Educated at both the École des Arts Decoratifs and the École de la Bijouterie in Paris, Moutard spent almost the entirety of her career at René Boivin as a designer. Collaborating with Jeanne Boivin beginning in 1933 and later with Louis Girard, she was content to be a behind-the-scenes player in the René Boivin jewelry house, sketching and planning the designs executed by Jeanne Boivin. Jewelry from the house of Boivin was almost exclusively comprised of private commissions from the rich and famous as they did no advertising and did not maintain a street-level storefront for public viewing. In fact, most of the jewelry is unsigned, and when it is, a simple “R. Boivin” marks the work regardless of who the designer might have been.

Sometimes Moutard was charged with designing simple but exquisite reinterpretations of Suzanne Belperron’s earlier exciting designs and sometimes with creating something entirely new. Botany was a passion and the resulting designs of floral and foliate motifs are iconic. A veritable zoo of bejeweled birds and animals flowed from her imagination. The post-war craze for panthers and tigers led by Cartier was ripe for redefinition by  Moutard with her articulated lion and tiger brooches, eventually adding other animals to the menagerie. Fish, seaweed, starfish (believed to be her favorite), all things from under the sea, were rendered in colorful gemstones. Fish scales and their inherent flexibility became emblematic of Boivin. Articulated gem-set fish scale-inspired links were reimagined as bracelets and necklaces, eventually leading to the iconic Quatre Corps rings. Another popular design theme emerged – Passementerie. Drawn from textile inspiration, this theme can be found in many of her designs with tassels, tassel-like chains and links, bows, pleats, and cords created with gems and precious metal all flowing sensually.

Moutard remained a designer at René Boivin until her retirement in 1970.