Fourteen artisans ply their trade in the workshop on Place Vendôme under the direction of foreman Benoit Verhulle.

Napoleon's exile caused Nitot, a fervent royalist, to withdraw from the jewellery house, selling the business to his foreman, Jean Baptiste Fossin (1786–1848).

The elite of the period were won over and the family of Louis-Philippe, King of France from 1830 to 1848, as well as the Duchesse de Berry, succeeded Napoleon on the list of famous clients of what was to become Chaumet.

They included personalities such as Anatole Demidoff, a Russian prince married to Napoleon's niece, Princess Mathilde Bonaparte, as well as many painters, sculptors and writers, both French and foreign.

After the French revolution of 1848, the activity of Maison Fossin slowed significantly in France, leading to the establishment of a boutique in London with a workshop entrusted to Jean-Valentin Morel (1794–1860) assisted by his son Prosper, who was born in 1825.

[7][8] Chaumet created a wide range of imaginative pieces, including decorative hair ornaments and accessories inspired by mythology, such as bat-shaped aigrettes and intricately carved combs.

[9] In the wake of the post-war years, Chaumet stood out as a precursor, embodying the taste and creativity of the Parisian woman.

Chaumet adapted the 'New Look' of the pioneers Christian Dior and Yves Saint Laurent, attracting the fashionable women of the time.

François Bodet, a Maison Chaumet executive, renewed the brand and positioned Breguet in the high-end watchmaking segment.

[13] Headed by the brothers Jacques and Pierre Chaumet, the company filed for bankruptcy in 1987 with liabilities of 1.4 billion francs, eight times the annual turnover, in particular due to heavy losses in their diamond purchasing and resale business after the drop in prices worldwide.

[14] The two brothers were convicted of illegal banking activities for having opened accounts that promised high interest on the principal.

[16] After an unsuccessful attempt to penetrate the American market in the late 1990s, the company opened stores in Asia to fuel growth.

After being supplied with gold and gems, its fourteen artisans mould, melt, polish and set traditionally the pieces created by the House's designers.

[31] A number of the items of jewellery in the "12 Vendôme" collection are transformable: a long necklace may be lengthened by the addition of two bracelets[32] and an invisible system makes it possible to detach the aigrette from a diadem.

Made of gold, pearls and emeralds, its manufacture combined fine jewellery with a meticulous watchmaking movement.

[49] The "Attrape-moi...si tu m'aimes" ("Catch me...if you love me") collection launched in 2007 is composed of 18 designs, inspired by the spider and its web.

[53] The Khesis watch, whose name means "sun" in Navajo,[54][55] is a cuff design consisting of rice-grain links, created in 1995.

[62] It revisited two decades less-known of Chaumet's creative history, with 140 objects inspired by the punk and hippie movements or the disco years.

[63] Over the decades, the House of Chaumet has designed hundreds of items of jewellery or original editions that have acquired heritage or historical status.

This exhibition entitled "Paris, two centuries of design" showcased Chaumet's creations since the age of Marie-Étienne Nitot.

[66] In September 2004, the Chaumet museum welcomed the "Napoleon in Love: Jewellery of the Empire, Eagles and the Heart" exhibition.

[67] The Chaumet museum also played host to the "Le Grand Frisson, sentimental jewellery from the Renaissance to the present" exhibition from October to November 2008.

[68] In July 2011, the House of Chaumet celebrated the 200th anniversary of the creation of its first pair of watch bracelets belonging to Eugène de Beauharnais.

[69] To mark the occasion, the house organised the "200 years of watchmaking design" exhibition bringing together 30 pieces and 300 drawings.

[70][71] The Journées Particulières open days organised on 15 and 16 October 2011 were held in the workshop, the large salons and the Chaumet museum.

Meetings with the head jeweller and the craftsmen were organised to demonstrate the different steps involved in manufacturing a piece of jewellery.

It is a member of the Responsible Jewellery Council, the world's leading sustainability standards organization for the jewelry and watchmaking industries.

The program is built around four pillars: creative circularity, biodiversity protection, a policy of total transparency, and a 55% reduction in its climate impact.

[83] The prize rewards women's projects whose aim is to give all publics access to culture through masterclasses, educational programs or solidarity actions.

[84] In the same year, Chaumet unveils a new sponsorship initiative: Le Petit Mob', in collaboration with the Mobilier National, which enables children to discover the craft.