Catherine, Princess of Wales has had a busy few days. She was in Liverpool in support of a mental health charity then made an unannounced trip across the Irish Sea to Belfast along with Prince William.
The Royal couple were in Northern Ireland to show support for a number of youth orientated projects including the Royal Foundation’s New Employment Opportunities Network, launched under William’s Homewards programme, which is an effort to end homelessness.
William and Catherine then made an unusual visit to a local Ikea where they spoke with staff and helped out on the restaurant tills serving meatballs.
For the trip, Catherine wore a ruffled blouse and a tartan skirt, accessorising with a pair of Cartier Trinity earrings, which feature three interlocking hoops made out of 18 carat yellow, rose and white gold.
Since debuting the earrings in the middle of 2025, they have become a firm and favourite part of her wardrobe, being worn to events such as Wimbledon as well as the Royal Christmas Day at Sandringham.
Long speculated to have been a birthday gift from her husband, the future King’s mother, Princess Diana, was a firm fan of Cartier’s Trinity collection, which originally debuted more than a century ago.
Diana was particularly known to wear a Trinity ring on her little finger, which she owned before she was thrust into the spotlight through her relationship with the now King Charles III.
While it is not known what happened to Diana’s pinky ring, she is generally credited with helping popularise the trend in the 1980’s.
Since making their public debut at Princess Charlotte’s 2015 Christening, the future Queen has been seen wearing them at various sporting events so it’s only right they came out for a tour of Headingly.
While the exact earrings Catherine wears are no longer available to buy from Mappin & Webb, the historic British brand still sells similar items as part of their Empress collection.
Attending the premiere of Tom Cruise’s new film, Digger, in London, Catherine wore a heart-shaped amethyst necklace that is 103 years old.
Originally commissioned for the Queen Mother for her wedding to the future King George VI, the necklace was apparently only worn while mourning Queen Alexandra (who had purchased it).
After Alexandra’s mourning period expired, the necklace went back in the royal vault and was not seen publicly until the 2012 premiere of Skyfall, the 23rd James Bond film, where it was worn by the then Duchess of Cornwall as she accompanied Prince Charles.
Unseen in public for a century before it was auctioned earlier this year, a rare Boucheron tiara commissioned by the diamond-loving Viscountess Harcourt will go on display at Christie’s New York alongside a host of other Boucheron treasures. Get all the details below.
As the niece of the infamous Gilded Age banker J.P. Morgan, and part of Britain’s glittering aristocracy by marriage, Mary Ethel, Viscountess Harcourt, knew a thing or two about fabulous diamond jewels.
She was a devoted client of the French jewellery house Boucheron and amassed an enviable collection of the Maison’s diamond jewels during her lifetime. As a young woman, she was taken by her beloved father, Walter Hayes Burns, to Boucheron to select pieces for her wedding trousseau, prior to her 1899 marriage to Lewis Vernon Harcourt, son of the aristocratic British politician, Sir William Vernon Harcourt.
His only instruction? For Mary Ethel to order anything her heart desired.
Lady Harcourt’s foliage platinum and diamond tiara, by Boucheron – CREDIT: Boucheron
She duly chose a lavish set of jewels, which included a diamond tiara with fleur-de-lys motifs. This she wore with a diamond necklace set with 28 diamonds that were taken from the ‘Comb of Pamilles’, part of the French Crown Jewels which were originally made for Empress Eugenie (and which had been bought for Mary Ethel by her grandfather).
Now, one of the tiaras commissioned by Viscountess Harcourt will go on display at Christie’s New York, as part of an exhibition of Boucheron’s extraordinary creations from the past 168 years, all the way through to today.
Made by Boucheron in 1924, the Harcourt Diamond Bandeau is crafted in platinum and white diamonds, with an early Art Deco silhouette. Viscountess Harcourt gave it to her daughter, the Hon. Doris Harcourt, as a wedding present for her marriage to the future 6th Baron Ashburton.
Archival and modern pieces, like this Lierre de Paris white gold and emerald necklace, by Boucheron will be grouped together by themes, like Nature, Innovation or Couture, for this newest retrospective – CREDIT: Boucheron
Its olive wreath motifs were inspired by a classic design, symbolising peace and harmony, making the jewel an emotional as well as spectacular present for the young bride.
Prior to its auction at Bonhams in London earlier this summer, the piece had been passed down through Doris Harcourt’s family, and hadn’t been seen in almost a century. It eventually sold for £508,000, including buyer’s premium, which far exceeded its estimate of £200,000 – £300,000.
The tiara can be viewed at Boucheron: In Focus, A Monograph of a Visionary, which is being held at Christie’s in New York from October 8th – 18th. The retrospective will include 80 different creations drawn from both the maker’s archive and its contemporary collections, to show the breadth of its work since its foundation in 1858.
A necklace from the Boucheron Human Being high jewellery collection, which was unveiled in Paris this summer – CREDIT: Boucheron
In addition, the Maison’s newest high jewellery collection, Human Being, which was unveiled in July in Paris will make its American debut at the exhibition. The show will revolve around a selection of themes central to the house, including architecture, nature, couture and innovation, with antique and modern pieces displayed side-by-side to show how these themes still run through is designs today.
“This exhibition therefore marks an important new milestone in our American journey. It was conceived as a monograph, devoted to a single subject and exploring it in depth: rather than following dates, it lets us curate around meaning, around the ideas and the spirit that define who we are. That is the whole idea behind this immersive journey: to let visitors see how a piece from 1858 and a piece created today sit in the very same conversation,” says Hélène Poulit-Duquesne, CEO of Maison Boucheron.
“What I hope they take away is a real understanding of who Boucheron is – not a museum of the past, but a Maison whose pioneering spirit has been consistent for 168 years. If American visitors leave feeling that Frédéric Boucheron’s audacity is still alive in what we create today, then we will have told our story exactly as we wished.”
Boucheron: In Focus, A Monograph of a Visionary, will run from 8th-18th October 2026 at Christie’s New York.
Emma Stone stepped out in the city of light for Paris Fashion Week in support of longtime friends, Louis Vuitton.
The Poor Things actor made a splash in the French capital, attending Vuitton’s Spring/Summer 2027 show alongside the likes of Ana De Armas, Saoirse Ronan and Zendaya.
For the show, Stone appropriately wore a tailored blue suit blazer and matching skirt from the iconic fashion house. To accompany the plunging suit, Stone opted for a long pendant necklace from the Color Blossom collection which features the iconic Louis Vuitton monogram flower motif.
Set in 18 karat yellow gold, the delicate piece is also accented with diamonds and features blue sodalite stones to complement her attire.
Last year, the watch was brought out in a limited edition yellow gold while off-market ceramic versions were featured in fashion head Nicolas Ghesquière’s runway shows, a hint at the full release to come.
Now, two new ceramic models, one in a lush green and the other in a deep black are set to be made available to the public. The rest of the watch is largely the same as the version that debuted last year with its dressy 37mm size and parsed down aesthetic, combined with a self-winding movement.
But there are some distinguishing features to the watches. On the green version, the hands also feature that iconic Louis Vuitton yellow, a reminder of the stitching that adorns all of LV’s leather goods.
Conversely, the black model is sleeker and features red hands and railtrack for a distinctly sporty feel while also strongly harking back to the original 1988 model.
Now in the permanent collection, the watches will retail for EUR 23,000.
Each of the five pieces takes the distinctive jumping hour complication developed in house in 2007, which features 12 rotating cubes around the dial spelling out Louis Vuitton, making it one of the most audacious things the company have ever done when it comes to horology.
The Tambour Spin Time Green in White Gold features a sandblasted dial with a green finish on a 39.5mm case, making it more versatile than you would expect, whilethe second entry is the Tambour Spin Time Australia’s Opal in Rose Gold, which as its name suggests features an 18 carat rose gold case. The blue opal on the dial changes colour with the light and as well as being the centrepiece of the watch, is also between the 12 rotating cubes.
Next up is the Tambour Spin Time Air Blue in White Gold which is the closest reference to the previously popular limited edition model, while the Tambour Spin Time Air Antipode displays 24 different time zones using the 12 rotating cubes with the global feel of the watch fitting in with Louis Vuitton’s close association with travel.
The final entry into the collection is the Tambour Spin Time Flying Tourbillon in salmon, paired with platinum. The complication took 50 hours to assemble, double that of any other watch in the collection because of the difficulty in pairing the rotating cubes with a flying tourbillon, while platinum also takes far longer to finish than gold.
Long before a natural diamond becomes a jewel – or even takes shape deep within the Earth – its story begins among the stars. This October, De Beers will invite visitors to discover that hidden world through an immersive installation at Frieze Masters in London, as part of its autumn cultural programme.
Voyage Through the Diamond Realm, Chapter II: On the Birth of a Diamond will unfold across three rooms at Frieze Masters, held in Regent’s Park from 14 to 18 October. Bringing together art, geology, film and sound, the experience follows carbon as it transforms into a natural diamond, while also celebrating the craftspeople and creative traditions of Botswana, where many of De Beers’ natural diamonds are mined.
The installation begins with a five-metre handwoven tapestry by Shifron Mercury Studio, the Paris-based practice founded by artist-designers Goni Shifron and Gabrielle Laurin Mercury. Created using natural fibres from Botswana’s Okavango Delta, its richly layered surface evokes the geological depths in which natural diamonds form. Ceramic fragments inspired by the irregular contours of rough diamonds are woven into the work, alongside ostrich-eggshell beads.
The tapestry will be shown alongside 47 amulets commissioned by Botswana’s Mabeo Studio. The studio collaborated with 41 basket weavers, potters and wood carvers from across the country on the amulets, which were handcrafted from local materials and set with De Beers natural diamonds.
The making of the five-metre handwoven tapestry by Shifron Mercury Studio. (Shifron Mercury Studio)
Born in the stars, formed in the Earth
In the installation’s second room moving image, narration and an enveloping soundscape will tell the story of carbon travelling from its earliest iteration within ancient stars (carbon atoms were created inside stars and dispersed into space when those stars died) to beneath the Earth’s surface, where extreme heat and pressure worked to transform them to the coveted diamonds they are today. The film is narrated by actors Lucian Msamati and Kristin Winters, with voices and original work by artists including Mumsy Themba and Ecka Mordecai.
The installation is the second chapter in De Beers’ ongoing Voyage Through the Diamond Realm series. Its first Frieze Masters presentation in 2025 explored the myths and legends that natural diamonds have inspired across different cultures, and later travelled to Mumbai and New York.
The 2026 installation forms part of De Beers’ autumn cultural programme, which also included a partnership with Homo Faber in Venice this September. At Homo Faber, a biennial exhibition of contemporary craftsmanship held at the Fondazione Giorgio Cini in Venice, De Beers supported artists Abongile Sidzumo and Shakunona Parata in celebrating Southern African craft traditions through live leatherworking and basket-weaving demonstrations using locally sourced materials.
Botswanan artist Shakunona Parata (right) practises a centuries-old basketry craft, which De Beers showcased at Homo Faber. (De Beers Group)
First introduced in 2017, Tiffany & Co.’s HardWear collection quickly became one of their most beloved and treasured offerings with a series of designs inspired by their prestigious past.
Up until this year, all HardWear pieces were made out of 18 karat gold and diamonds but 2026 has seen the introduction of turquoise and Akoya pearls into the collection.
Nine new pieces encompass the collection with Tiffany opting for two different approaches to set the pearls, which were sourced from Japan and the turquoise, which comes from America and Mexico.
The first example, exemplified by the 34 inch wrap necklace as well as the drop earrings, sees the turquoise beads and pearls set on the end of each HardWear link with the accents capped with gold domes.
The other use of the turquoise and pearls has the beads set between the links or set as accents.
The designs themselves take cues from the Pop Art movement and the work of Andy Warhol as well as Jean Schlumberger’s muse Bunny Mellon and a lapis lazuli and pearl necklace they wore in the 1960’s.
The centrepiece of the new release is a convertible 34-inch necklace and features two integrated clasps allowing for versatile use including as a long necklace or in the double-wrap style. The design includes gold pyramid domes that secure the stones while large turquoise beads sit along the links.
The collection is available in Tiffany & Co. stores worldwide from October.
The 37mm platinum watch features a floral composition of 32 shimmering ‘petals’ set with over 10 carats of trapezoid-cut diamonds. Mirroring this, the fully pavé centre dial contains 40 trapezoid-cut aquamarines, with a further 61 baguette aquamarines and 108 baguette diamonds set into the bracelet.
In total, the intricate gem setting required to bring this one-off timepiece to life required over 120 hours of meticulous craftsmanship to complete.
During more than three decades at Tiffany & Co. starting in 1956, Schlumberger created powerfully memorable jewels suffused with wit, whimsy and joyful extravagance (you can read more about him here), including incredible statement jewels showcasing exceptional gemstones framed by sinuous gold ‘ropes’.
While a new set of fine jewellery pieces showcase figurative birds embellished with details drawn from the archive, two other new collections delve into the concept of flight.
Wings, a fine jewellery line, interprets the symbolic power of flight as abstract sets of wings in 18K gold and platinum – honouring Schlumberger’s predilection for mixing precious metals. Feathers, a novel high jewellery suite, distills the bird motif down to its plumage, with sculptural compositions of diamond feathers.
Bradley Cooper and Gigi Hadid have given the world a glimpse of their matching wedding bands during a recent trip to Paris.
The couple, who have been together since 2023, have not announced any engagement, but were spotted in the city of light with matching gold wedding bands.
Both rings are from Boucheron with Hadid wearing the French jeweler’s Quatre Radiant Edition Wedding Band, which is made from yellow and white gold totalling 18 carats while it is also studded with a staggering 33 round diamonds which add up to 0.25 carats.
Cooper was also wearing the Godron Pink Gold Wedding Band, which features an easily distinguishable double band design and is made from 18 karat pink gold. Unlike Hadid’s ring, Cooper’s is free of diamonds.
Swift and Kelce opted for subtle gold wedding bands, a sharp contrast to her shimmering engagement ring, which was created by Kindred Lubeck and features a large brilliant cut diamond estimated to weight at least eight carats.
Swift’s husband Kelce couldn’t be at the event to witness her various wins, as he and his teammates in the Kansas City Chiefs had travelled to Florida for a match against the Miami Dolphins.
But the singer made sure he was with her in spirit, by wearing her enormous engagement ring with its delicately hand-engraved yellow gold band and her $16,000 diamond-set gold wedding band.
Taylor added a little extra sparkle to her shimmering Tamara Ralph gown with the Etho Maria Diamond Brushed ring by Leviev Diamonds, and a bespoke, multi-cut diamond Royale ring by Forever Diamonds New York. She also wore the maker’s elaborate diamond Dangle earrings, and extra diamond studs by Anita Ko.
Lipa’s wedding day jewellery was exclusively Bvlgari with the centrepiece being a Serpenti necklace made bespoke for the big day.
The staggering necklace also featured a special engraving from Bvlgari’s Creative Director Lucia Silvestri, which read: “For Dua, with love.”
Other celebrity weddings to have so far taken place in 2026 include Cristiano Ronaldo’s nuptials to longtime girlfriend Georgina Rodriguez and Carly Rae Jepsen getting hitched to fellow musician while Harry Styles and Zoe Kravitz are engaged to be married.
Tiffany & Co. has just partnered with the Musée des Arts Décoratifs in Paris on a landmark partnership to preserve the creative legacy of its one-time creative director, Jean Schlumberger. Read more about it below.
The house of Tiffany & Co. has announced it is collaborating with Paris’ storied Musée des Arts Décoratifs on a new programme dedicated to conserving the work of its legendary designer, Jean Schlumberger.
Led by Tiffany’s extensive Archive department, the multi-year initiative will be tasked with preserving and digitally imaging roughly 5,000 original drawing and 5,000 archival documents related to Schlumberger, ensuring the works are available for future generations.
Jean Schlumberger in his New York City townhouse during a 1965 interview with American Vogue about his favourite recipes (Portrait: Bruce Davidson/Magnum Photos)
To kick off the partnership, Tiffany & Co. also collaborated with Virginia Museum of Fine Arts on a show called I Am Only A Pencil during Paris Fashion Week, which offered chic onlookers the opportunity to learn about Schlumberger’s creative universe through a selection of his original drawing, archival materials and jewellery, including pieces once owned by the designer’s close friend and client, the high society philanthropist Bunny Mellon.
Tulips Necklace by Jean Schlumberger for Tiffany & Co. in gold, platinum, and diamonds. 1959 – CREDIT: The Tiffany Archives
When Jean Schlumberger joined Tiffany & Co. in 1956, he ushered in a new era of creativity for the House and for the world of jewellery at large. This was a momentous step forward for both parties – Schlumberger would become Tiffany & Co.’s first named designer, and, in turn, the company would embark on an entirely new business model for a fast-changing post-war world, one that would dovetail the brand’s long and rich heritage with modernity, innovation and individuality.
Born in Alsace, France, in 1907, Schlumberger, who sketched from a young age, was expected to join the family textile- manufacturing business or pursue a banking career, but stood firm in his decision to forge his own artistic path. During his early twenties, he left a brief stint in a Berlin bank and headed for Paris, working first for French couturier Lucien Lelong, then subsequently at an art-publishing house.
Jackie Kennedy at the inauguration of a Jean Schlumberger exhibition in New York, 1961 – CREDIT: Tiffany & Co.
He immersed himself in the city’s pulsating, hedonistic, rebellious creativity, which was alive with new ideas and cultural influences, from African art, jazz music and Josephine Baker to cubism, Russian émigrés and the blossoming of couture. Originality was worshipped; the only sin was to be boring.
While there, Schlumberger began making fashion jewellery, all the rage at the time, using antique fragments, coral, shells, cameos and Meissen porcelain flowers discovered at the flea market. They were admired and worn by Schlumberger’s sophisticated circles, which included model Natalie Paley, socialite Daisy Fellowes and fashion editor Diana Vreeland, who went on to become a lifelong friend and supporter.
Around 1937, a pair of his earrings worn by Marina, Duchess of Kent apparently attracted the eye of celebrated couturier Elsa Schiaparelli, who subsequently commissioned Schlumberger to create whimsical, figurative fantasy buttons for her collections – the most notable of which was perhaps the flying acrobat for the 1938 Circus Collection. In doing so, Schlumberger joined an illustrious roll call of artists who worked for Schiaparelli, including Salvador Dalí, Jean Cocteau and Louis Aragon. These surrealist ornaments gave birth to the phenomenon of ‘bijoux fantaisie’.
Jean Schlumberger Jasmine Necklacein gold, platinum, coloured sapphires, and diamonds,1962–63. Collection of Rachel “Bunny” Lambert Mellon (1910–2014) The Virginia Museum of Fine Arts, 2015.77 – CREDIT: Tiffany & Co.
The association with Schiaparelli brought Schlumberger international renown, particularly in the United States, where he was celebrated as the “tall, darkly fascinating Parisian.” He turned to precious jewellery as early as 1938, the year in which Fellowes commissioned him to produce a diamond flower brooch, which she wore with a real flower; meanwhile, in 1939, his articulated goldfish lighter became the must-have accessory in Paris and New York.
Schlumberger’s early start as a designer was soon upended when he enlisted during World War II, a period in which he survived Dunkirk and went on to serve in Charles de Gaulle’s Free French forces. When he moved to New York, in 1946, he had a ready-made clientele, and, in partnership with his childhood friend Bongard, was able to open a small boutique on East 63rd Street. (The nephew of couturier Paul Poiret, Bongard understood the business, having worked for both Lacloche Frères and Boivin.)
Jean Schlumberger Bird on a Rock in gold, platinum, lapis lazuli, diamonds, and fancy-coloured diamonds, 1965. Collection of Rachel “Bunny” Lambert Mellon (1910–2014), The Virginia Museum of Fine Arts, 2015.109 – CREDIT: Tiffany & Co.
High-fashion, upper-crust clients, including Babe Paley, Bunny Mellon and Vreeland, beat a path to their door, with the latter being a recipient of one of the most celebrated pieces in jewellery history: the ‘Trophée de Vaillance’ brooch, which featured a three dimensional, diamond-encrusted armour-breastplate that was set against an amethyst-smothered shield, with a bow, arrow, and various blades jutting out at all angles. Inspired by the escutcheons found in Nancy, France, as well as symbols of war and gallantry, Vreeland saw it as an emblem of protection for “the beautiful women of the world” and kept it on her bedside table.
Schlumberger pinned the colour with gold studs. Resultingly, all elements coalesced into an imaginative, individualistic style of exuberant yet refined rococo. And, above all, Schlumberger created an entirely new expression of nature, an unsentimental depiction of earthly wonders – fish, flowers, birds, vegetation – interpreted through a mix of fantasy, whimsy and stylised realism.
Sketch for a Mermaid jewel for Rachel ‘Bunny’ Mellon by Jean Schlumberger – CREDIT: Tiffany & Co.
When capturing the energy and unstoppable growth of nature, he balanced abundance with restraint, taming overgrown chaos through the perfection of form and proportions. He explained, “I try to make everything look as if it were growing, uneven, at random, organic, in motion. I want to capture the irregularity of the universe.”
Audemars Piguet have unveiled their first ever jewellery collection and it’s all inspired by their iconic Royal Oak watch.
The Royal Oak Joaillerie collection debuts without any timepieces in its 19 piece line that includes necklaces, chokers and earrings.
The backbone of the collection is a number of motifs inherited from the Royal Oak including interlocking links of the bracelet as well as its general approach to geometry.
The jewellery is also directly influenced by the Swiss region of Vallée de Joux, where Audemars Piguet has been based for more than 150 years.
This is mainly seen in the Dream of Joux line where the locale’s dramatic landscape is reinterpreted into 18 carat white, yellow and pink gold cuffs with their floral motifs. The trio of bracelets comes in either a deep, evocative blue, bright pink or dashing green. There is also a matching tie necklace and drop earrings which are set with diamonds and sapphires.
The standout piece is the tie-style necklace in anodised blue titanium that features 42 pear-shaped diamonds totalling 63 carats. while a whopping 1,670 sapphires are crafted into the luxurious jewel.
The Risoud Eclipse necklace and matching cuff bracelet are a tribute to star watching and the town’s forest that sits under the sky. Made out of PVD titanium, both pieces feature a central emerald motif surrounded by brilliant cut diamonds.
Rounding out this debut collection is a series of more everyday chokers and cuffs that come in AP’s trademark frosted gold finish.
Ilaria Resta, CEO of Audemars Piguet, said of the collection: “A gateway to the past and the future, the Royal Oak Joaillerie collection embodies Audemars Piguet’s free spirit. Jewellery has always played an important role in the company’s history. Drawing on our long-standing expertise, we continue to explore this creative realm alongside our core watchmaking activity to fuel our imagination, revisit our codes and enhance our approach to creation and expression.”
It’s been a big year for diversification at Audemars Piguet as they partnered with Swatch to release the Royal Pop, a pocket watch that brought one of the most famous watch models in the world to the affordable world of the high street.
The collaboration, AP’s first like it, was a resounding success, leading to unprecedented interest in the watch with some fans and collectors queuing outside of stores for days in the run up to its release.
Such was the furore over the Royal Pop that Swatch were forced to close a number of stores around the globe with police called in to disperse crowds.
Some months on from the initial release and the Royal Pop is still only available in limited quantities in stores.
Dakota Johnson has long been known for her chic, casual style and the ability to switch it up when the red carpet is rolled out and the sheer dresses and opulent diamonds come out to play.
An ambassador for Roberto Coin, Johnson has displayed no shortage of fine jewels under the bright lights from a variety of other brands, adding up to an ensemble that rivals any in Hollywood.
With her new film, Verity, out in cinemas today, we thought it was the perfect opportunity to look back on some of the Fifty Shades of Grey star’s best and biggest jewellery choices over the years.
Dakota Johnson hosted Saturday Night Live last night (October 3rd) wearing a $124,000 Roberto Coin Wide Cobra diamond collar. Johnson, who’s an ambassador for the Italian jeweller, combined the necklace Cento Circle of Life diamond and ruby ring with a bright red latex Versace dress from 2013.
During her opening words she was joined on stage by Taylor Swift, making a surprise appearance on the show. The pair recently starred together in Swift’s Patient Zero video, which debuted at the MTV VMAs which we reported on last week.
Dakota Johnson is an odd one to have at the MTV VMA’s but she was on hand to present new friend and collaborator Taylor Swift with the Artist’s Director award. For the moment, Johnson opted for a Messika choker similar to the one she previously wore to the Madame Web premiere with the piece made out of white gold and featuring a dazzling ensemble of brilliant cut diamonds which add up to a total of 13.2 carats.
An ambassador of Roberto Coin since last year, Johnson is keeping her relationship with the brand strong at the New York premiere of Verity where she wore a number of the house’s pieces. The most noticeable of which was the Cobra necklace, which is 18 karat white gold and immaculately dressed with diamonds with the retail price coming in at $65,000.
For the 2025 Cannes Film Festival, Johnson made quite the splash with her Boucheron earrings. Retailing for more than £55,000 these earrings are designed to resemble the sun and given they feature 380 round diamonds totalling almost 7 carats, they’re almost as bright as it as well.
Turning up to the Splitsville premiere last year, Johnson was completely adorned in Roberto Coin featuring a number of pieces primarily from the Love in Verona collection. While there are is no shortage of shimmering pieces to choose from here, the showstopper is the bangle ensemble on her wrist which features four different diamond paved jewels that add up to resemble a chunky bracelet. They’re also nearly as bright as her metallic Gucci dress.
Something a little bit different for the Fifty Shades of Grey star, who for the 2024 premiere of Daddio, eschewed diamonds in favour of this deceptively chic piece from Tiffany & Co, which displays a versatility in Johnson’s approach to fashion as this is a far more everyday look.
By far the most expensive piece Johnson has been captured wearing, sbe wore this diamond and sapphire necklace shortly after being named Roberto Coin’s latest ambassador. Reportedly costing $1.2 million, the necklace is made of 18 karat white gold and it couldn’t make more of a statement as it takes up much of Johnson’s neck and chest.
This pearl and diamond necklace features 21 cultured pearls measuring 5.85mm to 13.5mm as well as circular cut diamonds in trefoil and floral designs. Queen Mary gifted the necklace to her niece Mary, Duchess of Beaufort. It was sold in 1986 and later sold by Sotheby’s in 2004. It’s catalogue references that it was made by Hennell in 1928 for Queen Mary.
The London jeweller Hennell was commissioned to make the necklace in 1928 as a reproduction of Queen Victoria’s Golden Jubilee necklace, which had been presented to Queen Victoria in 1888 to celebrate her Golden Jubilee in 1887, celebrating fifty years on the throne. The original necklace was presented to Queen Victoria and was paid for using funds from the Women’s Jubilee Offering and was made by London jewellers Carrington & Co.
Hennell’s necklace was nearly identical to the original. Queen Victoria’s original was set with diamond and pearls around a crowned trefoil centre individual pieces could be detached and worn as a brooch or bracelets. The Golden Jubilee necklace was inherited by the Crown and became a favourite of Queen Elizabeth II. She wore it for her first State Opening of Parliament in 1952.
Queen Mary amassed a huge jewellery collection, much of which has been inherited by the royal family. Queen Camilla and Catherine, Princess of Wales regularly wear her pieces.
The necklace will be auctioned on November 9, 2026 in Phillips’ Geneva Jewels Auction: VII. It features in the Collections and Provenance Section alongside other jewels from noble and royal families.
