Hancocks London, the renowned independent British jeweller, is releasing its 2026 Engagement Trends Report, which reveals emerging styles, shifts in buyer behaviour, and what today’s luxury clients value most in rings.

London, December 2025

From vintage cuts to bespoke craftsmanship, the report highlights what couples are seeking in high-end engagement rings. Insights draw on sales data, bespoke commissions, and expert commentary from Guy Burton, Managing Director of Hancocks London. The report covers seven main areas:

Section 1: Emerging styles and cuts

• Vintage resurgence: Old Mine Cushion leads client requests; Asscher and Marquise cuts see a sharp rise in interest.
• Influence of celebrity culture: The “Taylor Effect” has driven demand for specific antique cuts by 30 per cent.
• Art Deco & Edwardian influence: Classic design styles remain popular for bespoke commissions, highlighting fine engraving and tri-wire bands.

2 Section 2: Design trends

• Preference for substantial, well-crafted rings over ultra-thin, delicate designs.
• Alternative settings: East-West designs gaining popularity.
• Coloured gemstones, particularly rare sapphires such as Padparadsha, are increasingly requested.

Section 3: Buyer behaviour & experience

• Couples increasingly value the in-person buying experience, often coming in together to explore rings before their engagement.
• Connoisseur-driven choices dominate: rare stones, antique diamonds with unique colours like cognac and champagne, and extraordinary craftsmanship.
• Sustainability and ethical sourcing are important, with antique diamonds and recycled materials highly valued.
• Men’s engagement rings are evolving: thicker bands and signet rings are popular.
• Upgrades and anniversary purchases are on the rise, particularly around 10-year milestones.

Section 4: Media influence and social trends

• Clients avoid mass-market Instagram designs; one-of-a-kind is now key.
• Hybrid shopping 24/7: research online, WhatsApp for direct communications, see in person, then purchase.
• Celebrity engagements, particularly Taylor Swift’s, influence high-end antique diamond demand globally, and is set to continue into 2026.

Section 5: British craftsmanship and market positioning

• Independent British jewellers are increasingly chosen over global luxury houses, especially by American buyers.

Section 6: Natural vs lab-grown diamonds

• Natural diamonds dominate luxury sector of the market.
• Lab-grown diamonds occupy entry-level, fashion-focused markets.
• Education on rarity, cut, and character remains crucial for discerning buyers.

Section 7: Value, investment, and craftsmanship

• Buyers seek rare, investment-worthy stones with enduring quality.
• Craftsmanship significantly influences long-term value retention.
• Certification: GIA remains the trusted standard; cut quality and character outweigh colour or clarity alone.

Hancocks London unveils the engagement edit’, a mini digital series exploring the art, heritage and individuality of choosing an engagement ring

London, June 2025 —Hancocks London, the British jeweller renowned worldwide for its exceptional collection of engagement rings featuring antique diamonds and coloured gemstones, is launching The Engagement Edit — a new digital film series created in collaboration with style expert Sarah Harris.

The curated five-part series, available online offers an elegant and insightful journey into the craftsmanship and rarity of antique diamonds and coloured gemstones, while exploring the key factors to consider when choosing a ring that symbolises life’s most significant commitment.

Hancocks London is launching The Engagement Edit to help demystify the engagement ring process and address some of the questions they are most frequently asked. The films feature Managing Director Guy Burton — a leading authority on old cut diamonds and antique gemstones — in conversation with Sarah Harris, whose insightful questions bring a modern editorial perspective to each episode.

Celebrating best of British craftsmanship and design

Collaborating closely with British interior designers Barlow & Barlow and architects Arke, the new gallery space effortlessly merges heritage with contemporary flair. Drawing inspiration from quintessential British design elements, the interiors are elegant and opulent, capturing a timeless allure with a sense of sophistication. Original features including fireplaces have been retained wherever possible.

In keeping with its commitment to sustainability, Hancocks has worked with teams of master craftsmen, used mainly British-made materials, and incorporated a significant number of antique and recycled furniture into the design.

The Engagement Edit

Episode 1. The Importance of Cut

This first film sees Guy Burton discussing the distinct beauty of antique diamonds — from old mine cushions to step cuts and antique pear shapes. It explores the 4Cs and discusses which ‘C’ is the most crucial when it comes to buying a diamond. Plus, Sarah Harris tries on several of the 450 one-of-a-kind rings from Hancocks London’s collection.

Episode 2. Old Cut Diamonds

This episode explores the captivating allure of old cut diamonds and what distinguishes these vintage gems from their modern counterparts. The conversation delves into the sustainable appeal of antique diamonds and why more couples are drawn to their unique charm.

Episode 3. Craftsmanship

What elevates a ring from beautiful to exceptional? This film delves into the artistry behind Hancocks London’s one-of-a-kind designs. From Georgian Revival settings to signature intricate hand engraving, it reveals how fine gemstone curation and masterful craftsmanship come together.

Episode 4. Colour. Style. Individuality

From Fancy Vivid yellow diamonds to the rich romance of Kashmir sapphires and old Colombian emeralds, this episode explores coloured gemstones with Guy Burton providing advice on how to choose a stone that not only reflects personal style but suits your lifestyle. Along the way, viewers gain an understanding of what defines a truly exceptional gemstone and sourcing the very best of the best.

Episode 5. Beyond The Ring

An engagement ring is one of the most meaningful — and significant — purchases someone can make. This final film explores what truly matters when making that decision: provenance, personal curation, and the importance of trusted certification. From sourcing rare gemstones to designing a ring that tells a story, it’s a look at the expertise behind every Hancocks London creation — and why buying from specialists makes all the difference.

The Engagement Edit will be available to view via Hancocks London’s website here: CLICK HERE

From Cleopatra to The Devil Wears Prada, Lillie Langtry’s necklace takes centre stage at Hancocks London

Historic royal necklace given by Edward VII to his mistress returns home after travelling around the world and Hollywood stardom

A piece of British history with ties to royalty, stage, and screen has returned home after an extraordinary journey around the world.

The Lillie Langtry necklace, made by Hancocks & Co. and dated circa 1870s, has captured imaginations for over a century and now, first after appearing on stage in the West End in the late 1800s, then travelling to America, and subsequently being worn by Meryl Streep in the film The Devil Wears Prada. It has now returned home to Hancocks London, the jewellers that originally made it following a commission from the Prince of Wales (later King Edward VII).

Guy Burton, Managing Director, Hancocks London, says: “The Prince of Wales commissioned Hancocks to make this piece for his mistress at the time, Lillie Langtry, who was regarded as one of the most glamorous and beautiful society women of her era. He was known to be deeply enamoured with Ms Langtry and is believed to have presented her with the necklace during their time together, marking it as a token of affection from a royal admirer.

The necklace’s illustrious journey did not end with Langtry’s stage career. In 2003, it was put up for auction by a private vendor whose grandmother received it as a gift from the actress. Hancocks London was the highest bidder, and it returned to its original home for the first time. It then made a memorable appearance in the 2006 film The Devil Wears Prada, worn by Meryl Streep in her role as the formidable fashion editor Miranda Priestly, introducing the historic piece to a new generation and adding a layer of Hollywood glamour to its rich provenance.

Hancocks London later sold the necklace to an American collector and, after a life as varied and storied as the woman who once wore it, more than 15 years later, the jeweller has re-acquired for the second time to add to its own historic archive.

To coincide with the West End production of The Devil Wears Prada, the necklace will be on display at Hancocks London from early October in the Sackville Gallery at Hancocks London located at 62 St James’s Street, London SW1A 1LY.

Designed as a graduated fringe featuring motifs such as a winged enamel scarab, a large faience scarab, and a carved carnelian shell, it boasts tassels of coral drops, Ram’s heads, turquoise cabochons, and carved moonstones. A patterned yellow gold neck chain with a serpent’s head clasp completes the necklace, which is still housed in its original Hancocks’ brown leather fitted case stamped with

The Queen (Victoria) and the Prince and Princess of Wales’ royal warrants.

According to family sources, the necklace was worn by Lillie Langtry as Cleopatra on the opening night of Anthony and Cleopatra at the Princess Theatre in 1890. It was later replaced by a larger stage copy for her continued performances.

Hollywood calling….. 

The necklace’s illustrious journey did not end with Langtry’s stage career. In 2003, it was put up for auction by a private vendor whose grandmother received it as a gift from the actress. Hancocks London was the highest bidder, and it returned to its original home for the first time. 3

It then made a memorable appearance in the 2006 film The Devil Wears Prada, worn by Meryl Streep in her role as the formidable fashion editor Miranda Priestly, introducing the historic piece to a new generation and adding a layer of Hollywood glamour to its rich provenance.

Hancocks London later sold the necklace to an American collector and, after a life as varied and storied as the woman who once wore it, more than 15 years later, the jeweller has re-acquired for the second time to add to its own historic archive.

Guy Burton adds: “We’re delighted to have this storied necklace back where it all started, bringing with its tales of royal romance, theatrical triumph, and silver screen stardom. Its homecoming marks a poignant chapter in a narrative that spans centuries, continents, and the evolving tapestry of fashion and society.”

To coincide with the West End production of The Devil Wears Prada, the necklace will be on display at Hancocks London from early October in the Sackville Gallery at Hancocks London located at 62 St James’s Street, London SW1A 1LY.

Grand opening of Hancocks London’s new premises on St James’s Street represents a new chapter in the brand’s storied history, honouring the past as it moves in to the future

June 2024: Hancocks London, a renowned name synonymous with exquisite craftsmanship and unparalleled luxury in the world of fine jewellery, is proud to announce the official grand opening of its new premises on one of London’s principal streets.

The move to 62 St James’s Street, which is located around the corner from The Ritz and a stone throw from St James’s Palace, marks a significant milestone in the illustrious history of Hancocks London.

The decision to expand into its new premises was driven by a desire to return to the jeweller’s roots. Guy Burton, Managing Director of Hancocks London, explains: “Throughout our history, Hancocks has served as a distinguished jeweller and manufacturer. In 1849, we were originally the House of Hancocks, known for manufacturing jewellery, important silverware and the like for clients including royalty, heads of state, and the great and the good. In 1916, we went on to become more of a shop and, post war, continued selling vintage jewellery, and signed jewellery, while also still making our own designs. As we now move forward, it feels both authentic and deeply meaningful that we go back to being what we were originally known as: one of the world’s foremost independent jewellery houses.”

With its rich legacy, including four Royal Warrants awarded, Hancocks has long been a destination for discerning clientele, seeking the finest in bespoke jewellery and exceptional service. Now, the jeweller can share its unique and historic story in its new Georgian townhouse premises and showcase its full collection for the first time in decades.

Guy Burton says: “Our new premises represent the modern Hancocks of today while acknowledging our historic roots. It is four times bigger than our previous space and we have been able to reimagine the customer journey and are now able to offer a bespoke and intimate experience befitting of our jewels.”

With a focus on comfort, ample space, and the freedom to explore jewellery at leisure, clients will be able to explore their jewellery interest, and discover more about a particular piece in the process.

By eschewing traditional retail counters, clients can immerse themselves fully in the world of fine jewellery, roam freely, and enjoy a friendly gallery-like experience.

Hancocks’ new premises in the heart of St James’s, are perfectly positioned, in between Piccadilly and Pall Mall. The building has five imposing floors and features a prominent window frontage to iconic St James’s Street.

Clients will be greeted by a Hancocks London doorman, who will be seen wearing Saville Row tailoring. In typical Hancocks’ style, a selection of impressive fine jewellery will be on display in bespoke window cabinets.

Ground Floor: Sackville Gallery

Step into the bejewelled world of Hancocks London

The ground floor has been designed to showcase jewellery, encouraging visitors to explore and at the same time be inspired. Clients will be able to roam around and view a wide selection of jewellery which illustrate what makes Hancocks London’s collections so unique.

The pieces, which will be beautifully displayed, will act as a taster as to what to expect on the next two floors. On this floor, visitors will also be able to learn more about Hancocks London’s handmade signet rings.

The walls will be lined with Hancocks London’s extensive library of books on jewellery, makers and eras, its ledger books, as well as its historic diary which dates back to 1780, offering a glimpse into Hancocks’ rich history and enduring legacy.

Hancocks London’s curation of historic tiaras will also be displayed along with notable pieces from Hancocks’ own archive at key times throughout the year including the Napoleon jug made by Hancocks for Napolean III, the last Emperor of France. This was part of Hancocks London’s display in the 1867 Paris Exhibition.

An area dedicated to The Victoria Cross medal, which Hancocks is proud to make since the company was instituted by Queen Victoria to do this in 1856, will also be showcased and honoured later this year given it is an important part of the company’s history.

Celebrating best of British craftsmanship and design

Collaborating closely with British interior designers Barlow & Barlow and architects Arke, the new gallery space effortlessly merges heritage with contemporary flair. Drawing inspiration from quintessential British design elements, the interiors are elegant and opulent, capturing a timeless allure with a sense of sophistication. Original features including fireplaces have been retained wherever possible.

In keeping with its commitment to sustainability, Hancocks has worked with teams of master craftsmen, used mainly British-made materials, and incorporated a significant number of antique and recycled furniture into the design.

Honouring its history

Hancocks’ new home was originally built in the 18th Century and has lived a life as a residence, Victorian military tailors/uniform manufacturers, and yacht brokers.

This house now pays homage to Hancocks’ storied history, with artwork and exhibits showcasing notable moments and achievements, including the mounting of the Hope Diamond and commissions for esteemed figures such as Napoleon III and the Rt. Hon. Antony Eden, British Prime Minister (1955-57).

Hancocks also enlisted the expertise of an independent historian to delve into its rich history and to facilitate the digitisation of its historical diary dating back to 1870. The original diary will be on display in the new premises, offering visitors a glimpse into its storied past. It is also going to be available to a global audience in a digitised format and will be available to view on Hancocks’ soon to launch new website.

Guy Burton says: “With this move, we reaffirm our commitment to providing our clients with an unparalleled experience and a showcase of the finest craftsmanship in the world of jewellery. We are excited to be creating our own moment in Hancocks’ history and being able to showcase our full collection of the finest jewels we have curated for the first time in many, many years.

“We are really thrilled to unveil our new home on St James’s Street. It’s a space that not only honours our rich heritage but also embodies the essence of modern luxury,” added Guy Burton.

Once settled in, Hancocks London is also planning to host or curate small exhibitions, jewellery talks and events for its clients and members of the public.

Hancocks London new location and address is: 62 St James’s Street, London SW1A 1LY and telephone numbers remain the same + 44 (0)20 793 8904, click here for directions. Guy, Amy, and the rest of the team look forward to showing you around the new House of Hancocks.

The timing could not be more auspicious. As the nation prepares for next month’s Coronation of King Charles III, a unique piece of jewellery is about to come onto the market that, if it could speak, would undoubtedly tell a few royal tales of its own.

The jewel in question is a magnificent antique diamond and emerald dragonfly brooch set with two Colombian emerald briolettes weighing approximately 25cts that can be detached to make a pair of earrings.

This will be the first time in its storied history that the brooch will go on sale at Mayfair’s oldest family jewellers, Hancocks London, for £350,000 (US $440,000).

The brooch was commissioned by the 5th Countess of Rosse, Frances Lois Parsons, to wear at the coronation of King George V and Queen Mary on June 22, 1911.

The countess gave the Crown Jewellers Garrard & Co. a pair of emerald briolette drops from a pair of existing earrings – part of the Rosse family emerald parure (a set of jewels intended to be worn together), to use as part of the commission.

Guy Burton, Managing Director, Hancocks London, comments:

“The handwritten note that is pinned inside this original brooch box tells us that the dragonfly was designed by her father, Sir Cecil Lister Kaye, 4th Baronet making it not only a historic jewel but also a truly sentimental one.”

At the time of the 5th Countess of Rosse’s commission, Garrard would have been very busy making sure all the coronation jewels and regalia were cleaned and polished and looking their very best. The Mayfair-based jewellers to the great and the good had also been issued with a hugely important commission from Queen Mary, that of creating a crown for her to wear at the coronation.

Now known as Queen Mary’s Crown, this is the crown that will be worn by Queen consort Camilla at the up-coming coronation of King Charles III.

A coronation is a state occasion steeped in history and tradition and the jewels worn by the Peeresses to accompany their formal coronation robes reflect this. Parures of historic family jewels passed down through generations were de rigueur, topped off with the most important tiara each Peeress owned.

Guy Burton comments:

“The dragonfly brooch flew in the face of traditional formal jewellery at the time. To have a new jewel commissioned for such an occasion, particularly one of this size and design, was unusual and would certainly have made a significant impact and a real statement.

“The rich green emeralds no doubt proved a vibrant contrast to the deep red of the coronation robes and complimented the emerald necklace and tiara that Frances wore.”

Set throughout with old cut diamonds, the dragonfly’s lower wings are embellished with a single round emerald and upper wings with the emerald briolettes originally supplied by the countess, the wings are set ‘en tremblant’ so flutter delicately as the wearer moves, allowing the gemstones to catch the light beautifully.

These briolettes detach to form a pair of drop earrings making the brooch the ultimate versatile jewel to have in a collection today.

The full parure, including the briolettes in their earring settings, was worn to the next coronation, that of King George VI in 1937, by Frances’s daughter-in-law Anne Parsons.

Anne had previously been married to Ronald Armstrong-Jones with whom she had two children, Anthony and Susan. However, wedded bliss escaped Anne and Ronald and they divorced in 1934. The following year Anne married Frances’s son Michael, 6th Earl of Rosse thereby becoming 6th Countess of Rosse on her wedding day.

Anne would go on to wear the emerald jewels again in 1953 at the coronation of our late Queen Elizabeth II, meaning these emerald briolettes have been present at three of the 20th century’s four coronations.

Furthermore, in 1960 Anne’s eldest son, Anthony Armstrong-Jones, married HRH Princess Margaret and Anne wore the full Rosse parure, including the emerald briolettes in their original earrings, to the wedding celebration ball at Buckingham Palace.

Guy Burton adds:

“The dragonfly brooch was a favourite jewel of Countess Rosse, she wore the brooch regularly, along with the other pieces of the parure. Images of her wearing the dragonfly show it on evening dresses, cocktail dresses and coats, this was a woman with a passion for both jewellery and fashion.”

“It is thanks to her that we know the details regarding the commissioning of this piece. She made careful handwritten notes on the provenance of the Rosse jewels, often on her calling cards, which she pinned inside the boxes of significant pieces.”

“It is a truly spectacular jewel and would have attracted many an admiring glance, the tremblant setting causing it to quiver and catch the light with every movement she made.”

“We are honoured to be offering this remarkable jewel for sale and wouldn’t it be wonderful for it to be snapped up and worn by one of the 1,000 guests at the Westminster Abbey ceremony on May 6? It would be back in its familiar surroundings and in extremely good company.”

The single pin brooch comes in the original Garrard box and is priced at £350,000 US $440,000*.

(*based on exchange rates 21 April 2023)

Robinson Pelham’s co-founder Zoe Benyon explains: “Black is back.  We’re so pleased to see Jodie wearing these earring as we launch our first monochrome collection this month.  Nobody wears it better.“

Black Onyx WishDishes

5.06ct Vintage cut Asscher Solitaire Diamond Ring in Black Rhodium Finish Bezel Setting £75,000