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.
Adrian Lester, best known for his work on television and film, returns to the stage in the eponymous role of Edmond Rostand's 1898 comedy, Cyrano de Bergerac.
Rostland’s play centres around Cyrano - a little-known romantic 17th century French libertine poet, soldier, and philosopher. The play is based partly on his letters written on behalf of his love rival Christian de Neuvillette as he tries to charm Cyrano’s cousin, Roxanne with whom Cyrano is also in love.
Cyrano is cursed with an overt self-consciousness in the form of a large nose. His insecurity is such that he prohibits anyone to refer to it directly or indirectly. Together with his wit, his skills as a swordsman, and the directorial splattering of our own vernacular, they provide the play with a certain infectious - albeit teenage - humour.
Despite Cyrano unexpressed love for Roxanne, the latter has fallen for Christian who is handsome, but useless when it comes to expressing his feelings in words. But then, he is also useless as a swordsman and clearly no match for Cyrano’s mastery and maturity. Realising this and being utterly selfless, Cyrano offers his help to the youthful Christian to woo Roxanne by writing for him poetic and hyperbolic proclamations of love and longing. All he wants is Roxanne to be happy even if he himself has to do with nursing a broken heart.
Christian Patterson and Levi BrownMarc Brenner
The result is a farce of the highest order and mistaken identity, coupled with threat and violence
This RSC production is directed by Simon Evans who has provided a very lively and engaging interpretation by all accounts. Apart from a skilled, highly polished ensemble of cast, there’s interesting theatricality at work. Every now and then, for instance, one gets a sense that the stage is a reflection of our own world and vice versa. Characters mingle with the audience, they break the fourth wall, and the theatre band wander around with the characters and referred to with some bemusement and fun.
In a 17th century French world – not unlike our own, 21st century – external beauty, speech, language are prized. Expression has become almost secondary. It’s a world in which fakery, deception and lies are paced above sincerity, honesty, and truth. Looks and external beauty outweigh the inner beauty of man.
Evans removes the original piece from its French setting to England, littering it with a Brummie accent, and accentuating our preconceptions about hopeless romantics and those with meaningless verbiage. The effect is one of joyous atmosphere and true entertainment.
Adrian Lester provides a magnificent performance as the wordsmith, Cyrano. His character is verbose, comedic, and sympathetic in equal measures. Lester is enticing, hilarious and – judging by the reaction of the audience –appreciated as a versatile actor who can do comedy just as well as drama. Levi Brown’s Christian is a fiery - overtly hopeless - romantic who cannot paint his feelings into words. Brown gives a very energetic and magnetic performance. Similarly, Susannah Fielding provides a sprightly Roxanne who is heart-warming and an utter pleasure to watch.
Adrian Lester (front right) and companyMarc Brenner
It’s hard not to notice but as an audience, we are invited to consider the value of language that may sound romantic, but may – in actual fact – be little more than a shallow expression of fancy. Whereas, the seemingly absence of language – though painfully inadequate - may actually embody real sincerity and the true meaning of love.
Whatever you may think, one thing is certain: you will enjoy this production. It’s a real treat.
The play started at the Swan Theatre in Stratford-upon-Avon in early September, with its run lasting until 15th November.
Rating: ***** (5 stars)
(Cyrano de Bergerac is playing at the RSC Stratford until 15th November 2025.)
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