The Prince From Place Vendôme

In the dazzling world of high jewelry, few names are as synonymous with exclusivity and artistry as Baruch. At his discreet bench in Place Vendôme, Paris’s legendary square for luxury jewelry, he creates fewer than thirty pieces each year. Each piece, meticulously crafted by hand, is a unique blend of rare stones and intricate design, reserved for royalty, collectors, and connoisseurs who seek the extraordinary.

But while Place Vendôme may be where Baruch’s artistry begins, Monaco is where his creations truly shine. The Principality, a glittering jewel on the Côte d’Azur, serves as the perfect stage for the unveiling of his masterpieces. Each season, Baruch leaves his Parisian workshop behind, taking up residence in the elegant suites of the Hôtel Hermitage or on sun-drenched terraces above Larvotto Beach. There, he hosts trunk shows in private hillside villas, aboard opulent super-yachts, and at exclusive venues like the members-only Club 39.

Evenings often find him at the Yacht Club de Monaco, where the club’s 2,500 members, hailing from 82 different nations, form a refined audience eager for rare, exceptional jewels. It is here in Monaco, amid the glistening Mediterranean and the timeless allure of the Principality, that Baruch’s creations find their place among the world’s most discerning collectors.

Monaco has a subtle but powerful presence in Baruch’s work. Whether through a pavé clasp echoing the red-and-white hues of the Grimaldi coat of arms, or a rose-gold filigree shaped like the curve of Port Hercule, the Principality’s influence is woven into his designs. Moreover, Baruch’s connection to Monaco extends beyond the world of luxury. He donates bespoke pieces to charity galas and cultural events, often under the patronage of the royal family. “Monaco is one of the last places where art, elegance, and connoisseurship speak the same language,” Baruch reflects, underlining the place's deep connection to artistic patronage and cultural refinement.

Sketches for Baruch’s designs often take shape at dawn, drawn on the aft deck of a yacht, the Mediterranean sun rising over the sea. These early ideas are then transported back to Paris, where they are transformed into fully realized masterpieces. Baruch creates no more than thirty jewels annually, each centered around one or more extraordinary stones, and all crafted entirely by hand. Away from his bench, he is an avid collector of contemporary paintings and small-scale bronzes, drawing inspiration from their color contrasts and sculptural forms to infuse his pieces with an artistic depth that transcends traditional jewelry design.

The iconic Fleur de Lys is one of Baruch’s signature designs, a delicate arrangement of diamonds, gemstones, and platinum reimagined for each new piece. One may feature a Colombian emerald at its heart, while another is illuminated by the vibrant glow of neon Paraíba tourmalines. It is a symbol of both beauty and craftsmanship—one that has earned Baruch a reputation as a visionary in his field.

Parisian editors have dubbed him a “mad genius,” and Forbes France even called him “the new JAR,” a comparison to the legendary Joel Arthur Rosenthal. But Baruch, ever humble, dismisses such praise with a simple yet profound statement: “I don’t make jewelry—I fulfill dreams.” His drawers, lined with parchment-wrapped gems yet to be cut, serve as a reminder of the untold possibilities each stone holds, waiting for the right moment to become something exceptional.

In a world that increasingly values speed over craft, Baruch stands as a rare beacon of true artistry, creating timeless pieces that honor the legacy of both Monaco’s elegance and the enduring tradition of high jewelry.

By Andrew Shelepnytsky

Contributor

Andrew Shelepnytsky is a contributing writer for The Monegasque magazine.