Tiffany & Co's Blue Book 2026: Inside the collection that's redefining fine jewellery

Paradise Bird is nod to Schlumberger’s Bird on a Rock, which Reynolds describes as “the Mona Lisa of Tiffany & Co”. “In high jewellery, we want to be serious, but he wanted to have a lightness and a wit about it. This bird personifies it,” she says of Schlumberger’s 1965 version, which features a vibrant piece of lapis lazuli, traditionally considered a semi-precious stone, upon which a white and coloured diamond-encrusted gold bird is set.

In the collection’s two brooches, both called Paradise Bird, Verdeille uses equally unexpected stones: Australian boulder opals and chalcedony. “Nathalie and I both like stones that are more unusual, lesser known. The more [underused] they are, the more we both love them,” says Reynolds. Meanwhile, the Raffia pieces’ rope-like chains are a nod to Schlumberger’s signature twisted pattern. The woven textures of the interlaced strands of platinum and 18k yellow gold with diamond accents are like vines which cradle the rich blue-violet sugarloaf tanzanites—a Tiffany & Co “legacy gemstone” discovered by the house in 1968.

The overarching technical triumph that elevates these designs into historical treasures is the house’s uncompromising use of unenhanced gemstones. In a commercial market where approximately 98 per cent of all gemstones undergo thermal or chemical enhancements to artificially clarify their appearance, Tiffany & Co’s devotion to raw, unheated specimens remains an anomaly.

“What heating a stone does is, if the stone has a good colour, it will typically amplify the colour a little bit; but it can also dissipate inclusions. When you have an unheated gemstone, the only thing that touches it is the cutter that’s faceting the stone,” Reynolds explains. “Having something that’s unenhanced means it’s extraordinarily rare. At Tiffany & Co, we only want to use the rarest of rare gemstones. It makes it a very difficult job for me to find them. But if high jewellery were easy, everybody would be doing it.”

Rather than treating naturally occurring internal fractures or structural irregularities as flaws, Reynolds approaches them with a gemmologist’s reverence, seeing them as a beautiful validation of a stone’s authenticity. “Inclusions are like a fingerprint. It tells you where [a stone] is from,” she says. “[But as much as I love] an inclusion, it can never impact the beauty of it.”

To honour Schlumberger’s famous concept of “nature’s verve”—the intentional irregularity found in real flora—Verdeille incorporates structural imbalance in her layouts. To make an asymmetrical suite look balanced, the team then design the overall palette, cut and saturation of the stones in a way that ensures the asymmetry comes entirely from the design rather than a colour imbalance. 

As well as celebrating vibrant coloured stones, the house honours the majesty of rare diamonds by transforming them into wearable masterpieces. Natural diamonds are exceptionally scarce, but Monarch, Bee and Jasmine from the spring collection highlight rare Type IIa diamonds, which are almost entirely devoid of nitrogen impurities, resulting in a crystalline transparency that represents less than two per cent of all mined diamonds.

One of the suite designs of Jasmine, inspired by Schlumberger’s iconic Jasmine necklace, spotlights exceptional white diamonds, including a remarkable necklace centred on a D-colour, internally flawless Type IIa cushion-cut diamond of over 18 carats.

“Jasmine is a very important necklace to us, as it goes back to one of Schlumberger’s most important creations with Bunny Mellon,” Reynolds explains. “That oval diamond is just extraordinary. You could just put it in a perfect Tiffany setting and call it a day. But what Nathalie did with it was balance a design. Here, you have an extraordinary diamond with a unique one-of-a-kind design.”

Tiffany & Co remains dedicated to pushing these artistic boundaries even further. “It will be how we reinvent or bring to life Schlumberger’s legacy. We will be looking to the past that informs the future as we see these modern, wearable, beautiful, extraordinary gemstones come to life through Nathalie’s design. It’s going to be a collection and combination of all of those things.”