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6 rising Parisian independent jewellery brands to watch: how Mira Stella, Lucas Bauer, Viltier, Statement, Gemmyo and Maison Avani are all making a name for themselves

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The delicate geometry of Gemmyo. Photo: Handout

Paris’ Place VendOme is home to many historic maisons, but across the city, entrepreneurial independent jewellers are springing up to offer fresh visions

Paris’ Place VendOme may be the home of high jewellery, but this rarefied world is only the glittering tip of the city’s iceberg of gem-filled creativity.

Under the waterline, a new generation of independent labels is rising, ready to bring their colour-filled designs, and inspirations that range from the natural world to art movements like art deco or Brutalism, into the light.

Here are six names who are setting the pace in Paris’ independent jewellery scene.

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1. Mira Stella

Designs inspired by nature at Mira Stella. Photo: Handout

 

The soil around Sophie Bouilhet-Dumas’ family home in Normandy is fertile indeed. Not only does it support verdant countryside, but it also sprouted Mira Stella, a fine jewellery brand named after the founder’s mother and grandmother.

Where others might have seen ephemeral beauty in nature, she saw treasures that transcended the ages. And since Bouilhet-Dumas is also a scion of the family that founded silversmith Christofle, it felt natural to reproduce the likes of hydrangea petals, sea kale seeds and flax pods in 18k gold.

Oak bark, chicory petals and heart-shaped quaking grass, a plant in the same family as wheat and rice, have since joined Mira Stella’s repertoire. Snippets of botanical information accompany each piece on the website, but if you are in the area, make sure to visit the brand’s boutique, a delightful ray of pink, warm light tucked away in the picturesque streets of Paris’ Saint-Germain-des-Pres.

2. Lucas Bauer

Lucas Bauer earring. Photo: Handout

 

Nature also influences the work of Lucas Bauer. Not surprisingly, considering he credits a parrotfish encountered while diving as changing the course of his career after nine years spent designing jewellery and accessories in the women’s fashion studio of Louis Vuitton.

This graduate of the famed ecole de la Chambre Syndicale de la Couture Parisienne learned jewellery design on the job, aided by the idea that the precision and planning of patternmaking could be applied to his new medium.

For his eponymous label, Bauer’s inspirations are now found in deeper places: underground in mycelium, the fungal network that permeates our soil; or below the waves for algae. These tie into his idea that all things are connected and united, ourselves included, which is why his jewellery curls around the body organically.

Bauer made his Paris Fashion Week debut with a range that included fine jewellery designs made from recycled gold and stones sourced from existing stock.

3. Viltier

Viltier ring. Photo: Handout

 

Iris de La VillardiEre and Thomas Montier Leboucher were childhood friends who lost touch, eventually reconnecting over Instagram. Their catch-up conversations uncovered complementary skill sets and experiences in the jewellery world and from there sprang Viltier, a name composed of the first syllables of their last names.

Their first collection, featuring two U shapes connecting with diamonds to form a graphic oval, was a hit thanks to a retro-infused shape with fluted edges ideally realised with hard stone inlays.

Soft curves and plenty of sparkle are distinguishing features of Viltier designs, from the Clique RiviEre necklace and its dancing line of diamonds, to New Edge’s numerous takes on ways to add diamonds to a deceptively simple form.

When in Paris, don’t miss their Rue de Verneuil showroom, an impeccably decorated lounge filled with art and striking furniture in the Carre des Antiquaires area of the Left Bank.

4. Statement

A stand-out necklace from Statement. Photo: Handout

 

An entrepreneur to the core, Amelie Huynh left not one but two promising careers – one on Place VendOme with Chaumet and the other in advertising – to strike out on her own and launch jewellery brand Statement.

She uses diamond-set silver as her signature, a favoured combination for 19th century French jewellers. The metal’s symbolic association with femininity and the moon also struck a chord.

Art deco geometries, a flair for Brutalist architecture and Huynh’s own taste for voluminous pieces inform her work, which is all about making a personal statement – using jewels as a way to mark milestones, moments and memories.

More recently, she has added 18k gold to her palette and added styles with pearls, giving her striking designs a softer spin.

5. Gemmyo

The delicate geometry of Gemmyo. Photo: Handout

 

Regular visitors to Paris may remember adverts peppered around the city depicting a fluffy pink kitten. The images are entirely a product of Photoshop, Gemmyo founder Pauline Laigneau assures us, but that bold symbol has achieved its aim of putting her label on people’s lips.

In the years since its launch in 2011, Gemmyo’s delicate designs and smartly priced jewellery have done the rest. Among highlights are the stackable Art Deco line, the colourful Gemmyorama with drop-shaped stones, and the recently launched Entaille, with its minimal gold carving that gives a more unisex vibe.

Most recently, the brand debuted a limited-edition range featuring Umba sapphires, rare gems found in Tanzania and naturally polished by the waters of the river that gives them their name. Coming in a palette of warm tones that range from blushing pink to sunset orange, they became the sold-out stars of designs available exclusively at Gemmyo’s Paris boutiques.

6. Maison Avani

A symphony of sapphires: earrings from Maison Avani. Photo: Handout

 

Any jewellery aficionado turns into a kid in a candy shop when faced with trays of delicately pink/orange Padparadscha sapphires, but even siblings Milan and Thilan Ponweera, whose family supplies such stones from Sri Lanka to top jewellery houses, couldn’t resist the draw of the vibrant pink of Mahenge spinels.

Named for the Sanskrit word for “earth”, the brothers’ Maison Avani pays homage to such vivid gemstones in high-end designs offered in a bijou store on Place du Marche Saint-Honore in Paris.

While the painterly designs of creative director Milan are a great place to start, custom designs are also a tempting avenue offered by the Ponweera brothers – for instance, the recent peony-inspired range produced in collaboration with another pair of siblings, Stephanie Primet and Caroline Cnocquaert, who head up Paris’ oldest florist, Lachaume.

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Fabergé egg given as Easter gift to mother of Russia’s last emperor sells for record £22.9m

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A diamond-encrusted Fabergé egg that Russia‘s last emperor gave to his mother as an Easter gift has sold for nearly £23million.

Tsar Nicholas II gifted the Winter Egg to Dowager Empress Maria Feodorovna in 1913, five years before he was murdered along with his wife and children after the Russian Revolution.

 

Tsar Nicholas II

Dowager Empress Maria Feodorovna

 

 

The egg went under the hammer at Londonauction house Christie’s yesterday.

An unnamed buyer stumped up £22,895,000, smashing the previous global record of £8.9million that was set in 2007 when the famous Rothschild Egg was sold.

Carved from delicate rock crystal, the Winter Egg is an icy-looking orb studded with around 4,500 rose-cut diamonds, and stands at only five-and-a-half inches (14 centimetres) tall.

Carl Fabergé, the master jeweller whose creations bedazzled Russia, created 50 Imperial Easter Eggs for the then-ruling Romanov family over a 31-year period, making them incredibly rare and valuable.

They were commissioned as Easter gifts in a tradition started by Tsar Alexander III in the 1880s.

Nicholas II, Alexander’s son, had an annual standing order for two Easter eggs to be made for his mother and his wife, until the fall of the Romanovs in the 1917 Russian Revolution.

A diamond-encrusted Fabergé egg that Russia ‘s last emperor gave to his mother as an Easter gift has sold for nearly £23million

 

Today, only 43 of the Imperial Easter Eggs remain, with seven missing.

The ‘exquisite’ Winter Egg had a pre-sale estimate of more than £20million.

Christie’s Margo Oganesian said: ‘Today’s result sets a new world auction record for a work by Faberge, reaffirming the enduring significance of this masterpiece.’

She added the sale celebrated ‘the rarity and brilliance of what is widely regarded as one of Faberge’s finest creations, both technically and artistically’.

The imperial eggs have enjoyed renewed interest on the art market in recent decades, mainly among wealthy Russians keen to acquire a piece of their country’s history.

Beyond its opulence, it is the ‘technique and craftsmanship’ that makes the Winter Egg exceptional, according to Ms Oganesian.

‘The Winter Egg is truly one of the rarest items that you can find,’ she explained. ‘It’s really hard to comprehend how Faberge created it.’

The egg and its base are sculpted from crystal featuring diamond-encrusted platinum snowflakes.

Carved from delicate rock crystal, the Winter Egg is an icy-looking orb studded with around 4,500 rose-cut diamonds, and stands at only five-and-a-half inches (14 centimetres) tall. Inside, it contains a bouquet of flowers made of white quartz anemones held by gold wire stems, gathered in a platinum basket

The egg and its base are sculpted from crystal featuring diamond-encrusted platinum snowflakes

 

Tsar Nicholas and his wife, Empress Alexandra, with their five children. They were all murdered in 1918

 

Inside, it contains a bouquet of flowers made of white quartz anemones held by gold wire stems, gathered in a platinum basket.

Like many other Romanov possessions, the egg bears witness to Russian history. It was transferred from Saint Petersburg to Moscow in 1920 after the revolution.

As with many other Imperial Eggs, it was sold by the Soviet government to generate foreign currency and was acquired by London jeweller Wartski between 1929 and 1933, according to Christie’s.

The Winter Egg was subsequently part of several British collections but was considered lost from 1975, the auction house said in an essay attached to the sale lot online.

‘For 20 years, experts and specialists lost sight of it until 1994, when it was rediscovered and brought to Christie’s for sale in Geneva,’ said Ms Oganesian.

Eight years later, in 2002, it was sold again for a record $9.6 million in New York.

 

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FirstPower Limited Gets License to Distribute Electricity in Anambra

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The Anambra State Electricity Regulatory Commission (ASERC) has issued an operational license to First Power Electricity Distribution Company Limited (FPEDC) for electricity distribution in the state.

During a ceremony in Awka, Prof. Frank Okafor, Chairman/CEO of ASERC, presented an interim license to FPEDC, authorizing the company to operate for one year.

 

The license follows a Nigerian Electricity Regulatory Commission (NERC) order that transferred regulatory oversight of the electricity market to the state after the inauguration of five commissioners on 9 October 2025.

Prof. Okafor explained that the move aligns with Governor Charles Soludo’s administration, which is committed to upgrading the state’s electricity infrastructure and promoting industrialisation.

 

He noted that, under Section 33 of the Anambra State Electricity Law (2025), only licence‑holders may participate in the state’s electricity market.

 

Existing operators that are already serving customers must regularise their licences through a thorough process, and ASERC has therefore granted interim licences to NERC‑licensed companies already operating in Anambra.

 

 

Dr. Ernest Mupwaya of the Enugu Electricity Distribution Company (EEDC) received the certificate on behalf of FPEDC.

 

He praised the Electricity Act 2023 for empowering states to develop their own regulatory frameworks and highlighted Anambra’s leadership in implementing these reforms.

 

According to Dr. Mupwaya, the collaboration among the Anambra State Government, ASERC, and industry stakeholders has produced a “model of constructive engagement, technical depth, and transparent coordination,” paving the way for a competitive electricity market in the state.

 

 

 

He added that EEDC and FPEDC are fully aligned with Anambra’s development goals.

 

The ongoing reforms are expected to attract investment, expand the network, improve customer service, and modernise the electricity value chain. “Our growth plans for FirstPower are deliberately structured to complement the state’s industrialisation agenda, urban expansion, agricultural development and SME competitiveness,” Dr. Mupwaya said.

 

He expressed confidence that the company will exceed the expectations of the state government and the people of Anambra.

 

 

 

The interim licence will allow FPEDC to continue its operations while the commission completes the full licensing procedure.

 

ASERC has pledged to ensure that all licence‑holders adhere to the standards set out in the Anambra State Electricity Law, thereby safeguarding consumers and supporting the state’s broader economic objectives.

 

 

 

Earlier in his reaction, Managing Director Firstpower Electricity Distribution Company Okechukwu Okafor, said the licensing was to formalise the company’s presence and inform stakeholders that this is no longer EEDC in charge but an independent body saddled with the responsibility of distributing electricity in Anambra. “We are going to partner with the industrialists, the state government, and Ndi Anambra so that they will understand that our presence is geared towards a better solution to electricity. We want to change the narrative and target the customers to be happy. We need to take the message to them, provided there is goodwill. We hope that by the end of 2027, the billing rights of the customer will be metered for easy accountability.

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Ihedioha denies involvement with EEDC

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  • Says he revived Ahiajoku, advanced  electricity in Imo

The former Governor of Imo State and ex- Deputy Speaker of  House of Reps, Rt. Hon. Emeka Ihedioha, has denied involvement with the Enugu Electricity Distribution Company (EEDC), neither does he own any share in the company as speculated in the quarters by some mischief makers.

Ihedioha, in a statement he signed and issued to the media on Wednesday, hinted that as a Governor, he championed efforts to improve power supply in the state, a move he said gained more currency with the establishment of Imo State Power and Rural Electrification Agency (IPOREA).
He also mentioned that he revived Ahiajoku Lecture Series with the intent to advance the cultural heritage of the Igbo race.

“My attention has been drawn to baseless and completely unfounded allegations suggesting that I, as the purported “owner” of the Enugu Electricity Distribution Company EEDC, am sabotaging the ongoing Imo State Power Project. Let me state firmly and unequivocally that these claims are false. I do not own EEDC in any form, whether whole or part, beneficial or nominal. I am not on its board, I hold no shares and do not participate in or influence its corporate decisions in any way. Those peddling these narratives are relying on fiction, not fact.

“Notably, I acknowledge and commend the current Imo State Government for its ongoing power initiatives.

“Any genuine effort to expand energy access, strengthen infrastructure and improve the wellbeing of our people deserves encouragement. As Governor, I championed this same vision when I established the Imo State Power and Rural Electrification Agency (IPOREA), the first dedicated institutional framework created to advance electricity development in the state.

“It was established to provide stability, coordination and long-term structure for power solutions in Imo. I remain proud of that foundation and I welcome any progressive steps taken today that align with the goal of a more prosperous and energy secure Imo.

“In the spirit of continuity and cultural advancement, I am pleased to recall that I revived the renowned Ahiajoku Lecture Series during my administration after nearly a decade of dormancy.
“Ahiajoku represents the intellectual soul of our people and its preservation is essential to our cultural identity. I am therefore delighted that the current administration has also reinstated the program, reinforcing a pedigree that enriches Imo’s traditional and academic heritage.

“My commitment to the development of Imo State, its institutions, its people and its future remains unwavering. I will continue to support any initiative that strengthens our state, uplifts our citizens and promotes progress grounded in truth, integrity and vision”, Ihedioha stressed.

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