Chaumet’s CEO on gender fluidity and nature’s infinite inspiration

Founded in 1780 and headquartered at Paris’ Place Vendôme, LVMH Group’s storied French high jewelry maison Chaumet carries a nearly 250-year legacy defined by its founder Marie-Étienne Nitot’s identity as a “naturalist jeweler.” And this July, the brand has unveiled its landmark new high jewelry collection A Journey through Nature, reimagining that timeless bond with the natural world through 46 exquisite creations split across three sensory chapters, each inspired by aromatic botanicals — from fresh mint and tea leaves to warm cinnamon, saffron and coffee spice scents. Marrying realistic botanical detailing with abstract emotional storytelling, the lineup showcases transformable jewels, fluid V-shaped draping, delicate openwork and rare global gemstones, alongside 25 reimagined bee brooches — the Chaumet imperial emblem. Under the chandeliers of the exhibition space in Paris, we sat down with Chaumet’s CEO Charles Leung to unpack the collection’s creative philosophy. He discusses how the maison’s 250-year identity as a “naturalist jeweler” sets it apart from peers. Along with exploring the reinvention of the maison’s iconic tiara heritage and archival resources, Leung also explains the rationale behind partnering with WWF France on a reforestation project in northern China, and notes shifts in Chinese high jewelry clients and the brand’s resilience amid global luxury headwinds. A rare gem of long-term luxury strategy, the jeweler has maintained contemporary relevance while holding onto its heritage, as well as continuing to hold an enduring natural muse, and a talent for connecting discerning Asian luxury collectors with an intrinsically poetic, nature-forward haute identity. Jing Daily: Chaumet adopted the title “naturalist jeweler” as far back as 1793 — long before sustainability became a luxury industry talking point. How does that 250-year-old DNA set Chaumet apart from other maisons that are now also leaning into nature as a creative theme? Charles Leung: We have been saying this for the longest time, before many brands even existed. Our lens is Empress Joséphine’s particular interest in botanical beauty — forest, flowers, plants. We don’t touch every kind of nature; we focus on living nature, sometimes the interaction of plants and animals together. For example, bees have been emblematic for us since Napoléon’s time. Other maisons may say they are into nature, but we seldom overlap because our choice of themes and subjects is very specific. And when our founder said “naturalist jeweler,” he meant presenting jewelry design as close to reality as possible — we even have botanical studies alongside the designs. It’s a classical, meticulous approach, not abstract. That sets us apart. JD: What does a “sensory journey” mean in the context of fine jewelry — and how does this year’s collection push the naturalist vision somewhere it hasn't been before? CL: Previously, our jewellery was about what you see. This time we go deeper: nature as it lives inside us. We consume nature every day — a cup of coffee, a sip of green tea. For the tea necklace, our designer imagined the sensation of drinking tea: it transports you to a valley with waterfalls, droplets, and green fields. You almost taste it, smell it. That’s the sensory journey — not just depicting a leaf, but evoking the feeling nature gives us. It’s a completely new direction for the house. JD: What makes Chaumet’s approach to nature fundamentally different from other maisons? CL: We have been a naturalist jeweller since 1793, long before sustainability was a word. Our lens is Empress Joséphine’s botanical passion — we focus on living nature: plants, flowers, bees, interactions between animals and flora. We seldom do abstract nature or African wildlife. Our founder meant presenting jewelry as close to reality as possible — we even have botanical studies alongside the designs. It’s a classical, meticulous approach that makes you look at nature differently, with care and wonder. That’s very different from a purely abstract or decorative take. JD: Chaumet has created over 3,500 tiaras and famously reimagined the form as a ring. How do you keep that heritage feeling genuinely contemporary rather than solely nostalgic? CL: It has never been nostalgic. People still buy and wear tiaras today. We focus on transformability — a tiara can become a brooch, pendant, or earrings. That idea started in the 1920s with the liberated women of the Roaring Twenties, and now it’s back because people want multiple functions. We also introduced a male version of the tiara ring two years ago, and it sold instantly worldwide. A mother bought one for her son’s 21st birthday. That’s deeply emotional and modern — parents now celebrate sons the way they used to celebrate daughters. Society changes, and we change with it. JD: Last year Chaumet introduced its first 100% traceable gold jewelry pieces, using blockchain to track gold from mine to finished product. What was the biggest operational challenge in achieving that? CL: The biggest challenge was finding the right artisan mines. We wanted small, responsible operations that care for the community — safety, healthcare, education for children. It’s difficult to identify places we can fully trust, and we have to stay low profile to protect those communities. Once we find them, the rest is manageable. But the sourcing itself is the hard part. JD: The new WWF France partnership specifically includes a reforestation project in northern China’s Taihang-Yanshan region. Why China? CL: First, I’m Chinese, but more importantly, China is one of our biggest markets. Chinese customers are increasingly conscious about environmental issues. We want to give back, and preserving biodiversity in a large country like China makes a real difference. It’s a priority for us. JD: How has the Chinese high jewelry client evolved since you started as CEO? CL: They are much more demanding now. Knowledge is higher — they understand origins, colors, and the rarity of stones. Before, many were comfortable with diamonds because grading is straightforward. Now they actively seek sapphires, rubies, emeralds — they want to collect the rarest colors from nature. There’s even a fight for exceptional pieces. Emerald has been especially popular in the last 18 months. Clients want a full spectrum of colors, which is wonderful. JD: What is the one thing you most want Chinese consumers to associate exclusively with Chaumet? CL: Joséphine. Empress Joséphine. She is extraordinary — a woman who loved nature, wore tiaras, and defined our house. She was modern in her time: born in the Caribbean, divorced, married Napoléon, and when she couldn’t bear him a child, she made the painful decision to end their marriage. That story of love and sacrifice is deeply human. Our brand is built on two pillars: tiaras and nature, both thanks to her. I want Chinese consumers to think of Joséphine when they see Chaumet. JD: Chaumet’s archives hold 66,000 drawings and 36,000 phototypes spanning nearly 250 years. How actively do your designers mine that archive when developing new high jewellery collections? CL: Very actively. For example, this year’s “Tea Field” necklace was inspired by a design from over 100 years ago. Our team showed me the original drawing, and I was amazed at how modern it still looked — the way diamonds were set, the waterfall effect. We constantly revisit the archives to find ideas that feel fresh today. It’s a living resource, not a museum. JD: The luxury market has faced headwinds globally, and Chinese consumers have been more selective. Does that environment actually work in high jewelry’s favor? CL: I would say it works in our favor because high jewelry clients are more discerning. They seek exceptional quality, rare stones, and authentic heritage — exactly what we offer. When the market is selective, the best brands stand out even more. JD: Are you noticing more competition now in China and how is that impacting your market strategy? CL: Competition is normal — it’s just more choices for customers. Our strategy is to stay very high end. We are the reference in high jewelry, the royal jeweler since Napoléon. Chinese customers must remember that even our daily pieces come from that level. We focus on nature, exceptional stones, hand craftsmanship, and our French heritage — we designed the Olympic medals and represented France at the World Expo. That’s our differentiator. JD: How is Chaumet evolving its China touchpoints — in terms of spaces, events, and client relationships? CL: We are constantly bringing new collections to China, opening new stores, and integrating local elements. One of our latest boutiques in Suzhou draws inspiration from the city’s historical culture in its design and fixtures. We pay tribute to the local heritage while maintaining our Parisian elegance. Events and client relationships are also being upgraded to create more intimate, meaningful experiences.

Chaumet’s CEO on gender fluidity and nature’s infinite inspiration

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Chaumet’s CEO on gender fluidity and nature’s infinite inspiration

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