Francois Graff on the jewelry house’s ties with the Gulf, balancing exclusivity with growth

In a world of conglomerates, Graff remains family owned, with its CEO, Francois Graff, at the helm. (Photo by Shu Tomioka)
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Updated 25 October 2024
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Francois Graff on the jewelry house’s ties with the Gulf, balancing exclusivity with growth

DUBAI: For more than half a century, Graff has been synonymous with luxury and exclusivity. Founded in 1960 by British jeweler Laurence Graff, the house has been known for handling some of the world’s rarest and most exquisite diamonds.

In a world of conglomerates, Graff remains family owned, with its CEO, Francois Graff, at the helm. Graff’s latest milestone is the redesigned Dubai Mall boutique that opened this month. After a two-month renovation, the boutique presents a new customer experience.

“It’s an ongoing process keeping the stores fresh. We have 70 stores, and they all keep evolving,” Graff said. The boutique’s most impressive feature is undoubtedly the facade, with its reimagined Graff logo — the iconic fan. “We first started with that motif in the 90s. It’s an old symbol used in architecture everywhere, and we have adopted it; it has evolved over the years,” he said.




Graff’s latest milestone is the redesigned Dubai Mall boutique that opened this month. (Supplied)

Inside, diamond-pattern flooring welcomes the client — a nod to their love affair with the most precious diamonds in the world. “The floor in this boutique is found in only one other location — Paris. By making each store individual, we keep the bespoke nature of the brand. You’ll pick up house codes in all our stores, but each store is still unique — I prefer it like that,” Graff said. The space includes a bridal room, a diamond collection room, and a VIP suite.

The Middle Eastern market has long been important to Graff. The brand’s deep connection to the region dates back to 1986 when Graff first visited Dubai. “I came here for a big royal wedding then, and it was a very different Dubai than what we see today. But it captured my imagination,” he recalled.




Inside, diamond-pattern flooring welcomes the client — a nod to their love affair with the most precious diamonds in the world. (Supplied)

Saudi Arabia, too, is a key market. The brand’s relationship with the Kingdom spans decades and is deeply intertwined with Graff’s history. In the past, Saudi clients would visit the London boutique to buy their jewels, he said.

“Saudi Arabia has always been special for us. We have deep-rooted connections with prominent Saudi families, many of whom have been clients for a long time. Many princesses and affluent ladies remember that their mother gave them a little piece of Graff jewelry when they were younger. Today, they are buying their own pieces.”

Graff’s relationship with Saudis is evident in the brand’s continued expansion, with two new outlets opening in the Kingdom this year.

What distinguishes Graff is its continued commitment to craftsmanship and exclusivity despite scaling. In today’s fast-paced digital landscape, many luxury brands face the dichotomy of being relevant, gaining global exposure, and maintaining exclusivity. For Graff, exclusivity is non-negotiable.

“The democratization of luxury is something we’re very conscious of,” Graff said. “But we’ve found a way to diversify without compromising our values.”

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

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Graff’s strategy is to offer a range of products, from high-value statement pieces to more accessible jewelry, without diluting the brand’s essence — no easy feat.

“A client who wants to spend a million dollars on a necklace may also want something they can wear in the morning for $10,000. But they expect the same level of exclusivity and craftsmanship, no matter the price point,” he said.

While many luxury brands rely heavily on celebrity endorsements and influencer marketing, Graff takes a more restrained approach.

 “Our clients are very discerning. If you’re buying something for $2 million, you don’t want to see it worn by multiple celebrities before it’s yours. We balance the need for visibility with our defining principles of quality and exclusivity.”

As Graff looks to the future, particularly in the Middle East, the CEO is optimistic.

“We’ve been here for decades and will continue to be here, offering our clients the best of what we do. The region is booming, and we’re excited to be a part of that growth.”


Yataghan boutique in Jeddah celebrates Saudi heritage

Updated 20 December 2025
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Yataghan boutique in Jeddah celebrates Saudi heritage

JEDDAH: Yataghan, the contemporary Saudi jewelry house founded in 2008 by designer and entrepreneur Sarah Abudawood, has announced an expansion with its Riyadh debut at Kingdom Centre, alongside the relocation of its headquarters and flagship store to a street-front location on Jeddah’s Thalia Street.

The brand, known for blending Arabian heritage with modern minimalism, unveiled two boutiques designed as immersive experiences rather than mere retail spaces.

Every detail of the new Jeddah location has been carefully curated; brass accents inspired by the Yataghan blade evoke precision and luxury, while striped, gray onyx symbolizes continuity and progress, according to the brand’s founder. Vast windows, softened by Yataghan’s signature hexagonal motif, a symbol of harmony, order, and strength, flood the boutiques with natural light, creating an inviting environment for visitors.

Inspired by the Yataghan sword, with its distinctive, single-edged blade, the brand’s collections fuse minimalist design with Arabic calligraphy and tribal motifs.

“The name Yataghan draws its meaning from the two swords on the Saudi flag — a symbol that has always fascinated me for what it represents: conviction, protection, truth, and above all, balance,” Abudawood told Arab News.

“The Yataghan sword, known for its graceful curve and exquisite craftsmanship, embodies purpose and precision. It is drawn to defend what matters and to guard what is sacred. It sets boundaries and restores equilibrium, reminding us that strength is not only about force, but about knowing when to advance and when to stand still.

“That balance is reflected in every piece we create. Because, like the sword, Yataghan is more than an ornament; it is a statement of purpose, and identity.”

Abudawood explained the cultural inspiration behind the brand, highlighting pieces connected to Saudi identity. “This branch carries designs that are deeply connected to Saudi identity and cultural memory. Some pieces are exclusive, inspired by symbols, rhythms, and forms rooted in our heritage, interpreted through a modern lens … Jeddah, in particular, has a unique spirit: fluid, expressive, open, and layered with history. That essence subtly informs the designs you’ll find here.” 

The founder also spoke of the brand’s philosophy of minimalism and meaningful design.

“It comes from my belief that simplicity creates space for meaning. I have always been drawn to architecture and the principle that form must follow function. I design with intention; nothing is accidental. Every line has a purpose, every curve holds a story. Minimalism, for me, is not about removing emotion; it is about distilling it. I want each piece to feel timeless, personal, and quietly powerful.”

The label has been flaunted by high-profile clients — including Jennifer Lopez, Lady Gaga and Lama Akeel — but Abudawood emphasized the brand’s focus on connection over visibility. “Whether someone is a public figure or not, what moves me is when they feel seen by the jewelry. Yataghan has always been about resonance, about creating pieces that speak to identity, strength, and personal stories,” she said.

Looking ahead, 2026 will mark new chapters for Yataghan, including local and international expansion, innovative collections, and a stronger focus on storytelling and community collaborations. “Growth has never been about reach alone; it’s about depth, integrity, and lasting impact,” Abudawood added.

“Ultimately, what drives me is purpose. I’m motivated by the desire to create work that matters, to offer women something that reflects who they are, not who they’re expected to be. Design, for me, is a form of dialogue, a way to translate emotion into form. As long as I’m creating with honesty, intention, and heart, I know I’m exactly where I’m meant to be.”