enya FASHION QUEEN

EDITOR Angel Huang｜TRANSLATOR Aurora Lin

2026年，BVLGARI寶格麗、Chaumet與MIKIMOTO先後帶來年度頂級珠寶展。三個品牌選擇的切入點各不相同：寶格麗從祖母綠與彩色寶石出發，放大天然色澤本身的張力；Chaumet把花草、香料與植物氣息轉成可佩戴的線條；MIKIMOTO則以珍珠承接光線，將視野推向更遼闊的宇宙想像。

展場裡真正吸引人停下腳步的，永遠不是尺寸或克拉數，而是那些藏在細節裡的巧思。祖母綠被切磨出溫潤弧面，鑽石像香草籽般隨流蘇晃動，珍珠與彩寶一明一暗地承接彼此的光。工匠花上數百、甚至近千小時完成一件作品，最後留下的卻可能只是一瞬的感受——晨光掠過海面、花朵初開，或夜空裡一道緩慢移動的亮光。

高級珠寶最迷人的時刻，大概也正在這裡。材質珍稀固然重要，但真正讓作品有記憶點的，還是品牌如何把眼前所見，變成只有自己說得出的故事。

2026 High Jewellery Odyssey

A Year on the High Jewellery Circuit

In 2026, BVLGARI, Chaumet and MIKIMOTO each unveiled their annual high jewellery presentations, approaching the season from very different directions. BVLGARI began with emeralds and coloured gemstones, allowing their natural intensity to lead the design. Chaumet translated flowers, spices and botanical aromas into lines that could be worn on the body. MIKIMOTO turned to pearls as vessels of light, widening its gaze towards something more expansive, almost cosmic.What makes one stop in front of a jewel is rarely size or carat weight alone. More often, it is a detail that reveals itself slowly. Emeralds are rounded into softly polished buff-top cuts; diamonds tremble like vanilla seeds at the end of a tassel; pearls and coloured stones catch one another’s light, alternating between brightness and shadow. A single piece may take hundreds, sometimes close to a thousand, hours to complete, yet what remains in memory can be no more than a fleeting impression: morning light passing over the sea, a flower just beginning to open, or a pale glow moving slowly across the night sky.Rarity may give high jewellery its value, but memory comes from somewhere else. It lies in the way each maison takes something seen, felt or remembered, then gives it a form that belongs to no one but itself.

BVLGARI

BVLGARI寶格麗於經國七海文化園區舉辦2026年度頂級珠寶暨腕錶巡展，全新《Eclettica》系列延續品牌鮮明的義式性格。祖母綠、珍稀彩寶與複雜時計並置於同一展場，沒有刻意收斂色彩，反而讓不同材質各自發聲。

其中最令人矚目的，是一件全球獨一無二的頂級祖母綠項鍊。中央主石為一顆10.88克拉枕形切割哥倫比亞祖母綠，色澤濃郁，周圍再鋪陳60顆寶格麗標誌性的buff-top弧圓形切割祖母綠；這種切割方式不像刻面寶石那樣追求銳利火光，而保留了較柔和、飽滿的表面質感；幾何鉑金鍊節與鑽石從兩側延伸，讓中央那抹深綠顯得更沉穩，也更有重量。與之呼應的頂級祖母綠戒指則簡潔得多，7.81克拉哥倫比亞祖母綠坐落中央，兩側鑲嵌總重1.52克拉鑽石，比例俐落，沒有額外裝飾搶走視線。當主石本身的條件已經足夠出色，設計反而懂得退後一步。

位於展場中央的Divas’ Dream作品則換上完全不同的情緒。玫瑰金彩寶與鑽石項鍊、黃金彩寶與鑽石手環，運用粉紅碧璽、孔雀石、橄欖石與珍珠母貝堆疊色彩。粉紅、嫩綠、深綠與乳白在金屬之間交錯，帶著寶格麗一貫明亮、帶點戲劇性的色彩節奏。

寶格麗對彩色寶石的掌握，向來不是把顏色排列漂亮。它更願意保留衝突，讓濃淡、冷暖與材質彼此碰撞。祖母綠的深沉和彩寶的明快因此並不矛盾，反而共同構成品牌最熟悉的面貌。看完展場後腦中的記憶裡的還是那抹令人難以忘懷的顏色。

BVLGARI presented its 2026 High Jewellery and High-End Watches exhibition at the Ching-Kuo Chi-Hai Cultural Park, where the new Eclettica collection unfolded in the house’s unmistakably Italian language of colour. Emeralds, exceptional coloured gemstones and complicated timepieces occupied the same space without any attempt to temper their intensity. Each material was given room to hold its own.Among the most arresting pieces was a one-of-a-kind high jewellery emerald necklace centred on a 10.88-carat cushion-cut Colombian emerald. Deep and saturated in colour, the stone is surrounded by 60 of BVLGARI’s signature buff-top emeralds. Unlike faceted cuts that sharpen brilliance into flashes of light, the buff-top leaves the surface smoother and fuller, giving the stones a softer, more sensuous volume. Geometric platinum links and diamonds extend from either side, anchoring the central green with a sense of weight and composure.The accompanying high jewellery emerald ring is far more restrained. A 7.81-carat Colombian emerald sits between diamonds totalling 1.52 carats. The proportions are clean, the setting deliberately spare. Nothing competes with the centre stone. When the gemstone already carries this much presence, the design knows when to step aside.At the centre of the exhibition, Divas’ Dream shifts the mood entirely. A rose-gold necklace and a yellow-gold bracelet, both set with coloured gemstones and diamonds, layer pink tourmaline, malachite, peridot and mother-of-pearl into a vivid composition. Blush pink, fresh green, deeper malachite and creamy white move between the metalwork with the brightness and slight theatricality that have long belonged to BVLGARI.The house has never treated coloured stones as an exercise in perfect coordination. What gives its palette energy is the friction between tones: dark against bright, cool against warm, opacity against translucence. Emerald can remain deep and serious while pink tourmaline and peridot pull the eye elsewhere. Nothing needs to be softened into harmony.Long after leaving the exhibition, the memory is still green.

CHAUMET

今年，Chaumet把展場設在淡水晴花鹿苑，在鹿角蕨茂密生長的溫室環境，四周綠意恰好替《A Journey through Nature》鋪出一段自然序曲。這系列從約瑟芬皇后鍾愛的植物世界出發，分為「草本清新」、「辛香甘甜」與「芳香暖韻」三個篇章。

Chaumet擅長描繪花草、香料的形體，以及氣味帶來的聯想，呈現於珍稀的寶石、鑽石與金屬間，像是香草莢、胡椒粒與咖啡豆，都可能化為一件件精緻閃耀的珠寶作品。

展場入口的「Vanilla Flower」項鍊很快抓住視線，這件作品以不對稱構圖描寫香莢蘭不同階段的模樣，一側是黃金與黃鑽堆疊出的花瓣，另一側則以白金與鑽石拉出細長豆莢，中央一顆10.71克拉美鑽往下延伸成流蘇，佩戴時會隨著動作輕輕搖晃；遠看是一道鑽光，靠近之後，才會發現那個細節其實是在模擬香莢裂開後散落的種子。「Peppercorns」項鍊與冠冕則更有節奏感，大小不一的鑽石像胡椒果實般聚集，包鑲與幻覺鑲嵌交替出現，再搭配Chaumet擅長的刀鋒工藝，把支撐結構藏到最低；視線最後只剩一顆顆鑽石懸浮在空氣中，帶著一種輕巧卻明確的力量。「Coffee Aroma」是另一件容易留下印象的作品，主石採用一顆12.09克拉馬達加斯加橢圓形藍寶石；Chaumet沒有選擇與咖啡直接相關的棕色，而以深藍取代；這個選擇讓作品脫離具象描繪，轉而捕捉咖啡熱氣升起時那種柔軟、緩慢的流動感；白金鑲鑽線條在藍寶石周圍輕輕盤旋，如同蒸氣離開杯緣後逐漸散入空氣。 Chaumet的經典之處在於，能將植物帶來的多重感官經驗做結合，花香、辛香、熱氣，甚至某一刻突然被喚起的深層記憶，都在有形的珠寶之上讓人產生對氣味、觸覺、味覺的聯想，使得珠寶不再只有形體，更是帶有蓬勃生命力的展現。

This year, Chaumet chose Qing Hua Deer Garden in Tamsui as the setting for its presentation. Inside a greenhouse dense with staghorn ferns, the surrounding foliage became a natural prelude to A Journey through Nature. Inspired by Empress Joséphine’s fascination with the botanical world, the collection unfolds through three chapters: fresh herbs, sweet spices and warm aromatics.Chaumet has always looked closely at plants, but here form is only the beginning. Scent, texture and the memories attached to them enter the jewellery as well. Vanilla pods, peppercorns and coffee beans are translated into gemstones, diamonds and metal, retaining just enough of their original character to remain recognisable without becoming literal.The Vanilla Flower necklace at the entrance draws the eye almost immediately. Its asymmetrical composition follows different stages of the vanilla orchid. On one side, yellow gold and yellow diamonds build the petals; on the other, white gold and diamonds stretch into the slender shape of a pod. At the centre, a 10.71-carat diamond descends into a tassel that moves gently with the wearer.From a distance, it appears simply as a fall of diamond light. Up close, the idea becomes clearer: the trembling stones recall the tiny seeds spilling from a vanilla pod once it has split open.The Peppercorns necklace and tiara carry a different rhythm. Diamonds of varying sizes gather like clusters of pepper berries, alternating between bezel and illusion settings. Chaumet’s signature fil-couteau technique reduces the supporting metal to a minimum. What remains in view is a scattering of diamonds that seem to hang in the air, delicate in structure but surprisingly firm in presence.Coffee Aroma moves even further away from literal representation. At its centre is a 12.09-carat oval Madagascar sapphire. Chaumet could easily have reached for brown, but instead chose deep blue. The colour changes the reading completely. Rather than depicting coffee itself, the jewel captures the slow curl of heat above a cup. Diamond-set lines of white gold spiral gently around the sapphire, like steam leaving the rim and thinning into the air.

Across the collection, Chaumet works with more than botanical shape. Floral notes, spice, warmth and the sudden return of a half-forgotten memory all seem to gather around the jewels. The pieces remain precise and highly constructed, yet their effect is strangely intangible. One looks at them and begins to think of scent, touch, even taste.

MIKIMOTO

MIKIMOTO全新頂級珠寶系列《L’éclat》於北京前門文華東方酒店舉行亞洲首展，共帶來59件新作。這一次，品牌把熟悉的珍珠帶離純粹溫婉的語境，讓它進入一個更明亮、甚至帶有宇宙感的世界。鑽石、彩色寶石與珍珠彼此交錯，每一種材質接住光的方式都不同：鑽石銳利，彩寶飽和，珍珠則帶著柔和而內斂的暈光。三者放在一起，畫面自然有了層次。「L’éclat Solaire」項鍊首先以鮮明色彩建立氣勢。中央以大型碧璽為主石，周圍層疊帕拉伊巴碧璽、藍寶石、祖母綠與鑽石。藍、綠與冷白色光芒彼此推進，構圖帶有明確的放射感。MIKIMOTO也重新運用了品牌熟悉的星形圖騰，只是這次輪廓更俐落，色彩也更大膽。「L’éclat Originel」則把主題拉回光本身。鑽石、南洋白珍珠與珍珠母貝沿著放射方向排列，珍珠圓潤的表面讓光線顯得柔和，鑽石則在其間形成細碎亮點。兩種完全不同的光澤放在一起，反而讓彼此更突出。整件作品看起來像一道正在向外擴散的光，速度被凝住，停在頸間。到了「L’éclat Éternel」，畫面逐漸安靜下來。作品以鑽石構築立體結構，再搭配日本Akoya珍珠。沒有大量彩色寶石，視線因此回到珍珠本身。Akoya珍珠細膩的光澤與鑽石明亮的反射形成對照，線條簡潔，卻不顯得單薄。MIKIMOTO最熟悉珍珠，也最清楚珍珠不需要太多解釋。它的光不是一瞬間閃過，而是慢慢浮在表面。這也是《L’éclat》最有意思的地方：在自然光澤下，品牌沒有追求耀眼到極致，而是讓這源於造物主的禮讚呈現出天然材質的光亮。

MIKIMOTO unveiled the Asian premiere of its new high jewellery collection L’éclat at Mandarin Oriental Qianmen, Beijing, presenting 59 new creations. This time, the house moves its pearls away from their usual association with quiet elegance and places them in a brighter, more expansive world.Diamonds, coloured gemstones and pearls appear side by side throughout the collection, each handling light differently. Diamonds flash sharply. Coloured stones hold their saturation. Pearls diffuse brightness across their surfaces in a softer, slower way. Together, the materials create depth without needing excessive volume.The L’éclat Solaire necklace establishes its presence through colour. A large tourmaline anchors the composition, surrounded by Paraíba tourmalines, sapphires, emeralds and diamonds. Blue, green and cool white move outward in a clear radial structure. MIKIMOTO also revisits the star motif it knows well, though here the lines are sharper and the colours more assertive.

L’éclat Originel turns back towards light itself. Diamonds, South Sea white pearls and mother-of-pearl are arranged in radiating lines. The rounded surfaces of the pearls soften the light, while diamonds flicker between them in smaller, sharper points. Each material makes the other more visible.The effect is almost like a burst of light caught mid-expansion, held still at the neckline.With L’éclat Éternel, the composition grows quieter. Diamonds build a three-dimensional framework around Japanese Akoya pearls. Without an abundance of coloured stones, attention returns to the pearls themselves. Their fine, silvery lustre sits against the crisp reflection of diamonds, and the restraint of the structure keeps the piece from feeling heavy.MIKIMOTO understands that pearls rarely need to announce themselves. Their light does not arrive in a single flash. It gathers slowly over the surface, changing as the wearer moves.That quality runs through L’éclat. The collection never pushes brilliance to its limit. Instead, it allows each material to retain the kind of light that belongs to it naturally, with the pearl remaining quiet, luminous and entirely itself.

特別預覽 年度巔峰之作

展場之外，今年還有兩件值得提前留意的高級珠寶新作。Tiffany & Co.回到品牌最具代表性的Bird on a Rock石上鳥圖騰，讓傳奇設計與珍稀藍寶石再次相遇；FRED則在90周年之際，把法國蔚藍海岸從深夜到晨光的色彩變化收進珠寶裡。一個從經典出發，一個沿著光線前進。它們尚未完整走入展場，卻已經先為今年的高級珠寶留下兩個鮮明註腳。

Special Preview: The Year’s Pinnacle Creations

Beyond the main exhibition circuit, two high jewellery creations already stand out this year.Tiffany & Co. returns to one of its most recognisable designs, Bird on a Rock, bringing the legendary motif together once again with an exceptional sapphire. FRED, marking its 90th anniversary, follows the colours of the French Riviera from deep night to early morning.One begins with an icon. The other follows the passage of light.Even before either story fully enters the exhibition calendar, both have already left a distinct mark on the year.

TIFFANY & CO.

Tiffany & Co.發表全新獨一無二高級珠寶作品《傳奇之鳥：藍寶石之作》，重新演繹自1965年問世以來最具辨識度的Bird on a Rock石上鳥設計。這一次，鳥兒停駐在一顆重達34.48克拉的馬達加斯加天然未經優化處理橢圓形藍寶石之上。深邃藍色幾乎立刻成為視線中心，而周圍的花卉與鳥形細節則讓整件作品不只是展示主石，更像一幅被縮小的自然景象。花朵靈感取自Tiffany & Co.經典蘭花圖騰，以訂製切割的黑色雙層蛋白石與珍珠母貝打造。每一層材料經過切割與包鑲後，再一片片組出立體輪廓。黑色蛋白石本身帶有變彩，與珍珠母貝的柔白光澤疊在一起，讓花瓣在不同角度下呈現細微變化。鳥兒的羽翼則運用鑽石與珍珠母貝嵌飾，並加入珍珠與紅寶石。18K黃金與鉑金交錯支撐各個細節，讓鳥身保有輕巧感，同時不失雕塑般的立體度。Bird on a Rock最迷人的地方，一直是那份略帶奇想的比例感。一隻小鳥站在巨大寶石之上，既幽默，也華麗。到了這件作品，經典圖騰周圍多了花朵與不同材質，畫面更豐富，卻沒有失去原本那份輕盈。六十多年過去，這隻鳥依然站得住。

Tiffany & Co. unveils a one-of-a-kind high jewellery creation, Legendary Bird: The Sapphire, revisiting the Bird on a Rock design first introduced in 1965 and now firmly embedded in the house’s visual history.This time, the bird perches on a 34.48-carat natural, unenhanced oval Madagascar sapphire. Its deep blue takes command immediately, while the flowers and avian details surrounding it turn the composition into something closer to a miniature landscape than a conventional centre-stone jewel.The floral elements draw on Tiffany & Co.’s historic orchid motifs and are formed from custom-cut double-layer black opal and mother-of-pearl. Each layer is cut and bezel-set before being assembled petal by petal into a sculptural form. The black opal carries its own shifting play of colour, while the mother-of-pearl adds a softer white glow. As the angle changes, the petals change with it.The bird’s wings combine diamonds and mother-of-pearl inlay, with pearls and ruby accents completing the details. Eighteen-karat yellow gold and platinum support the structure, preserving the lightness of the bird while giving the piece its sculptural depth.The charm of Bird on a Rock has always rested partly in its proportions. A tiny bird standing on an enormous gemstone is inherently improbable, and that is exactly why it works. There is humour in it, but also extravagance.Here, flowers and layered materials make the scene richer without weighing it down. More than sixty years later, the bird still looks perfectly at home on its stone.

FRED

2026年適逢FRED創立90周年。品牌推出高級珠寶三部曲最終章「Monsieur Fred Golden Light」，回望創辦人Fred Samuel與法國蔚藍海岸之間深厚的情感連結。系列橫跨五大篇章，共15件高級珠寶作品。時間從夜幕開始，慢慢走向黎明與晨光。不同時刻的地中海，也因此換上不同顏色。

「Moonlight Reflection」描寫的是坎城夜色。作品選用取自同一原石的祖母綠式切割坦桑石，深藍與紫色調在鑽石之間延展。刀鋒工藝盡量隱去金屬結構，讓鑽石看起來像一道道垂落的光。夜色原本沉靜，卻因寶石的折射產生細微流動。「Promising Dawn」來到黎明之前。澳洲歐泊被切出74道細緻切面，組成接近萬花筒般的光影效果，模擬埃茲山城天將亮未亮時偶爾閃現的綠光。戒指則以哥倫比亞祖母綠搭配Akoya珍珠，濃綠與珠白並置，色彩比胸針更柔和。「Crystalline Joy」把視線移向聖讓卡普費拉半島的日出海景。枕形切割碧璽從深藍逐步轉向翠綠，如同海水在不同光線下改變顏色。雕刻珍珠母貝則模擬水面波動，讓整件作品有了較柔軟的節奏。「Blooming Senses」最明亮。系列取材自格拉斯山丘晨光裡的含羞草，以斯里蘭卡黃色藍寶石化作一簇簇金黃色花球。項鍊歷經890小時製作，細小花朵沿著金屬枝條展開，保留含羞草特有的蓬鬆感。當作品隨佩戴者移動，花朵也會產生輕微顫動，看起來比靜態陳列時更有生命力。FRED這一系列最有趣的地方，是它並沒有試圖把「光」做成一個明確符號。光只是經過坦桑石、歐泊、祖母綠、碧璽與黃色藍寶石，留下不同顏色。夜晚偏藍，黎明帶綠，晨光轉為金黃。一路看下來，像沿著蔚藍海岸走完了一個清晨。

In 2026, FRED celebrates its 90th anniversary with Monsieur Fred Golden Light, the final chapter of its high jewellery trilogy. The collection looks back to founder Fred Samuel’s enduring connection with the French Riviera and unfolds across five chapters and 15 high jewellery creations.Its timeline begins at night, then moves slowly towards dawn and morning. Along the way, the Mediterranean changes colour.Moonlight Reflection evokes Cannes after dark. Emerald-cut tanzanites taken from the same rough crystal move between deep blue and violet, surrounded by diamonds. Fil-couteau work keeps the metal structure almost invisible, leaving the diamonds to fall like thin lines of light. The palette remains nocturnal, but the stones prevent the darkness from becoming still.Promising Dawn arrives just before sunrise. An Australian opal, cut with 74 fine facets, creates an almost kaleidoscopic play of colour inspired by the elusive green flash sometimes seen from the hilltop village of Èze at daybreak. A ring pairs a Colombian emerald with Akoya pearls, placing saturated green beside soft white in a gentler, more intimate contrast.Crystalline Joy moves towards the sunrise over Saint-Jean-Cap-Ferrat. Cushion-cut tourmalines shift from deep blue to green, recalling seawater changing colour beneath different angles of light. Carved mother-of-pearl introduces the suggestion of ripples, softening the geometry of the gemstones.Then comes Blooming Senses, the brightest chapter of all. Inspired by mimosa glowing in the morning light of the hills around Grasse, the pieces turn Sri Lankan yellow sapphires into clusters of small golden blooms. The necklace alone required 890 hours of craftsmanship. Tiny flowers open along fine metal branches, preserving the soft, almost fluffy character of mimosa.When the wearer moves, the blossoms tremble slightly. The piece becomes livelier on the body than it could ever appear behind glass.Across the collection, FRED never gives light a fixed shape. Light simply passes through tanzanite, opal, emerald, tourmaline and yellow sapphire, leaving a different colour behind. Night is blue. Dawn turns green. Morning arrives in gold.Seen in sequence, the collection feels less like a study of gemstones than a walk along the Riviera before the day has fully begun.

後記

今年幾個高級珠寶系列放在一起看，會發現品牌談自然的方式已經愈來愈細。寶格麗著迷於天然寶石本身的色彩力量；Chaumet從植物形態走向香氣與感官；MIKIMOTO觀察珍珠如何承接不同強度的光；Tiffany & Co.把熟悉的鳥與花重新組成一座微型風景；FRED則乾脆沿著地中海岸線，記錄一天裡光線最細微的變化。題材彼此接近，結果卻完全不同。這也正是高級珠寶值得反覆看的原因。同一片葉子、同一道光、同一種藍，落到不同品牌手中，都會有另一種答案。真正經典雋永的也未必是最昂貴的那顆寶石。有時是一抹綠，一束晃動的光，或珍珠的光澤。

Afterword

Placed side by side, this year’s high jewellery collections reveal how closely the maisons are looking at nature, and how differently they choose to remember it.BVLGARI is drawn to the force already present in gemstone colour. Chaumet moves from botanical form into scent and sensory memory. MIKIMOTO watches the way pearls absorb and release light. Tiffany & Co. gathers a bird, flowers and a monumental sapphire into a miniature landscape. FRED follows the Mediterranean shoreline through the changing colours of a single morning.The subjects are not so far apart. A leaf, a beam of light, a particular shade of blue. Yet each house arrives somewhere entirely different.That difference is what keeps high jewellery alive in the eye.And the detail that stays longest is not always the largest stone in the room. Sometimes it is a green that refuses to fade from memory, a tassel trembling with light, or the soft lustre of a pearl that seems to glow from within.