Collector Notes
- Founded in Geneva in 2019 by Sandrine Thibaud, a former marine-accessories entrepreneur with 25 years of industry experience.
- Six collections — Fullord, Masai, Maji Masai, Ghost, Stella, Ariane and Eden — each rooted in a specific chapter of the founder’s biography.
- Manufactured at Fullord’s own Vicenza workshop, opened in 2023, including rare platinum-capable machinery.
- All gold is RJC-certified; every raw material entering the workshop is fully traceable.
- Multiple patents registered across Europe and internationally, including the signature scarf-holder necklace mechanism.
- Eden collection pieces appeared in the Netflix series Emily in Paris; Zest of Life earrings reached the final three at the inaugural VicenzaOro Awards, January 2026.
- Nearly 20 selective points of sale internationally by end of 2025, plus a Lugano boutique.
Design & Visual Identity
Every Fullord piece begins with autobiography. Sandrine Thibaud was born in Cameroon, left the continent at thirteen, and has since lived across France, the Dominican Republic, Holland, Italy, and Switzerland. That peripatetic life is not background colour; it is the direct source material for each collection.
The founding piece, the scarf-holder necklace that named the house, came to Thibaud on a boat when a gust took her scarf overboard. Where another designer might have reached for a utilitarian clip, she filed a patent and commissioned a Geneva master jeweller to craft the first prototype. The Ghost motif — a softened square enclosing an oval — required a full month of workshop refinement to achieve its precise curvature before the team could even begin selecting stones. Craftsmanship at Fullord is consequential rather than decorative, and that discipline places it squarely alongside established narrative jewellers such as Van Cleef & Arpels and Messika in the way stories are encoded into wearable form.
Materials & Making
The Vicenza manufacture operates CNC machines and 3D printers for standard production, while preserving hand-finishing traditions including the Tecnica del Bulino, an Italian engraving technique in which no two gestures are identical. Ghost Caviar, a surface treatment of micro-spheres, adds tactile depth and amplifies light reflection in a way that no mechanical process can fully replicate.
The workshop’s platinum capability — rare even in Italy — signals where the house is heading at the higher end of its range. The Masai Necklace in white gold, set with diamonds and engineered to open at the back like butterfly wings, is the clearest expression of this ambition: a claspless construction protecting three throat chakra points, assembled without compromise on wearability. The Maji Masai bracelets, by contrast, combine the spear motif with a nautical cord reinforced by a titanium core — a direct echo of the founder’s years in marine accessories.
Who Fullord Is For
The GCC collector is an obvious and self-identified audience. Thibaud confirms that the scarf-holder necklace is particularly well received in markets where women frequently wear scarves, citing an appreciation for elegance that the piece addresses directly. Beyond that specific utility, the full range speaks to a buyer who reads jewellery as statement rather than status — someone closer in sensibility to Piaget‘s sculptural tradition than to branded logo pieces.
The Eden fruit pendants, with their hand-set interiors and interlocking lemon-slice construction, appeal to a younger, style-forward client, while the Ariane ring — built from separated elements in ancestral goldsmithing technique — is a considered collector’s acquisition. Both ends of the range coexist without contradiction, which is part of what defines Fullord’s positioning between fine jewellery and entry-level high jewellery.
Why Collectors Should Take Note
Fullord is six years old and already holds multiple international patents, operates its own manufacture, and has placed pieces on an international television production. That trajectory is not common for an independent house at this stage.
What makes the brand genuinely collectible, though, is the internal coherence of its story. From the scarf ring filed as an invention to the Stella diamond cut in a patented star form (requiring 25 per cent greater rough-stone loss than a standard brilliant cut), every decision is traceable to a stated rationale. For the GCC collector building a considered jewellery wardrobe, Fullord offers something that larger houses rarely provide at this price tier: the certainty that the object on your wrist has a specific, non-transferable origin.
Stay ahead of the latest releases. Subscribe to our newsletter for editor-curated coverage of luxury timepieces across the GCC.
Frequently Asked Questions
What does the name Fullord mean?
Fullord is a contraction of the French words foulard (scarf) and or (gold), reflecting the brand's founding piece: a patented jewellery system designed to secure a scarf elegantly around the neck.
Where are Fullord jewels designed and made?
Fullord pieces are designed in Geneva, Switzerland, and manufactured at the brand's own integrated workshop in Vicenza, Italy, which Fullord opened in 2023 and equipped with state-of-the-art machinery including platinum-capable tooling.
Is Fullord jewellery ethically sourced?
Fullord uses RJC-certified gold (Responsible Jewellery Council) and ensures full traceability of every raw material entering its workshop, a commitment rooted in founder Sandrine Thibaud's upbringing and personal values.
Which Fullord collection appeared in Emily in Paris?
The Eden collection, featuring fruit-inspired pendants representing an apple, an orange, and a lemon, appeared in the Netflix series Emily in Paris.
Who is the ideal wearer of a Fullord piece?
Fullord's collections are designed to transcend generational and gender boundaries. The brand addresses lovers of precious materials who connect with narrative jewellery, from collectors drawn to the high-jewellery Masai Necklace in white gold and diamonds to those who favour the playful Eden pendants or the sculptural Ghost bracelet.
