Celebrities like Demi Moore and Jane Fonda arrived at the Opening Ceremony wearing stunning outfits with dazzling natural diamonds.

From its first steps in 1946, the film festival has taken over the renowned Croisette of the seaside resort. Every spring, a glamorous crowd of international film stars and supermodels heads to the south of France. To grace the red carpet leading to the steps of the convention center.

It's the ultimate space for showcasing breathtaking diamonds. The famously strict Cannes dress code always calls for haute couture creations and dazzling gemstones and jewelry.

With the French Riviera as a backdrop, palm trees sway in the air, camera flashes blink. The energy of the red carpet reaches its peak. Chandelier diamond earrings brush the shoulders of the cinematic elite. Elaborate bib necklaces cover countless diamond necklines, while wrists are adorned with glittering bracelets and cuffs. Hair jewelry could be historical heirlooms borrowed from royal treasuries.

This year's Cannes Film Festival opened with a tribute to the director of «The Lord of the Rings.» Film legend Peter Jackson, who will receive the honorary Honorary Palme d’Or. Robert De Niro was honored with this award in 2025, while Meryl Streep received it in 2024. South Korean director Park Chan-wook will be the president of the jury. He will preside over the competition jury, which includes Demi Moore and Ruth Negga. As well as director and screenwriter Chloé Zhao. Also, Belgian director and screenwriter Laura Wandel and Chilean director and screenwriter Diego Céspedes. Also, Ivorian actor Isaach De Bankolé, Scottish screenwriter Paul Laverty, and Swedish actor Stellan Skarsgård.

Isabelle Huppert will be the «Godmother» of the Trophée Chopard. It will be awarded to emerging talents Odessa A’zion and Connor Swindells during the 79th Cannes Film Festival. The award, established in 2001, honors emerging international talents in cinema. It is presented each year to one actress and one actor with a promising career. «I am delighted,» Huppert said in a press release. «This award honors that fragile, exciting moment when a career is still taking shape—a time of intuition, courage, and freedom. Supporting emerging actors means supporting the very future of cinema.».

Demi Moore wore Chopard jewelry at the 2026 Cannes Film Festival.

With stylistic direction from Brad Goreski, jury member Demi Moore graced the red carpet for the opening ceremony of the 2026 Cannes Film Festival and the premiere of «La Vénus Electrique» (The Electric Venus), wearing a custom strapless beaded Jacquemus gown and an impressive Chopard jewelry collection.

The actress from the movie «Substance» wore a 226.34-carat diamond necklace featuring five rows of brilliant natural diamonds, set in 18-karat white gold. She completed her look with an impressive pair of diamond earrings totaling 22.87 carats, and a 9.65-carat diamond ring, all from Chopard's Haute Joaillerie collection. Moore also wore a 4.48-carat diamond ring from the L’Heure du Diamant collection, bringing the total weight of the jewelry to 263.34 carats.

Ruth Negga wore Chopard jewels to the Cannes Film Festival 2026

With stylist Karla Welch, Irish actress Ruth Negga attended the 2026 Cannes Film Festival premiere, wearing an ethereal emerald Christian Dior haute couture gown. She also sported Chopard diamond jewelry, including a classic necklace featuring pear-shaped colorless diamonds and yellow diamonds.

Jane Fonda wore Pomellato jewelry at the 2026 Cannes Film Festival.

Legendary actress and activist Jane Fonda appeared at the premiere of the film «La Vénus Electrique» (Electric Venus) during the opening ceremony of the 2026 Cannes Film Festival, wearing a classic, custom-made black sequined Gucci dress and Pomellato's Iconica High Jewelry necklace in white gold, featuring a 46.34-carat oval cabochon milky aquamarine, highlighted by diamonds set in a white gold chain with two Nudo diamond rings.

Philippine Leroy-Beaulieu wore Pomellato jewelry at the Cannes Film Festival 2026.

The actress from the series «Emily in Paris» and global ambassador for Pomellato, Philippine Leroy-Beaulieu, appeared at the Palais des Festivals et des Congrès, wearing a purple ruffled dress and diamond jewelry from the new High Jewelry 2026 collection by the Italian luxury jewelry house. The French actress wore a diamond necklace with 21 pear-shaped Paraíba tourmalines, arranged in an irregular composition reminiscent of raindrops. She paired it with matching long earrings featuring stones that echoed the necklace's design.

Maika Monroe wore Pasquale Bruni jewelry at the Cannes Film Festival 2026

Actress Maika Monroe attended the screening of the film «La Vénus Électrique» («The Electric Venus») during the opening ceremony of the 2026 Cannes Film Festival, wearing an Ashi Studio dress with Aleluiá earrings and a Giardini Segreti bracelet and ring by Pasquale Bruni, all crafted from white gold with white natural diamonds, styled by Chloe and Chenelle Delgadillo.

Kelly Rutherford wore Damiani jewelry at the 2026 Cannes Film Festival

Kelly Rutherford, former star of the series Gossip Girl, wore a black, sheer, long-sleeved Giorgio Armani gown adorned with beads, paired with the Damiani Gioia del Mare («Joy of the Sea») necklace, which features 11 oval-cut Paraiba tourmalines totaling 19.84 carats, 76 Paraiba tourmalines totaling 4.05 carats, and 376 brilliant-cut diamonds totaling 19.48 carats, set in white gold. She completed her look with a pair of matching diamond stud earrings and a coordinating diamond cocktail ring.

Source: naturaldiamonds.com

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Left: The Butterfly collection ring, featuring a 10.17-carat oval-cut diamond. Right: The Paradise Bird brooch, inspired by Jean Schlumberger. @ tiffany.com

Each year, these collections showcase unique masterpieces inspired by the genius of designer Jean Schlumberger. In 1956, the French jeweler joined Tiffany & Co. as vice president, marking a new era for the house. His philosophy was to draw inspiration from nature (birds, flowers, insects, sea creatures) and then render them in such a vivid way that it appeared almost fairytale-like. He used rare gemstones as well as unusual combinations of materials.

It began as an album of rare imports from around the world. But it gradually transformed into a visual journey through his most imaginative creations. This year, the collection titled Blue Book 2026: Hidden Garden revives some of the designer's most beloved motifs. Blooming flowers, radiant butterflies, and graceful birds. Under the artistic direction of Nathalie Verdeille, the house's High Jewelry Artistic Director. The jewelry returns to the opulent world Schlumberger cherished. Gardens in full bloom, with daisies, tulips, and insects transformed into gemstone adornments.

The birth of an iconic jewel

The Love Birds originate from the timeless Bird on a Rock motif, perhaps the most emblematic example of Schlumberger's ability to transform a moment into an eternal object of beauty. Adorned with diamonds, with realistic feathers and ruby eyes, the diamond creature rests on a gemstone as if preparing to fly.

«When I first saw Jean Schlumberger's »Bird on a Rock,« I was struck by its vitality,» Verdeille said in a press conference. "Perched on the rock, it looked ready to take flight." Many variations followed over the years. Among them was a version on lapis lazuli, made for Schlumberger's close friend, Bunny Mellon, daughter of Mr. Gillette and a socialite who shared his love for flowers and creatures of nature. The Love Birds capture the harmony that blossoms between people made of the same intangible material, like that of the artist and muse. Always worn as a pair, they utilize complementary combinations of precious stones. With such detail, from beak to tail, they appear to flutter and chirp.

A garden inspired by another world

«I wanted to continue this action, to further encourage it, opening new creative horizons,» explains Verdeille. «So, looking for a way to accompany this movement, I remembered a Christmas card that Andy Warhol had made for Tiffany in the 1960s: a flock of vibrant birds dancing around a star in a joyful, almost musical ballet.».

In the new collection, the Bird on a Rock «migrates» to meadows of chrysoprase beads and aquamarine gemstones. In the Butterfly chapter, wings unfurl in streams of diamonds that extend across necklaces and bracelets alike. In the Bee chapter, diamond pollinators create structures on golden honeycombs. A reimagined version of the Schlumberger ring takes on new dimensions, with a flawless diamond of over 10 carats set between two motif bees paying homage to the original.

The ecosystem of collection thrives within a habitat of innovation inspired by both floral and foliar elements. As rich plants come to life within undulating bands of platinum and 18-karat gold. Schlumberger had a habit of weaving precious metals with the spirit of untamed grandeur observed in gnarled vines.

The crowning glory of the collection is the reappearance of the Paradise Bird. Unlike the Bird on a Rock, which has lived many lives on different stones, the Paradise Bird is rarer. It was designed by Schlumberger in 1962, with a head of yellow diamonds and plumage of amethysts, as well as cabochon-cut emeralds, sapphires, and aquamarines. It reappeared in the 2008 album and this year four new pieces «land» not on a rock, but on diamond stones or spessartite garnets, adorned with turquoise, sapphires, emeralds, and tsavorites, easily recognizable in the «wild» of display cases.

Source: .newmoney.gr

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The actress stars in a 70mm film directed by Brady Corbet and Mona Fastvold. The film premiered during the Oscars broadcast.

Tiffany & Co. has appointed actress, producer, and director Natalie Portman as the house's global ambassador. They released a promotional video starring her during the broadcast of the 98th Academy Awards on March 15.

The campaign, focusing on the HardWear by Tiffany collection, explores five interpretations of love, each linked to a specific Tiffany design. The video offers what Tiffany describes as an intimate portrait of Portman. Portman appears as herself, embodying, according to the company, the many roles she holds as a producer, director, and mother. In a voiceover, she writes a letter to her daughter, reflecting on resilience, vulnerability, and self-esteem. As she says in the film, «Inner strength isn't found. You build it, piece by piece.».

Directed by Mona Fastvold and Brady Corbet, and with photography by Hoyte van Hoytema, the film was shot in 70mm. «We were drawn to the opportunity to create something that resonates with their historical identity,» Fastvold and Corbet said in a statement. «The film was shot in 70mm, a format that allowed us to capture the brand’s technical excellence with exceptional fidelity.» An original composition of «Moon River» plays throughout the campaign, referencing the brand’s connection to the classic film «Breakfast at Tiffany’s.».

An advertising campaign featuring photographs by Gordon von Steiner, held at Tiffany's flagship store on 5th Avenue. The Landmark, presents Portman wearing pieces from the HardWear, Knot, Sixteen Stone, and T by Tiffany collections.

«Natalie's elegance, authenticity, and intelligence align perfectly with Tiffany & Co.»s values.« As said by Anthony Ledru, President and CEO of Tiffany & Co. »Elegant and bold, she effortlessly embodies the modern Tiffany woman.".

Portman said it was her «honor» to collaborate with a brand with «an incredibly rich heritage» and «unparalleled craftsmanship.» She is added to the list of Tiffany ambassadors, which includes Anya Taylor-Joy, Greta Lee, Mikey Madison, Chase Sui Wonders, and Rosé.

Source: instoremag.com

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This broke his own record as the most expensive work by a Russian jeweller ever to appear at auction.

The Winter Egg was ordered by Tsar Nicholas II as a gift for his mother in 1913. It went to an unknown buyer after a 3-minute bidding battle at Christie's auction house in London. The record slightly exceeded Christie's pre-sale estimate of 20 million pounds ($26 million).

The astronomical price reflects the increasing rarity of Fabergé Imperial Ears. But none have appeared at auction in the last 23 years.

The historic jewellery house of St Petersburg made only 50 of them. And the Winter Egg is one of only seven that remain in private hands. The others have either been lost or belong to foundations or museums.

The head of Christie's Fabergé and Russian art department, Margo Oganesian, emailed a statement. She said the new record «confirmed the timeless significance» and «the rarity and brilliance of what is widely regarded as one of Fabergé's finest creations. Both technically and artistically. This was therefore an extraordinary and historic opportunity for collectors to acquire a work of unparalleled importance.».

The eggs decorated with precious stones were made for Nicholas II and his predecessor Alexander III. They offered them as Easter gifts to members of their family between 1885 and 1916. The design and construction of each egg took about a year. With the Tsars usually ordering the elaborate items immediately after the previous one was delivered.

Before the sale, Oganesian described the Winter Egg as «the most striking, artistically inventive and unusual» of the 50.

«Most are based on historical styles, Rococo or neoclassicism. But the Winter Egg is an object with its own style,» he told CNN over the phone. Adding that «the design is timeless, it's so modern.».

Made mainly of mineral crystal or transparent quartz. The Winter Egg was designed to look like a piece of ice covered in frost. The exterior features a platinum snowflake pattern and 4,500 diamonds in a rosette cut. Inside is one of Fabergé's signature «surprises». A tiny hanging basket filled with anemones of white quartz, jade and garnets.

The design of the Winter Egg was - unusually for the time - the work of a female jeweller, Alma Pihl. Legend has it that Pihl, was the niece of Fabergé's chief jeweller, Albert Holmström. She had the idea after seeing ice crystals forming in a window next to the counter in her workshop.

Nicholas II bought it for 24,600 rubles. The third highest amount Fabergé ever charged for a work, according to prices published by Christie's.

According to Kieran McCarthy, co-CEO of Wartski, a British antique jewellery dealer specialising in the works of Peter Carl Fabergé, the price of the Winter Egg reflects the technical skill required to transform «precious materials into a moment of nature».

The thousands of diamonds are so small that they «have no intrinsic value». He added in a telephone interview with CNN before the auction. «Their value comes solely from their artistic expression and their use in creating this brilliant idea of frost.».

This was the last time an Imperial Egg appeared at auction. Although in 2007 a diamond egg that Fabergé made for a member of the Rothschild banking family sold for over £8.9 million (then about $18.5 million). In 2015, an anonymous American bought a lost imperial egg. Its value is estimated by some experts at £20 million, or $33 million at the time. He bought it for just $14,000 at a flea market, although it has yet to appear at auction.

The Winter Egg was part of a larger sale of nearly 50 other Fabergé objects. They included jewellery, decorative boxes and fantastic miniatures, which were auctioned by an unknown king. Known for protecting the privacy of its clients, Christie's described the items only as coming from a «princely collection».

Source: goldbookmagazine.com

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Made by Chaumet and commissioned by Alfardan Jewellery and Qatar Museums. An exclusive initiative under the patronage of Her Excellency Sheikha Al Mayassa bint Hamad Al Thani. The project is a natural continuation of the Chaumet & Nature 2024 exhibition. The exhibition opened a dialogue between the Parisian fine jewellery house as well as the natural world of the Gulf.

Chaumet invited artists and designers from all over the MENA region. An invitation to redefine through contemporary Arab eyes one of its most iconic creations: the tiara. Eleven designers were selected to participate in an exclusive masterclass. Under the guidance of Chaumet's creative studio director, Olga Corsini, at M7.

After the masterclass, the three finalists were welcomed into the world of the house at 12 Place Vendôme in Paris. During their two-day trip, the finalists also explored the design studio. They even learned the art of gouache and visited the high jewellery workshop. There they met the artisans and Benoît Verhulle, the head of the workshop, who leads the creation of the tiara.

Aisha Alattiya from Qatar was the winner with her design. Alattiya's artistic career started at a young age. Her curiosity was awakened as she watched her sister paint and color. She soon discovered the joy of drawing anime characters, everyday objects and the natural world around her. Through clay, she discovered the dialogue between nature and form.

«This exploration evolved naturally into jewellery design. Where art is transformed into something familiar and wearable,» shares Alattiya. Reflecting on her first memory of a tiara, the designer recalls moments from her childhood. When she watched Disney movies and fairy tales and was mesmerized by the sparkle and sense of magic they brought. «That fascination never left me.».

The creative process of the tiara led Alattiya to the Chaumet workshop in Paris. Where the house's tiaras have been designed for over two centuries. «The visit to Chaumet's workshop in Paris was truly inspiring. What stood out most was the direct dialogue between centuries of tradition and contemporary art,» he reflects. «Seeing the craftsmen working with precision, patience and attention to detail. It was then that I remembered that true craftsmanship is not a rush, but an act of dedication,» he adds.

Alattiya envisioned a tiara that would combine the resilience of the Qatari desert and the elegance of Chaumet's Parisian heritage. It took 850 hours to create Houbara Haven, a piece that represents a love letter to Qatar. It draws inspiration from the houbara bird, a symbol of endurance in Qatar's hawk fishing. But also the Awsaj plant, one of the wild desert plants, symbolizing survival and beauty in the harsh desert. It tells the story of a houbara seeking shelter among the protective branches of the Awsaj.

«Inspired by the stories passed down to my family, I tried to capture this scene through a unique lens. Capturing its spirit in the sculptural form of a tiara,» explains Alattiya. Its base unfolds like blossoming branches of the desert. Embracing natural pearls of the Gulf - glowing with the soft light of a shared past.

«Pearls hold a timeless place in Qatar's heritage. Our first gems, harvested from the sea that nurtured generations. Their presence in the design is more than decorative, it is symbolic. Each pearl carries the essence of purity, durability and continuity. Reflecting the quiet strength of tradition passed down through time.».

The project underlines the brand's commitment to nurturing emerging talent. It also bridges cultural heritage with contemporary creativity and celebrates the timeless art of fine jewellery making. A continuation of its 245-year dialogue with nature and living expressions of culture and emotions.

Source: goldbookmagazine.com

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As Vogue World: Hollywood celebrates film and fashion, we take a look at the most iconic jewellery that has graced the big screen

Cinema has always known what a jewel can do. As Holly Golightly sighs in Breakfast at Tiffany's - «I'm crazy about Tiffany's.» It reminds us that a magnificent piece of jewelry can convey longing, promise prestige, reveal betrayal. Or in rare cases, redeem the heart that wears it. A diamond necklace can hide an entire plot in a clasp, a ring can change the course of kingdoms.

From the glittering shores of Hitchcock's Monaco to the fateful decks of the Titanic, jewellery in cinema has never been just a decoration. They are character, subtext and mood filtered through carats and light. The Hollywood tradition, after all, was built on glitter. Elizabeth Taylor's Bvlgari bracelets rattled with power. Marilyn's pink satin gloves held diamonds like candy. A Cartier masterpiece can lead to a heist at the Met Gala.

For almost a century, filmmakers have known that jewels speak their own visual language.

Each sparkle is a whisper of charm, danger or desire - while the jeweler becomes co-director and the gemstone co-star. They either come from Tiffany and Cartier or are the product of the writers' imagination. Unashamedly the pieces endure because they embody the imagination: love preserved, beauty suspended, fate sealed in gold.

And as Vogue World: Hollywood prepares to celebrate film and fashion this fall, it's only right to revisit the jewels that have shone on the big screen like stars.

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Blake Edwards' comedy features the huge Pink Panther diamond. Named for the panther-shaped flaw at its centre, it belongs to Princess Dala (Claudia Cardinale). The noble thief Sir Charles Lytton (David Niven) is after the prize. While Inspector Jacques Clouseau (Peter Sellers) spoils the chase with his magnificent indifference. The stone isn't just loot, it's the film's organizing myth.

A glamorous pretext for European mischief, bedroom pranks and the whispered theme of Henry Mancini. A gem, and a series of films - and a comic archetype - were born.

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On the Riviera, nothing shines like a Hitchcock blonde. Retired jewel thief John Robie (Cary Grant) meets heiress Frances Stevens (Grace Kelly) amidst chandeliers and suspicion. Her diamond necklace becomes both bait and beacon. The necklace is the object of his professional fascination and, soon, his romantic fascination - blurring the line between the thrill of pursuit and the attraction of desire.

When Frances steps out onto the balcony, bathed in moonlight and diamonds, it's clear that jewelry isn't the only thing worth stealing.

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The Heart of the Ocean may be fictional, but its legend feels real - inspired by the Hope Diamond. Caledon Hockley (Billy Zane) offers the heart-shaped sapphire to Rose DeWitt Bukater (Kate Winslet) as a sophisticated engagement gift to impress and subdue her, as well as to establish his claim. Later, Lovejoy (David Warner) places it on Jack Dawson (Leonardo DiCaprio) to frame him, turning the jewel into a weapon of betrayal. What begins as a symbol of possession when Rose throws it into the sea becomes a monument to lost love and freedom.

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Few images have been more studied than that of Holly Golightly (Audrey Hepburn) at dawn in front of Tiffany's, coffee in hand and her reflection shining through the pearls. The necklace-five rows of faux pearls by Roger Scemama for Hubert de Givenchy, fastened with a crystal pin-turned the fake jewels into a cinematic image. Its fake nature enhances the metaphor: ambition disguised as authenticity, like Holly herself. Elegant but fake, pearls become armor for a woman determined to turn sophistication into art.

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Lorelei Lee (Marilyn Monroe) sings «Diamonds Are a Girl's Best Friend» wearing a pink satin William Travilla dress, arms full of sparkle. The number combines sexual allure, satire and spectacle. Thus the diamond becomes a woman's best asset and also her best defense.

His influence is reflected in decades of tributes, from Madonna to Ryan Gosling, proving that a perfect jewellery scene never loses its shine.

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The most famous jewel box scene in cinema was not in the script: Edward Lewis (Richard Gere) closes the lid on Vivian Ward's (Julia Roberts) fingers, causing her genuine laughter. As Pretty Woman director Gary Marshall wisely kept.

Inside is a $250,000 ruby and diamond necklace by Fred Joaillier, the fairytale centerpiece of an evening at the opera.

The piece marks the transformation, but spontaneous laughter turns luxury into connection. By revealing the red dress, the necklace looks less like a trophy and more like an amulet that has worked.

7 / 15

Daphne Kluger (Anne Hathaway) becomes the target - and muse - when Cartier revives the 1931 Toussaint necklace, originally created for the Maharaja of Nawanagar. Reproduced in the house's Paris ateliers, the piece is both the driving force of the plot and a love letter to the craftsmanship of Place Vendôme. In a female adventure at the Met Gala, Cartier shines as co-star and collaborator.

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A simple gold ring turns epic when Frodo Baggins (Elijah Wood) inherits a curse engraved with fire. The Ring brings together obsession, corruption and destiny in a perfect circle. It is the smallest object with the greatest number of victims. In Peter Jackson's hands, jewelry becomes geopolitics - an accessory that destroys a world.

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Cleopatra (Elizabeth Taylor) appears in a procession of lapis, turquoise and gold - snake-shaped bracelets and wide collars that blur the line between costume and couture. However, the most impressive jewellery was off-camera: during filming in Rome, Richard Burton began surrounding Taylor with Bvlgari jewellery - starting with an emerald and diamond brooch from Via dei Condotti, which evolved into her famous emerald suite, a romantic story that led to «the only Italian word Elizabeth knows is Bulgari».

In the years that followed, their diamond story expanded with the addition of historic jewellery such as the La Peregrina pearl, given to her as a gift in 1969 - proof that the legend of Cleopatra shines far beyond the screen.

10 / 15

Satine (Nicole Kidman) literally owns her sparkle: the «Sparkling Diamond» necklace. Specially designed by Stefano Canturi in 18 carat white gold and set with 1,308 diamonds. It hangs as a precious necklace, a dazzling symbol of the Duke's power and Satine's charm. It is not a decorative jewel, but a specially crafted high quality jewel (worth millions).

Designed to fit Kidman's cleavage exactly - maximum charm with the volume of a collar or cuff. In Baz Luhrmann's world, love can lift you up, but the clasp reminds you who pays.

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Vesper Lynd (Eva Green) wears Sophie Harley's Algerian Love Knot necklace. A secret badge: love, divided loyalties and the debt that ultimately dooms her. The pendant appears in Casino Royale and reappears in Quantum of Solace, where it is revealed to be a calling card for the network that set Vesper up.

Bond (Daniel Craig) even wears it as a memento mori. The jewelry here is not decorative, but evidence. Meanwhile, the straps of an Omega Seamaster are as functional and deadly as their owner.

13 / 15

Grit (Scarlett Johansson) and Johannes Vermeer (Colin Firth) meet through a fictional story. The film is an adaptation of Tracy Chevalier's 1999 novel, which creates a story around the 1665 painting and the moment a servant becomes a muse. The earring - pierced and worn with ritual silence - transforms domestic silence into a charged gaze, translating the brushstroke into breathlessness. Cinema makes the pendant the link between work and art.

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Eleanor Young (Michelle Yeoh) wears an emerald engagement ring that was far from rekvizito. Yeoh designed it herself and lent her own ring to the production when the art department's choices didn't seem right for the character. Its bright green color symbolizes lineage, judgment and, ultimately, blessing. When Nick (Henry Golding) offers it to Rachel (Constance Wu), the stone becomes a visible acceptance. An heirloom in spirit and in reality.

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Andi Anderson (Kate Hudson) appears at the gala in a butter red silk gown, perfectly matched with her necklace: the Harry Winston «Isadora», an 84-carat canary yellow diamond pendant (borrowed with bodyguards), worth about $5-6 million.

Costume designer Karen Patch worked with Carolina Herrera to match the dress with the diamond hue, resulting in the dress and diamond becoming a unique, unforgettable image of early 2000s glamour. The movie's «Frost Yourself» fantasy may be a marketing slogan, but Isadora is very real and stole the show.

The photos are courtesy of the Everett Collection.

This article was originally published on Vogue.com.

Source: vogue.sg/

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It was 1971, at the Rothschilds« »Proust" ball at the Château de Ferrières outside Paris. Then Cecil Beaton took a famous photograph of Elizabeth Taylor. The star is shown with her cheek resting on her hand, dressed in a flared Valentino dress with a plunging neckline. The neckline reveals one of her famous diamonds, tied with a velvet ribbon around her neck.

It wasn't the only notable piece of jewelry worn by Hollywood's most famous «witch» that night. On her wrist she wore an elegant, gem-free, minimalist and modern bracelet. It was the Cartier Love bracelet, and her partner, Richard Burton, wore one just like it.

The simple gold bracelet, decorated with tiny screws, quickly became a typical symbol of devotion for elegant couples.

Like Steve McQueen and Ali MacGraw, Sophia Loren and Carlo Ponti, the Duke and Duchess of Windsor. With its introduction in 1969, designed by Aldo Cipullo, Cartier had created a new, modern and bisexual symbol of love. A symbol of love that endures to this day - and today the maison presents a new version: the Love Unlimited.

Cipullo had moved to New York a decade earlier and had become a fixture in the social scene. While trying to heal his broken heart, he was inspired to create the bracelet: a tangible - and enduring - symbol of love.

«It was very unique and bold for its time,» says Arnaud Carrez, Cartier's marketing director. «The success was immediate, not only because it was a beautiful design. But because it embodied an idea: the expression of modern love, stamped with a screwdriver. It became a cultural object.».

Within just a few years, the Cartier Love bracelet was available in Paris and London. Attracting a fanatical global audience. In the decades that followed, the bracelet adorned the wrists of Tina Turner, Angelina Jolie and Lewis Hamilton. As well as couples such as the Duke and Duchess of Sussex, Kylie Jenner and Timothée Chalamet.

The Unlimited now becomes the latest chapter in the life of the most searched Cartier jewellery on Google. While retaining the minimalist design of the original model, the latest version introduces two key innovations: a fully flexible bracelet that hugs the wrist like a second skin and a screw system («patented») that secures it without the need for a screwdriver.

The elegant, polished links are decorated with hand-polished screws that glow as the bracelet moves. An invisible clasp works with a single screw, a subtle mechanism that adheres to the ritual of the original while making this version easier to wear and take off. The clever clasp also allows anyone wearing it to link one Love Unlimited to another, wearing them in pairs, or to wrap the bracelet around the wrist in multiple twists - a reference to love that deepens with time and experience.

«The Love collection is one of the most recognizable in the jewelry world,» says Carrez. «Love Unlimited brings a major innovation, a versatile «second skin» inspired by the classic model.».

Carrez also points to the technical jump. «This was a real challenge to build. We incorporated more than 200 components into the bracelet architecture and went through over 100 prototypes to achieve this level of flexibility. The final polishing is done by hand.».

The new Love Unlimited collection also includes rings - in yellow, white and rose gold - that reproduce, on a small scale, all the features of the bracelet.

Source: vogue.co.uk

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Guillermo del Toro's Frankenstein will be released in 2025. It will feature 27 pieces of jewelry and artifacts from the historic brand, including pieces from its archives.

Tiffany & Co. has announced that it is bringing a collection of rare archival masterpieces to its theatrical location for the first time. But also high quality contemporary jewelry, as many pieces are set to appear in the new film «Frankenstein.».

The brand, with a history of almost 200 years, has opened its archives to offer historical jewellery, accessories and silverware. As well as high quality contemporary jewellery and original designs for its collaboration with the film's costume department.

Many of the historic jewels have never been worn in modern times, according to the jewellery house.

Oscar-winning director Guillermo del Toro's new film will be released later this year. It is an adaptation of Mary Shelley's classic 19th century horror novel of the same name.

With the narrative set in the 1850s, the addition of archival drawings and historical Tiffany & Co. artifacts adds authenticity and depth to the narrative, according to the company.

«Frankenstein continues Tiffany & Co.»s legacy of contributing to the world of film. Not just as a decorative element, but as a layer of storytelling. Helping to bring memorable characters and screen moments to life through the timeless language of Tiffany jewelry." As Christopher Young, vice president and creative director of Tiffany Patrimony and Global Creative Visual Merchandising at Tiffany & Co.

The collection on display includes 27 pieces of jewellery and objects. Such as necklaces, bracelets, rings, earrings, pins, pendants, silver objects, a hair comb and a pocket watch.

Of these, 10 are historical jewellery, six are archival silver objects, six are contemporary creations and five are original designs created for the film.

The combination of archival pieces, high quality contemporary jewelry and new designs reinforces the themes of the film. Namely, innovation, duality and transformation, according to Tiffany & Co.

Highlights include pieces designed by former Tiffany's Director of Fine Art Jewelry, Julia Munson. But also her successor, Meta Overbeck, under the direction of Louis Comfort Tiffany. The brand's pioneering art director, renowned for his bold experimentation and respect for nature.

For the film, costume designer Kate Hawley combined custom-made fabrics inspired by organic forms. With meticulously curated jewellery to ensure that each element helps express each character's inner world.

Almost all Tiffany & Co. jewelry is worn by Mia Goth, who plays Elizabeth Lavenza. Charles Dance, who plays Leopold Frankenstein, wears the pocket watch.

Hawley also designed original jewelry for the film. They were made by Tiffany & Co. at Tiffany High Jewelry's New York workshop.

«Working with Tiffany & Co. was an honor that deeply touched my entire crew. It was a recognition of our art and added a new artistic dimension,» Hawley said.

«Tiffany jewelry became a creative contribution, similar to hair design, makeup, wardrobe, props and props, and was an integral part of the design integration. It was not just an accessory, but an essential element specific to Elizabeth's character, enhancing her color palette and overall interpretation of her world.».

By drawing on its high level of expertise in jewellery making in this reissue of a literary classic, Tiffany & Co. reaffirms its place at the heart of art, history and culture.

Frankenstein stars Goth, Dance, Oscar Isacc, Jacob Elordi and Christopher Waltz.

The film will be released in select theaters on October 17 and worldwide on Netflix on November 7.

Source: nationaljeweler.com

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Gemfields has completed the sale of Fabergé Limited to US technology investment firm SMG Capital LLC for $50 million.

Pictured is the Fabergé x Gemfields «Malaika» object, which debuted in July 2024. It also features more than 300 rubies from Mozambique's Montepuez ruby mine. Gemfields holds a majority stake in Montepuez.

The mining company announced in August that it had signed an agreement to sell its entire stake in the Russian luxury jewellery brand. The sale was therefore for $50 million and it said at the time that the sale was expected to be completed by August 28.

Gemfields has owned Fabergé since 2013. It bought the brand, which was founded in Russia in the 1800s and is known for its ornate eggs, in order to acquire a luxury brand for its gemstones.

The completion of the sale marks the end of the strategic review of Fabergé by the mining company. Which was launched in late 2024 to help Gemfields raise capital. Also to reduce costs and streamline its operations. As it faces supply and demand problems and political unrest in Mozambique.

Technology entrepreneur Sergei Mosunov, is the CEO of SMG. The company specializes in luxury brands and innovative businesses with a «strong heritage». He therefore said Fabergé will continue to focus on jewellery, accessories and watches.

Source : nationaljeweler.com

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There are jewels that are not just ornaments but carry history, culture and mystery in their rays. One of the most characteristic examples is the legendary Pasha Diamond. A diamond that crossed empires, palaces and generations before finding a place in the hand of legendary heiress Barbara Hutton.

Its history begins in 19th century Egypt, when the viceroy Ibrahim Pasha acquired the precious stone for 28,000 pounds, an astronomical sum for the time. The diamond soon established itself as the most brilliant acquisition in the Ottoman treasury. A symbol of power and wealth, it radiated prestige in a time of turmoil and imperial ambitions.

Later, the precious stone was found in the possession of the Egyptian royal family and passed into the hands of King Farouk. One of the last monarchs of the country, known for his luxurious and extravagant life. Farouk, with his penchant for expensive jewellery and works of art, kept the diamond until the years of the throne's decline. When circumstances forced him to part with his treasures, the Pasha ended up in the house of Bulgari.

It was there that Barbara Hutton, the «poor rich girl» of the American secular chronicles, discovered it. Heir to an incalculable fortune. But trapped on a personal path of loneliness and fickle loves, Hutton was obsessed with precious and rare jewels.

Pasha Diamond instantly captivated her. But despite its legendary past, she was not satisfied with the original octagonal cut of the stone.

With the courage and confidence that characterised her most daring choices, she approached Cartier and asked for the diamond to be recut. As a result, the stone was reduced in weight, from 40 to about 36 carats. But it was transformed into a dazzling round brilliant, which showed off its brightness and clarity to the maximum. Its new shape sealed its history. As it was incorporated into a striking ring that was to become a symbol of Hutton's jewellery collection.

The Pasha diamond ring was not just a piece of precious jewellery. It was a reflection of Barbara's character, her need to stand out, to challenge. But also to connect with something timeless and immortal, in a life where everything around her seemed fleeting. In dozens of portraits of the era, this ring stands out, almost as an extension of her own personality.

Today, the ring is no longer in public view. It has gone into a private European collection, away from the lights and cameras. Always carrying within it the aura of another era. From the palaces of Cairo to the salons of Hollywood. And from the imperial halls to the life of the most enigmatic heiress of the 20th century.

The Pasha Diamond is much more than just an ornament. It is a fragment of history, a mosaic of memories, kings and legends. A jewel that is not only illuminated by light, but also by the stories it carries.

Barbara Hutton, the woman who went down in history as the «poor rich girl», was one of the most controversial figures of 20th century social life. Born into an untold fortune, she grew up in luxury. But also in the wilderness left behind by her mother's suicide and her father's indifference. Her glamorous introduction to New York high society in the 1930s gave rise to a legend that would follow her forever. But behind the precious stones and weighty appearances lay a fragile woman in deep need of love and acceptance.

Her marriages to princes, counts, diplomats and Hollywood star Cary Grant made headlines, but never gave her the security she sought.

Naive but also immensely generous, she gave money generously to friends and occasional companions, as long as she felt a little less lonely. Her addictions to substances and drugs, eating disorders and her incessant search for love overshadowed her wealth.

Her life was marked by brilliant moments. Such as owning legendary jewels and living in palaces and villas in Tangier and Paris. But also by devastating tragedies. The loss of her only son in a plane crash in 1972 was the worst blow, from which she never recovered. In her final years, her once fabulous account had all but disappeared. And she lived in seclusion in a hotel room in Beverly Hills.

When she died in 1979, at the age of 66, the news that her bank account had only $3,500 in it caused a sensation around the world. And yet, Barbara Hutton was remembered neither as a jewelry collector nor as the heir to untold wealth. But as a woman symbol of futility: an existence that had it all, but never found true happiness.

Source: tovima.gr

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