Tiffany Blue Book 2026: Hidden Garden Reaches Venice

Venice has always understood what light can do to colour. At the Fondaco dei Tedeschi, beside the Rialto Bridge, Tiffany & Co. drew upon that knowledge to unveil the fall expression of Blue Book 2026: Hidden Garden. Jewels appeared among hand-worked Murano glass, gilded structures and deep garden greens, completing a high jewellery journey shaped by the changing life of nature.

Anya Taylor-Joy, Matilda De Angelis, Arón Piper and Begoña Vargas arrived wearing Tiffany High Jewelry beside the Grand Canal, bringing its diamonds, engraved gold and botanical forms into motion. Their presence supplied the evening’s glamour, while the strongest impression came from the conversation between Venice and the collection: water beneath the windows, coloured glass within the rooms and gemstones responding to every change in light.

Hidden Garden Enters Its Final Season

Designed by Nathalie Verdeille, Senior Vice President and Chief Artistic Officer at Tiffany & Co., alongside the Tiffany Design Studio, Hidden Garden follows nature through a year of transformation.

The spring expression introduced a secret landscape of emerging flowers, butterflies and fantastical creatures. Summer brought greater colour and exuberance. In Venice, the fall collection reaches abundance. Fruit hangs heavily from curling stems, dahlias open around saturated green stones and diamond vines twist across the body.

The final expression comprises seven stories: Nest, Hanging Garden, Dahlia, Hanging Fruit, Pineapple, Vine and Paradise Bird. Together, they complete a collection inspired by the natural imagination of Jean Schlumberger, whose designs for Tiffany turned flowers, birds and organic forms into creations filled with wit and movement.

Verdeille does not reproduce Schlumberger’s work literally. Archival ideas are carried into new constructions, gemstone combinations and sculptural silhouettes. The resulting jewels remain recognisably Tiffany while possessing their own character.

Tiffany Hanging Fruit necklace with orange gemstones, turquoise cabochons and diamonds displayed on a white bust. Photo via Tiffany & Co

Nest

Nest studies the architecture of intertwined branches. Spiralling strands of platinum and 18k yellow gold surround cushion-cut Fancy Yellow diamonds, with white and yellow diamond accents heightening the impression of gathered light.

Trillion-cut diamonds placed beneath the central stones introduce further depth. The structure appears protective without feeling enclosed, balancing the organic irregularity of a bird’s nest with the precision required of high jewellery.

The contrast is particularly effective. Warm yellow diamonds sit within cool platinum and textured gold, giving the impression of something precious discovered within a carefully constructed shelter.

Hanging Garden

Hanging Garden imagines fruit suspended from luxuriant vines. Custom-cut cabochon rubies from Mozambique are combined with lavender chalcedony, creating a contrast between intense red and soft, translucent blue.

Diamond-set stems, layered foliage and paillonné enamel supply movement around the polished stones. The cabochons appear full and ripened, while the curling framework prevents the compositions from becoming static.

In the complete suite, lavender drops hang from the necklace like fruit at the end of a branch. Smaller flashes of red sharpen the palette, and diamond-set elements carry light between the larger stones.

Lavender chalcedony, red gemstones and diamonds create the ripened forms of Tiffany’s Hanging Garden story. Picture via Tiffany & Co.

Dahlia

Dahlia draws upon archival floral designs and the ribbon-like forms associated with Jean Schlumberger. Layered petals in platinum and 18k yellow gold open around vivid tsavorites, transforming the geometry of a flower into a deeply sculptural jewel.

The central green stones hold the eye, but the construction gives the story its energy. Diamond-set petals rise and overlap, while polished yellow-gold edges define each layer. The combination creates volume without sacrificing the impression of lightness.

In the necklace, three green centres descend in graduated floral forms. Rather than presenting the dahlia as a flat motif, Tiffany captures the flower in the act of opening.

The Dahlia story surrounds vivid green tsavorites with layered diamond petals and yellow-gold edges. Picture via Tiffany & Co.

Hanging Fruit

Hanging Fruit celebrates the richness of an imagined harvest through orange spessartine garnets, turquoise cabochons and diamonds.

The colour pairing is bold. The warmth of the orange stones is intensified by the smooth, saturated turquoise beneath them. Tendrils in platinum and 18k yellow gold curl through the composition, connecting each gemstone as though the necklace has grown into its final form.

The story is inspired by Jean Schlumberger’s Two Fruit clip from 1962. In Verdeille’s interpretation, its sense of play is extended across larger, articulated jewels. The reference is recognisable, yet the scale and rhythm feel entirely contemporary.

Orange spessartine garnets and turquoise cabochons bring a vivid sense of abundance to Hanging Fruit. Photo via Tiffany & Co.

Pineapple

Pineapple takes the fruit’s repeating geometry and turns it into a graphic pattern of colour, texture and light.

Unenhanced sapphires from Sri Lanka are placed against deep blue paillonné enamel, with diamonds and gold articulating the structure. The enamel carries a luminous depth that changes as the jewel moves, while the sapphires interrupt its surface with concentrated flashes of blue.

The pattern recalls Jean Schlumberger’s enamel bracelets of the early 1960s. It also demonstrates why his visual language remains so fertile. A familiar natural form becomes a sequence of scales, leaves and overlapping lines that can travel around the neck or wrist.

Blue gemstones, diamonds and richly coloured enamel form the geometric pattern of the Pineapple story. Picture via Tiffany & Co.

Vine

Vine places Tiffany’s diamond expertise at the centre of the collection. Mixed-cut diamonds form animated clusters, while baguette-cut stones create long, ribbon-like lines.

Hand-engraved gold vines move between the diamonds, connecting geometric settings with natural growth. The engravings soften the metal and give the stems a textured surface, as if their movement has been captured by hand rather than imposed by a rigid structure.

The necklace worn by Anya Taylor-Joy follows the collarbone before opening into a diamond bloom. Its asymmetry gives the design a sense of becoming, with one side appearing to climb towards the centre. The corresponding ring continues the botanical movement across the hand.

Paradise Bird

Paradise Bird concludes the fall expression with two characterful brooches inspired by Schlumberger’s fantastical creatures.

One bird is perched upon a cabochon chalcedony of over 31 carats, surrounded by sapphires, rubies and diamonds. The second balances above a rose quartz of approximately 37 carats, accompanied by pale blue sapphires, carved chalcedony and diamonds.

The scale of the central stones gives each bird a stage, but personality comes from the smaller details: the angle of a beak, a raised crest, the articulated tail and the unexpected combinations of colour.

These are serious high jewellery creations with a lightness of spirit. That balance between rarity and humour remains one of the most compelling elements inherited from Schlumberger.

One of Tiffany’s fantastical Paradise Birds perches upon a monumental lavender-blue cabochon. Picture via Tiffany & Co.

A Garden Made for Venice

The Fondaco dei Tedeschi brought its own history to the presentation. Standing beside the Rialto Bridge, the building has served Venice as a trading house, warehouse, residence and place of exchange since the Middle Ages.

For Hidden Garden, its rooms were transformed with translucent green and gold displays, botanical glass screens, flowers and elaborate chandeliers. White jewellery forms appeared to float above expanses of saturated colour.

The installation was enriched by bespoke Murano glass created by Lucio Bubacco. Figures emerged from translucent flowers. Vines curled around sculptural forms, while birds and leaves introduced small concentrations of colour.

Bubacco’s glasswork and Tiffany’s jewels share an understanding of light. Both demand close control of material, yet neither appears rigid when finished. Glass, diamonds, enamel and polished gold changed continually as guests moved through the rooms.

The collaboration gave the presentation a genuine connection to Venice. Murano glass was not simply used to signal location. It extended the themes of Hidden Garden into the architecture surrounding the jewellery.

Botanical glass screens and chandeliers brought the atmosphere of Hidden Garden into the Fondaco’s historic rooms. Picture via Tiffany & Co.

Hidden Garden, Worn in Venice

The detailed exhibition photographs reveal construction, colour and scale. Worn on the body, the jewels acquire a different energy. Articulation becomes visible, diamonds respond to movement and the designs establish a relationship with the person wearing them.

Anya Taylor-Joy

House ambassador Anya Taylor-Joy wore the Vine necklace and ring with a pale strapless gown. The restrained colour allowed the hand-engraved gold and mixed-cut diamonds to remain prominent.

The necklace’s climbing line followed the neckline of the dress, while the ring carried its diamond foliage across her hand. Photographed beside the dark water of the canal, the gold acquired a soft warmth and the diamonds traced every turn within the design.

Hand-engraved gold vines and mixed-cut diamonds trace the neckline of Anya Taylor-Joy’s pale gown. Picture via Tiffany & Co.

Matilda De Angelis

Matilda De Angelis wore Tiffany High Jewelry with a pale blue gown beneath the Rialto Bridge. Her close-fitting necklace combined white diamonds with warm gold details in a repeated, feather-like rhythm.

Diamond earrings, a broad bracelet and a ring continued the light across the look. The cool colour of the dress connected naturally with the water and with Tiffany’s own visual identity.

Matilda De Angelis wears Tiffany High Jewelry beneath the Rialto Bridge. Picture via Tiffany & Co.

Begoña Vargas

Begoña Vargas chose black velvet as the setting for an elaborate diamond necklace with an emphatic floral centre.

The necklace spread across the décolletage in scrolling diamond forms before meeting in a large, radiating motif. A diamond bracelet and rings completed the composition, but the strong contrast between the necklace and the gown allowed its structure to dominate.

Against the blue-green surface of the Grand Canal, the diamonds appeared unusually crisp. The portrait demonstrates how effectively an articulated high jewellery necklace responds to the movement of the body.

Begoña Vargas pairs black velvet with an elaborate Tiffany diamond necklace, bracelet and rings. Picture via Tiffany & Co.

Arón Piper

Arón Piper wore a black velvet tuxedo with a diamond brooch positioned on the lapel and a gem-set Tiffany watch.

The brooch resembled a winged creature carrying a substantial diamond drop, bringing a touch of fantasy to the formality of black evening tailoring. The watch introduced a further field of diamonds at the wrist.

Nothing felt added for effect. The placement of the brooch made the jewel part of the tailoring, illustrating how naturally high jewellery can enter men’s evening dress.

Arón Piper wears a Tiffany high jewellery brooch and gem-set watch with black evening tailoring. Picture via Tiffany & Co.

The Art of Display

Hidden Garden was experienced through several distinct views. On white display forms, the clarity of each setting could be studied. Against coloured Murano glass, the jewels entered a world of reflection and saturated light. Worn by Tiffany’s guests, their articulation and scale became fully apparent.

The presentation moved between these perspectives throughout the Fondaco. A necklace might first appear as a precise composition of gemstones before reappearing as part of a larger garden, then finally be encountered on the body.

This progression gave the collection its rhythm. Each setting revealed a different quality, from the complexity of Tiffany’s craftsmanship to the immediate pleasure of colour and movement.

A diamond-set Tiffany watch brings painterly blue colour and individually shaped gemstone markers to the wrist

The Jewels Club Take

Tiffany’s Venice presentation succeeded because the city participated in the collection. The changing light of the Grand Canal, the architectural history of the Fondaco and Murano’s tradition of glassmaking deepened the ideas already present within Hidden Garden.

The fall stories show Nathalie Verdeille at her most assured when moving between Jean Schlumberger’s legacy and her own sculptural language. Archival references remain visible, but they do not restrict the designs. Ribbons become diamond vines, fruit becomes an exercise in unexpected colour, and a bird acquires its character from an extraordinary stone.

There is also a welcome confidence in the collection’s use of colour. Orange spessartines meet turquoise. Rubies appear beside lavender chalcedony. Sapphires emerge through blue enamel. These combinations are joyful, yet every setting and transition remains exact.

The guests brought glamour to the evening, but the jewellery retained command of the story. Seen against Venice at night, Hidden Garden reached its natural conclusion: fully grown, richly coloured and alive with light.

Inside Tiffany’s Hidden Garden at the Fondaco dei Tedeschi, where high jewellery met Venice’s glassmaking tradition

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Discover Tiffany Blue Book 2026: Hidden Garden.

Images courtesy of Tiffany & Co. via @tiffanyandco

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