It is impossible not to feel awe at the trajectory of minerals — how elements forged under pressure and time become canvases for human imagination. At GemGenève, this metamorphosis from raw stone to refined creation was more than visible: it was celebrated.

The future of fine jewelry also found vivid expression in the works of independent designers. Armenian artist Armen Shakhinian debuted with his piece Mermaid — a sensual sculptural work that weaves mythology into goldsmithing with fluidity and grace. The brooch, shimmering with marine-hued stones and fluid lines, appears as if drawn directly from the sea’s depths — an embodiment of storytelling through material.

Another standout was the sculptural brooch by Elsa Jin Studio, where abstraction meets gemological precision. Jin’s piece was a masterclass in structure and symbolism, demonstrating how contemporary jewelry can act as both adornment and statement — a wearable manifesto of artistic intent.

One of the highlights of the fair was AUTORE GROUP’s pearl necklace — a piece that recently earned the title Best Jewelry Piece at INHORGENTA Munich. The necklace stood out for its masterful integration of Australian South Sea pearls, each a natural wonder in its own right, into a fluid, modern design that pays homage to both traditional techniques and contemporary aesthetics. In a world where innovation often displaces origin, AUTORE reminds us that material origin and technical heritage can, and should, co-exist. Each pearl in the necklace tells a story of oceanic formation, layered over time, now elevated through artistry.

The fair’s central exhibition, A Legacy of Timeless Elegance, was an ode to Art Deco — an era when geometry, luxury, and modernity converged with precision. Key pieces included iconic Omega watches, emblematic of the period’s functional elegance, and an original Madeleine Vionnet evening gown — a textile counterpart to the structural grace found in well-cut gemstones. The exhibition reframed elegance as not merely an aesthetic, but a legacy — one that spans time and media, from silk to sapphire, from mechanics to minerals.

Venturing beyond the purely ornamental, the booth of Belgian-Armenian artist Jean Boghossian offered a different, almost metaphysical experience. Known for his use of fire as both medium and metaphor, Boghossian’s works presented a visual exploration of transformation — a theme central to both geology and gemology. In his approach, pigment and flame coalesce into scorched surfaces and layered textures, evoking a dialogue between permanence and impermanence. These works resonate deeply with anyone who has studied metamorphic rock processes or volcanic mineralogy — where destruction begets beauty.

In a remarkable inter-institutional collaboration, the Grand Théâtre de Genève brought to life an elegant intersection between performing arts and jewelry craftsmanship. The presentation, described by many as a visual dialogue, juxtaposed stage design elements with traditional jewelry aesthetics, revealing the theatrical nature of adornment itself. Much like the stage costume, jewelry transforms the body into a vessel of storytelling. Here, the language was one of sparkle and silhouette, drama and delicacy.

GemGenève, in its 2025 edition, successfully maintained its distinct voice in an increasingly commercialized industry. The fair continues to foster an ecosystem where material integrity, artistic vision, and historical depth are not only acknowledged but deeply valued.

For those of us with a background in geology, the fair is a reminder of the mineral world’s continued relevance — not only as a source of economic and decorative value but as a foundation for narrative and culture. Each carat, each facet, each iridescent pearl or scorched pigment is part of a broader story of Earth's evolution and human creativity. GemGenève does not just showcase beauty; it situates it within a continuum of transformation — from core to craft, from mantle to masterpiece.

Thomas Faerber, co-founder of GemGenève and the renowned Faerber Collection, offered a compelling perspective of the future of the jewelry industry and what, in his view, truly matters:

“We have a selection of different periods, from very ancient to very modern jewelry — and we also have our own line now. So, for me, it’s more about the quality — the quality of a maker, the quality of the stones — that counts. The period is not so important. Okay, there are many good periods.”

When asked what advice he would give to young collectors and designers just starting out, Faerber is clear:

“Well, trust your eyes. You know what you like. You buy — don’t get too influenced by signatures and by brand names. If you have a good eye, you will find good pieces.”

In an environment often saturated with marketing and signature-driven prestige, his advice is both grounding and empowering — a call to cultivate personal discernment and to value intrinsic craftsmanship above labels.

Since 2018, GemGenève has evolved into a meeting point where dealers, craftsmen, collectors and curators gather around objects whose value lies as much in knowledge as in rarity.

This emphasis on expertise finds its clearest expression in the Métiers d’Art, a space created for the fair where artisanal practice unfolds in real time. Over the course of the fair, visitors will encounter master craftspeople at work, including lapidary artist Hervé Obligi who works across hardstone marquetry, objets d’art and restoration, and Ulli Freyer who works in the Boulle marquetry tradition combining wood, brass, and tortoiseshell in highly detailed decorative compositions.

For GemGenève director Mathieu Dekeukelaire, the Métiers d’Art stands as one of the conceptual centres of this year’s edition:

In the Designers’ Village, where GemGenève traditionally gives space to emerging names, eight jewellers will present sharply different approaches to material and form, each free to define their own selection. Jewellery conceived as a second skin in the bronze forms of French brand Incarnem meets the refined gothic silhouettes of Lithuanian designer BE LIZA, alongside the brightly coloured pop pieces of Chinese artist A.win Siu.

Another new voice within this international dialogue comes from the Jewellery and Gemstone Association of Africa, which supports African economic development through training in jewelsmithing and gemmology. At the fair, JGAA presents works from the Africa Birdlife Collection, where movement, colour, and symbolic expression converge in jewellery designs inspired by African birdlife. The exhibit concludes with a craft corner devoted to beanile, a bead-into-lace technique interpreted through bird-nest forms.

The fair’s central exhibition will bring together selected works from the collections of the Baur Foundation Museum of Far Eastern Art, the Geneva Museum of Art and History, and the Natural History Museum of Geneva. For the Baur Foundation, curator Pauline d’Abrigeon has chosen jade as the central material of the presentation, with pieces sourced from Lake Baikal in tones ranging from milky white to so-called spinach green. Among the forty objects presented, particular attention is drawn to works produced by the Chinese Imperial manufactories of the eighteenth century.

On behalf of the Geneva Museum of Art and History, curator Estelle Fallet has selected more than twenty objects from the museum’s holdings, including works by mid-eighteenth-century London masters that demonstrate extraordinary virtuosity in handling minerals and organic materials, whose beauty is becoming increasingly elusive in an era of heightened protection for endangered species.

Another highlight of the fair will be the personal collection presented by Nicolas Torroni, whose expertise in twentieth-century Milanese jewellery has made him one of the field’s rare specialists. A pinnacle of the collection is an exquisite malachite cup first shown at the Venice Biennale in 1930.

Alongside these singular presentations, GemGenève's gallery sector reflects the fair’s core values: technical rarity and artistic vision over quick commercial return, a principle shared this year by around 250 exhibitors. This idea comes from the founding vision of Thomas Faerber and Ronny Totah, both dealers themselves, who perceive the fair as an extension of the professional ecosystem rather than a commercial platform. As Faerber notes: “The crucial difference is that GemGenève has been set up and organised by exhibitors. That changes everything.”

Dates: 7–10 May 2026
Place: Palexpo Exhibition Centre, Geneva, Switzerland