For six years, Global Creative Director Giovanna Englebert has steadily infused her distinctive, high-octane aesthetic into Swarovski’s storied collections, bridging the gap between mass-market accessibility and high-fashion fantasy. Yet, during the recent Paris Fashion Week (PFW), the historic Austrian crystal-maker achieved a significant milestone: for the very first time, the house revealed a comprehensive, fully realized array of the expansive universe Englebert has been systematically constructing.
The presentation was nothing short of an immersive journey through the brand’s evolving identity. Guests and industry insiders were treated to a sweeping showcase that spanned dramatic crystal statement pieces, refined fine jewelry set meticulously with lab-grown diamonds, and vibrant decorative objects. These home and lifestyle objects drew unexpected yet sophisticated inspiration from the ornate, 18th-century Bergl apartments located within Vienna’s historic Schönbrunn Palace, signaling a broad lifestyle expansion for a brand traditionally known primarily for tabletop figurines and accessible jewelry.
While Swarovski’s iconic emblem has long been the swan, the brand’s latest holiday assortment takes the attributes of this majestic bird to an entirely new, multifaceted level. According to Englebert, the creative trajectory for this landmark collection did not stem solely from the Viennese crystal-maker’s rich heritage and 130-plus years of technical expertise. Instead, the conceptual roots trace back to a remarkably specific, high-profile cultural moment: the 2025 Met Gala.
Speaking during an exclusive, private walkthrough of the Paris Fashion Week presentation, Englebert recalled the exact moment the vision crystallized. When she first learned that the theme of the prestigious fashion event was Superfine: Tailoring Black Style, a lightbulb went off in her mind. She immediately recognized a parallel between the exhibition’s exploration of dandyism and the brand’s signature mascot. “I thought, wait a sec, this swan is a bit of a dandy animal,” she remembered with a smile.
That single realization unleashed a cascade of creative expressions. It began on the red carpet with a series of breathtaking, custom-made looks. Model Adut Akech captivated onlookers wearing a feather-inspired crystal collar that practically hummed with theatrical energy, while fellow runway star Sora Choi turned heads in a custom blue coat meticulously embroidered with more than 50,000 individual Swarovski elements. Englebert herself complemented the red carpet display by selecting a dramatic feathered necklace and a matching headpiece that echoed the majestic posture and plumage of a swan.
These high-impact red carpet moments served as the foundational blueprint for a myriad of subsequent creations that Englebert proudly describes as "unapologetically glamorous." Among the standout pieces making their debut in Paris were bespoke statement items that leaned heavily into avian and classical motifs—opulent necklaces featuring intricate feathers, sculptural bows, and wing-shaped links designed to drape sensuously across the collarbone.
In a striking stylistic juxtaposition that managed to feel both minimalist and maximalist at the exact same time, Englebert also introduced tiered strands of faceted crystal discs. Cut completely flat, these discs were engineered to be astonishingly light yet noticeably larger than a standard silver dollar. This particular cut represented an entirely new technical milestone for the brand’s master cutters and engineers.
“We wanted to be very out there,” Englebert noted, highlighting the playful audacity required to push crystal design into uncharted territory. “We wanted to give our engineering lots of love: it’s shiny and very sparkly, and we’re very proud to be crystal.” Rather than hiding the heavy sparkle behind understated settings, the house chose to celebrate the raw, refractive power of the material in oversized, ultra-modern silhouettes.
Never one to limit her vision to jewelry and accessories alone, Englebert expanded this avant-garde narrative into ready-to-wear territory by creating a trio of crystal-embellished mini-dresses. Among them is a particularly swan-like bustier dress that is slated to appear on global pop superstar Ariana Grande for the brand’s upcoming global holiday campaign. Discussing the philosophy behind the dress displayed at the center of the exhibition space, Englebert explained, “We want to address the swan in a very abstract, modern yet iconic way.”
While the crystal-heavy constructions showcased the house’s mastery of light and form, it was color where Englebert truly let loose, injecting a fresh, kinetic energy into the brand’s established lines. The ever-popular Millenia line—pieces from which have recently been spotted on global icons like Madonna during her appearance at the World Cup, as well as the Queen of Sweden just last month—received vibrant updates. The collection was expanded to include saturated, jewel-tone hues of deep blue, lush green, vivid pink, and sunny yellow, proving that crystal jewelry can be both classic and intensely colorful.
Across the exhibition space, another entirely new narrative dubbed the "Pop" story made its debut, offering a stark and joyful contrast to the more traditional pieces. This line combines unexpected, contrasting color combinations—such as purple and teal pavé alongside smooth glazes—utilizing retro-modern shapes that feel simultaneously nostalgic and futuristic.
“It’s like a child’s dream of a mother’s necklace, with big, juicy proportions that are ultra-fun,” Englebert said, gesturing to the playful proportions and tactile surfaces of the collection. “It’s like a love child of the ’60s and the ’80s.”
To cap off the retro-modern pop fantasy, the collection includes a matching jeweled bra completely set with shimmering crystal cabochons, pushing the boundaries of intimate apparel and statement accessorizing. When asked about the daring inclusion, the designer laughed and admitted that the piece felt essential to the overarching narrative. “I thought that seemed very necessary,” Englebert said. “I wanted to show all of the different aesthetics of the Swarovski woman.”
