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.

The group has created its own collection featuring floral designs from its archive, each piece set with 25 diamonds to represent 25 decades. Another range is crafted in 18ct yellow gold sourced from The Royal Mint.

To mark the anniversary, partner brands have also released limited-edition pieces: Roberto Coin has added to its Venetian Princess collection; Fope has introduced a sapphire version of its Prima bracelet; Marco Bicego has unveiled London blue topaz designs for its Lunaria line; and Fabergé will launch a one-of-a-kind egg object later in the year.

The brand, which holds Royal Warrants and serves as jewellers, goldsmiths and silversmiths to His Majesty The King, received a new Royal Warrant in May 2024. 

Since 2012, two of the company’s master craftsmen, Martin Swift and Mark Appleby LVO, have served as crown jeweller, responsible for maintaining the crown jewels. 

Mappin and Webb’s recent collections have also included pieces developed under the Crown Jeweller’s oversight.

The brand operates a London Jewellery Workshop and a Silver Workshop in Greater London, providing repair, restoration and bespoke services. The teams are involved in diverse projects, from mayoral regalia to Ascot trophies.

Additionally, Mappin and Webb supports charitable initiatives including the Queen Elizabeth Scholarship Trust and The King’s Trust. 

It contributes a portion of sales from anniversary collections to support The King’s Trust’s Change A Girl’s Life campaign.

A new flagship showroom in Manchester is set to open in 2025, featuring a De Beers boutique and becoming the only David Yurman stockist in the UK outside of London.

Karl Bailey, senior manager of Mappin and Webb Regent Street, said: “It is our great pleasure that in May 2024 we received the Royal Warrant to His Majesty The King as Jewellers, Goldsmiths, and Silversmiths.

“As a grantee of a Royal Warrant, it signifies and reinforces our exemplary service, quality, and excellence of the highest calibre.”

Craig Bolton, president of the Watches of Switzerland Group, added: “We are thrilled to be celebrating the 250th Anniversary of Mappin and Webb, and to be working with such esteemed jewellery partners to do so is a reflection of the incredible heritage of this renowned British brand.”

The Cove collection marks what the company describes as its first fully traceable jewellery range. 

It includes necklaces, bracelets and an earring made with handmade Larvikite beads and sterling silver elements.

The stone, which is recognised as Norway’s national stone, is supplied by Lundh’s quarries and certified to provide full transparency across the supply chain. 

All metal components are produced from certified recycled materials, which the company claims cut the environmental impact by more than 90% compared with virgin metals.

The launch also includes updated versions of Tom Wood’s signet rings, now set with a new variety of Larvikite in a near-black tone with inclusions of blue sapphire.

Mona Jensen, founder and creative director, said: “We are proud to present our first 100% traceable collection, a milestone that embodies our dedication to transparency and responsibility. Being a brand of purpose affects everything we do, it sets direction for the products we create, our ways of working, the spaces we build and the people we work with.

“To know where everything comes from and who was involved all the way until the finished product is a quite unusual thing in a tradition based and conservative industry. We would like to forge new standards for responsibility and hope to inspire others to do the same.”

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 pieces were designed by Nathalie Verdeille, chief artistic officer of jewellery and high jewellery, and draw on archival motifs from past Tiffany collections.

The Seahorse chapter revisits a 1968 seahorse brooch by designer Jean Schlumberger. The updated designs incorporate materials such as purple sapphires, moonstones and blue sapphires. 

One necklace, which required nearly 1,600 hours of production, includes more than 11 carats of unenhanced purple sapphires and can be worn in three ways: the sapphire and moonstone necklace with or without the moonstone strand, or as a standalone moonstone strand.

In the Sea Turtle chapter, Tiffany reinterprets brooches from its 1961 Blue Book. The updated designs, described by the brand as a “one-of-a-kind” piece, features a sculptural turtle with aquamarines, turquoise and diamonds to suggest the form and movement of the marine creature. 

Verdeille said: “With the Sea of Wonder collection, we are charting new paths within the legacy left by Jean Schlumberger, taking a more abstract approach.

“Rather than revisiting his iconic pieces directly, we aim to embrace his philosophy and poetic vision, building upon his work to create an artistic movement at Tiffany that captures the spirit of Schlumberger’s aesthetic. With this collection, we have reinterpreted Jean Schlumberger’s work in a more conceptual way, gaining a broader perspective while diving into the depths of the underwater world.”

Inspired by the age-old phrase “something old, something new, something borrowed, something blue,” Bradley’s Jewellers York has created a capsule collection of blue gemstone jewellery for brides-to-be. 

Highlights include sky blue aquamarine and diamond cocktail rings, trilogy rings, sapphire-studded lockets, and earrings and pendants set with topaz and sapphires. 

Bradley’s Jewellers York is also well-known for its floral displays, often encouraging customers to ‘follow the flowers’ when searching for the store on Low Petergate. 

For the summer season, the business has committed to a blue theme with meaningful arrangements that mirror the themes of “love and commitment found in bridal jewellery”. 

For example, hydrangeas were chosen to symbolise “heartfelt emotion”, while delphiniums were selected to represent “open hearts, cheerfulness and goodwill”. 

Bradley’s Jewellers York specialises in engagement rings, wedding bands, eternities, and bridal jewellery, including a vast selection of pearls, coloured gemstone jewellery and a bespoke design service. 

The retailer has also opted to return to in-person wedding fairs and events in 2025 after witnessing a sharp rise in bespoke bridal appointments among couples looking for more tailored experiences. 

Kay Bradley, Bradley’s Jewellers York owner, said: “Traditionally, ‘something blue’ is worn by a bride on her wedding day as a symbol of love, purity and fidelity. Although this blue item can be anything, we think a precious piece of fine jewellery is the most timeless way to go, especially as it can be passed down as an heirloom for the next generation. When we debuted this collection at The Northern Wedding Show in Newcastle in March, it proved hugely popular, and that gave us the confidence to go ‘all out’ with our exterior displays too.

“Florals are one of my greatest sources of inspiration when designing new collections, which is evident in our York Rose, York Daffodil, Rainbow Daisy, and Arts & Crafts collections. Having such a vibrant display on the exterior of our Grade II Listed, 500-year-old storefront is a real talking point and helps to highlight what customers will find inside.”

The collection features a cocktail ring that showcases Pomellato’s “mastery of combining precious gemstones”. The ring features an enchanting array of gems including amethyst, ruby, pink sapphire, blue sapphire, blue zircon, orange sapphire, and green sapphire, all set in rose gold.

Complementing the ring is a reversible necklace, adorned with a palette of amethyst, ruby, emerald, pink sapphires, blue sapphire, blue zircon, orange sapphire, and tsavorite.

As part of this new line, Pomellato has adapted the 19th-Century flush mount technique, carving recessed settings into the forms of celebrated gemstones cuts: marquise, princess, drop, and trilliant, or in the shape of a star.

This creates a captivating ‘trompe l’oeil’ effect where brilliant-cut gemstones appear to mirror the shape of their settings.

This new line follows the launch of its Pom Pom Dot 2025 collection, an evolution of the Maison’s line of reversible jewellery.

The collection’s button motif, inspired by a 1974 necklace from Pomellato’s archives, has been reimagined as a “modern-day emblem of connection and protection”.

The highlight of the collection was the new reversible ring which has a rotating mechanism concealed within its refined structure.

The reversible ring reveals with a simple twist, either a face of pristine turquoise bordered by a rose gold thread, or a rose gold surface adorned with a diamond-set thread.

Inspired by Sotheby’s signature blue, the collection’s razor blade motif is reimagined in 18-carat yellow gold, featuring a signet ring, chain necklace, stud earring, and a bangle adorned with pavé blue sapphires.

The new capsule collection is displayed alongside the original 2023 lineup of yellow gold and pearl pieces that first launched the collaboration.

Rendered in 18-carat yellow gold and pavé blue sapphires, the four-piece collection, much like both brand’s main lines, is designed for all.

The collection has been designed by Hannah Martin and Guy Berryman, Coldplay bassist and founder of fashion label Applied Art Forms.

Highlights include a Razor Wristband, taking inspiration from the hospital ID-tag with its “evocation of the circularity of life, is transformed into a modern heirloom in a fine yellow gold bangle”.

The razor blade motif is also featured in a signature necklace presented in yellow gold or set with two blue sapphires, designed to be worn alone or layered.

This motif is also seen in two boldly crafted ring styles: The Razor Ring Taper in plain yellow gold and another in sapphires.

In contrast, the Dog Tag Stud Earring features a sapphire-edged detailing, and can be paired with the Vanitas Safety Pin Earring in gold and pearl for extra drama.

Martin said: “The debut collection at Hong Kong’s Sotheby’s Maison embodies the essence of A Vanitas, blending heritage with avant-garde elements inspired by the Dutch vanitas tradition.

“With a vision to infuse heirlooms with defiance, I aim to craft pieces that are historically rooted yet rebellious—fresh and charged with contemporary spirit. When Guy and I began this creative journey, we sought to create objects that not only adorn but also ignite conversations about the beauty of seizing the moment.”

Paul Redmayne, senior vice president for luxury sales of Sotheby’s, added: “I have been a huge admirer of Hannah’s boundary-pushing creations ever since I was introduced to her work six years ago.

“A classically trained goldsmith who learnt her craft in Cartier’s Parisian ateliers, she doesn’t just re-write the traditional rule book when it comes to design, theme and aesthetic; she dispenses with it altogether. It is the singular energy of positivity and love, deeply embedded in her practice, that we are excited to share with audiences in Hong Kong.”

The brooch, which has a 25-carat sapphire and over 14 carats of old-cut diamonds, had an original estimate of between £60,000-£80,000.

Another highlight of the auction was 19th Century sapphire and diamond butterfly brooch, set throughout with rose-cut diamonds and sapphires, which sold for £10,400 off of an estimation of £6,000-£7,000.

Alongside this, another late 19th Century diamond butterfly brooch which featured old-mine cut diamonds and ruby cabochon eyes, surpassed its high estimate, fetching a price of £7,540.

Victorian jewellery was a strong favourite at the sale as a pair of old-cut diamond cluster drop earrings achieved £2,990, more than four times their low estimate.

In this vein, a Victorian Egyptian Revival choker necklace, incorporating turquoise cabochons and old-cut diamonds, achieved £6,110, surpassing its estimate of £1,500-£2,000.

Meanwhile, a modern diamond dress ring, set with approximately 2.70 carats of old-cut diamonds, secured £1,820.

Other standout pieces included a single-stone solitaire diamond ring, boasting a brilliant-cut diamond of approximately 1.75 carats, which sold for £6,240, another piece which exceeded its pre-auction estimate.