like the best ideas, this is not new as in the 1970s Bvlgari used these materials in a groundbreaking way, mixing the utilitarian aspect of steel and its honest aspirations with the glamour of gold. The house also mixed gold with ceramic and porcelain and later made aluminium desirable in its Bvlgari Aluminium watch.

The B.zero1 ring, born in 1999 as an act of deliberate rule-breaking, is the natural home for this material encounter. Two new versions, a two-band and a four-band ring, frame steel spirals between yellow gold outer edges, the architectural rhythm of the design evoking the ancient columns of Rome. The profile is slim and streamlined, designed for everyday wear and for layering, and the stackable logic of the B.zero1 universe means that the Gold & Steel rings integrate effortlessly with existing pieces.

The Tubogas necklace and bracelet reach further back into the archive, echoing a bold design from the 1970s in which seamless, flexible coils of steel are punctuated by yellow gold studs. The technique itself has a quietly remarkable history: originally drawn from gas pipes and conceived without soldering, Tubogas transformed the process into one of the house's most enduring and recognisable signatures. In its new Gold & Steel incarnation, the fluid movement of the coils is heightened by the contrast of materials, warmth playing against cool, softness against structure.

Three high jewellery necklaces complete the picture, bringing the Gold & Steel language into the rarefied territory of one-of-a-kind creation. That Bvlgari chose to honour this material combination at the level of high jewellery is the clearest possible signal of its seriousness. Steel, in these pieces, is not a concession to accessibility or a commercial calculation. It is a creative choice made at the highest level of the craft.

The Serpenti Tubogas Studs Capsule, a limited edition of four watches, carries the vision into watchmaking, wrapping the legendary Serpenti silhouette in a Tubogas bracelet enriched by the Stud motif, with diamond dials and mother-of-pearl completing the picture.

"Daniel Brush, the Art of Line and Light" that  runs from June 8th to October 4th in Paris, brings together more than 75 jewels, paintings and sculptures, some of which have never left the artist's Manhattan studio.

Brush died in 2022 aged 75 and the exhibition is curated by Brush's wife and lifelong collaborator Olivia, Brush, together with the jewellery historian Vivienne Becker, who wrote the definitive monograph on his jewel work. Rather than following a chronological or thematic path, the show is structured around the questions that consumed Brush throughout his career. Does a jewel have to be worn? Can it exist as a hand held object? Where does jewellery belong as an art form, and is it a work of art? These are not rhetorical provocations but the animating ideas behind a body of work that refused to respect the boundaries between disciplines.

For those unfamiliar with Brush, his significance in the world of art jewellery can hardly be overstated. A self taught goldsmith who began his career as a painter and sculptor, he retreated from public life in 1978 and spent more than a decade in near seclusion in his New York loft, teaching himself the ancient Etruscan technique of granulation — the painstaking process of soldering minute gold grains to a gold surface. He mastered this skill to a degree that rivalled the ancients, but it was only the beginning. Over four decades he created an extraordinary range of work: delicate granulated gold domes, jewel encrusted objects of fantasy, sculptural cuffs in blued steel and gold, the haunting Necks series of 75 steel chokers, and the Actresses collection of diamond and steel ID bracelets paying homage to the Golden Age of Hollywood. He worked entirely alone, without assistants, often with no preliminary design, cutting and shaping straight into the metal. His pieces sit in the permanent collection of the Metropolitan Museum of Art and have been exhibited by the Smithsonian, the Museum of Arts and Design, and Christie's and Phillips. In an era when the line between fine art and jewellery remains fiercely contested, Brush did more than anyone to challenge the hierarchy, insisting that something small enough to hold in the palm of your hand could possess the scale of history.

The leitmotifs of line and light thread through this exhibition. For Brush, light meant illumination in its most profound sense — the light of the divine, of the golden mosaics of Ravenna, of the cathedrals he visited on his travels. Line related to breath, to poetry, to the creative dynamism that drove his relentless process of making. Together they offer a way into the mind of an artist who was at once a philosopher, a craftsman of extraordinary rigour and a poet of precious materials.

The exhibition is free, with entry upon registration, and is open from Tuesday to Sunday, with late opening on Thursdays until 8.30pm. For anyone who cares about where jewellery sits in the wider conversation about art, this is essential viewing.

L'École, School of Jewelry Arts, Hôtel de Mercy Argenteau, 16 bis boulevard Montmartre, Paris 9e. lecolevancleefarpels.com

There is something deeply elegant about a partnership that feels inevitable rather than engineered. When Chanel became title sponsor and official timekeeper of The Boat Race in 2025 and renamed it The Chanel J12 Boat Race, it was the first sponsorship deal in the house's history. Even Frédéric Grangié, president of Chanel's watches and fine jewellery division, admitted the move was unplanned. Yet trace the threads back through more than a century of Chanel history and you find that this alliance between the world's most famous luxury house and Britain's oldest amateur sporting event has echoes of Gabrielle Chanel's unconventional pioneering spirit.

Gabrielle Chanel's love affair with Britain was, first and foremost, a love affair with British men. Arthur "Boy" Capel, the dashing English polo player and shipping magnate who became both her great love and her first financial backer, introduced her to a world of sport, physical freedom and the understated elegance of English menswear. His polo shirts, his easy jersey fabrics, his sporting wardrobe, all found their way, reimagined, into her revolutionary designs. After Capel's devastating death in a car accident in 1919, it was the 2nd Duke of Westminster who deepened Gabrielle's immersion in British life. For a decade she inhabited his world of country estates, salmon fishing on Scottish rivers, sailing aboard his magnificent yacht the Flying Cloud, and hunting in the grounds of Eaton Hall in Cheshire. She became friends with Winston Churchill during boar-hunting weekends and absorbed the textures of British country life. The fabrics of traditional British tailoring filtered into her world and become cornerstones of her aesthetic.

What made Gabrielle truly radical was that she did just observe these pursuits from a ladylike distance; she threw herself into them. She rode horses, played golf, swam and sailed at a time when such physical freedom was considered deeply unconventional for a woman. And she designed accordingly. "I invented the sports dress for myself," she declared, "not because other women played sports, but because I did." Her clothes liberated women's bodies from the constraints of corsetry and allowed them to move, to breathe, to compete. She was, in every sense, a pioneering spirit.

It is this spirit that animates the J12, the watch that now lends its name to the race. When Jacques Helleu, Chanel's then artistic director, created the J12 in 2000, he was driven by a personal obsession with the nautical world. He named his creation after the J-Class racing yachts; those breathtaking vessels with their taut hulls and monumental sails that competed in the America's Cup during the 1930s and are widely considered the pinnacle of classic yacht design. In black ceramic, a material never seen in luxury watchmaking, the J12 was sporty, uncompromising, and entirely without precedent. It was, as Arnaud Chastaingt, the current director of Chanel's watchmaking studio, has described it, "a radical act of creation."

In fact Helleu designed the watch for men and like the best concepts, women were naturally drawn to its sleek aesthetic and highly tactile ceramic case and bracelet. The J12 has grown and grown and every year evolves into new colours, dials, some even featuring a cartoon-like Gabrielle Chanel and myriad gem stone setting. 

The parallels between the J12 and The Boat Race run deeper than a shared affinity with water. Both are exercises in precision: in watchmaking, every component of the Calibre 12.1 movement must function in perfect synchronicity; on the Thames, eight rowers and a cox must move as one, where a fraction of a second's mistiming can mean defeat. Both demand gruelling, unglamorous preparation for a fleeting burst of glory. A year of training, of dawn starts and aching muscles, distilled into roughly seventeen minutes of furious racing from Putney to Mortlake. It is, in its way, not unlike a couture collection: months of painstaking work behind closed doors for a show that lasts barely twenty minutes.

And then there is the question of heritage. The Boat Race was first contested in 1829, making it nearly two hundred years old, yet its format remains essentially unchanged with the same two ancient rivals, the same raw human endeavour played out on the same stretch of tidal Thames. It has not been modernised or diluted. It remains, as Grangié himself observed, "the ultimate level of sport with the purest values." That combination of deep tradition and undimmed emotion resonates powerfully with a house that has never chased trends.

Chanel, at the pinnacle of luxury, could have chosen any sporting event on earth for its first-ever sponsorship. That it chose this one that is amateur, fiercely traditional, quintessentially British and fuelled by the competitive fire of youth,  tells you everything about where the house sees itself. Not merely as a guardian of heritage but as an embodiment of Gabrielle Chanel's own pioneering instinct: the woman who belted the Duke of Westminster's polo coat at Chester races and changed the way the world dressed. On the Thames this Easter Saturday, as the crews surge towards Mortlake, the J12 will be counting every second. Gabrielle, one suspects, would have been on the riverbank cheering.

Bvlgari’s new high jewellery collection, Eclettica, is one of its most ambitious yet. Eclettica is composed of 160 pieces across the categories of high jewellery, watches, handbags and fragrances.  The high jewellery  includes 15 transformable creations, 50 ‘millionaire’ creations and nine ‘capolavori’ or masterpieces. With Eclettica, Bvlgari takes another step in its journey of creating a new style of high jewellery marked by design audacity, technical mastery and exquisite gemstones. Eclettica is Bvlgari's most ambitious release and a clear statement of commitment to the concept of ‘artsmanship’ where artistic intuition is brought to life by outstanding craftsmanship. 

As its name suggests, the collection's richness of inspiration and styles expands the definition of daring. From neoclassical to art deco, or modernist to Moorish, the narrative behind Eclettica reveals an opulent and free-flowing interpretation of creativity in high jewellery.

The Emerald Strata necklace (main image) in rose gold assembles five sugarloaf emeralds from Zambia into a cravat-like structure that drapes with surprising suppleness for a piece of such architectural intent. Nearly a year was spent sourcing stones of the required calibre and consistency. The Eclectic Embrace collar takes its geometry from the Moorish mosaics of Sammezzano Castle near Florence, its 180 modular elements engineered to allow a rigid form to move with ease.

Discover more Bvlgari jewellery here

The diverse array of jewels shares a consistent method that draws on Bvlgari’s appreciation of sculpture, painting and architecture as creative sources. Each discipline contributes in its own way: sculpture introduces volume and the play of light;  gemstones are arranged with painterly skill and, architecture brings proportion and a pleasing rhythm. 

Among the Capolavori, the Seres Scarf necklace (above) in white gold is the most technically demanding piece. Constructed from more than 1,180 individual components over 1,600 hours, it moves like draped fabric, its sapphires and emeralds arranged in a woven pattern drawn from art deco geometry and Tamara de Lempicka's ground-breaking paintings. A detachable brooch set with a 31.90-carat sugarloaf sapphire from Sri Lanka can be placed at any point along the length: transformability at its most creative and free-spirited.

The Secret Garden necklace (above) takes a different approach, building its composition entirely around a 26.65-carat Padparadscha sapphire from Sri Lanka that Lucia Silvestri, Bvlgari's Jewellery Creative Director, spent years hunting down. The surrounding arrangement of baguette cuts, onyx inlays, purple sapphires and cabochon emeralds is deliberately restrained, giving the central stone room to shine out.

The collection's treatment of the Serpenti motif, Bvlgari's most persistent visual signature, runs through several of the Capolavori. The Serpenti Infinia bracelet (above) in white gold devoted 1,385 of its 1,800 total craftsmanship hours to diamond cutting alone, including a one-of-a-kind 7.49-carat stone developed exclusively for this piece that sits in the head of the snake, its sinuous body wrapping four times around the wrist.

A second snake bracelet, the Serpenti Spira (above)  is in very different style, in the form of a cuff inspired by the power of Roman columns. The clasp-less cuff easily slips onto the wrist. As if warming itself in the Roman sun, a writhing serpent rests on the ‘column’ set with white and yellow diamonds, its body rippling with diamonds and onyx scales. Lucia Silvestri describes the jewel as: art in wearable form.’

The collection's red carpet moment arrived at the Academy Awards just a week before the official launch of Eclettica, when two pieces appeared on the Dolby Theatre stage that same evening. Priyanka Chopra Jonas wore the Serpenti Illusio necklace (above) in white gold, with a central 14.01-carat antique cushion-cut sapphire from Madagascar, set in a serpent's silhouette that, at first glance, reads like a visual pun as pure geometric abstraction.

In diametrically opposed style, the Neoclassical Starlight necklace was worn by Anne Hathaway, a high-wattage design featuring an 8.02-carat pear-cut Fancy Vivid Yellow diamond set in platinum, surrounded by an additional 35 carats of diamonds. The actress completed her look with the transformable Daphne's Laurel earrings set with Fancy Intense Yellow and white diamonds, inspired by the myth of Apollo and Daphne. 

The haute horlogerie pieces follow the same ambitious trajectory and include the Notte Stellata Divas' Dream (above), whose black opal dial maps the night sky above Rome in 753 BC, the Pavone bracelet watch, and the Serpenti Dea Secret watch.

Eclettica confirms that Bvlgari, with its mastery of myriad talents, dares to free its creativity beyond the confines of traditional high jewellery, bringing something exciting, new and awe-inspiring to this most precious of jewellery arts. 

Vescovi Milano, launched at the start of 2026 may be a new name in the world of luxury Italian high jewellery, but it embodies half a century of design wisdom, manufacturing knowledge  and market savviness. Shira Ghaffari and her son Federico Vescovi are behind this venture that brings joy, colour and wearability to the most precious jewellery that first and foremost, is designed to be worn and not languish in the safe, waiting for that special event. 

Odea, the maiden collection, is one of those ideas that makes you wonder why it hasn’t been done before. Brilliantly simple, it is in fact a masterclass in what the Italians do best: rigorous design expressed in the highest craftsmanship using the finest materials, with a dash of Italian style. And the jewels are breathtakingly beautiful, but in that restrained Milanese way that never goes too far, but is always elegant and just on the right side of opulence.

Odea offers suites, or kits, of precious components that can be worn in myriad ways. Each suite is modular and made up of a reassuringly weighty gold chain with a hook clasp, an entirely diamond-pavéd round bracelet and three oval clasps with concealed opening mechanisms set in a rainbow of ten vibrant colours or white or champagne diamonds. The suites can be enhanced with extra clasps in dazzling hues or hinged earring clips to offer even more options. With these pieces, Vescovi Milano offers a jewellery set for life that can be worn in dozens of ways, all day long or for very special evenings.

Vescovi Milano's Odea may look simple, but its easy elegance is down to a ferocious attention to detail. Every piece is hand-made in Italy to exacting instructions, all under the watchful eye of Shira Gaffari, who designed the collection. The entire surface and curves of the gem-set clasps and hooks are smooth to the touch with hidden mechanism that open with a simple, reassuring click. Every part of the gold or platinum chains is formed by hand, and the rope bracelet is a slinky, shimmering mechanical marvel that rolls over the skin like a silk. Every gemstone has been selected for perfect colour match and then re-cut to fit seamlessly into the gold and platinum settings. 

Clasps can be added to the chain to wear as a long necklace, a lariat, a choker, a bracelet or to add length to the earrings. For the daytime, just add one link to your necklace for a dash of glamour, for nighttime, all three clasps form a choker with the chain around the back of the neck. The clasps can added to the earrings or used as scarf rings. The round diamond-rope bracelet with its tapered hook clasp can be worn on the wrist or to add length to a necklace or even as a belt, and for the more fashion-forward, as shoulder-grazing earrings. The earrings become cufflinks and two bracelets make a luxurious all-diamond necklace, the list goes on and on.  Bespoke pieces are included such as the Rainbow necklace with its dazzling colours. 

Odea’s discreet luxury is down to its minimalist and functional design executed to perfection. Hints of the family’s heritage come through in the marine-inspired hook, the rope chains and the fully operational clasps.  It comes as no surprise that there is an artistic mind behind the designs as Shira Ghaffari studied Fine Art in Milan after which she dedicated the last five decades to the jewellery world designing, advising, sourcing and developing brands for some of the biggest names the industry. Her knowledge is vast and she has poured all this into the first jewels she puts her name to. 

Together with her son Federico Vescovi, gemmologist and entrepreneur, the duo has meticulously planned the trajectory of Vescovi Milano. Odea is organised into nine suites that can be added to over the years. The collection will be available to buy in a handful of select retailers and, ever mindful of sustainability, will be produced to order. Vescovi works to the Responsible Jewellery Council’s codes and strives to source all its materials responsibly. 

Shira Ghaffari’s confidence in her depth of experience is behind Vescovi Milano’s unique proposition, and the culmination of a lifetime immersed in the jewellery industry. Simply put: Shira Ghaffari knows what works and how to do it. With this advantage, Vescovi Milano has hit the ground running and offers a fresh way to make the most precious jewellery relevant, useful and designed to live on the skin. 

There is no red carpet quite like the Academy Awards, and no jeweller with deeper roots in Hollywood's most glamorous night than Bvlgari. The Roman jeweller has dressed generations of leading ladies, from Elizabeth Taylor and Ingrid Bergman to Zendaya and Priyanka Chopra Jonas, and at the 98th Academy Awards it pulled off something spectacular: a global preview of two extraordinary creations from its forthcoming Eclettica high jewellery collection, worn by two of the most photographed women in the world.

Read more about the style of Bvlgari here

Eclettica is not due to be officially unveiled until later this month, but in a daring masterstroke,  Bvlgari chose Hollywood's most iconic night to give the world its first glimpse. 

Priyanka Chopra Jonas (above), one of Bvlgari's most devoted and long-standing global ambassadors, wore the Serpenti Illusio high jewellery necklace. The necklace (below) is built around a 14.01-carat antique cushion-cut sapphire from Madagascar whose deep, saturated blue anchors a dazzling composition of pavé diamonds, buff-top emeralds and onyx. At first glance the necklace appears to be a hypnotic geometry of diamonds that slowly, almost imperceptibly, reveals itself to be a serpent, Bvlgari's most iconic symbol is brought to life as a contemporary bas-relief. Composed of 235 individual elements over more than 1,300 hours of work, such is the subtlety of the design, that the more you look, the more you see. Paired with a high jewellery diamond ring and earrings, Chopra Jonas wore the look with the easy confidence for the world to see as she stepped onto the red carpet in a Dior strapless white gown with a feather-trimmed slit.

Anne Hathaway, equally at home in Bvlgari, chose the Neoclassical Starlight high jewellery necklace (below), a platinum creation of an entirely different character. At its heart sits an extraordinary 8.02-carat pear-cut Fancy Vivid Yellow diamond, a stone prized above all for its rare, even colour distribution. The gem is set in a detachable pendant and surrounded by a constellation of pear, round and step-cut diamonds, bringing the total diamond weight to over 35 carats. The inspiration is Antonio Canova, the great Neoclassical sculptor, with a luminous clarity and perfect equilibrium evocative of another era, reinterpreted for today. It took Bvlgari's master jewellers 850 hours to bring it to life.

Both necklaces embody the spirit of Eclettica, inspired by sculpture, painting and architecture, that draws on Bvlgari's Roman heritage yet pushes the idea of high jewellery somewhere altogether more ambitious. The collection's title says everything, as each jewel is eclectic, free of hierarchy, and boldly imaginative. For a Maison that has always worn its artistic audacity lightly, this feels like a natural next step. And if these two extraordinary pieces are anything to go by, the full reveal later this month will be worth the wait.

I visited Doris Hangartner’s light-filled studio in Zurich’s old town to discover a new approach to wealth management through the creation of a GemWealth portfolio of colour gemstones. Sitting behind a large white-topped desk – key to seeing gemstones' true colours – Doris Hangartner brings out tray after tray of brightly hued gems. These candy-bright gems are the basis of each personalised GemWealth Portfolio and include spinel, tourmaline - most notably Paraiba tourmaline -  morganite, tanzanite, mandarin and tsavorite garnet, offering a hard-to-match array of fascinating and highly valuable gems.

Doris Hangartner has over thirty years experience in the jewellery industry and she set up her business 13 years ago, drawing on her knowledge as a gemmologist with a background in diamond dealing and estate jewellery. Her passion for stones began with her childhood love of collecting pebbles and rocks during hikes in the Swiss countryside and has grown into the foundations of her pioneering gemstone investment business. 

Preferring stones that are still less-known to the big four: diamond, ruby, emerald and sapphire, Doris began collecting the finest examples of exceptional colour gemstones, including the mesmerising vivid blue Paraiba tourmaline. Guided by instinct and deep gemmological knowledge, Doris has curated a spectacular collection of investment-grade gemstones over the past 13 years. 

Read more about Paraiba tourmalines here

The GemWealth Portfolio offers clients the opportunity to create their own selection in a process that can start  with an understanding of the investor's character. Doris then matches gemstones to each individual and can even make a gemstone mandala or crystalline portrait of their personality adding a new dimension to financial decision-making. This experience helps the client understand which stones resonate with them, narrowing down the selection of gemstones to add to their GemWealth Portfolio. Doris says: 'Gems are an intriguing portfolio diversification as they are portable, discrete and easy to store, and can hold a lot of value in a very small space. They are rare and scarce and are uncorrelated to the markets.'

Doris suggests starting with 250,000 CHF to buy top-quality stones in optimal sizes, focusing on the very best examples for each gem. She recommends a mix of 80% Paraiba tourmalines, red spinel, and tsavorite garnets, with the remaining 20% composed of other gems such as mandarin garnets, canary yellow tourmalines, and a range of spinels in hues like aubergine, lavender, or grey. The stones can be stored in a vault or made into jewellery to be enjoyed, an aspect that Doris believes adds to their appeal. Investors can add to their portfolios over time or sell stones back into the market or to Doris, providing flexible exposure to a broad array of gemstones.

While many may be familiar with investing in the more traditional sapphires, rubies, and emeralds, the public knows less about other coloured gems that have shown impressive growth over the past 20 years due to scarcity, desirability, and lack of knowledge. Given this scenario, a GemWealth Portfolio could be a wise way to diversify. Doris’ clients include individual investors, family offices and gem connoisseurs, looking to build a legacy through precious stones with preservation of inter-generational wealth in line with a strategy of 'gems for generations'. Doris has fine-tuned the skill of putting together GemWealth Portfolios that balance growth with emotional appeal and pleasure.

Paraiba tourmalines are a category in which Doris excels as starting in 2012, she was amongst the first to collect these stones. She was mesmerised by their  ‘Hollywood swimming pool blue’ electric colours that the gem world had never seen before.  Paraiba tourmalines were first discovered in 1987 in Brazil by Heitor Dimas Barboso in pegmatite mountains in the Paraiba district, under inhospitable, arid conditions, and since then, this original source has been said to be depleted. Seams were later discovered in Mozambique and Nigeria, but the gem is still extremely rare and highly sought after, with carat prices many times those of diamonds. 

Doris estimates that since Paraiba tourmalines were introduced to the market in 1991, they have increased in value by 500 to 1,000 times, while other stones have quintupled in value over the past twenty years. Unlike diamonds, which have fallen in value due to the rise of lab-grown versions, colour gemstones have steadily risen in value. As with any investment, you can make or lose money, and nothing can be guaranteed, but Doris is one of the few specialists in this niche attracting a wider range of investors than could not have been imagined even a decade ago. 

The GemWealth Portfolio brings a fresh joy to the number-driven world of wealth management, with the possibility of diving deep into your personality while maintaining a cool business head and choosing stones for both their appeal and growth potential. Let the gems shine!

The information in this post should not be taken as financial advice. Investing  carries risks. Past performance is not indicative of future results. 

Once seen, Azza Fahmy’s jewellery cannot be forgotten, thanks to a unique combination historical depth with contemporary style, they are imbued with an unmistakable air of the richness of the heritage of Egypt. A look at Azza Fahmy’s latest designs confirms that the house continues its strong tradition of marrying storytelling and symbolism with strong design.

This approach makes Azza Fahmy is one of the most culturally expressive designers working today creating jewellery that is both steeped in history yet undeniably modern. I have chosen my favourite pieces from across a range of collections and share their design cues and my thoughts on why they resonate so strongly with women today.

Azza Fahmy’s work resonates because it treats heritage as a living, evolving language and the Turath Collection (above) that includes Roman Chain rings clearly reflect this philosophy. Turath, meaning ‘heritage,’ references traditional metalwork forms, while the Roman Chain ring nods to the to the extensive Mediterranean influence that infuses in Egyptian history.

The Lotus Choker (below), one of the most powerful designs from the Shen Collection, drawn from the ancient Egyptian symbol of the eternal loop of rope. The neck-wrapping structure fastened with a silver ‘rope’ reveals the workshop’s ability to create large pieces that are surprisingly wearable. The articulated panels, bring the timeless beauty and significance of the lotus flower into a bold neckpiece that despite its dimensions, sits lightly on the skin. 

A different aspect of the designer’s aesthetic emerges in the Floral Tribal earrings (below), where emeralds bloom alongside delicate arabesque forms and Arab script. This fusion of botanical design with Middle Eastern motifs highlights the house’s ability to merge diverse cultural references in its characteristic house style.

The scarab, revered in ancient Egypt as a symbol of rebirth sits at the heart of Fahmy’s design language. In the Scarab Collection the iconic insect is cast in a new light and its pleasingly round shape is reimagined for today. The Scarab Lattice bracelet, with its openwork geometry, translates ancient motifs into fluid contemporary forms, while the chevalier ring cleverly wraps a diminutive scarab around the pinky finger. The Eye of Horus Scarab ring layers two powerful talismans: the protective Eye of Horus and the regenerative scarab giving the wearer not only adornment but the protective power of these two time-honoured guardians.

Every Azza Fahmy jewel pays homage to an artisanal tradition preserved through decades of workshop knowledge. The scarab chain (above) with each scarab linked, sculpted and carefully balanced, demonstrates the precision and repetition required for perfect flow and pleasingly tactile effect. The Scarab Lattice bracelet showcases the workshop’s mastery of openwork construction, ensuring strength without heaviness.

The Karnak earrings (above) and ring pay homage to one of Egypt’s most iconic temple complexes. Their silhouettes echo columned halls and monumental doorways, distilling the essence of ancient architecture into jewellery that feels intimate yet regal.

From the El Nur family, the Calligraphy Floral Bangle (above) transforms Arabic script into the architecture of the jewel. The frame of the bangle is built from flowing Arabic calligraphy, the strokes interlaced to form a structure that reads as both ornament and poetry. It is one of Azza Fahmy’s most distinctive design approaches transforming text into elegant jewellery freighted with emotion.

The Stone of Joy multi-way necklace (above) as its name suggests, is a pleasure to wear with its cascades of colourful, water tumbled and facetted gemstones interspersed with gold beads formed of Arabic calligraphy that read ‘endearment and mercy’ and ‘happiness and safety’. Its easy-going appeal and apparent simplicity are deceptive as the composition is a sophisticated construction of colour, proportion, movement and texture.

As different as each piece is, every one of them embodies Azza Fahmy’s skill at transforming cultural elements into refined jewellery that tie us to the past with the lightest of touches, offering a thoroughly modern way to wear jewellery rich in symbolism and meaning. 

The 2025 Bright New Gems award winners join a distinguished group of jewellers who, over the past twenty years, have benefited from the career boost the award provides. In addition to showcasing graduates’ work, the programme offers mentoring and professional development, helping launch the careers of 98 of the brightest talents in jewellery design. This milestone is being celebrated with a one-day-only exhibition at the Goldsmiths’ Centre in London on Tuesday, 3 March, where the work of fifty past winners will be displayed—both to inspire future graduates and to highlight the diversity of previous recipients.

Bright New Gems judge, Susi Smither comments on the commitment of the panel: 'With a legacy of talent spotting the best jewellery graduates over the course of the last twenty years, the onus is on us judges to get it right. '

The awards are split into two categories for both BA and MA entrants: Show-off Statement Pieces and Responsible Thinking – Sustainable Eco-Heroes. This year’s Show-off Statement Pieces winners among the BA graduates include Ruby Lanigan (Birmingham School of Jewellery) for her bold and versatile Baroque Architecture Necklace; Yosef Salih Murad (Glasgow School of Art) with the Regular Irregularity design, drawing on Iranian heritage and the rich symbolism of Persian carpets; and Céline Munisso (University for the Creative Arts) for her evocative Sinful Indulgence ring, which features a miniature table setting, baroque pearl, and candle from the Pay the Bill – Avicide collection. In the MA section, Lengli Bai (Central Saint Martins) took the prize with the dramatic, multi-tiered Shimmer Ripples necklace and earrings, crafted from paper yarn and silver-plated copper wire.

The Responsible Thinking – Sustainable Eco-Heroes winners are BA graduate Lulu Tian (Central Saint Martins), who developed bioplastic jewels from fish scales inspired by seaweed and plankton, and MA graduate Bocen Zhou (Royal College of Art), who created the hauntingly beautiful The Life of a Pebble necklace from soil, glass, and silver. Highly commended are Luofan Zhuang, Jiayang He, Andrea Carrera, Xiyue Mei, and Dan Le.

Among the fifty jewellers featured in the 20th Anniversary Exhibition are now-renowned names such as Pippa Small, Fernando Jorge, Ruth Tomlinson, Tomasz Donocik, Zeemou Zeng, Alexandra Jefford, Hattie Rickards, Ana de Costa, and Imogen Belfield.

Running alongside the exhibition was  the panel talk Turning Points: 20 Years of New Voices in Jewellery, where I spoke with three Bright New Gems alumni—Imogen Belfield, Katy Tromans, and Makila Nsika—who will share insights into career-defining moments, pivotal decisions, challenges, collaborations, and the journey from graduation to becoming successful jewellery entrepreneurs.

Cartier

Cartier presented the third chapter of En Équilibre, following the second chapter shown in July 2025. The collection continues the maison’s exploration of line, balance and controlled asymmetry — themes that have long defined its high jewellery language.

The Euphonía necklace immediately stood out. A rare suite of emerald-cut rubies is paired with emerald-cut diamonds, arranged in alternating vertical strands that fall with strict geometry. The openwork construction keeps the composition light despite the density of stones, while the repetition of cuts creates a strong visual rhythm. It is a very Cartier way of using colour: precise, architectural and uncompromising.

The Parcae necklace expresses the same search for balance in a more restrained register. Three pear-shaped Madagascar sapphires align along the centre, suspended within fine diamond lines that taper into a soft Y-shape. The design is spare, almost severe, but the deep blue drops anchor the piece and give it presence. Here again, everything rests on proportion 

Boucheron

Boucheron presentations during Haute Couture Week have a distinctive clarity, shaped by the direct presence of its creative director. For 14 years, Claire Choisne has led the maison and is consistently present to explain her creative journey. Models wear the pieces, allowing the jewels to be examined closely, and the staging makes their construction easy to grasp. This season, a series of archival mini-films further clarified the collection’s dialogue with Boucheron’s history.

That dialogue between past and present is central to Choisne’s approach. She structures the maison’s year around two complementary expressions: a January collection rooted in the archives — often within the Histoire de Style series — and a July Carte Blanche collection where she works without historical constraint. This January chapter returned directly to Frédéric Boucheron, focusing on his fascination with living, untamed nature.

It is within this exploration of untamed nature that the Untamed necklace emerges as the collection’s most memorable piece. Inspired by the ivy Frédéric Boucheron admired for its wild growth, the jewel unfolds as a long diamond-set branch that appears to climb down the body. Leaves and stems are articulated one by one, with rock-crystal fruits and trembling elements introducing subtle movement. Its length and equilibrium are precisely engineered so it can be worn in multiple ways — long, short, or reconfigured — echoing the freedom of wear central to Boucheron’s history. What strikes in person is its naturalism. The ivy is not stylised; it feels irregular, alive and slightly unruly — exactly the quality Frédéric Boucheron valued in nature.

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Chaumet

The Chaumet presentation began in the maison’s archive rooms overlooking Place Vendôme. Founded in 1780, the house preserves its creative notebooks and historic ledgers there; seeing the original drawings and records of past commissions made its historical depth immediately tangible before encountering the new collection.

That depth runs directly through Envol, which revisits the wing motif present in Chaumet jewels since the early nineteenth century. Among the clearest precedents are early twentieth-century wing jewels in translucent blue enamel and diamonds, notably a spectacular pair acquired in 1910 by Gertrude Vanderbilt Whitney and worn as a tiara. These naturalistic enamel feathers, now in the Chaumet heritage collection, provided a direct visual source for the new designs.

The collection’s central piece is the transformable Envol aigrette tiara, a technical and symbolic anchor for the chapter. Composed of articulated enamel wings set with diamonds and centred on a pear-shaped Madagascar sapphire, it can be worn as a tiara, separated into brooches, or even transformed into a mask framing the face. This multiplicity closely echoes historical Chaumet jewels conceived for adaptable wear and ceremonial display.

What impressed most was this clarity of dialogue between archive and creation: the wings remain recognisably Chaumet, yet their scale, colour and transformability place them firmly in the present.

Click this linkto watch our Instagram Reel

Anna Hu

Anna Hu’s jewellery stood apart for its freedom and imagination. Seeing her pieces felt closer to looking at small sculptures than at conventional high jewellery.

The Imperial Palace Garden ring was particularly compelling. A rose-gold lattice set with single-cut diamonds forms an open structure, filled with natural and Keshi pearls arranged in uneven clusters. The design suggests architectural screens and garden views — references Anna Hu takes from imperial palace gardens — but most striking is the sense of depth and movement within such a compact piece.

The Orchid Minuet jewels show another aspect of her work. The orchids are sculpted in titanium and coloured through nano-electroplating and hand painting, producing soft tonal shifts rather than gem-set colour. Inspired by classical orchid imagery, they feel light and alive, almost like painted forms translated into volume.

Anna Hu’s jewellery builds a complete visual world within a single piece — personal, cultural and unmistakably her own.

Click this linkto watch our Instagram Reel

Graff

Graff presented its new high jewellery suite in the Paris boutique at the corner of Rue de Castiglione and Rue Saint-Honoré, minutes from Place Vendôme. Entering the space feels almost ceremonial: high ceilings, hushed light and vitrines of extraordinary stones create the impression of a cathedral devoted to gems. At Graff, everything ultimately leads back to the rarity and authority of the stone.

The focus was a sapphire and diamond choker built around a rare 31-carat unheated emerald-cut sapphire. Emerald-cut white diamonds form a continuous luminous surface, from which pear-shaped diamonds and sapphires radiate outward, creating depth and controlled radiance across the collar. Matching earrings extend this geometry in articulated cascades centred on emerald-cut sapphires.

The effect is pure Graff: monumental stones, flawless symmetry and absolute clarity of design, where the jewel serves first to reveal the presence of the gems themselves.

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De Beers

De Beers marked its Paris presentation with the opening of a major new flagship on Rue de la Paix, steps from Place Vendôme. The boutique — the largest for De Beers Jewellers, now presented under the De Beers London name — signalled a significant moment for the brand’s retail arm.

De Beers Jewellers (De Beers London), which operates the Paris boutique, is wholly owned by De Beers Group. The group itself is 85 % owned by Anglo American — the London-headquartered mining company founded in 1917 — and 15 % by the Government of Botswana. In May 2024, Anglo American announced plans to divest or demerge De Beers as part of a wider restructuring; the process is ongoing and has entered an advanced stage, with potential buyers in discussion and a sale expected during 2026.

Within this context, the emphasis of the presentation leaned more toward brand environment and diamond heritage than toward a distinct new design direction in high jewellery. The pieces themselves remained centred on diamond purity and classical line, with less of the formal experimentation seen in several recent collections.

The moment read above all an affirmation of De Beers’ authority in diamonds and its renewed presence on Place Vendôme.

Repossi

Repossi showed a small group of Blast – Splash of Colours pieces in its Place Vendôme boutique. The intimate presentation matched the house’s restrained vision of high jewellery, where stones are absorbed into form rather than displayed for impact.

Founded in Turin in 1957 and present on Place Vendôme since 1986, Repossi came to high jewellery later than most historic houses. Under Creative Director Gaia Repossi — granddaughter of founder Costantino Repossi — the maison has established a clear identity centred on sculpted gold and graphic line. Blast, first developed in high jewellery in July 2025, marked the expansion of this aesthetic into more elaborate pieces.

This second chapter introduces colour through mandarin garnets, tourmalines, citrines, sapphires and tanzanites set along the spiralling gold volumes. The stones follow the movement of the metal rather than interrupting it.

The result remains unmistakably Repossi: controlled, architectural and quietly powerful, with colour integrated into the structure itself.

Click this link to watch our Instagram Reel

Pomellato

Pomellato presented a single high jewellery set, Scala di Luce, ahead of its main 2026 collection to be unveiled in July. The house entered high jewellery relatively recently, with its first collection, La Gioia, launched on 1 July 2020 during Haute Couture Week. Since then, Pomellato has approached the category in a characteristically Milanese way: fluid, wearable and grounded in design rather than spectacle.

The parure reinterprets a 1970s Pomellato round-link chain in rose gold, traced with diamonds and punctuated by pear, princess and baguette cuts. The contrast between the soft volume of the chain and the sharper geometry of the stones creates a clear geometric rhythm.

The result feels very Pomellato: high jewellery conceived to move with the body, luminous yet easy, with the necklace, bracelet and earrings forming a cohesive, wearable line of light.

Click this link to watch our Instagram Reel

David Morris

Legacy of Colour was presented in the David Morris boutique on Rue Saint-Honoré, just steps from Place Vendôme, in a relaxed setting. The jewels were shown on a model, which immediately clarified their scale, relationships and colour interplay — far easier to read than in static display.

The standout pieces were the Fearne necklace and earrings. Inspired by fern fronds, both follow an asymmetric, sculptural line. Fancy coloured diamonds — blues, greens, purplish pinks and yellowish oranges — emerge from a white-diamond structure, the organic rhythm holding the palette together. In the earrings, this structure becomes more vertical and fluid, giving the colours greater lightness and fluidity.

Across the collection, colour dominated, handled with confidence and structural clarity.

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Lydia Courteille

Lydia Courteille presented White Paradise at her boutique on Rue Saint-Honoré. The collection was immediately compelling for its clarity of theme and the strength of the jewels themselves.

It began with a group of dendritic white opals whose natural patterns evoked snowy landscapes and suggested a polar world. Diamonds were chosen to accompany these stones, bringing light and structure to the compositions.

From this starting point, several visions developed. Arctic animals whose coats turn white for camouflage appear across the collection, alongside revisited snowflake motifs. The dendritic opals form the landscapes, while diamonds trace ice and frost across their surfaces.

Lydia Courteille occupies a singular place in high jewellery, known for narrative and sculptural pieces shaped by myth and nature rather than traditional maison codes. White Paradise continues this approach with conviction and imagination.

Click this link to watch our Instagram Reel

Mellerio

Founded in 1613 and established on Rue de la Paix since 1815, Mellerio remains the oldest independent jewellery house in Paris. During Haute Couture Week, a discreet selection of high jewellery was presented in the boutique, centred on individual creations rather than a titled collection.

Among the pieces, the Talisman Ring Comète was particularly striking. In 18-carat white gold, the ring is set with a 1.89-carat rose-cut diamond surrounded by diamonds of varying cuts, yellow sapphires and a small opal accent. The composition suggests a comet’s radiance through layered geometry and controlled asymmetry, combining historic diamond cuts with points of colour in a compact but powerful form.

Click this link to watch our Instagram Reel

The January launches mark a stage in the haute joaillerie calendar, with the next presentations in July 2026 set to expand these established maison signatures.

One of the highlights of the jewellery year is seeing what surprise Claire Choisne, Creative Director at Boucheron, has dreamt up. The January collection, under the Histoire de Style label is based on the house’s design heritage, carefully preserved in its extensive archives.

This year, Claire Choisne shoots right to the heart of Frédéric Boucheron’s design genius by re-visiting four of the founder’s most notable designs from the late nineteenth century, those that marked him out as a visionary who redefined high jewellery. “With this new high jewellery collection, I pay homage to Frédéric Boucheron by sketching his portrait through these four major pieces,” says Claire Choisne.

Frédéric was the son of a draper, destined for the family business, but was drawn to jewellery and its potential to express his deep love nature, with all its charm and imperfections. Working during the heady years of Paris’s Belle Epoque, in which Darwin’s theories were embraced, the great Expositions Universelles of the 1890s offered a glimpse of a thrilling future, and Haussmann created his vision of an ordered and grandiose city; Frédéric was to jewellery what Eiffel was to engineering.

Find out more about Boucheron here

Founded in Paris in 1858, Frédéric’s visionary approach included the decision to be the first major jeweller to move into Place Vendôme. Choosing a prime location on the corner with rue de la Paix, his colourful jewels were flooded with light. In tune with the rituals and routines of women, his windows were on the route taken by fashionable ladies on their stroll to the Tuileries gardens and across the square from the newly opened Hotel Ritz, the last cry in modern comfort. The location proved to be a stroke of genius, and Boucheron became a favourite of high society, film stars, royalty, maharajas, and artists seeking jewels in the house’s bold and distinctive style.

Like Frédéric’s story, the collection starts with a homage to the importance of 26 Place Vendôme with The Address necklace (above). The necklace features an impressive 10.01-carat emerald-cut diamond inspired by an archive design from 1839 that echoes the shape of the Place Vendôme as seen from above.  References to Place Vendôme are echoed in the bold architectural volume of the pendant and in a surround of diamonds set like paving stones, framed by black enamel. A ribbon of white gold is set with baguette diamonds, adding fluidity and grace. The central diamond can be removed to be worn as a ring, a delightful detail in this impressive jewel.

The Spark necklace recognises the seminal importance of the Question Mark necklace. As fashion-forward couturiers freed women from tight corsets, restrictive bodices and trailing skirts, so Frédéric liberated women from complicated, formal jewels that required a maid’s assistance. The deceptively simple Question Mark necklace – named for the clean lines of its asymmetric, curving shape - slipped around the neck with ease thanks to hidden springs as seen in a 1884 photograph from the house archives. The Spark brings the design up to date by using eight different diamond cuts that flow through the elegant question mark shape of the necklace, lightly sweeping around and down the neck.

Fusing his knowledge of fabrics and clothing, Frédéric created jewels that draped across the body and could be easily adapted for different wear. The Silhouette continues this spirit with a jewel composed of seven metres of six slinky rows of 2,500 diamond-set beads secured by Art Deco-style clasps. The swags of diamonds can be worn in six different ways: fastened at the shoulders to drape like rippling sleeves, as a necklace, choker, bracelets or epaulette-style brooches. The Silhouette embodies Frédéric’s audaciousness and luxurious opulence.

At a time when jewellers preferred stylised, perfect representations of flowers and plants, The Untamed jewel (above) directly references Frédéric’s love of the wild side of nature. The troublesome, invasive ivy, not welcome in the repertoire of traditional jewellery, was a favourite of Frédéric, who captured its meandering, wilful beauty. Claire Choisne extends the concept into a question mark necklace that runs the entire length of the torso. Rippling with delightful details like en tremblant settings, hidden berries and barely unfurled tender leaves, the jewel can be worn long or short, in the hair, as a choker or taken apart to create a cascade of brooches strewn across the body.

Frédéric Boucheron’s vision beams out from the collection and reminds us of just why the maison has attracted legendary clients for over 150 years- from the Maharajah of Patiala in 1928 to Rihanna at the Met Gala in 2019 – each drawn by the mesmerising designs that live on under the illuminated watch of style custodian Claire Choisne.

Click to watch our Instagram reel to see the collection in motion.

When the Gem Hunter, Ron LeBlanc, was on the trail for a jeweller to set an exceptional 33-carat zesty green peridot in a ring for his wife, he made a beeline to Solitaire x Alex Armen in Toronto. He trusted this was the place to bring his vision of a richly detailed, intricately crafted warrior woman-inspired jewel to life.

He was not disappointed—Solitaire x Alex Armen excelled, demonstrating their mastery in the bespoke jewellery niche. Dedicated almost exclusively to custom commissions, the house has built a stellar reputation in this high-end field. Designer Alex Armen collaborates with his brother Arbi to create jewels that few others could attempt. The warrior woman piece exemplified generations of knowledge and experience: a seamless blend of traditional craftsmanship and cutting-edge technology.

 Whether it’s a dainty diamond solitaire engagement ring imbued with symbolism or an elaborately decorated ceremonial bell commissioned by the Buddhist Society of Canada for a London temple, Solitaire x Alex Armen prides itself on making dreams a reality.

As an early adopter of computer-assisted design and modelling technology, the firm has refined and modernised the ancient art of custom jewellery. While one-of-a-kind designs are inherently a luxury, the small, agile team makes customization viable, transparent, and enjoyable by mastering both timeless craft and cutting-edge technology.

"Quality is everything, and we can laser-focus on each jewel," explains artistic director and designer Alex Armen. Dedicated to making each jewel just right, the brothers care deeply about both the sentimental and technical aspects of every piece. Comfort, resilience, and the wearer’s lifestyle are all considered before the team begins, combining time-honoured handmade skills such as filing, sawing, polishing, gem-setting, with state-of-the-art technology.

Arbi explains, “We are passionate about what we do; we want clients for life. This is a trusted place where you never feel like just a number. Clients tell us they choose us because they can work directly with Alex, which is unique and essential when creating wearable art.”

When a client visits Solitaire x Alex Armen, the process begins with attentive listening. Once a concept is agreed upon, the jewel never leaves the premises during the 2–4 weeks dedicated to its creation, as the duo meticulously crafts it from scratch.

Arbi, who runs the business, also sources gemstones. True to the house’s mission, quality is paramount, starting with the raw materials. Maintaining relationships with suppliers around the world, many of whom worked with their father, the brothers insist on top grades for both diamonds and colour gemstones. Diamonds are sourced from trusted dealers, and Arbi cherry picks a selection that meets the criteria, allowing the client to be involved in choosing the final stone. 

Colour gems often come from Idar-Oberstein, Germany, renowned for world-class gem selection and cutting. Arbi works with cutters who, like the brothers, are part of generations-old family businesses with shared values. These close relationships and deep trust allow Arbi to trace the origin of each stone and often pay a premium for custom cuts.

Despite their positioning at the top of the jewellery craftsmanship pyramid, if you open the door to Solitaire x Alex Armen’s studio, don’t expect thick plush carpets and waxed wood panelling. Alex and Arbi bring their fresh energy and cool vibe to their work, and the studio is an all-black functional space with a contemporary art-house edge that reflects their Toronto roots. 

But it wasn’t always this way. Solitaire has gone through two distinct phases that have shaped the business's unique nature. When Vartan Khanjian established the jewellery business in Toronto in 1983, it was dedicated to producing jewellery for leading retailers, continuing in the vein of Toronto’s historic jewellery tradition. 

Years of working behind the scenes of the jewellery industry, manufacturing multiple designs to high specifications, large volumes and strict cost controls, gave the company a solid grounding in the nuts and bolts of the business. By 1992, in tune with shifts in consumer preferences, Solitaire took a bold move and terminated its commitments to third-party manufacturing to dedicate itself to purely bespoke work. 

By trading quantity for quality, Solitaire transformed into Solitaire x Alex Armen, seeking total freedom and control over every stage of the process, from smelting the gold, to design, casting, and final polishing. This unique symbiosis created what the brothers call a “sanctuary for creativity,” enabling artistic freedom to flourish and allowing the master jeweller to focus on perfecting each detail, from intricate gem settings to the final polish.

The brothers are adding a new dimension to their offering with made to order jewels for men and women in a bolder, more adventurous style, including chunky silver designs. These are available on their online boutique. 

The story of Solitaire x Alex Armen is, above all, a testament to a family business with deeply rooted human values. For over 43 years, the brothers have made it their mission to transform personal stories and aspirations into extraordinary jewels that will be cherished for generations.

First introduced in 2015, Chanel’s Coco Crush collection has become one of the House’s most recognisable fine jewellery lines. Defined by its quilted motif, inspired by the matelassé pattern of the iconic 2.55 handbag, the design is expressed through precise incisions carved into gold, combining soft curves with graphic structure. Over the past decade, Coco Crush has expanded into a complete jewellery wardrobe, including rings, bracelets and necklaces designed to be worn alone or stacked.

In January 2026, Chanel unveiled a new evolution of the collection, placing greater emphasis on movement, flexibility and technical refinement. The Fine Jewellery Creation Studio introduced two new necklace styles: a close-fitting short necklace and a choker. Both feature a mesh-like construction of the quilted motif and a discreet sliding clasp, allowing the length and fit to be adjusted with precision. Designed to sit close to the skin, these pieces trace the neckline in a clean, sculptural line. They are available in beige gold, yellow gold and white gold, with diamond-set versions also offered. Click  to watch our Instagram reel featuring the close-fitting short necklace.

While Coco Crush has traditionally been associated with bold, structured forms, the 2026 designs introduce a more fluid interpretation of the motif. Taut lines, controlled curves and a minimalist aesthetic remain central, but the technical construction allows the jewellery to move more naturally with the body, enhancing comfort and wearability without compromising the collection’s strong visual identity.

To accompany this new chapter, Chanel released the Hide and Seek campaign film in 2026, set at the Chateau Marmont in Los Angeles. The film stars Jennie, a member of the K-pop group Blackpink and long-standing Chanel ambassador, and Gracie Abrams, an American singer-songwriter with a growing international following. They are joined by fashion models Mona Tougaard, Lulu Tenney, Mathilda Gvarliani, Akon Changkou and Qun Ye, all regular figures on the international runway circuit. Directed by Gordon Von Steiner, the campaign presents the jewellery through a narrative of pursuit and rediscovery, using the hotel’s intimate spaces as a backdrop.

With its January 2026 launches, Coco Crush continues to evolve beyond its original ring-and-cuff foundations. By introducing adjustable necklaces and more flexible constructions, Chanel reinforces the collection’s position as a modern fine jewellery staple, defined by technical innovation, comfort and a distinctive visual language rooted in the House’s heritage.

Compedium 01 (Christopher Ward):For fans of horology and Ken Kessler’s writing, with its trademark wicked sense of humour.

Ken Kessler’s book (above) published by Christopher Ward is a lively, insightful collection of articles that chart modern watchmaking told through the voice of one of horology’s most respected journalists. Never conventional, the book collects Kessler’s articles that are smart, witty, deeply informed and often controversial, to offer a compelling insight into the industry. 

There is never a dull moment with Kessler, as he excels at weaving technical detail with storytelling and tongue-in-cheek, wise-crack humour. He demystifies complications, movements, and design choices as he charts the rise of independent makers, shifts in consumer culture, and the renewed appreciation for mechanical watches. It’s both educational and charming, offering a rare inside look at horology without lapsing into self-promotion or sycophantic adulation.  Whether you’re a seasoned collector or a newcomer, Kessler’s unstoppable, enthusiasm draws you in. RRP: £35.00 (hardcover), 198 pages

Buy from Christopher Ward here

Sybil and David Yurman: Artists and Jewelers (Phaidon):For collectors, design enthusiasts, and jewellery lovers,

Sybil and David Yurman: Artists and Jewelers (above) explores how an artist’s worldview can shape a global brand. The book offers a  portrait of one of America’s most influential jewellery houses and shows how Yurman’s experience as a sculptor, alongside his wife and creative partner, Sybil, has shaped the brand’s aesthetic. Through photography and essays, readers gain insight into the famous Cable jewellery's  evolution and the artistic philosophy behind it. The Yurmans' vision  to create jewellery as wearable sculpture, with a focus on craftsmanship is explored while placing  their work withing  a broader artistic lineage, tracing influences from modernist sculpture, the studio-jewellery movement, and classical forms.

Archival sketches, early experiments, and behind-the-scenes imagery invite readers into the creative process, revealing how tactile exploration, material innovation, and a collaborative studio culture define the brand.  RRP: £49.95 (standard hardback), 352 pages. Buy from Phaidon here

Cartier Monaco (Flammarion):For romantics, dreamers and lovers of old world glamour à la Cartier

Cartier Monaco documents the coming together of one of the most sophisticated jewellers and one of the world’s most glamorous, sun-soaked destinations. Published by Flammarion—known for producing museum-quality art books—the book (above) overlays Cartier’s storied jewellery with the opulence of Monaco, creating a narrative steeped in European history, royal patronage, and Riviera allure. Archival photographs capture Monaco’s evolution from a belle époque enclave to a modern playground of culture and luxury, with Cartier jewels serving as sparkling witnesses to that transformation. 

The book explores the links between the Maison and the Principality defined by Grace Kelly’s elegance, princely commissions, red-carpet moments, and the exotic tastes of collectors drawn to Monaco’s singular blend of discretion and dazzle. The book is a jewel box of visual delight with the famous backdrop of the sparkling Riviera location.  RRP: £105.00,  208 pages. Buy from Bookshop.org here

Million Dollar Hip Hop Watches (TeNeues): For fearless horologists willing to explore extreme watchmaking and lovers of bling.

Buckle up as Million Dollar Hip Hop Watches (above) is an unapologetic chronicle of a cultural phenomenon: the rise of iced-up watches in the hip-hop culture. Published by TeNeues—known for sleek, design-forward books—the volume celebrates the intersection of identity, craftsmanship, and spectacle. It documents how watches became a form of expression and status, evolving from simple timekeepers into dazzling symbols of success, resilience, and artistry. 

The book showcases a wide variety of pieces: diamond-set classics, bespoke complications, blinged-up reinterpretations of industry icons, and avant-garde creations that blur the boundaries between jewellery and horology. Interviews, and behind-the-scenes imagery reveal the artisans, jewellers, and watchmakers who gave shape to this audacious aesthetic. 

Whether highlighting legendary figures or emerging voices, the book underscores how hip-hop continues to transform luxury culture from the inside out.  Buy here on Amazon RRP: £85–90

HANNAH MARTIN: ICONOCLAST, A JEWELLERY REBELLION (ACC Art Books):For lovers of living life on the edge, with no regrets

HANNAH MARTIN: ICONOCLAST, A JEWELLERY REBELLION is an all-embracing, immersion into one of contemporary jewellery’s most provocative voices. Hannah Martin, long celebrated for her ground-breaking, gender-fluid designs, receives a monograph worthy of her boundary-breaking vision. 

Like Hannah Martin’s jewels, the book (above)  is visually electric with dark, sculptural, and cinematic images mirroring the punk-infused elegance that defines Hannah Martin’s work. Through essays, interviews, and imagery, readers are invited into the turmoil of underworlds that inspire her pieces: nightlife, androgyny, mythology, eroticism, and the tension between strength and vulnerability in jewels whose architectural silhouettes feel both ancient and futuristic.

Hannah Martin’s jewels challenge conventions around power, identity, and beauty, the force of which is captured in the book which pays tribute to the power of creative risk taking. The book chronicles the work of this designer who refuses categorisation, who dares to make  jewellery an act of rebellion.  RRP: £40.00, 240 pages, hardback. Buy from Amazon here

The Jewelry Book by Melanie Grant (Phaidon):A standout reference for collectors, students, and anyone who appreciates design. 

The Jewelry Book is an expansive, well-informed exploration of global jewellery written by 30 of the leading jewellery experts from around the world. Edited by Melanie Grant, the 300 jewellers in this encyclopaedic snapshot of jewellery, offers a definitive guide that elevates jewellery to the cultural stature it deserves.

The eclectic array of entries ranges from historical characters, to collectors, artists, jewellers, designers and public figures and offers a view of jewellery, not just as luxury but as art, culture, and human expression. 

The volume spans continents, eras, and artistic movements, creating a sweeping narrative anchored by exceptional imagery and clear, authoritative writing. Wide ranging and championing inclusivity: it spotlights both canonical masters and emerging talents, offering a panoramic view of creativity that challenges Eurocentric narratives. Grant’s curatorial approach positions jewellery as a fine art discipline, asking readers to consider craftsmanship and meaning in equal balance with beauty. 

Buy from Phaidon here.

Ultimate Collector Watches (Taschen):For horology aficionados with robust book shelves

 The two-volume set entitled Ultimate Collector Watches (above) , published by Taschen, celebrates the pinnacle of watch design, engineering, and exclusivity. This catalogue of exceptional watches , spans the full breadth of haute horlogerie—from vintage grails and rare prototypes to contemporary masterpieces. 

The volume conveys the emotional depth of collecting and contextualizes the watches with historical insights, technical explanations, and collector narratives, revealing why certain watches ascend to mythic status. The book also provides a rare look into the psychology of collecting: the thrill of discovery, the pursuit of rarity, and the personal stories behind acquisitions. It balances reverence for tradition with recognition of modern design and independent makers, offering a comprehensive view of where watch culture has been—and where it’s headed.  RRP: £750 (collector's edition, 1,000 copies) 960 pages (two-volume set), hardcover. Pre-order from Taschen here.

The Age of Grandeur by Daniela Mascetti & David Bennett (ACC Art Books):Indispensable for collectors, historians, and anyone captivated by the beauty and complexity of 19th-century jewellery and style.

The Age of Grandeur (above) is a meticulously researched survey of 19th-century jewellery, written by two of the field’s most respected scholars, Daniela Mascetti and David Bennett. These experts understand not just the objects but the historical consciousness behind them and take us on a journey of discovery. The book is intellectually rich yet warm in its tone, and visually sumptuous, offering a definitive perspective on the Classical, Romantic, and early modern aesthetics that shaped the era. 

It explores the interplay of political change, industrial innovation, and artistic revivalism, situating jewellery within broader cultural movements. The authors bring decades of expertise—gleaned from auction houses, scholarship, and curatorial work—to every page. Archival images, period portraits, and technical diagrams enrich the narrative, bridging past and present.  RRP: £50.00 (UK hardback). Pages / Format: 232 pages, hardcover

Buy on Amazon here

In the latest venture between jewellers and hoteliers, led by auction house Sotheby's New York, EDITION Hotels has partnered with  jewellery designer Sarah Ysabel Narici of DYNE to launch an exclusive lot celebrating the natural splendour of Lake Como. Titled Verdant Reverie: The Gem of the Alps at The Lake Como EDITION, it will feature in Sotheby’s Fine Jewellery auction running from 26 November to 11 December during the auction house’s first  Luxury Week at the Breuer building in New York. The Italian-British jewellery designer is based in New York and known for her striking unions of ancient themes with a futuristic vision. and was chosen by Sotheby’s Vice Chairman, Jewellery Americas, Frank Everett.

Click here to register to bid on Sotheby's website

This is the first time that an auction lot at Sotheby's is paired with a hotel experience, paving the way for future tie-ups.  Hotels and jewels have always been intertwined, with lobbies at luxury hotels glittering with jewellery cabinets. Think Cartier at the Ritz in Paris, Tiffany at the St Regis in New York, or most recently, Bibi van der Velden at the Rosewood in Amsterdam.  The desirable intersection of opulent accommodation and jewellers is also evident in the rise of hotels owned by jewellers as witnessed by Bvlgari hotels opening around the world. 

Lake Como has been a highly desirable travel destination since the 1st century BC when wealthy Romans built holiday villas on its shores. In the 17^th and 18^th centuries, it was a de rigeur stop on the Grand Tour for  aristocratic young men, mainly British,  who were drawn to  its majestic beauty.  They were followed by notable figures of the late 1800s including Stendhal, Goethe, Liszt, and Henry Jame who praised Lake Como in their works, reinforcing its image as a place of beauty and inspiration making it a fashionable  retreat for European elites, who stayed at the first luxury hotels in the area.

The lot includes a limited-edition yellow-gold necklace inlaid with mottled jade inspired by Como’s rippling shoreline and green waters.  Estimated at $15,000–$25,000, the necklace is paired with an indulgent two-night stay at the new Lake Como EDITION, which officially opens in March 2026.

The winning bidder will stay in the hotel’s signature penthouses, complete with panoramic lake views, custom furnishings, and marble-clad interiors. The experience includes a detox treatment at the property’s Longevity Spa as well as dinner at Cetino, the on-site restaurant by three-Michelin-starred chef Mauro Colagreco.

“This collaboration reflects EDITION’s commitment to redefining modern luxury,” said George Fleck, Senior Vice President and Global Brand Leader for EDITION. “Together with Sotheby’s and DYNE, we are creating an experience rooted in the heritage of Lake Como while truly one-of-a-kind.”

The partnership underscores EDITION’s ongoing strategy of blending contemporary design, travel, and collectible art. Now operating 21 global properties, the brand continues to expand its reach among culturally attuned luxury travellers.