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Although jewellery has long been intended primarily for a female clientele, the jewellery industry nevertheless remained, for centuries, a largely male-dominated world. Behind the great houses of Place Vendôme were workshops run by men, where women were still rarely given creative or management positions.

During the 20^th century, however, several women succeeded in establishing themselves in this highly codified world. Designers, artistic directors and women coming from the fashion industry gradually challenged conventions and introduced a new vision of jewellery.

From Jeanne Toussaint to Claire Choisne, these women did not simply find their place in a male-dominated world: they helped redefine its codes, shapes, materials and uses. Here is a look at some of the great women who have shaped the history of jewellery.

Jeanne Toussaint, the Panther of Cartier

Jeanne Toussaint (1887-1976), nicknamed “the Panther”, is one of the most emblematic figures in the history of Cartier. Born in Belgium, she moved to Paris at a very young age, where her elegance, taste and personality quickly attracted the attention of Louis Cartier.

She joined the Maison at the beginning of the 20^th century and initially headed “Department S”, for silver, which was devoted to precious accessories and silver objects. Beauty cases, cigarette cases, evening bags and travel accessories already reflected a modern approach to luxury, halfway between precious objects and fashion accessories.

In 1933, Jeanne Toussaint became Cartier's creative director, an exceptional position for a woman at the time. She helped renew the Maison's style by developing a freer approach to jewellery, inspired in particular by the arts, travel and the animal world.

It was under her influence that the Cartier Panther became one of the Maison's great emblems. The feline gradually evolved into a powerful, sculptural and immediately recognisable motif. Panther-inspired creations particularly appealed to figures such as Daisy Fellowes, the Duchess of Windsor and María Félix.

During the Occupation, Jeanne Toussaint also conceived the famous Bird in a Cage brooch, often interpreted as an evocation of occupied France. At the Liberation, she followed it with Bird Released.

Through her talent and influence, Jeanne Toussaint helped shape Cartier's identity for generations to come and contributed to the evolution of haute joaillerie codes.

The House of Boivin, a history shaped by women

The history of the House of Boivin is another major example of the growing role of women in jewellery design during the 20^th century.

Following the death of her husband René Boivin in 1917, Jeanne Boivin took over the management of the Maison. She surrounded herself with several women whose talent would help shape its creative identity for decades to come.

Among them was Suzanne Belperron, who began her career at Boivin before continuing her work alongside Bernard Herz. She then developed a personal style that would become one of the most recognisable signatures in 20^th-century jewellery.

After Suzanne Belperron's departure, Jeanne Boivin brought in Juliette Moutard, whose work would profoundly influence the Maison. Her creations drew particular inspiration from fauna, flora and the marine world.

Among her most famous creations is the Starfish, a spectacular brooch whose articulated arms reproduce the movement of the marine animal.

The House of Boivin thus offers a unique example of a workshop in which several women were able to participate directly in the creative process and help define a strong artistic identity.

Suzanne Belperron, “My style is my signature”

After beginning her career at Boivin, Suzanne Belperron (1900-1983) continued her career alongside precious-gem dealer Bernard Herz. There, she developed an immediately recognisable jewellery language and gradually established herself as one of the great jewellery designers of the 20^th century.

Her artistic identity was so strong that she refused to sign her creations, declaring: My style is my signature.

Going against the trends of her time, she imagined sculptural jewellery with generous volumes and fluid, sensual forms. She also dared to combine materials that were unconventional at the time, bringing together precious and semi-precious stones, rock crystal, chalcedony and hardstones.

Inspired by nature, the decorative arts and cultures from around the world, she developed an organic, expressive and deeply modern approach to jewellery. Her creations attracted a prestigious clientele, including the Duchess of Windsor, Josephine Baker and Diana Vreeland.

For a long time overshadowed by the great jewellery houses, Suzanne Belperron is now recognised as a major figure in the history of jewellery. Her sculptural aesthetic and freedom in the creative process continue to influence contemporary jewellery.

Gabrielle “Coco” Chanel, the modernity of jewellery

Another woman would profoundly challenge the boundaries between fashion and jewellery. Gabrielle “Coco” Chanel (1883-1971), who revolutionised the world of fashion, would also leave a distinctive mark on haute joaillerie.

In 1932, she unveiled Bijoux de Diamants, the first and only haute joaillerie collection she created during her lifetime. Presented in Paris, the collection applied several fundamental principles of her approach to couture to jewellery: freedom of movement, the importance of line and the pursuit of elegance in harmony with the body.

Stars, feathers, ribbons and comets became the emblematic motifs of this spectacular collection. Chanel also designed transformable jewellery and pieces conceived to follow the movement of the body.

She also revolutionised the way jewellery was presented. Rather than simply displaying pieces in cases, she chose to have them worn by wax mannequins, allowing clients to better visualise how they would look and move when worn.

The exhibition became a genuine artistic event. Jean Cocteau wrote its manifesto, while Robert Bresson took the photographs of the collection.

The collection, conceived at the request of London's Diamond Corporation against the backdrop of the economic crisis, provoked numerous reactions in the jewellery world. Nevertheless, the arrival of a couturière in the world of haute joaillerie helped pave the way for a new relationship between fashion, creativity and jewellery.

Very few original pieces from Bijoux de Diamants survive today, further contributing to its mythical status in the history of haute joaillerie.

Paloma Picasso, boldness in its purest form

From the 1960s and 1970s onwards, a new generation of women designers entered the world of jewellery, bringing new influences with them. Among them, Paloma Picasso (born in 1949) developed a personal universe shaped by art, fashion and popular culture.

The daughter of Pablo Picasso, she turned to jewellery design in the late 1960s. Her early creations, made notably from costume jewellery and vintage pieces she had collected, quickly attracted attention.

In 1969, Yves Saint Laurent invited her to create accessories for one of his collections. She subsequently joined the Greek jewellery house Zolotas before beginning her collaboration with Tiffany & Co. in the early 1980s.

At Tiffany & Co., she developed an immediately recognisable jewellery language, combining graphic forms, precious metals and intensely coloured gemstones.

With collections such as Paloma’s Graffiti, she transformed everyday signs, such as scribbles, hearts and kisses, into genuine jewellery motifs.

She favoured jewellery designed to be worn rather than displayed and championed a free, personal and expressive approach to jewellery. Over the years, her collections also drew inspiration from her travels and passions, from Marrakech to Venice.

With Tiffany, Paloma Picasso thus established a contemporary vision of jewellery: bold, colourful and immediately recognisable creations designed above all to accompany those who wear them.

Elsa Peretti, the minimalist revolution at Tiffany & Co.

In the 1970s, Elsa Peretti (1940-2021) also helped profoundly renew the language of jewellery. An Italian designer and former model, she joined Tiffany & Co. in 1974 and quickly established herself with a minimalist, organic and modern style.

Her creations drew inspiration from simple, natural forms: bones, drops of water, the curves of the human body and even beans became sources of inspiration.

She favoured pure lines and sensual volumes. With iconic creations such as the Bone Cuff and the Bean collection, she helped make jewellery easier to wear every day, without sacrificing elegance or creativity.

Her approach helped change the way jewellery was perceived: a piece no longer necessarily had to be spectacular or covered in precious stones to become iconic.

Caroline Scheufele, the soul of Chopard

From the 1980s onwards, women no longer simply entered the field of design: they also took on an increasingly important role in the management of major jewellery houses.

Caroline Scheufele (born in 1961) is today one of the leading female figures in contemporary jewellery. Having joined the family business at a very young age, she contributed to modernising the image of Chopard while significantly expanding its haute joaillerie activities.

The world of Happy Diamonds, with its moving diamonds that float freely between two glass surfaces, has become one of Chopard's iconic signatures. The concept, introduced in the 1970s, found particularly strong expression under Caroline Scheufele.

Caroline Scheufele has also played an important role in the evolution of responsible practices within the industry, notably through Chopard's commitments regarding gold sourcing and the traceability of raw materials.

Through her creations and commitments, she champions jewellery that is glamorous and celebratory while remaining attentive to contemporary concerns.

Chopard is also closely associated with the Cannes Film Festival, of which the Maison is a partner and for which it creates the famous Palme d'Or each year.

Victoire de Castellane, fantasy at Dior

From the 1990s onwards, women took on an increasingly important role in the artistic direction of major jewellery houses.

In 1998, Victoire de Castellane (born in 1962) became artistic director of the newly created Jewellery department at Dior. With her colourful, poetic and sometimes unconventional universe, she profoundly transformed the image of the Maison's jewellery. Dior

Inspired by the world of Christian Dior, but also by gardens, fairy tales and childhood, she creates spectacular jewellery in which colour plays a central role. Tourmalines, aquamarines, amethysts, garnets, citrines, peridots, morganites and topazes come together in creations featuring generous volumes and daring combinations.

She developed, in particular, a narrative approach to haute joaillerie: each piece of jewellery becomes a story, a universe or a fragment of a dream. Christian Dior's gardens, the rose, cannage and couture motifs have thus inspired several of her collections.

Her playful and imaginative approach has helped bring haute joaillerie closer to a more creative, emotional and personal universe. She demonstrates that a precious jewel can also be an object of artistic creation, capable of telling a story.

Boucheron, a unique female duo on Place Vendôme

Today, women also hold leadership positions within the great houses of Place Vendôme. Boucheron stands out in particular for having a female duo at its helm: Hélène Poulit-Duquesne, CEO since 2015, and Claire Choisne, Creative Director since 2011. Boucheron

Together, they champion a modern and bold vision of haute joaillerie, faithful to the pioneering spirit of Frédéric Boucheron.

Hélène Poulit-Duquesne, leading Boucheron

Under Hélène Poulit-Duquesne's leadership, the Maison continues its international development while preserving its identity and family spirit. Her vision helps evolve the traditional codes of Place Vendôme while safeguarding Boucheron's heritage.

Claire Choisne, innovation at the heart of haute joaillerie

For her part, Claire Choisne reinvents the codes of precious jewellery through the Carte Blanche collections, where innovation, emotion and creative freedom take centre stage.

Unexpected materials, new technologies, plays on proportions and transformable jewellery reflect this constant desire to explore new possibilities. Through her creations, she has notably contributed to the revival of Boucheron's bestiary, one of the Maison's emblematic worlds.

Through this female duo, Boucheron embodies a contemporary vision of haute joaillerie, where heritage, innovation and creativity come together.

Pioneers who became leading figures in jewellery

From Jeanne Toussaint to Claire Choisne, each of these women has helped shape the evolution of jewellery in her own way.

Some introduced new motifs, while others challenged proportions, colours or materials. Still others transformed the way jewellery was presented, designed or worn.

Long less visible in accounts devoted to the history of jewellery, they nevertheless played a profound role in transforming this world. Their journeys remind us that the history of haute joaillerie is not limited to the great houses and the names engraved in books. It is also shaped by women who, through their vision, creativity, independence and boldness, helped transform jewellery and the way we wear it.

Even today, their creations and visions continue to inspire major jewellery houses, independent designers and jewellery enthusiasts around the world.

FAQ: Women in the history of jewellery

Which women have shaped the history of jewellery?

Among the great female figures in jewellery are Jeanne Toussaint at Cartier, Jeanne Boivin and Suzanne Belperron at Boivin, Gabrielle Chanel, Paloma Picasso, Elsa Peretti, Caroline Scheufele, Victoire de Castellane and Claire Choisne.

Which woman was behind the creation of the Cartier Panther?

Jeanne Toussaint is closely associated with the rise of the Panther as a Cartier emblem. She became the Maison's creative director in 1933 and helped give the feline the sculptural expression that would become iconic.

Who was Suzanne Belperron?

Suzanne Belperron was a major French jewellery designer of the 20^th century. After beginning her career at Boivin, she continued working alongside Bernard Herz and developed a sculptural, sensual and immediately recognisable style. She is particularly famous for the phrase: “My style is my signature.”

What was Gabrielle Chanel's contribution to haute joaillerie?

In 1932, Gabrielle Chanel presented Bijoux de Diamants, the first and only haute joaillerie collection she created during her lifetime. She applied her vision of fashion to jewellery, particularly favouring freedom of movement, transformable jewellery and the importance of line.

Which women are currently leading major jewellery houses?

Several women currently hold major positions within the jewellery industry. At Boucheron, Hélène Poulit-Duquesne leads the Maison as CEO, while Claire Choisne serves as its Creative Director.

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