ournalist, writer and keen observer of an industry that is as discreet as it is demanding, Fabienne Reybaud has been analysing the changes, craftsmanship and brilliance of the jewellery world for three decades.
This is the world in which she grew up, as her Cannes-based jeweller father taught her the language of jewels and gemstones from a very early age. Fabienne Reybaud thus brings a perspective that is at once informed, passionate and committed to contemporary jewellery design. Who better to become President of the Monaco Grand Prix de la Haute Joaillerie (GPHJ), whose first edition took place on October 25, 2025.
Created by Jean-Philippe Braud, President of Profirst France, in partnership with the Monte-Carlo Société des Bains de Mer Group, this award aims to “celebrate the most remarkable craftsmanship, stimulate contemporary creation and unite all stakeholders in the sector around the issues of responsibility, transmission and cultural influence.”
For its inaugural edition, the GPHJ brought together some of the industry’s biggest names: Anna Hu, Boucheron, Bvlgari, Chanel, Chopard, Dior, Dolce & Gabbana, Louis Vuitton, Martin Katz, Messika and Tiffany & Co. The jury made its selection from 33 jewellery creations that had previously been presented to the public. Invited to have their say, people did not hold back and over 20,000 votes were cast via a dedicated app. This outstanding engagement vividly proves, if proof were needed, the enduring fascination exercised by High Jewellery.
Europa Star Jewellery: How did the idea for a Grand Prix de la Haute Joaillerie come about?
Fabienne Reybaud: Jean-Philippe Braud called me one day and said, “I’ve had the idea for a Grand Prix de la Haute Joaillerie in Monaco. It’s never been done before. Would you like to be involved in the adventure?” I thought it was an excellent idea so I accepted and that’s how it all began. He set off to find partners and sponsors, while I did the same, calling all the CEOs of the jewellery houses to ask if they’d like to take part in this Grand Prix. It was a bit tricky to organise, but we pulled it off and the result was a truly wonderful evening. During dinner, all the pieces I’d selected, displayed in their boxes, were carried by men in a défilé. Guests had a chance to see the jewellery at close range and the jewellers were delighted.
How did you put the jury together?
I chose the seven members of the jury which is renewed every year. For the first edition, there were people from the industry as well as others who knew nothing about jewellery, including designer Tristan Auer. It was very interesting to hear his perspective. I realised that even when someone has no specific knowledge of jewellery, they understand it instinctively, providing they know how to look at an object. It’s very different from watches, where the technical aspects can make people who don’t understand them feel uncomfortable.
What are the entry requirements?
Brands must submit pieces that have been created within the past year. They must be crafted from precious metals—gold or platinum—with a few exceptions such as titanium or aluminium, which help to make earrings lighter. The jewellery creations must be wearable and identifiable as adornments. This is a competition for High Jewellery, hence they must be designed with an unheated centre stone. Needless to say, synthetic stones are not accepted. I established the various categories. Initially there were seven, but at the last minute I realised we were missing a prize honouring a particular personality, so I added the Visionary of the Year Prize, which was presented to Chopard’s Co-President and Artistic Director Caroline Scheufele.
You are a decades-long and keen observer of this industry. Did any of the pieces particularly surprise you?
I was delighted that Dolce & Gabbana won the Public Prize. Their high jewellery pieces have a distinct identity, consistent with their fashions and what they are. No fewer than 20,000 people voted for this award, which is fantastic!
Will the GPHJ go on tour?
While the competition isn’t specifically intended to travel, we are considering organising exhibitions in certain countries that would be called “Private Collections”, showcasing rarely seen pieces belonging either to royal families or to major jewellery collectors.
So the event helps introduce jewellery to a wider audience.
Yes, that’s definitely the aim. The first things humans ever made—apart from weapons—were ornaments crafted from straw, wood, seeds, shells and bones. Jewellery draws on stones thought to have formed billions of years ago at Earth’s core, as well as on human craftsmanship. Whether it’s worth 1,500 or 1.5 million euros, a piece of jewellery will always stem from human ingenuity combined with a precious raw material derived from Nature. Not to mention the social aspect of jewellery, which marks significant events such as births, engagements, weddings and all those precious moments that have marked people’s lives for centuries upon centuries. That is why, right from the start, I wanted to create a Public Prize and organise an exhibition to showcase the beauty of this art.
Where does your passion for jewellery come from?
From my family. The parents of my paternal grandmother, Francine Bovero, opened the first jewellery shop in Cannes at the end of the nineteenth century. In the twentieth century, my uncle worked in watchmaking and my father in jewellery. He had trained at Van Cleef & Arpels and made jewellery that he sold, in addition to the collections he bought from his suppliers. I spent part of my life in his tiny workshop, watching him melt and roll out the gold from which bracelets, rings, necklaces and chains were born. He was an artist who never used the lost-wax casting technique, instead crafting everything by hand! I know how a real piece of jewellery comes into being and that has always fascinated me.
What major revolutions in jewellery have you observed during your career?
Two spring to mind: the takeover of the Place Vendôme jewellery brands by the major luxury groups in the late 1990s and the arrival of fashion houses—Chanel, Dior and later Louis Vuitton—in High Jewellery.
Do you think fashion brands have changed the pace or the spirit of jewellery?
Both. Fashion introduced the concept of collections, whereas previously jewellers created pieces occasionally and to order. The first true jewellery collection was the Orchidée collection, launched by Cartier in the early 2000s, while the brand that truly institutionalised the concept of a collection, complete with an entire underlying narrative, was Van Cleef & Arpels, again in the early 2000s. Fashion brands brought a freshness and freedom that jewellers lacked. While certain traditional jewellers took great offense at the fact that fashion brands were encroaching on their territory, this nonetheless spurred some of them into action, notably Boucheron whose creative director, Claire Choisne, has brought a great deal of freedom, boldness and intelligence to her work. I was in fact disappointed that we didn’t have one of the bouquets from the July 2025 Impermanence collection for the GPHJ. Some had already been sold and the others were in Asia. I’m sure this stunning composition would have won an award because it brought something new—and beautifully executed—to this world.
What still amazes you about High Jewellery?
Creativity. High Jewellery collections are becoming increasingly interesting. I never fail to be amazed when I see brands constantly pushing technical boundaries, creating unexpected collections and using incredible gems.
