Tiffany & Co. - Eternity by Tiffany Murano Glass Watch

Five dials cut from one piece of Venini glass distinguish a new edition of the Eternity by Tiffany watch, presented for Blue Book 2026

Tiffany & Co. Brings Venini’s Murano Glass to the Eternity Watch

LE MILE

For its latest Eternity by Tiffany watch, Tiffany & Co. has worked with Venini to turn a single piece of Murano glass into five individual dials. Introduced for the autumn presentation of Blue Book 2026: Hidden Garden in Venice, the limited series combines the glass with aquamarine hour markers and an 18k white-gold case and bracelet set with diamonds.

Venini, founded in Murano in 1921, brings its knowledge of colour and glassmaking to an unusually small surface. Each dial is cut from the same block of glass, measuring just 20 by 8 centimetres, and fitted into a 28mm cushion-shaped case. The blue and white patterns vary from one dial to the next, giving each watch its own arrangement of colour within the same design.

Eternity by Tiffany watch with a blue Venini Murano-glass dial, aquamarine hour markers and a diamond-set bracelet / courtesy of Tiffany & Co.

The aquamarines introduce another kind of variation. Twelve stones mark the hours, each in a different cut, from a heart and a pear to a marquise, an Asscher and Tiffany True. The idea comes from Tiffany advertisements of the 1960s, which inspired the Eternity collection. In those images, engagement rings form a heart, a question mark and an exclamation mark. On the dial, that variety of cuts gives each hour its own shape.

Much of the work on the bracelet concerns how it will move on the wrist. Every link is individually set and adjusted for flexibility, with the diamond-setting alone requiring 35 hours. Across the case, bracelet and crown, 500 diamonds weigh a total of 5.47 carats. A solitaire on the crown makes a further reference to the house’s engagement rings, held in the six-prong design of the Tiffany Setting.

/ courtesy of Tiffany & Co.

/ courtesy of Tiffany & Co.

/ courtesy of Tiffany & Co.

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Made in Switzerland and powered by a quartz movement, the watch displays hours and minutes. Production is limited to the five pieces, each retaining a different section of the original Venini glass.

— all images courtesy of Tiffany & Co.

Louis Vuitton´s Monogram Flower - Idylle Blossom Collection Returns in Diamonds

Louis Vuitton Gives Idylle Blossom a Diamond Edge

written SARAH ARENDTS

A flower designed for luggage in 1896 has ended up at the collarbone. More than a century after Georges Vuitton introduced the Monogram Flower, one of Louis Vuitton’s most recognisable signs now appears in white gold and diamonds, scaled down from the surface of the monogram into something worn close to the skin. In the latest Idylle Blossom pieces, the motif sits at the ear, curves around the neck and opens across the finger, carrying the memory of a house emblem into the intimate space of jewelry.

Seen in the campaign image, the new pieces use the face and neckline as scale. The earrings keep the flower compact against the hair, while the necklace follows the collarbone with a low curve that makes the motif readable in one glance. The design depends on a controlled outline: tapered petals, white-gold edges and diamonds placed along the form so the shape stays intact under light. That is where the new Idylle Blossom chapter becomes clearest. Louis Vuitton is working with a motif that has to remain recognisable even when reduced to the size of an earring or pendant.

Louis Vuitton Idylle Blossom High Jewelry
/ courtesy of LOUIS VUITTON

Louis Vuitton Idylle Blossom High Jewelry
/ courtesy of LOUIS VUITTON

Louis Vuitton introduced Idylle Blossom in 2012, giving the Monogram Flower a dedicated jewelry line. The new additions continue that chapter through fine jewelry and high jewelry, both in white gold and diamonds. The fine-jewelry pieces are the most immediate. A pavé-band ring places the flower on the hand with enough weight to be noticed, earrings bring the motif to the face, and a pendant keeps the same shape close to the body. These pieces work best when the design stays compact. The diamonds sharpen the contour, and the flower remains readable without needing scale.

The high-jewelry pieces bring in another Vuitton code through the LV Monogram Star cut diamond. This is where the collection becomes more specific. The necklace follows the line of the neck with a central flower motif, while the star cut adds a second geometry to the piece. In the earrings and ring, the same relationship appears through pavé petals, round-cut diamonds and the sharper light of the star cut. The open Toi & Moi ring gives the idea its clearest form, placing the slender Monogram Flower opposite the LV Monogram Star cut diamond across the finger.

Inside Dior’s Grammar of Forms Exhibition
/ courtesy of LOUIS VUITTON

These new Idylle Blossom pieces arrive at a moment when luxury houses are asking their historic codes to work harder across image and body. Louis Vuitton has an advantage with the Monogram Flower because the sign was built for repetition from the beginning. In jewelry, that repetition is compressed. The motif has to survive at the scale of an earring, a pendant or the open curve of a ring, where there is little room for excess.

That compression gives the new pieces their focus. The earrings, pendant and Toi & Moi ring are strongest when the flower is held close, with the diamonds tracing the emblem instead of overwhelming it. The collection closes on a simple shift in scale: a symbol once made for the surface of travel is now carried on the skin, sharpened through white gold, diamond setting and the discipline of a recognisable line.

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all images
/ courtesy of LOUIS VUITTON Press