The collection, which draws inspiration from Christian Dior’s childhood home in Granville, features the compass rose motif seen in the garden of the villa Les Rhumbs. The eight-pointed star symbol, said to reflect Dior’s affinity for the number eight, has become a recurring emblem in the house’s designs.

The latest pieces extend several chapters of the Rose des Vents story, including Rose Céleste, The Charms and Étoile des Vents. Highlights include a new ring influenced by the Tribale design and a watch styled as a pendulum, both incorporating signature elements of the collection.

The Rose Céleste range has been updated with reversible medallions depicting the sun and moon, now available as necklaces, rings and earrings. Materials such as mother-of-pearl and onyx are used to enhance contrast and versatility.

Among the more decorative additions are charms representing symbols including lily of the valley, hearts, roses, skull and crossbones, ivy and bees. These feature necklaces, bracelets, brooches, earrings and rings, including a double-finger style designed to suggest a bee in flight.

The plastron necklace, a larger statement piece, combines multiple motifs and conceals stones on the reverse side.

The Étoile des Vents series continues to spotlight Dior’s use of talismans, with diamond-accented ear cuffs and other pieces designed for mix-and-match styling.

The new designs reinforce Dior’s ongoing exploration of its heritage symbols through contemporary interpretations in fine jewellery.

The collection draws on longstanding themes for the house, including flowers, butterflies, the Mandarin translation of Hu, and serpents.

Hu collaborated with Parisian high jewellery workshops to realise the designs, combining traditional craftsmanship with experimental materials.

Highlights include the La Rose Gracieuse brooch, a tribute to Princess Grace of Monaco, featuring a 1.18-carat fancy vivid yellow diamond surrounded by spinels, rubies, emeralds, brown and brilliant-cut diamonds.

The piece was inspired by the annual Bal de la Rose charity gala founded by the princess in 1954.

Hu also introduced the Orchid Minuet collection, dedicated to Mu Guiying, a legendary heroine from Chinese literature and Peking Opera.

The series includes rings, earrings and brooches crafted in titanium and gold, treated with nano-electroplating pigments and hand-painted in pastel gradients. Centre stones include yellow diamonds, Paraiba tourmalines and yellow-orange diamonds.

Anna Hu Haute Joaillerie was founded in 2007 and is known for its bespoke designs and collaborations with leading museums and international art fairs. The house holds three world auction records, including two with Christie’s and one with Sotheby’s.

The collection aims to capture the “fleeting beauty” of nature through pearls and gemstones.

Each piece reflects the “gentle” motion of petals gliding across a breeze, with shimmering stones such as morganite and diamonds.

The collection features a range of necklaces, earrings, rings, a bracelet, a brooch and a head ornament.

One necklace in the collection features Akoya cultured pearls, morganite, tourmaline and diamonds set in 18K white gold. The necklace comes with a pair of earrings crafted from white South Sea cultured pearls and diamonds, also set in 18K white gold.

A pair of rings are made with a natural conch pearl and diamonds in 18K white gold, and a white South Sea cultured pearl and diamonds in the same setting, respectively.

Another necklace includes Akoya cultured pearls, morganite, garnet, sapphire and diamonds in 18K white gold. Matching earrings are made from Akoya cultured pearls, sapphires and diamonds in the same metal.

The collection also includes a necklace and bracelet set in 18K pink gold, each combining Akoya cultured pearls and diamonds to convey a sense of movement and refinement.

Additionally, one of the necklaces is adorned with Akoya cultured pearls, tourmaline, and diamonds set in 18K white gold. 

Its design “evokes the delicate motion of rose petals caught in flight, with carefully chosen colours and contours crafted to leave a striking visual impression”.

The collection also features a brooch capturing the moment when two roses shed their petals, rendered in natural conch and Akoya cultured pearls, with sapphire and diamonds set in 18K white gold.

Completing the ensemble is a head ornament that depicts a rose in full bloom, its design echoing the grace of petals dancing in the wind. It is embellished with Akoya cultured pearls, rubellite, and diamonds, all set in luminous 18K white gold.

The collection draws on Japanese aesthetics and craftsmanship, with designs inspired by architecture, history and nature. It showcases five key gemstones, including ruby, emerald, sapphire, diamond and pearl.

Each piece is crafted by Tasaki’s master artisans and aims to present jewellery as sculptural art. The designs feature “detailed” craftsmanship and “bold forms”.

The collection includes, Éveil de la nature, which features necklaces, earrings, and rings, focuses on “emeralds and evoking natural harmony”, while Rouge Sublime uses rubies that are paired with white gold to symbolise “passion and energy”. 

Grâce Éternelle features pearls with yellow diamonds symbolising “sunlight and vitality”, and Symphonie de Lumière, celebrates the “brilliance of diamonds”.

Additionally, Tasaki has also introduced new pieces in its Ritz Paris par Tasaki collection, developed in partnership with the hotel. 

The 2025 range continues the theme of “Nouvelle ère (New Era)”, combining traditional and modern design.

Designs draw on the heritage of the Ritz Paris and imagine how historic icons might wear jewellery today. 

The collection includes Lumineux, inspired by Ritz founder César Ritz and featuring flowing metal, diamonds and Akoya pearls, Scintillement, based on the Ritz’s spiral staircase and featuring canary tourmaline and mandarin garnet, Unisson, honouring the women of 1920s Paris with lace-like forms and asymmetric stones, and Harmonie, blending pearls and coloured gemstones to reflect a “bold”, “sophisticated spirit”.

Founded in 1954, Tasaki is known for its use of pearls and diamonds, and its blend of traditional techniques with contemporary design.

Unveiled during Paris Haute Couture Week, the collection draws inspiration from the cultural and aesthetic energy of the 1960s. It comprises a necklace, bracelet and earrings set with a total of 7,790 oval, baguette-cut and round diamonds, weighing more than 129 carats.

Each piece features a pattern of concentric ovals designed to evoke the era’s psychedelic art and fashion.

Baguette-cut diamonds line the edges of the white gold settings, while a discreet row of pavé emeralds, the house’s signature green, is concealed within the design.

Graff said the suite reflects both the company’s heritage and its pursuit of innovation and technical precision.

CEO Francois Graff said: “This is one of the most intricate, complex and technically challenging high jewellery suites we have ever created. While the design is inspired by the decade in which Graff was founded, each jewel also represents the journey and evolution of our brand, our expertise and our future potential. We pursue absolute beauty and perfection in everything we do, and ‘1963’ is the ultimate representation of those values.”

Following its 2024 Serti sur Vide collection, which explored negative space, the latest offering shifts focus to “fullness”, using gold as a sculptural medium in a series of 21 designs. 

These include reworkings of Repossi’s original Blast cuff and new additions such as chokers, earrings and cocktail rings.

The Paris-based jeweller said the collection reflects its ongoing interest in fluid forms, ethnic inspirations and contemporary art references. 

Spiral motifs and continuous thread forms run throughout the pieces, with design details referencing the jewellery traditions of the Masai, Miao and Indonesian archipelago cultures.

Repossi also cited influences from Japanese aesthetics, particularly the concept of Enso, a hand-drawn circle symbolising harmony and eternity, and from artists such as Cy Twombly and Bernar Venet. 

Both are known for abstract, gestural works that explore “rhythm, volume and spatial movement”.

The new pieces include a plastron necklace set with 15 diamonds totalling 6.77 carats and 720 pavé diamonds (4.05 carats), said to take 250 hours to complete. 

Other highlights include a sculptural cocktail ring and signet ring featuring a thread of gold set with pear-shaped diamonds.

According to Repossi, the collection pays tribute to its designs from the 1980s, including the Cœur and Dis-moi Oui! rings. 

These are reinterpreted with modernised forms but retain what the brand describes as a “Riviera glamour and bold use of volume”.

The company, founded in 1957, marks nearly 70 years of jewellery production this year. 

In celebration, the brand has reinterpreted the golden thread, which is the foundation of the Blast collection. 

The collection centres on hand-sculpted gold threads with mirror-polish finishes and architectural settings. 

The brand’s signature pear-shaped stones are set using a raised ‘Eiffel Tower’ mount to emphasise lightness and dimension.

The maison’s family jewellery tradition is inherited from the origins of the house, founded in Turin by Costantino Repossi, who, after studying industrial design and discovering a strong taste for the Art Deco movement, opened his first boutique.

The collection, which was developed under the creative direction of Aurore Melot and company founder Thomas Sabo, is inspired by ancient landscapes and classical symbolism, with designs that reference strength, freedom and timelessness. 

Central to the collection is the Elyndra horse motif, which the brand describes as a symbol of “freedom, strength and courage”.

It also features protective eye designs representing intuition and foresight. Other pieces include hand chains, gemstone bracelets, adjustable necklaces and sculptural earrings.

Elyndra uses recycled 925 silver and some pieces are finished with 18k gold plating. The line incorporates a range of stones, including tiger’s eye, green aventurine, red agate and yellow jasper.

Additional accents come from turquoise, cubic zirconia and coloured stones in garnet red, white and emerald green.

Described by the brand as embodying “inner strength, timeless taste and femininity”, the new line features individually designed pieces with “distinctive” silhouettes. 

These include filigree hand chains, double-row gemstones, necklaces with sliding clasps and decorative earrings.

A new packaging concept will also launch alongside the range, featuring a minimalist design in warm beige.

All items in the collection will be available from Thomas Sabo stores worldwide, online and through selected independent retailers.

Framed as a “jewellery manifesto”, the collection draws on three decades of the Milanese house’s history, from chain-focused 1970s design to the sculptural 1980s and the chromatic explorations of the 1990s.

Each piece is crafted by master artisans at Casa Pomellato in Milan, combining traditional goldsmithing with modern materials and forms.

Highlights include the ‘Blue Chain Cascade’, which pairs sinuous diamond-set chains with a 22.23-carat Ceylon sapphire, and the transformable ‘Precious Spring Ring’, designed to be worn as a belt, bracelet or pendant.

In the 1980s-inspired line, the ‘Asimmetrico Tanzanite’ necklace showcases a 55.96-carat irregular-cut tanzanite and took 700 hours to complete. The ‘Rivière Zigzag’ necklace appears in two versions, featuring rubellites or green tourmalines arranged asymmetrically.

The 1990s-themed ‘Lagoon Bavarole’ suite uses 47 irregular-cut green tourmalines, while the ‘Marvelous Griffe’ series includes 10 pairs of rose gold earrings with cabochon-cut gems, such as aquamarines, peridots and garnets.

The ‘Iconica Extreme’ parure includes a rose gold chain necklace and bracelet set with baguette and brilliant-cut diamonds, and a ring with a 12.27-carat emerald.

The collection’s emphasis on creative freedom, technical innovation and bold use of colour reflects Pomellato’s commitment to redefining luxury through contemporary design.

The Cartier-designed piece, dating from around 1930, had remained in the Astor family since it was first purchased by Lord Astor from Cartier London. Described as “exceptionally rare” by the auction house, the tiara was offered on the market for the first time in nearly a century.

Of Eastern inspiration, the design features old brilliant, single and rose-cut diamonds set with carved turquoise plumes, leaves and scrolls. Bonhams said the motifs were drawn from Egyptian, Indian and Persian sources.

Viscountess Astor was born Nancy Witcher Langhorne in Danville, Virginia, and became the first woman to take her seat in the House of Commons. She represented the Plymouth Sutton constituency from 1919 to 1945.

After marrying Waldorf Astor, 2nd Viscount Astor, in 1906, she became known for her political advocacy and for hosting Britain’s social elite at Cliveden, the couple’s Buckinghamshire estate.

The tiara was among 104 lots offered at Bonhams New Bond Street. The sale also featured pieces from Boucheron, Bulgari, Buccellati, Chaumet, Grima, Mauboussin, Tiffany and Co., and Van Cleef and Arpels.

Among other highlights, a set of three mid-19th Century diamond-set rose brooches, each formed as a sculptural budding rose with diamond-set leaves, sold for £305,200 – more than six times the pre-sale estimate of £50,000–80,000.

An emerald and diamond ring from around 1930, featuring a 4.13-carat step-cut Colombian emerald, sold for £229,000, exceeding its estimate more than sevenfold.

A coloured diamond ring, centred on a 2.01-carat Fancy Intense Orangey Pink diamond with additional marquise-cut and pavé-set stones, achieved £127,400 within its pre-sale estimate of £100,000–150,000.

A Boodles diamond single stone ring, set with a 9.12-carat brilliant-cut diamond, fetched £203,600, more than double its £80,000–120,000 estimate.

A natural pearl and diamond necklace with two strands of saltwater pearls and an openwork diamond clasp was sold for £178,200, against an estimate of £60,000–80,000.

A pair of diamond chandelier earrings, set with pear-cut diamonds totalling approximately 28.00 carats, realised £76,600, exceeding the £40,000–60,000 guide price.

Jean Ghika, Bonhams global head of jewellery, said: “London Jewels featured an impressive selection of jewellery, but undoubtedly, the star of the sale was the Astor turquoise and diamond tiara by Cartier, formerly in the collection of Nancy, Viscountess Astor.

“The tiara hadn’t been seen on the market since Lord Astor purchased it from Cartier in 1930, and we were honoured to have been entrusted to sell the jewel at auction for the first time in nearly a century.”

The new collection comprises a necklace and earrings with an asymmetrical design, distinguished by its “vibrant, luminous colors, the fineness of its details”, combination of stones, diamonds and lacquer.

These exclusive models are adorned with a multitude of ornamental gems in graphically striking shapes, blossoming into a spring garden.

The brand stated: “[This collection is] a joyful new variation in an irresistibly pop spirit. It is a celebration of exceptional artisanship and the virtuoso expertise of the Ateliers, showcasing all the creative energy of Dior Joaillerie.”

The launch of Diorigami follows the launch of the brand’s Diorexquis Haute Joaillerie collection last month.

The artistic director of Dior Joaillerie designed a line, with three themes; enchanting landscapes, delicate bouquets and magical galas and three pieces; a necklace, ring and earrings.

The pieces include the ‘opale doublet’ technique, which consists of mounting a layer of opal on another stone, an onyx or mother-of-pearl. Furthermore, the plique-à-jour method forms clusters of a thousand sparkling colors thanks to the use of lacquer, Dior Joaillerie’s signature, working into transparency.