Sandrine Thibaud founded the Swiss jewellery brand Fullord to solve a practical fashion dilemma. While spending time on boats, she grew frustrated by the wind constantly whipping her silk scarves out of place. Discovering a lack of elegant, modern solutions to secure them, she decided to develop one on her own. She created a jewel with a patented design that functions as a secure scarf ring-necklace.
In an interview from Geneva, Thibaud spoke to Shilpa Dhamija about how her jewellery brand has evolved from inventing a jewel mechanism to creating symbolic pieces designed to feel intimate rather than status-driven.
You started Fullord to fill a very specific gap in the jewellery market. What was that moment of realisation, and how did it lead to your patented scarf jewel?
Fullord really began with a simple observation. I noticed that scarf frames existed, but they weren’t treated as true jewellery. They were functional objects meant only to keep a scarf in place, not beautiful pieces crafted in gold or set with diamonds and deemed as part of a woman’s jewellery wardrobe.
I asked myself: why shouldn’t I redefine this piece? That is how the first Fullord scarf jewel was born – from the desire to reinvent a functional piece as an emotional, precious object. The brand’s name is derived from foulard, the French word for a silk scarf.
From the very beginning, I patented the concept. The patent is based on the mechanism that keeps the scarf in place, thanks to a chain that gives security to the jewel and allows you to pull and fix the scarf properly; but it also lets you transform the piece. For example, wearing it as a necklace in some collections like Eden, where there is a different mechanism again.
How would you describe Fullord’s design language in clear aesthetic terms?
I would describe Fullord’s aesthetic as modern statement jewellery with a strong force of character. My pieces are meant to speak to the wearer and to the people who see them.
One example is the Ghost collection. It is built around duality. As women, we are constantly fighting with ourselves in a way. We are emotional and yet we are strong. I found it interesting to translate this into form, to mix shapes that are round and square at the same time, to express that tension between softness and strength.
For me, the point is not to create a jewel that competes with others on the market, but a jewel that ‘talks’ to others, that feels different and personal. My work is driven less by commercial thinking and more by emotion and narrative.
Which are the most important markets for Fullord?
Today, my main markets are Europe, the United States, and the Middle East. These are already significant territories, with many cities and very different kinds of clients.
While India and China are the two biggest global markets for jewellery, why do European brands tend to traverse these regions rather late while expanding their reach?
In terms of volume, India and China are among the most important jewellery markets in the world. But they are also very specific. The way jewellery is consumed and valued is different.
For myself, I believe everything has to happen at the right time. Building a brand is not just about selling. It takes time, investment, listening and understanding. I prefer to first make sure my collections are working well in our current markets. We will wait to see organic interest from Asia through social media and requests and then decide how to enter those markets.
So, it is not that I find India or China uninteresting or too difficult; it is that I respect those markets enough to enter them only when I am ready and when the timing feels right for the brand.
Fullord jewellery has appeared in popular films. How do you collaborate on such projects, and judge the return on investment?
For me, working with films is like a creative challenge. It is not just about placing an existing piece on a famous actress.
For example, in the recent film ‘One Night Only’, with Monica Barbaro and Callum Turner, we developed special pieces for the characters – the ring that he offers her as a symbol of marriage. That kind of work is exciting for me as a creative director because it forces me to think differently: how does this jewel behave in a story, what does it say about the character, how does it look under the camera?
In terms of return on investment, it is almost impossible to calculate it strictly in numbers. The real return is in visibility and awareness. You reach different generations through a medium they are passionate about. You also attract new retailers who see that you are investing in creating brand awareness.
It’s less about an immediate spike in sales and more about building presence, desirability, and a wider universe around the brand.
Can you share a client moment that reassured you that you’re on the right track with Fullord?
In Switzerland, a man came to the Fullord point-of-sale. He had not bought jewellery for many years because he felt jewellery had lost its charm. In his view, people were no longer buying jewellery pieces because they loved them, but only because everyone else was wearing them.
I explained my approach and told him the story behind our Masai bracelet. I was born in Cameroon. My childhood best friend was from the Maasai region. She used to tell me about their nomadic life; how the women would look after the children and the cattle. They would carry spears not to attack but to protect themselves in the savannah from lions, hyenas, and other dangers.
This image stayed with me. In my mind, the spear became a symbol of protection and courage. Years later, I translated that into a bracelet, a piece that holds my childhood memories, my origins, and a very authentic, positive story about resilience and daily strength. When I narrated this to him, he was touched and bought the Masai bracelet. He still wears it.
For me, that moment was very important. It showed me that I was talking to his emotions, not just to his wallet. In a world where social media and numbers dominate, I want Fullord to stay rooted in authenticity, in real stories that may not go viral but that truly mean something.