Rarest of them all - Cartier at the V&A
This exhibition stands out in its extensive display of the Cartier collection - jewels you have never seen before and may never see again...
By
Rhea Mathur
April 21, 2025
Victoria and Albert Museum’s Cartier (on view till 16 November 2025) begins with British designer and artist Asif Khan MBE's message: “I wanted this exhibition to evoke a world, crossing time, senses, and cultures. Cartier's creations are suspended in textural landscapes, cloudscapes, light and sound, allowing history to breathe and the future to linger”. It is his vision in the design of this landmark exhibition that really makes it stand out and celebrates Cartier as the first globally recognised jewellery house.
The exhibition begins with a quick introduction to Louis-François Cartier, who founded Maison Cartier in 1847 with a focus on art, design, and craftsmanship. Later joined by his son, Alfred, and then by the three grandsons - Louis, Pierre, and Jacques Cartier - this family business had branches in major cities, including Paris, London, and New York, by 1909. The Maison was also able to access the world's rarest gemstones because of global trade routes established under the French and British empires alongside an elite clientele and dealer network.
The brothers were specifically interested in growing Cartier’s roots and helping it become an unparalleled, global jewellery brand. Over the decades, by constantly readjusting its vision and broadening its offering, Cartier has become a leading force in luxury, and this exhibition is a testament to all the beauty they have managed to create.
Some of the most outstanding jewellery ever created lies in tall vitrines with coloured spotlights on each one, as they sparkle in a dark room. These include the Maharaja of Patiala, Bhupinder Singh’s ceremonial necklace and choker, which to the untrained eye is a ginormous collection of diamonds laden with some gems, including rubies and a large, yellow sapphire stone in the centre. The necklace is shaped like one side of a quintessential crystal chandelier, with many interconnected and cascading layers.
Both the necklace and the choker were made by Cartier Paris under special order from the Maharaja in 1928. After Indian Independence in 1947, these pieces disappeared, only to be found years later, with some gems missing. The Maharaja then commissioned Cartier to reset his treasury of gemstones, which was among the largest in Cartier's history. The pieces in the vitrine are mounted in platinum rather than in the Indian tradition of yellow gold with diamonds and other stones such as cubic zirconia, topaz, synthetic rubies, smoky quartz and citrine added in the 2000s.
Khan’s designs truly stand out with the white, lush forest he creates as the backdrop to the Cartier collection that features its famous panther. The forest scene is titled ‘Jannah’, an Arabic word that means garden and evokes an image of paradise and beauty. The set features clip brooches, necklaces, rings and bangles - made from either white gold or gold and studded with sapphires, diamonds, emeralds, onyx and peridot - a rare gemstone only found in one colour - amongst other precious gems. A film focusing on the making of the panther also brings to light the demanding nature of this creation, with a single piece involving multiple craftsmen and hundreds, sometimes thousands, of hours in the workshop.
The exhibition includes Cartier’s collection, bringing together crowns and tiaras worn by Princesses and Queens to wrist watches designed in 1932 for the King of Kapurthala made from ruby, platinum and rose gold. On a large screen, short clips from films across the century are played in which Cartier’s jewellery has been featured, including the 2018 Ocean’s 8, where Anne Hathaway puts on a huge, ice-cold, layered diamond necklace - the target for the multi-million-pound jewellery heist. A replica of this necklace is featured in the exhibition discussing Cartier’s links to cinema, leading to a vitrine celebrating the ‘new royals’ that showcases Jacqueline Kennedy’s Tank wristwatch that Kim Kardashian later acquired.
The star of the show is Cartier’s snake necklace commissioned by Mexican actress and singer, María Félix, with 2473 diamonds that create its life-like, scaled, curved body, enamelled with colours of the Mexican flag. It sits in its own room, threateningly gazing at the audience, ready to attack and grow its diamond-studded body. A short study film of the snake in motion projected onto the wall near the snake also enhances the experience of looking at this creature, resembling an animal in a zoo, but here, we are behind glass, and it holds all the power.
Victoria and Albert Museum’s Cartier (on view till 16 November 2025) begins with British designer and artist Asif Khan MBE's message: “I wanted this exhibition to evoke a world, crossing time, senses, and cultures. Cartier's creations are suspended in textural landscapes, cloudscapes, light and sound, allowing history to breathe and the future to linger”. It is his vision in the design of this landmark exhibition that really makes it stand out and celebrates Cartier as the first globally recognised jewellery house.
The exhibition begins with a quick introduction to Louis-François Cartier, who founded Maison Cartier in 1847 with a focus on art, design, and craftsmanship. Later joined by his son, Alfred, and then by the three grandsons - Louis, Pierre, and Jacques Cartier - this family business had branches in major cities, including Paris, London, and New York, by 1909. The Maison was also able to access the world's rarest gemstones because of global trade routes established under the French and British empires alongside an elite clientele and dealer network.
The brothers were specifically interested in growing Cartier’s roots and helping it become an unparalleled, global jewellery brand. Over the decades, by constantly readjusting its vision and broadening its offering, Cartier has become a leading force in luxury, and this exhibition is a testament to all the beauty they have managed to create.
Some of the most outstanding jewellery ever created lies in tall vitrines with coloured spotlights on each one, as they sparkle in a dark room. These include the Maharaja of Patiala, Bhupinder Singh’s ceremonial necklace and choker, which to the untrained eye is a ginormous collection of diamonds laden with some gems, including rubies and a large, yellow sapphire stone in the centre. The necklace is shaped like one side of a quintessential crystal chandelier, with many interconnected and cascading layers.
Both the necklace and the choker were made by Cartier Paris under special order from the Maharaja in 1928. After Indian Independence in 1947, these pieces disappeared, only to be found years later, with some gems missing. The Maharaja then commissioned Cartier to reset his treasury of gemstones, which was among the largest in Cartier's history. The pieces in the vitrine are mounted in platinum rather than in the Indian tradition of yellow gold with diamonds and other stones such as cubic zirconia, topaz, synthetic rubies, smoky quartz and citrine added in the 2000s.
Khan’s designs truly stand out with the white, lush forest he creates as the backdrop to the Cartier collection that features its famous panther. The forest scene is titled ‘Jannah’, an Arabic word that means garden and evokes an image of paradise and beauty. The set features clip brooches, necklaces, rings and bangles - made from either white gold or gold and studded with sapphires, diamonds, emeralds, onyx and peridot - a rare gemstone only found in one colour - amongst other precious gems. A film focusing on the making of the panther also brings to light the demanding nature of this creation, with a single piece involving multiple craftsmen and hundreds, sometimes thousands, of hours in the workshop.
The exhibition includes Cartier’s collection, bringing together crowns and tiaras worn by Princesses and Queens to wrist watches designed in 1932 for the King of Kapurthala made from ruby, platinum and rose gold. On a large screen, short clips from films across the century are played in which Cartier’s jewellery has been featured, including the 2018 Ocean’s 8, where Anne Hathaway puts on a huge, ice-cold, layered diamond necklace - the target for the multi-million-pound jewellery heist. A replica of this necklace is featured in the exhibition discussing Cartier’s links to cinema, leading to a vitrine celebrating the ‘new royals’ that showcases Jacqueline Kennedy’s Tank wristwatch that Kim Kardashian later acquired.
The star of the show is Cartier’s snake necklace commissioned by Mexican actress and singer, María Félix, with 2473 diamonds that create its life-like, scaled, curved body, enamelled with colours of the Mexican flag. It sits in its own room, threateningly gazing at the audience, ready to attack and grow its diamond-studded body. A short study film of the snake in motion projected onto the wall near the snake also enhances the experience of looking at this creature, resembling an animal in a zoo, but here, we are behind glass, and it holds all the power.
Victoria and Albert Museum’s Cartier (on view till 16 November 2025) begins with British designer and artist Asif Khan MBE's message: “I wanted this exhibition to evoke a world, crossing time, senses, and cultures. Cartier's creations are suspended in textural landscapes, cloudscapes, light and sound, allowing history to breathe and the future to linger”. It is his vision in the design of this landmark exhibition that really makes it stand out and celebrates Cartier as the first globally recognised jewellery house.
The exhibition begins with a quick introduction to Louis-François Cartier, who founded Maison Cartier in 1847 with a focus on art, design, and craftsmanship. Later joined by his son, Alfred, and then by the three grandsons - Louis, Pierre, and Jacques Cartier - this family business had branches in major cities, including Paris, London, and New York, by 1909. The Maison was also able to access the world's rarest gemstones because of global trade routes established under the French and British empires alongside an elite clientele and dealer network.
The brothers were specifically interested in growing Cartier’s roots and helping it become an unparalleled, global jewellery brand. Over the decades, by constantly readjusting its vision and broadening its offering, Cartier has become a leading force in luxury, and this exhibition is a testament to all the beauty they have managed to create.
Some of the most outstanding jewellery ever created lies in tall vitrines with coloured spotlights on each one, as they sparkle in a dark room. These include the Maharaja of Patiala, Bhupinder Singh’s ceremonial necklace and choker, which to the untrained eye is a ginormous collection of diamonds laden with some gems, including rubies and a large, yellow sapphire stone in the centre. The necklace is shaped like one side of a quintessential crystal chandelier, with many interconnected and cascading layers.
Both the necklace and the choker were made by Cartier Paris under special order from the Maharaja in 1928. After Indian Independence in 1947, these pieces disappeared, only to be found years later, with some gems missing. The Maharaja then commissioned Cartier to reset his treasury of gemstones, which was among the largest in Cartier's history. The pieces in the vitrine are mounted in platinum rather than in the Indian tradition of yellow gold with diamonds and other stones such as cubic zirconia, topaz, synthetic rubies, smoky quartz and citrine added in the 2000s.
Khan’s designs truly stand out with the white, lush forest he creates as the backdrop to the Cartier collection that features its famous panther. The forest scene is titled ‘Jannah’, an Arabic word that means garden and evokes an image of paradise and beauty. The set features clip brooches, necklaces, rings and bangles - made from either white gold or gold and studded with sapphires, diamonds, emeralds, onyx and peridot - a rare gemstone only found in one colour - amongst other precious gems. A film focusing on the making of the panther also brings to light the demanding nature of this creation, with a single piece involving multiple craftsmen and hundreds, sometimes thousands, of hours in the workshop.
The exhibition includes Cartier’s collection, bringing together crowns and tiaras worn by Princesses and Queens to wrist watches designed in 1932 for the King of Kapurthala made from ruby, platinum and rose gold. On a large screen, short clips from films across the century are played in which Cartier’s jewellery has been featured, including the 2018 Ocean’s 8, where Anne Hathaway puts on a huge, ice-cold, layered diamond necklace - the target for the multi-million-pound jewellery heist. A replica of this necklace is featured in the exhibition discussing Cartier’s links to cinema, leading to a vitrine celebrating the ‘new royals’ that showcases Jacqueline Kennedy’s Tank wristwatch that Kim Kardashian later acquired.
The star of the show is Cartier’s snake necklace commissioned by Mexican actress and singer, María Félix, with 2473 diamonds that create its life-like, scaled, curved body, enamelled with colours of the Mexican flag. It sits in its own room, threateningly gazing at the audience, ready to attack and grow its diamond-studded body. A short study film of the snake in motion projected onto the wall near the snake also enhances the experience of looking at this creature, resembling an animal in a zoo, but here, we are behind glass, and it holds all the power.
Victoria and Albert Museum’s Cartier (on view till 16 November 2025) begins with British designer and artist Asif Khan MBE's message: “I wanted this exhibition to evoke a world, crossing time, senses, and cultures. Cartier's creations are suspended in textural landscapes, cloudscapes, light and sound, allowing history to breathe and the future to linger”. It is his vision in the design of this landmark exhibition that really makes it stand out and celebrates Cartier as the first globally recognised jewellery house.
The exhibition begins with a quick introduction to Louis-François Cartier, who founded Maison Cartier in 1847 with a focus on art, design, and craftsmanship. Later joined by his son, Alfred, and then by the three grandsons - Louis, Pierre, and Jacques Cartier - this family business had branches in major cities, including Paris, London, and New York, by 1909. The Maison was also able to access the world's rarest gemstones because of global trade routes established under the French and British empires alongside an elite clientele and dealer network.
The brothers were specifically interested in growing Cartier’s roots and helping it become an unparalleled, global jewellery brand. Over the decades, by constantly readjusting its vision and broadening its offering, Cartier has become a leading force in luxury, and this exhibition is a testament to all the beauty they have managed to create.
Some of the most outstanding jewellery ever created lies in tall vitrines with coloured spotlights on each one, as they sparkle in a dark room. These include the Maharaja of Patiala, Bhupinder Singh’s ceremonial necklace and choker, which to the untrained eye is a ginormous collection of diamonds laden with some gems, including rubies and a large, yellow sapphire stone in the centre. The necklace is shaped like one side of a quintessential crystal chandelier, with many interconnected and cascading layers.
Both the necklace and the choker were made by Cartier Paris under special order from the Maharaja in 1928. After Indian Independence in 1947, these pieces disappeared, only to be found years later, with some gems missing. The Maharaja then commissioned Cartier to reset his treasury of gemstones, which was among the largest in Cartier's history. The pieces in the vitrine are mounted in platinum rather than in the Indian tradition of yellow gold with diamonds and other stones such as cubic zirconia, topaz, synthetic rubies, smoky quartz and citrine added in the 2000s.
Khan’s designs truly stand out with the white, lush forest he creates as the backdrop to the Cartier collection that features its famous panther. The forest scene is titled ‘Jannah’, an Arabic word that means garden and evokes an image of paradise and beauty. The set features clip brooches, necklaces, rings and bangles - made from either white gold or gold and studded with sapphires, diamonds, emeralds, onyx and peridot - a rare gemstone only found in one colour - amongst other precious gems. A film focusing on the making of the panther also brings to light the demanding nature of this creation, with a single piece involving multiple craftsmen and hundreds, sometimes thousands, of hours in the workshop.
The exhibition includes Cartier’s collection, bringing together crowns and tiaras worn by Princesses and Queens to wrist watches designed in 1932 for the King of Kapurthala made from ruby, platinum and rose gold. On a large screen, short clips from films across the century are played in which Cartier’s jewellery has been featured, including the 2018 Ocean’s 8, where Anne Hathaway puts on a huge, ice-cold, layered diamond necklace - the target for the multi-million-pound jewellery heist. A replica of this necklace is featured in the exhibition discussing Cartier’s links to cinema, leading to a vitrine celebrating the ‘new royals’ that showcases Jacqueline Kennedy’s Tank wristwatch that Kim Kardashian later acquired.
The star of the show is Cartier’s snake necklace commissioned by Mexican actress and singer, María Félix, with 2473 diamonds that create its life-like, scaled, curved body, enamelled with colours of the Mexican flag. It sits in its own room, threateningly gazing at the audience, ready to attack and grow its diamond-studded body. A short study film of the snake in motion projected onto the wall near the snake also enhances the experience of looking at this creature, resembling an animal in a zoo, but here, we are behind glass, and it holds all the power.
Victoria and Albert Museum’s Cartier (on view till 16 November 2025) begins with British designer and artist Asif Khan MBE's message: “I wanted this exhibition to evoke a world, crossing time, senses, and cultures. Cartier's creations are suspended in textural landscapes, cloudscapes, light and sound, allowing history to breathe and the future to linger”. It is his vision in the design of this landmark exhibition that really makes it stand out and celebrates Cartier as the first globally recognised jewellery house.
The exhibition begins with a quick introduction to Louis-François Cartier, who founded Maison Cartier in 1847 with a focus on art, design, and craftsmanship. Later joined by his son, Alfred, and then by the three grandsons - Louis, Pierre, and Jacques Cartier - this family business had branches in major cities, including Paris, London, and New York, by 1909. The Maison was also able to access the world's rarest gemstones because of global trade routes established under the French and British empires alongside an elite clientele and dealer network.
The brothers were specifically interested in growing Cartier’s roots and helping it become an unparalleled, global jewellery brand. Over the decades, by constantly readjusting its vision and broadening its offering, Cartier has become a leading force in luxury, and this exhibition is a testament to all the beauty they have managed to create.
Some of the most outstanding jewellery ever created lies in tall vitrines with coloured spotlights on each one, as they sparkle in a dark room. These include the Maharaja of Patiala, Bhupinder Singh’s ceremonial necklace and choker, which to the untrained eye is a ginormous collection of diamonds laden with some gems, including rubies and a large, yellow sapphire stone in the centre. The necklace is shaped like one side of a quintessential crystal chandelier, with many interconnected and cascading layers.
Both the necklace and the choker were made by Cartier Paris under special order from the Maharaja in 1928. After Indian Independence in 1947, these pieces disappeared, only to be found years later, with some gems missing. The Maharaja then commissioned Cartier to reset his treasury of gemstones, which was among the largest in Cartier's history. The pieces in the vitrine are mounted in platinum rather than in the Indian tradition of yellow gold with diamonds and other stones such as cubic zirconia, topaz, synthetic rubies, smoky quartz and citrine added in the 2000s.
Khan’s designs truly stand out with the white, lush forest he creates as the backdrop to the Cartier collection that features its famous panther. The forest scene is titled ‘Jannah’, an Arabic word that means garden and evokes an image of paradise and beauty. The set features clip brooches, necklaces, rings and bangles - made from either white gold or gold and studded with sapphires, diamonds, emeralds, onyx and peridot - a rare gemstone only found in one colour - amongst other precious gems. A film focusing on the making of the panther also brings to light the demanding nature of this creation, with a single piece involving multiple craftsmen and hundreds, sometimes thousands, of hours in the workshop.
The exhibition includes Cartier’s collection, bringing together crowns and tiaras worn by Princesses and Queens to wrist watches designed in 1932 for the King of Kapurthala made from ruby, platinum and rose gold. On a large screen, short clips from films across the century are played in which Cartier’s jewellery has been featured, including the 2018 Ocean’s 8, where Anne Hathaway puts on a huge, ice-cold, layered diamond necklace - the target for the multi-million-pound jewellery heist. A replica of this necklace is featured in the exhibition discussing Cartier’s links to cinema, leading to a vitrine celebrating the ‘new royals’ that showcases Jacqueline Kennedy’s Tank wristwatch that Kim Kardashian later acquired.
The star of the show is Cartier’s snake necklace commissioned by Mexican actress and singer, María Félix, with 2473 diamonds that create its life-like, scaled, curved body, enamelled with colours of the Mexican flag. It sits in its own room, threateningly gazing at the audience, ready to attack and grow its diamond-studded body. A short study film of the snake in motion projected onto the wall near the snake also enhances the experience of looking at this creature, resembling an animal in a zoo, but here, we are behind glass, and it holds all the power.
Victoria and Albert Museum’s Cartier (on view till 16 November 2025) begins with British designer and artist Asif Khan MBE's message: “I wanted this exhibition to evoke a world, crossing time, senses, and cultures. Cartier's creations are suspended in textural landscapes, cloudscapes, light and sound, allowing history to breathe and the future to linger”. It is his vision in the design of this landmark exhibition that really makes it stand out and celebrates Cartier as the first globally recognised jewellery house.
The exhibition begins with a quick introduction to Louis-François Cartier, who founded Maison Cartier in 1847 with a focus on art, design, and craftsmanship. Later joined by his son, Alfred, and then by the three grandsons - Louis, Pierre, and Jacques Cartier - this family business had branches in major cities, including Paris, London, and New York, by 1909. The Maison was also able to access the world's rarest gemstones because of global trade routes established under the French and British empires alongside an elite clientele and dealer network.
The brothers were specifically interested in growing Cartier’s roots and helping it become an unparalleled, global jewellery brand. Over the decades, by constantly readjusting its vision and broadening its offering, Cartier has become a leading force in luxury, and this exhibition is a testament to all the beauty they have managed to create.
Some of the most outstanding jewellery ever created lies in tall vitrines with coloured spotlights on each one, as they sparkle in a dark room. These include the Maharaja of Patiala, Bhupinder Singh’s ceremonial necklace and choker, which to the untrained eye is a ginormous collection of diamonds laden with some gems, including rubies and a large, yellow sapphire stone in the centre. The necklace is shaped like one side of a quintessential crystal chandelier, with many interconnected and cascading layers.
Both the necklace and the choker were made by Cartier Paris under special order from the Maharaja in 1928. After Indian Independence in 1947, these pieces disappeared, only to be found years later, with some gems missing. The Maharaja then commissioned Cartier to reset his treasury of gemstones, which was among the largest in Cartier's history. The pieces in the vitrine are mounted in platinum rather than in the Indian tradition of yellow gold with diamonds and other stones such as cubic zirconia, topaz, synthetic rubies, smoky quartz and citrine added in the 2000s.
Khan’s designs truly stand out with the white, lush forest he creates as the backdrop to the Cartier collection that features its famous panther. The forest scene is titled ‘Jannah’, an Arabic word that means garden and evokes an image of paradise and beauty. The set features clip brooches, necklaces, rings and bangles - made from either white gold or gold and studded with sapphires, diamonds, emeralds, onyx and peridot - a rare gemstone only found in one colour - amongst other precious gems. A film focusing on the making of the panther also brings to light the demanding nature of this creation, with a single piece involving multiple craftsmen and hundreds, sometimes thousands, of hours in the workshop.
The exhibition includes Cartier’s collection, bringing together crowns and tiaras worn by Princesses and Queens to wrist watches designed in 1932 for the King of Kapurthala made from ruby, platinum and rose gold. On a large screen, short clips from films across the century are played in which Cartier’s jewellery has been featured, including the 2018 Ocean’s 8, where Anne Hathaway puts on a huge, ice-cold, layered diamond necklace - the target for the multi-million-pound jewellery heist. A replica of this necklace is featured in the exhibition discussing Cartier’s links to cinema, leading to a vitrine celebrating the ‘new royals’ that showcases Jacqueline Kennedy’s Tank wristwatch that Kim Kardashian later acquired.
The star of the show is Cartier’s snake necklace commissioned by Mexican actress and singer, María Félix, with 2473 diamonds that create its life-like, scaled, curved body, enamelled with colours of the Mexican flag. It sits in its own room, threateningly gazing at the audience, ready to attack and grow its diamond-studded body. A short study film of the snake in motion projected onto the wall near the snake also enhances the experience of looking at this creature, resembling an animal in a zoo, but here, we are behind glass, and it holds all the power.
Victoria and Albert Museum’s Cartier (on view till 16 November 2025) begins with British designer and artist Asif Khan MBE's message: “I wanted this exhibition to evoke a world, crossing time, senses, and cultures. Cartier's creations are suspended in textural landscapes, cloudscapes, light and sound, allowing history to breathe and the future to linger”. It is his vision in the design of this landmark exhibition that really makes it stand out and celebrates Cartier as the first globally recognised jewellery house.
The exhibition begins with a quick introduction to Louis-François Cartier, who founded Maison Cartier in 1847 with a focus on art, design, and craftsmanship. Later joined by his son, Alfred, and then by the three grandsons - Louis, Pierre, and Jacques Cartier - this family business had branches in major cities, including Paris, London, and New York, by 1909. The Maison was also able to access the world's rarest gemstones because of global trade routes established under the French and British empires alongside an elite clientele and dealer network.
The brothers were specifically interested in growing Cartier’s roots and helping it become an unparalleled, global jewellery brand. Over the decades, by constantly readjusting its vision and broadening its offering, Cartier has become a leading force in luxury, and this exhibition is a testament to all the beauty they have managed to create.
Some of the most outstanding jewellery ever created lies in tall vitrines with coloured spotlights on each one, as they sparkle in a dark room. These include the Maharaja of Patiala, Bhupinder Singh’s ceremonial necklace and choker, which to the untrained eye is a ginormous collection of diamonds laden with some gems, including rubies and a large, yellow sapphire stone in the centre. The necklace is shaped like one side of a quintessential crystal chandelier, with many interconnected and cascading layers.
Both the necklace and the choker were made by Cartier Paris under special order from the Maharaja in 1928. After Indian Independence in 1947, these pieces disappeared, only to be found years later, with some gems missing. The Maharaja then commissioned Cartier to reset his treasury of gemstones, which was among the largest in Cartier's history. The pieces in the vitrine are mounted in platinum rather than in the Indian tradition of yellow gold with diamonds and other stones such as cubic zirconia, topaz, synthetic rubies, smoky quartz and citrine added in the 2000s.
Khan’s designs truly stand out with the white, lush forest he creates as the backdrop to the Cartier collection that features its famous panther. The forest scene is titled ‘Jannah’, an Arabic word that means garden and evokes an image of paradise and beauty. The set features clip brooches, necklaces, rings and bangles - made from either white gold or gold and studded with sapphires, diamonds, emeralds, onyx and peridot - a rare gemstone only found in one colour - amongst other precious gems. A film focusing on the making of the panther also brings to light the demanding nature of this creation, with a single piece involving multiple craftsmen and hundreds, sometimes thousands, of hours in the workshop.
The exhibition includes Cartier’s collection, bringing together crowns and tiaras worn by Princesses and Queens to wrist watches designed in 1932 for the King of Kapurthala made from ruby, platinum and rose gold. On a large screen, short clips from films across the century are played in which Cartier’s jewellery has been featured, including the 2018 Ocean’s 8, where Anne Hathaway puts on a huge, ice-cold, layered diamond necklace - the target for the multi-million-pound jewellery heist. A replica of this necklace is featured in the exhibition discussing Cartier’s links to cinema, leading to a vitrine celebrating the ‘new royals’ that showcases Jacqueline Kennedy’s Tank wristwatch that Kim Kardashian later acquired.
The star of the show is Cartier’s snake necklace commissioned by Mexican actress and singer, María Félix, with 2473 diamonds that create its life-like, scaled, curved body, enamelled with colours of the Mexican flag. It sits in its own room, threateningly gazing at the audience, ready to attack and grow its diamond-studded body. A short study film of the snake in motion projected onto the wall near the snake also enhances the experience of looking at this creature, resembling an animal in a zoo, but here, we are behind glass, and it holds all the power.
Victoria and Albert Museum’s Cartier (on view till 16 November 2025) begins with British designer and artist Asif Khan MBE's message: “I wanted this exhibition to evoke a world, crossing time, senses, and cultures. Cartier's creations are suspended in textural landscapes, cloudscapes, light and sound, allowing history to breathe and the future to linger”. It is his vision in the design of this landmark exhibition that really makes it stand out and celebrates Cartier as the first globally recognised jewellery house.
The exhibition begins with a quick introduction to Louis-François Cartier, who founded Maison Cartier in 1847 with a focus on art, design, and craftsmanship. Later joined by his son, Alfred, and then by the three grandsons - Louis, Pierre, and Jacques Cartier - this family business had branches in major cities, including Paris, London, and New York, by 1909. The Maison was also able to access the world's rarest gemstones because of global trade routes established under the French and British empires alongside an elite clientele and dealer network.
The brothers were specifically interested in growing Cartier’s roots and helping it become an unparalleled, global jewellery brand. Over the decades, by constantly readjusting its vision and broadening its offering, Cartier has become a leading force in luxury, and this exhibition is a testament to all the beauty they have managed to create.
Some of the most outstanding jewellery ever created lies in tall vitrines with coloured spotlights on each one, as they sparkle in a dark room. These include the Maharaja of Patiala, Bhupinder Singh’s ceremonial necklace and choker, which to the untrained eye is a ginormous collection of diamonds laden with some gems, including rubies and a large, yellow sapphire stone in the centre. The necklace is shaped like one side of a quintessential crystal chandelier, with many interconnected and cascading layers.
Both the necklace and the choker were made by Cartier Paris under special order from the Maharaja in 1928. After Indian Independence in 1947, these pieces disappeared, only to be found years later, with some gems missing. The Maharaja then commissioned Cartier to reset his treasury of gemstones, which was among the largest in Cartier's history. The pieces in the vitrine are mounted in platinum rather than in the Indian tradition of yellow gold with diamonds and other stones such as cubic zirconia, topaz, synthetic rubies, smoky quartz and citrine added in the 2000s.
Khan’s designs truly stand out with the white, lush forest he creates as the backdrop to the Cartier collection that features its famous panther. The forest scene is titled ‘Jannah’, an Arabic word that means garden and evokes an image of paradise and beauty. The set features clip brooches, necklaces, rings and bangles - made from either white gold or gold and studded with sapphires, diamonds, emeralds, onyx and peridot - a rare gemstone only found in one colour - amongst other precious gems. A film focusing on the making of the panther also brings to light the demanding nature of this creation, with a single piece involving multiple craftsmen and hundreds, sometimes thousands, of hours in the workshop.
The exhibition includes Cartier’s collection, bringing together crowns and tiaras worn by Princesses and Queens to wrist watches designed in 1932 for the King of Kapurthala made from ruby, platinum and rose gold. On a large screen, short clips from films across the century are played in which Cartier’s jewellery has been featured, including the 2018 Ocean’s 8, where Anne Hathaway puts on a huge, ice-cold, layered diamond necklace - the target for the multi-million-pound jewellery heist. A replica of this necklace is featured in the exhibition discussing Cartier’s links to cinema, leading to a vitrine celebrating the ‘new royals’ that showcases Jacqueline Kennedy’s Tank wristwatch that Kim Kardashian later acquired.
The star of the show is Cartier’s snake necklace commissioned by Mexican actress and singer, María Félix, with 2473 diamonds that create its life-like, scaled, curved body, enamelled with colours of the Mexican flag. It sits in its own room, threateningly gazing at the audience, ready to attack and grow its diamond-studded body. A short study film of the snake in motion projected onto the wall near the snake also enhances the experience of looking at this creature, resembling an animal in a zoo, but here, we are behind glass, and it holds all the power.
Victoria and Albert Museum’s Cartier (on view till 16 November 2025) begins with British designer and artist Asif Khan MBE's message: “I wanted this exhibition to evoke a world, crossing time, senses, and cultures. Cartier's creations are suspended in textural landscapes, cloudscapes, light and sound, allowing history to breathe and the future to linger”. It is his vision in the design of this landmark exhibition that really makes it stand out and celebrates Cartier as the first globally recognised jewellery house.
The exhibition begins with a quick introduction to Louis-François Cartier, who founded Maison Cartier in 1847 with a focus on art, design, and craftsmanship. Later joined by his son, Alfred, and then by the three grandsons - Louis, Pierre, and Jacques Cartier - this family business had branches in major cities, including Paris, London, and New York, by 1909. The Maison was also able to access the world's rarest gemstones because of global trade routes established under the French and British empires alongside an elite clientele and dealer network.
The brothers were specifically interested in growing Cartier’s roots and helping it become an unparalleled, global jewellery brand. Over the decades, by constantly readjusting its vision and broadening its offering, Cartier has become a leading force in luxury, and this exhibition is a testament to all the beauty they have managed to create.
Some of the most outstanding jewellery ever created lies in tall vitrines with coloured spotlights on each one, as they sparkle in a dark room. These include the Maharaja of Patiala, Bhupinder Singh’s ceremonial necklace and choker, which to the untrained eye is a ginormous collection of diamonds laden with some gems, including rubies and a large, yellow sapphire stone in the centre. The necklace is shaped like one side of a quintessential crystal chandelier, with many interconnected and cascading layers.
Both the necklace and the choker were made by Cartier Paris under special order from the Maharaja in 1928. After Indian Independence in 1947, these pieces disappeared, only to be found years later, with some gems missing. The Maharaja then commissioned Cartier to reset his treasury of gemstones, which was among the largest in Cartier's history. The pieces in the vitrine are mounted in platinum rather than in the Indian tradition of yellow gold with diamonds and other stones such as cubic zirconia, topaz, synthetic rubies, smoky quartz and citrine added in the 2000s.
Khan’s designs truly stand out with the white, lush forest he creates as the backdrop to the Cartier collection that features its famous panther. The forest scene is titled ‘Jannah’, an Arabic word that means garden and evokes an image of paradise and beauty. The set features clip brooches, necklaces, rings and bangles - made from either white gold or gold and studded with sapphires, diamonds, emeralds, onyx and peridot - a rare gemstone only found in one colour - amongst other precious gems. A film focusing on the making of the panther also brings to light the demanding nature of this creation, with a single piece involving multiple craftsmen and hundreds, sometimes thousands, of hours in the workshop.
The exhibition includes Cartier’s collection, bringing together crowns and tiaras worn by Princesses and Queens to wrist watches designed in 1932 for the King of Kapurthala made from ruby, platinum and rose gold. On a large screen, short clips from films across the century are played in which Cartier’s jewellery has been featured, including the 2018 Ocean’s 8, where Anne Hathaway puts on a huge, ice-cold, layered diamond necklace - the target for the multi-million-pound jewellery heist. A replica of this necklace is featured in the exhibition discussing Cartier’s links to cinema, leading to a vitrine celebrating the ‘new royals’ that showcases Jacqueline Kennedy’s Tank wristwatch that Kim Kardashian later acquired.
The star of the show is Cartier’s snake necklace commissioned by Mexican actress and singer, María Félix, with 2473 diamonds that create its life-like, scaled, curved body, enamelled with colours of the Mexican flag. It sits in its own room, threateningly gazing at the audience, ready to attack and grow its diamond-studded body. A short study film of the snake in motion projected onto the wall near the snake also enhances the experience of looking at this creature, resembling an animal in a zoo, but here, we are behind glass, and it holds all the power.
Victoria and Albert Museum’s Cartier (on view till 16 November 2025) begins with British designer and artist Asif Khan MBE's message: “I wanted this exhibition to evoke a world, crossing time, senses, and cultures. Cartier's creations are suspended in textural landscapes, cloudscapes, light and sound, allowing history to breathe and the future to linger”. It is his vision in the design of this landmark exhibition that really makes it stand out and celebrates Cartier as the first globally recognised jewellery house.
The exhibition begins with a quick introduction to Louis-François Cartier, who founded Maison Cartier in 1847 with a focus on art, design, and craftsmanship. Later joined by his son, Alfred, and then by the three grandsons - Louis, Pierre, and Jacques Cartier - this family business had branches in major cities, including Paris, London, and New York, by 1909. The Maison was also able to access the world's rarest gemstones because of global trade routes established under the French and British empires alongside an elite clientele and dealer network.
The brothers were specifically interested in growing Cartier’s roots and helping it become an unparalleled, global jewellery brand. Over the decades, by constantly readjusting its vision and broadening its offering, Cartier has become a leading force in luxury, and this exhibition is a testament to all the beauty they have managed to create.
Some of the most outstanding jewellery ever created lies in tall vitrines with coloured spotlights on each one, as they sparkle in a dark room. These include the Maharaja of Patiala, Bhupinder Singh’s ceremonial necklace and choker, which to the untrained eye is a ginormous collection of diamonds laden with some gems, including rubies and a large, yellow sapphire stone in the centre. The necklace is shaped like one side of a quintessential crystal chandelier, with many interconnected and cascading layers.
Both the necklace and the choker were made by Cartier Paris under special order from the Maharaja in 1928. After Indian Independence in 1947, these pieces disappeared, only to be found years later, with some gems missing. The Maharaja then commissioned Cartier to reset his treasury of gemstones, which was among the largest in Cartier's history. The pieces in the vitrine are mounted in platinum rather than in the Indian tradition of yellow gold with diamonds and other stones such as cubic zirconia, topaz, synthetic rubies, smoky quartz and citrine added in the 2000s.
Khan’s designs truly stand out with the white, lush forest he creates as the backdrop to the Cartier collection that features its famous panther. The forest scene is titled ‘Jannah’, an Arabic word that means garden and evokes an image of paradise and beauty. The set features clip brooches, necklaces, rings and bangles - made from either white gold or gold and studded with sapphires, diamonds, emeralds, onyx and peridot - a rare gemstone only found in one colour - amongst other precious gems. A film focusing on the making of the panther also brings to light the demanding nature of this creation, with a single piece involving multiple craftsmen and hundreds, sometimes thousands, of hours in the workshop.
The exhibition includes Cartier’s collection, bringing together crowns and tiaras worn by Princesses and Queens to wrist watches designed in 1932 for the King of Kapurthala made from ruby, platinum and rose gold. On a large screen, short clips from films across the century are played in which Cartier’s jewellery has been featured, including the 2018 Ocean’s 8, where Anne Hathaway puts on a huge, ice-cold, layered diamond necklace - the target for the multi-million-pound jewellery heist. A replica of this necklace is featured in the exhibition discussing Cartier’s links to cinema, leading to a vitrine celebrating the ‘new royals’ that showcases Jacqueline Kennedy’s Tank wristwatch that Kim Kardashian later acquired.
The star of the show is Cartier’s snake necklace commissioned by Mexican actress and singer, María Félix, with 2473 diamonds that create its life-like, scaled, curved body, enamelled with colours of the Mexican flag. It sits in its own room, threateningly gazing at the audience, ready to attack and grow its diamond-studded body. A short study film of the snake in motion projected onto the wall near the snake also enhances the experience of looking at this creature, resembling an animal in a zoo, but here, we are behind glass, and it holds all the power.
Victoria and Albert Museum’s Cartier (on view till 16 November 2025) begins with British designer and artist Asif Khan MBE's message: “I wanted this exhibition to evoke a world, crossing time, senses, and cultures. Cartier's creations are suspended in textural landscapes, cloudscapes, light and sound, allowing history to breathe and the future to linger”. It is his vision in the design of this landmark exhibition that really makes it stand out and celebrates Cartier as the first globally recognised jewellery house.
The exhibition begins with a quick introduction to Louis-François Cartier, who founded Maison Cartier in 1847 with a focus on art, design, and craftsmanship. Later joined by his son, Alfred, and then by the three grandsons - Louis, Pierre, and Jacques Cartier - this family business had branches in major cities, including Paris, London, and New York, by 1909. The Maison was also able to access the world's rarest gemstones because of global trade routes established under the French and British empires alongside an elite clientele and dealer network.
The brothers were specifically interested in growing Cartier’s roots and helping it become an unparalleled, global jewellery brand. Over the decades, by constantly readjusting its vision and broadening its offering, Cartier has become a leading force in luxury, and this exhibition is a testament to all the beauty they have managed to create.
Some of the most outstanding jewellery ever created lies in tall vitrines with coloured spotlights on each one, as they sparkle in a dark room. These include the Maharaja of Patiala, Bhupinder Singh’s ceremonial necklace and choker, which to the untrained eye is a ginormous collection of diamonds laden with some gems, including rubies and a large, yellow sapphire stone in the centre. The necklace is shaped like one side of a quintessential crystal chandelier, with many interconnected and cascading layers.
Both the necklace and the choker were made by Cartier Paris under special order from the Maharaja in 1928. After Indian Independence in 1947, these pieces disappeared, only to be found years later, with some gems missing. The Maharaja then commissioned Cartier to reset his treasury of gemstones, which was among the largest in Cartier's history. The pieces in the vitrine are mounted in platinum rather than in the Indian tradition of yellow gold with diamonds and other stones such as cubic zirconia, topaz, synthetic rubies, smoky quartz and citrine added in the 2000s.
Khan’s designs truly stand out with the white, lush forest he creates as the backdrop to the Cartier collection that features its famous panther. The forest scene is titled ‘Jannah’, an Arabic word that means garden and evokes an image of paradise and beauty. The set features clip brooches, necklaces, rings and bangles - made from either white gold or gold and studded with sapphires, diamonds, emeralds, onyx and peridot - a rare gemstone only found in one colour - amongst other precious gems. A film focusing on the making of the panther also brings to light the demanding nature of this creation, with a single piece involving multiple craftsmen and hundreds, sometimes thousands, of hours in the workshop.
The exhibition includes Cartier’s collection, bringing together crowns and tiaras worn by Princesses and Queens to wrist watches designed in 1932 for the King of Kapurthala made from ruby, platinum and rose gold. On a large screen, short clips from films across the century are played in which Cartier’s jewellery has been featured, including the 2018 Ocean’s 8, where Anne Hathaway puts on a huge, ice-cold, layered diamond necklace - the target for the multi-million-pound jewellery heist. A replica of this necklace is featured in the exhibition discussing Cartier’s links to cinema, leading to a vitrine celebrating the ‘new royals’ that showcases Jacqueline Kennedy’s Tank wristwatch that Kim Kardashian later acquired.
The star of the show is Cartier’s snake necklace commissioned by Mexican actress and singer, María Félix, with 2473 diamonds that create its life-like, scaled, curved body, enamelled with colours of the Mexican flag. It sits in its own room, threateningly gazing at the audience, ready to attack and grow its diamond-studded body. A short study film of the snake in motion projected onto the wall near the snake also enhances the experience of looking at this creature, resembling an animal in a zoo, but here, we are behind glass, and it holds all the power.
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