In 2026, Boucheron brings under a single name artistic initiatives, the oldest of which dates back to 2018. Only one of them asks artists to turn their gaze on the Maison’s collections.
Boucheron is launching Boucheron Curation this year, a platform for artists of all disciplines. The Maison has built it around four pillars: supporting women’s creativity, turning its boutiques and its collections, through Carte Blanche, into a place of artistic expression, fostering intercultural dialogue, and supporting the projects of its ambassadors.
The initiatives brought together are of different kinds. The Prix Her Art, created in 2025 with Marie Claire and Art Paris, showcases one woman artist. The Yishu 8 France prize, supported since 2018, sends three laureates each year on a residency in Beijing, in a Maison des Arts facing the Forbidden City. Its award ceremony is held each time at 26 place Vendôme. Since 2024, Boucheron has provided financial support to MENART, a fair devoted to artists from the Middle East and North Africa, and in 2026 it is creating the « Coup de Cœur Boucheron » to reward one artist from the fair.
In these three cases, the artist works on their own practice, and the Maison offers visibility, a residency or an award. Carte Blanche works differently. To accompany the Or Bleu collection in 2024, the Maison invited the German photographer Jan Erik Waider and the French musician Molécule. Each followed Claire Choisne, Director of Creations, through the Icelandic landscapes that had inspired the collection, one for the images, the other for the sounds. In 2025, the Japanese artist Atsunobu Katagiri designed an ephemeral floral work on the theme of impermanence, which gives the collection its name, unveiled during the presentation of the pieces at 26 place Vendôme.
The boutiques form the third ground. The Maison says it has built up a collection of contemporary art there over the years. Each boutique has a unique work, chosen for its resonance with local culture and the Maison’s philosophy, sometimes following a special commission to the artist.
The test is simple: what does the artist look at? In the prizes and the fair, it is their own work. In Carte Blanche, it is a collection, a landscape and a jewel, with the Maison facing them. This is the only scheme in which Boucheron exposes itself to another creator’s interpretation. The judgment has its limits: this article rests on the elements declared by the Maison and on initiatives of which no work has been seen.
Of the four pillars, only one places the Maison under the artists’ gaze. It is against that one that we will measure what Curation adds to the patronage that already existed.
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