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 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.
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.
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.
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.
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 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.
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.
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.
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.
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.
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.
