Paris is divine in the summer—the sun is generous, the spirits are high, and fashion, in all her finery, comes out to play. While the grand couturiers unveil their dreamy Fall/Winter collections on the runway, a parallel spectacle unfolds in hushed salons and behind velvet-draped doors: the high jewellery presentations. If the front rows whispered of a quieter couture season, the Place Vendôme glittered with unbridled imagination and masterful craft. For those of us lucky enough to attend, it was not just about diamonds—it was about drama, dreams, and dazzle. Read on for my highlights from the week…
Pomellato
At Pomellato’s Parisian showroom on Rue du Faubourg Saint-Honoré, creative director Vincenzo Castaldo introduced Collezione 1967, a tightly edited high jewellery collection that reimagines the exuberant spirit of the Milanese house. Think chains—bold, sculptural, serpentine—in all shapes and sizes, punctuated by marvellously vivid stones: tanzanites, tourmalines, Paraíbas and peridots. “This wasn’t a nostalgic exercise… it was about taking elements from the past and transforming them into something entirely new,” Castaldo told me. A personal favourite: the Zigzag Supreme necklace, which paired a fluid chain motif from the ’80s with two gleaming tanzanites—capturing the collection’s bold, jubilant ethos.
Chaumet
It’s always a treat to step into Chaumet’s private salons at Place Vendôme, where the rooms rival the jewellery in grandeur (have you seen that monumental portrait of Empress Joséphine in the foyer?). This season, the maison unveiled Jewels by Nature, a collection that paid tribute to botanical beauty at its most refined. Amidst breathtaking renderings of dahlias, wild roses and carnations, two parures sang loudest to me: Bamboo and Magnolia Grandiflora. Both carried gentle nods to Chinese artistry—the bamboo, symbol of resilience; the magnolia, a poem of perseverance. I wouldn’t be surprised if the maison’s newly minted CEO, Charles Leung (the house’s first Asian CEO!), had a hand in these subtle flourishes.
Gucci
Gucci, ever the wild card, turned Avenue Montaigne into its own glittering playground. The house’s latest high jewellery collection leaned into its equestrian heritage—in one instance, the iconic horsebit motif was reimagined as a monastic, minimal parure adorned with rubies and sapphires of remarkable depth. Elsewhere, a clever Art Deco-inspired chain revealed discreet “G” monograms—a wink to insiders who know where to look.
And a Surprise: Gucci x Pomellato!
Also at Gucci’s flagship, the brand unveiled Monili, a collaborative capsule with Pomellato that melds Gucci’s leather expertise with Pomellato’s legacy in goldsmithing. First seen on the runway at the Gucci Cruise 2026 show in Florence, the pieces came alive in person—the supple contrast of leather and gold proving irresistibly tactile. Unsurprisingly, several pieces have already been snapped up by collectors eager to own a slice of fashion and jewellery history.
Boucheron
At Boucheron, Claire Choisne delivered perhaps the most poetic offering of the week. Her 2025 Carte Blanche collection, Impermanence, married ikebana with haute joaillerie. On the fourth floor of their gilded address, guests were greeted by an ikebana installation by Atsunobu Katagiri crafted from live plants, echoing the collection’s ephemerality, before being ushered into a dim room where six floral compositions materialised in the dark. With her trademark inventiveness, Choisne used ceramic, glass and sandblasted titanium to evoke flowers (and even insects, like a fuzzy caterpillar) with whimsical precision. Subversive and symbolic, it was a masterclass in artistry.
Piaget
Not far away, Piaget hosted a soirée worthy of the Riviera, held at the former residence of Mona Bismarck. The occasion? The launch of the Piaget Sixtie watch. Champagne flowed, a pianist played with jazzy flair, and amid the revelry, I found myself transfixed by the archive watches and the bold new interpretations. A personal pick? A Sixtie with an incandescent opal dial encircled by diamonds—a flash of old-school glamour with modern verve.
And More…
Roses were in bloom across town. Mikimoto’s Les Pétales was a paean to the pearl, intertwined with romantically-hued morganites and pastel sapphires. Pasquale Bruni offered Rosina, a tender tribute inspired by a Calabrian rose and a beloved aunt. Both were meditations on femininity—soft, sensual, and unapologetically floral.
The week also brought a renaissance of Art Deco. At Fred, the 1936 collection celebrated crisp lines and Deco silhouettes drawn from the brand’s original Rue Royale boutique. Buccellati, not to be outshone, unveiled exquisite minaudières—part jewel, part relic—each a love letter to 1920s sophistication.
And finally, a whisper from Cartier. In the Ritz’s legendary halls, the maison offered a hushed preview of En Équilibre: Chapter Two. While details remain under embargo, I will say this: what’s coming is bold, breathtaking—and utterly timeless. Cartier isn’t chasing trends; it’s writing legacy.
So there you have it. Paris, this July, was less about noise and more about nuance. The season may have been subdued for some, but for those of us who looked closely, the magic was everywhere. In chains that slinked like serpents. In pearls that blushed like petals. In diamonds that dared to dance. And always, always—in the details.
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