AN EXHIBITION of Cartier jewels, many never seen before in public, has opened in London, tracing the history of the luxury French design house beloved by the rich and famous, from Indian maharajas to the late Queen Elizabeth.
For the first time in three decades, the V&A museum is showing a retrospective of some of Cartier’s most iconic creations.
Founded in Paris almost 180 years ago, the company has pioneered and modernised the luxury jewellery market.
“We all think of Cartier as being this wonderful design epic and glamorous name, but it’s also because they are so good at creating something that is ahead of the times, but doesn’t go out of fashion,” said curator Helen Molesworth.
The exhibition opened earlier this month and is already sold out for till May, but visitors have until November 16 to marvel at some 350 brooches, tiaras, necklaces and earrings featuring diamonds, pearls and other precious stones.
Curators of the exhibition brought together rare pieces from museums around the world, including from private collections such as items belonging to King Charles and Monaco’s Prince Albert.
One of the masterpieces on display is the Williamson pink diamond rose brooch, made for Queen Elizabeth in 1953, the year of her coronation.
It contains a 23-carat pink diamond – one of the rarest and most flawless in the world – presented to the then princess as a gift on her wedding to Prince Philip.
The pearl necklace Le Maharajah and the Star of the South diamond bracelet
Also on display is a tiara from 1902 set with 1,048 diamonds worn to the Queen’s coronation by Clementine Churchill, the wife of the then prime minister Winston Churchill. It was lent to singer Rihanna when she was photographed for the cover of W magazine in 2016.
There is also a square-shaped diamond engagement ring, one of two offered to actress Grace Kelly by Monaco’s Prince Rainier; and a diamond rose brooch worn by the queen’s sister, Princess Margaret.
“We wanted to showcase ...the legacy of Cartier over a hundred years,” said Molesworth.
In one room, the curators gathered a collection of 18 tiaras spanning from 1900 to the modern day – a grand finale to the dazzling display.
There is also a sapphire, yellow and rose gold wristwatch from 1962 owned by former US first lady Jackie Kennedy and later owned by reality star and businesswoman Kim Kardashian. A ruby necklace given to Elizabeth Taylor by her third husband, Mike Todd is also among those in display.
The design house was founded in Paris in 1847 when Louis-Francois Cartier took over the workshop of his master.
In 1898, his grandson Louis Cartier joined the brand, and was to play a pivotal role in Cartier’s evolution. And then in 1902, his brother Pierre, opened a branch in London.
The Nawanagar Ruby Necklace
“We see very early on, even in the beginning of the 1900s, that Cartier is really looking around for inspiration,” said Molesworth. “We see inspirations from the Islamic world, from Egypt, from China, from India. The brothers ...travelled. They went to Russia, they went to India,” she added. Above all, they managed to capture the changing moods of the times in which they lived.
After the stunning diamond necklaces of the Roaring Twenties came more sober gold bracelets, designed in the 1960s.
“One of the great successes of Cartier is staying ahead of the times, being the trendsetters, and realising that they are keeping up with the changing world around them,” the curator said.
During the war years, Cartier designed a brooch in 1942 of a caged bird to mark the Nazi occupation of France.
Following France’s liberation, the design was changed in 1944. Called Free as a Bird the brooch shows a chirping bird, bearing France’s distinctive red, white and blue colours, spreading its wings as it flies out of its cage.
The exhibition also wanted to explore the links between the French house and the British royal family, which dates back to the early 1900s.
In 1904, King Edward VII officially appointed Cartier as jewellers to the monarchy – a title which it retains to this day.
The Elephant Mystery Clock once owned by Maharaja Ranjitsinhji of Nawanagar
This includes the Halo Tiara ordered by Queen Elizabeth II’s father, George VI, for his wife the late queen mother.
Imbued with almost 800 diamonds, it was worn by Princess Margaret to the 1953 coronation of her sister Elizabeth and later to hold the veil of Catherine Middleton on her marriage in 2011 to Prince William.
“As a jewellery historian, I see how they’ve used lots of wonderful elements to come up with brilliant new ideas,” Molesworth said. “They’ve always pushed boundaries and at every new point in history they have a nod to their heritage today, yet they have come up with new jewels that speak to the modern woman.”
Cartier, which remained under family control until 1964, is now owned by Swiss holding company Richemont.
ARUNDHATI ROY’S forthcoming memoir, Mother Mary Comes To Me, is about the author’s close but fraught relationship with her mother, Mary Roy, whose death in 2022 her daughter has likened to “being hit by a truck”.
Mary Roy, who insisted her children call her “Mrs Roy” in school, belonged to the Syrian Christian community. She does not seem a very nice person.
The Financial Times, which interviewed Arundhati at her home in Delhi, reveals: “In an episode to which the writer makes oblique reference early in the book but withholds until later — because of the pain it caused — she returned from boarding school for the holidays, aged 13, to find that Mrs Roy had had her beloved pet dog, Dido, shot and buried as ‘a kind of honour killing’ after Dido mated with an unknown street dog.”
In 1996, someone tipped me off that a publisher had won an auction by paying £1 million for The God of Small Things by an unknown Indian writer. This was unprecedented for a debut novel. But the buzz among the bidders was that the novel was a possible contender for the Booker Prize.
As I was writing my story at the Daily Telegraph, the night editor, Andrew Hutchinson, leant over and quipped: “Writing about your sister again?” As we know, Arundhati Roy did win the Booker in 1997. I had actually met Arundhati two years previously when she had stuck up for Phoolan Devi, the subject of Shekhar Kapur’s movie, Bandit Queen, based on Mala Sen’s biography.
Phoolan had been repeatedly raped by upper class Thakurs (the men were later lined up in the village of Behmai and executed by Phoolan’s gang in 1981). The film was exploitative, claimed Arundhati, because for Phoolan, it was like being raped again. She wrote a piece in Sunday in Calcutta (now Kolkata), headlined, “The Indian rape trick”.
Mala arranged for me to interview Phoolan who was refusing to talk to Channel 4 which was making a documentary in India on the controversial movie. In public, she supported Arundhati, but behind the scenes did a deal with C4 which paid her £40,000.
The FT interview says Arundhati “left home at 16, putting the length of the subcontinent between her mother in Kerala and herself in New Delhi, where she was admitted as one of the few women students at the School of Planning and Architecture. ‘I left in order to be able to continue to love her, because I knew she would destroy me if I stayed,’ she says.
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Works are painted on bark cloth from Lake Victoria
Artist Shafina Jaffer presents a new chapter of her Global Conference of the Birds series.
The exhibition runs from 7–12 October 2025 at Mall Galleries, London.
Works are painted on bark cloth from Lake Victoria, combining spiritual themes with ecological concerns.
Exhibition details
Artist Shafina Jaffer will open her latest exhibition, Whispers Under Wings (Global Conference of the Birds), at the Mall Galleries in London on 7 October 2025. The show will run until 12 October 2025.
This practice-led series reinterprets Farid ud-Din Attar’s 12th-century Sufi allegory, Conference of the Birds, reflecting on themes of unity, self-realisation and the idea that the Divine resides within.
Material and meaning
Each work is painted on sustainably sourced bark cloth from the Lake Victoria region, using natural pigments, minerals and dyes. Large panels are formed from the bark of single trees, aligning material ecology with the spiritual narrative.
The series weaves together sacred geometry, Qur’anic verses and depictions of endangered bird species, underscoring the connection between ecological fragility and spiritual awakening.
Previous recognition
Whispers Under Wings follows earlier presentations in London and Dubai, extending the project’s message of peace, unity and environmental care.
A central work from the series — the Simurgh, conceived as a symbol of light (Noor) — was recently acquired by Prince Amyn Aga Khan for the new Ismaili Centre in Houston. A feature on the exhibition also appears in the September edition of Twiga, Air Tanzania’s inflight magazine.
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Each character in the set has been carefully designed to reflect cultural narratives
British-Bangladeshi prop maker Anika Chowdhury has designed a handcrafted glow-in-the-dark chess set celebrating heritage and identity.
The limited-edition set, called Glowborne, launches on Kickstarter in October.
Each piece draws from South Asian, Middle Eastern, and African cultural references, re-rooting chess in its origins.
The project blends art, storytelling, and representation, aiming to spark conversations about identity in play.
Reimagining chess through heritage
When Anika Chowdhury sat down to sculpt her first chess piece, she had a bigger vision than simply redesigning a classic game. A British-Bangladeshi prop maker working in the film industry, she grew up loving fantasy and games but rarely saw faces like hers in Western storytelling.
“Chess originated in India, travelled through Arabia and North Africa, and was later Westernised,” she explains. “I wanted to bring those forgotten origins back to the board.”
The result is Glowborne — a limited-edition, glow-in-the-dark fantasy chess set that blends craft, identity and cultural pride.
Anika Chowdhury says she has many ideas to further fuse craft and culture in future projects Glowborne
Crafting Glowborne
Each character in the set has been carefully designed to reflect cultural narratives: Bengali kings and pawns, Indian bishops with bindis, Arab knights, and African queens. Chowdhury sculpted each piece by hand, drawing on her prop-making training at the National Film and Television School.
Once sculpted, the pieces were cast in resin, painted, and finished with South Asian-inspired motifs filled with glow-in-the-dark pigment. “The characters glow both literally and metaphorically,” she says, “as a chance for them to take the stage.”
Cultural pride and visibility
For Chowdhury, the project is about more than gameplay. “Fantasy doesn’t need to fit into the Western mould to tell a great story,” she says. “South Asian, Middle Eastern and African stories are just as powerful, and they can transform something as traditional as chess by reconnecting it with its roots.”
She hopes Glowborne will resonate with South Asian and Eastern African communities as a celebration of identity and belonging. At the same time, she sees it as a bridge for wider audiences — chess enthusiasts, collectors, and design lovers who appreciate craftsmanship and storytelling.
A personal journey
Chowdhury’s career in film and prop-making has influenced her creative process, but Glowborne marks her first independent project. She created it outside her film work, after hours and on weekends.
“At 28, I finally feel like I’ve found my voice,” she reflects. “For a long time I felt pressure to hide my identity, but now I see my culture as a superpower. This project is about using art to express that.”
Looking ahead
Launching this October on Kickstarter as a collector’s edition, Glowborne is only the beginning. Chowdhury says she has many ideas to further fuse craft and culture in future projects. “This is the proof of concept,” she says. “I can’t wait to create more stories that blend heritage, art and play.”
Banksy’s ‘Piranhas’ artwork, painted on a police sentry box, is being stored ahead of display at London Museum.
The piece was originally one of nine works that appeared across London in August 2024.
It will form part of the museum’s new Smithfield site, opening in 2026.
The City of London Corporation donated the artwork as part of its £222m museum relocation project.
Banksy’s police box artwork in storage
A Banksy artwork known as Piranhas has been placed in storage ahead of its future display at the London Museum’s new Smithfield site, scheduled to open in 2026. The piece features spray-painted piranha fish covering the windows of a police sentry box, giving the illusion of an aquarium.
From Ludgate Hill to Guildhall Yard
The police box, which had stood at Ludgate Hill since the 1990s, was swiftly removed by the City of London Corporation after Banksy confirmed authorship. It was initially displayed at Guildhall Yard, where visitors could view it from behind safety barriers. The Corporation has since voted to donate the piece to the London Museum.
Museum’s first contemporary street art
London Museum’s Head of Curatorial, Glyn Davies, said:
“With the arrival of Banksy’s Piranhas, our collection now spans from Roman graffiti to our first piece of contemporary street art. This work by one of the world’s most iconic artists now belongs to Londoners, and will keep making waves when it goes on show next year in the Museum’s new Smithfield home.”
Formerly known as the Museum of London, the institution closed its London Wall site in December 2022 as part of its relocation. It rebranded as the London Museum in July 2024, with £222m allocated by the City of London Corporation to support the move. The project is expected to attract two million visitors annually and create more than 1,500 jobs.
Part of Banksy’s animal-themed series
Piranhas was one of nine animal-themed works Banksy created across London in August 2024. The series also featured a rhino on a car, two elephants with interlocked trunks, monkeys swinging from a bridge, a howling wolf on a satellite dish, and a goat painted on a wall. Some of the artworks were later vandalised, removed, or covered up.
Preserving street art for the public
Chris Hayward, policy chairman of the City of London Corporation, said:
“Banksy stopped Londoners in their tracks when this piece appeared in the Square Mile – and now, we’re making it available to millions. By securing it for London Museum, we’re not only protecting a unique slice of the City’s story, but also adding an artwork that will become one of the museum’s star attractions.”
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Aditya Chopra (right) with his father, Yash Chopra
BOLLYWOOD filmmaker Aditya Chopra was last Thursday (21) named among the nominees of the UK Stage Debut Awards for his Come Fall in Love – The DDLJ Musical, performed at Manchester’s Opera House earlier this year.
Chopra delivered a blockbuster in 1995 with Dilwale Dulhania Le Jayenge, popular as DDLJ, with Kajol and Shah Rukh Khan in the lead roles. It was adapted to a theatrical production and had its UK premiere in May.
Chopra reprised his role as director of the English stage production, which revolves around the love story of Simran and Roger.
Shah Rukh Khan visits the cast of Come Fall in Love The DDLJ Musical during rehearsals in London Danny Kaan
“This year’s nominees embody the future of British theatre, and I can’t wait to celebrate their achievements,” said Alistair Smith, editor of The Stage theatrical publication.
“This year there are several individuals with south Asian heritage being recognised for their excellence in directing: among the nominees is Amit Sharma for Ryan Calais Cameron’s Retrograde (in the Best Creative West End Debut category),” said the awards panel in a statement.
Also nominated are Adam Karim for Guards at the Taj at the Orange Tree Theatre, London, and visionary Indian filmmaker Aditya Chopra for Come Fall In Love at Manchester’s Opera House, who are both in the running for the best director category, the statement added.