Last week, I had the joy of revisiting one of my favourite places – the Victoria and Albert Museum in London – to experience Cartier, The Exhibition. As someone who has been immersed in vintage costume jewellery for over 40 years, I entered the exhibition with excitement and deep curiosity. I wasn’t disappointed.
From the moment I stepped into the gallery, I was surrounded by decades of breathtaking craftsmanship, iconic design, and a level of creative storytelling that has long placed Cartier at the pinnacle of fine jewellery. But for me, it was more than a moment to marvel – it was a rare chance to trace the origins of many of the themes and motifs I’ve seen echoed time and time again in vintage costume jewellery.
Having had the privilege of exhibiting pieces from my own collection in the V&A’s Chanel and Dior retrospectives, it felt particularly special to return in this context, as both admirer and archivist.
What became clear as I walked through the Cartier showcase is just how far the influence of fine jewellery reaches. It extends well beyond the vitrines of luxury into the very heart of fashion, and more specifically into the world of costume jewellery – where it has left an enduring imprint.
Walking the Cartier Timeline: A Collector’s Perspective
The exquisite geometry of the 1920s and ’30s… the bold experimentation of the mid-century… the powerful presence of exotic animals, sculpted gold, and colour in later years. Yet perhaps most exciting was recognising how these design languages continue to echo through the pieces I source and curate at Jennifer Gibson Jewellery.
In many ways, costume jewellery has served as a mirror – adapting, interpreting, and reimagining the aesthetic codes laid down by fine Parisian jewellery houses like Cartier. The exhibition offered countless moments where I mentally matched an iconic Cartier piece with a vintage counterpart I’ve handled over the years.
Deco Dreams and Monochrome Magic
Cartier’s Art Deco masterpieces from the 1920s and 1930s took my breath away. Their use of platinum, onyx, rock crystal, carved gemstones and diamonds felt simultaneously structured and delicate, their precision softened by elegance. And this early mastery of form and restraint set the tone for an entire generation of jewellery design that remains at the forefront of jewellery styles to this day.
In the world of costume jewellery, these influences are unmistakable. In pieces like my Vintage Trifari Deco Baguette Earrings or vintage Givenchy Deco Style Tutti Frutti Earrings, I see clear nods to Cartier’s Deco refinement. The crisp lines, the clever use of negative space, the carved fruits AKA Tutti Frutti and the subtle sparkle all echo the period’s architectural ethos.
Egyptian Revival: Cartier’s Glorious Obsession
One of the most memorable sections of the exhibition, for me, was Cartier’s embrace of Egyptian Revival. Their fascination with ancient motifs – scarabs, falcons, lotus flowers, pharaoh profiles – resulted in some of the most opulent and imaginative designs I’ve ever seen, many created in the 1920s following the discovery of Tutankhamun’s tomb.
What’s extraordinary is how this fascination filtered into costume jewellery throughout the 20th century. Whether high-end unsigned pieces or collectable designs from designers like Hattie Carnegie or Trifari; Egyptian motifs reappear with stylised vigour.
In my own collection, I see this legacy in pieces like my 1970s Thomas Fattorini Scarab Necklace and Cuff and Vintage Egyptian Inspired Grand Pearl Bib – where the power and mythology of ancient Egypt are distilled into costume pieces that remain wearable, symbolic, and striking.
The Big Cats: Feline Icons of Style and Power
Cartier’s big cat designs – particularly the Panthère – have long fascinated me, but seeing them in person was electrifying. I was especially drawn to the pieces made for Wallis Simpson, whose bold taste and uncompromising style inspired some of Cartier’s most famous feline jewels. The first panther design dates back to the 1910s, but it was under Jeanne Toussaint’s creative direction from the 1930s that the motif truly roared to life.
The exhibition’s panther bracelets and brooches were not just beautiful – they were powerful, poised, and unapologetically modern. It’s no wonder costume jewellery designers followed suit. In my own curation, I see many feline-inspired designs that channel this same energy. One standout is the Vintage Double Big Cat Gas Pipe Collar – a dramatic costume piece that draws upon Cartier’s sense of motion, elegance and daring.
From Exhibition to Collection: Cartier’s Echoes in Vintage Costume
The brilliance of Cartier lies not only in what it creates, but in what it inspires.
Costume jewellery has always taken cues from fine jewellery, and in the hands of talented designers, those cues become tributes – sometimes bold, sometimes subtle, always intriguing.
Several costume jewellery designers of the early 20th Century gained experience at Cartier before moving on to create their own lines or work for other brands. Alfred Philippe, who designed for Trifari, is a notable example. He previously worked for both Cartier and Van Cleef & Arpels, bringing a well-documented and highly collectable, luxurious aesthetic to his costume jewellery designs.
As a collector and curator with four decades of experience, I’ve trained my eye to recognise these homages. Whether it’s a carefully layered necklace, a sculptural Deco brooch, or a scarab-inspired design, Cartier’s influence is unmistakable.
If you’d like to explore the echoes of Cartier in vintage costume form, I invite you to browse a curated edit of Cartier-inspired pieces from the collection. To get you started here are a few favourites of mine:
Vintage Attwood & Sawyer Big Cat Leopard Cuff 1980s
Antique Art Deco Silver Floral Spray Brooch 1930s
Antique Art Deco Pearl Jade & Emerald Paste Lariat 1920s
Why You Must See It
The Cartier exhibition at the V&A is one of those rare, awe-inspiring shows that offers a front-row seat to jewellery history – and a deeper understanding of design as a language that transcends category, price, or material. It’s a celebration not just of sparkle, but of influence.
For those of us who love vintage jewellery, it provides a beautiful lens through which to view our own collections and obsessions.
And finally – if I could own just one piece from the exhibition? It would be this – a sapphire sautoir by Cartier in 1911, for Princess Victoria Melita of Saxe-Coburg and Gotha, Grand Duchess Kirill of Russia. The stone is a 311 carat Sri-Lanken star sapphire, and I was transfixed. A star sapphire is named as it appears to show a star floating over the surface when polished as a cabochon – to me a powerful and magical voice from within the stone. This particular piece is not one I’ve spotted when browsing my many Cartier books and it took me by surprise in both its simplicity and overwhelming presence.
I highly recommend this mesmerising exhibition – not only to jewellery lovers but to anyone drawn to timeless creativity.
And if you’re unable to get there the Museum’s catalogue is a wonderful way to become better acquainted with Cartier’s magic.
Until next time,
