Each ring is inspired by a different piece or style of iconic architecture. The art nouveau era Grand Palais in Paris is scaled down to finger-size in gold fretwork set with diamonds and emeralds. There are three Qianlong rings (each in a differently coloured lacquer) inspired by the pagoda roof architecture of an imperial palace.

The Sakura ring in diamonds and black jade depicts a Japanese building, while Shéhérazade, in lacquer with sculpted lapis lazuli, portrays the star-shaped architecture and cupola typical of an Islamic building. These are the first designs to be released with more to come.

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The “house rings”, as creative director Claire Dévé-Rakoff calls them, are inspired by the Jewish tradition of betrothal rings – extravagantly crafted miniature palaces, castles and temples that stand proudly in place of a gemstone. The earliest known rings date back to the 14th century; as time advanced, so did the craftsmanship involving intricate gold filigree and enamelling.

Chaumet is not alone in embracing this highly unusual design. London jeweller Theo Fennell has been making “opening rings” for 10 years. Poison or pillbox rings became popular in Europe in the 16th century; today, they have far less sinister purposes. Fennell’s designs, for example, make bold architectural statements, including a castle and an Egyptian pyramid. Two of his most recent miniature masterpieces are the Rome Colosseum ring, which opens to reveal a gladiator, and a charming white gold and diamond crystal igloo ring, which contains a penguin.

These intricate designs are great conversation pieces, as are Annoushka Ducas’ Russian onion-domed rings celebrating her brand’s 10th anniversary. She commissioned Hong Kong jeweller Austy Lee to design four architectural rings based on Russia, where she spent much of her childhood. Each of Lee’s fantastical creations represents a city: St Petersburg, Moscow, Kazan and Sochi, and are inspired by Ducas’ onion-domed Touch Wood collection.

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Ducas had stumbled across Lee’s “incredible treasure trove of a workshop” by chance and found his enthusiastic creativity infectious. Lee introduced her to coloured rhodium and faceted pearls, which are now incorporated in the rings. “I have always loved statement jewellery where there is no compromise,” says Ducas. “Austy Lee’s jewellery is the perfect example of that: exquisitely crafted and beautifully detailed, it is wearable sculpture, rich in colour and complexity.”

Lee has a background in product design, which gives him a unique perspective when it comes to jewellery design. “Architecture is a solid source of my inspiration,” he says. Art deco and New Age designs also appear in his work. “I enjoy creating something new, unseen before, as well as mixing and matching different materials. I apply different architectural features into my design. Taking a church as an example, elements such as ornament, fly arch and rose window can been seen in my design.”

Sarah Zhuang’s Urban Reflection collection takes a two-dimensional approach with her diamond rings, which lie flat on the finger and showcase Hong Kong’s towering architecture, both modern and historical.

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Fairy tale-inspired architecture and fantastical creatures have been incorporated into Van Cleef & Arpels’ high jewellery collections over the past few years, under the creative direction of Nicolas Bos. An enchanted castle in diamonds, sapphires and Paraiba tourmaline featured in the Peau d’Âne collection of 2014, and in 2019 the Romeo and Juliet collection portrayed the Italianate balcony in diamonds and emerald “ivy”. These architectural fantasies are brooches but might appear on a ring some day.

Boucheron paid homage to its boutique with a collection that is inspired by the Boucheron family house at 26 Place Vendôme in Paris: the Vu Du 26 collection features the Cheval de l’Opera ring inspired by the horses of the Opéra Garnier.

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