Cartier at the V&A Museum—
Creative Mastery
Throughout the Years

(High Jewelry) The House of Cartier was founded in 1847 by Louis-François Cartier, whose flair for luxury and aesthetics soon attracted the attention of high society. When Princess Mathilde, a niece of Napoleon, became a customer in 1856, the foundations were laid for a close relationship with Europe’s elite. However, it was Cartier’s grandsons Louis, Pierre and Jacques who opened the way for international expansion at the beginning of the 20th century. With boutiques in Paris, London and New York, they shaped Cartier into a brand with international appeal and nobility. Thanks to its impressive client list of aristocrats, Cartier became known as “the jeweler of kings and the king of jewelers.” The company later achieved cult status among leading creatives from the worlds of film, music, and fashion.

The exhibition at the Victoria & Albert Museum includes a wide range of treasures—including jewels, historic gemstones, iconic watches and previously unpublished drawings and designs. The exhibition, staged in the V&A’s largest space, The Sainsbury Gallery, has been designed under the supervision of British architect and designer Asif Khan. The exhibition follows a tradition of pioneering creative collaborations in which artists have shaped Cartier’s scenography.

The show of icons

Curators Helen Molesworth and Rachel Garrahan have divided the show into three sections: Cartier’s rise to become a highly recognized global brand; the technical and creative innovation of the atelier; and the deliberate self-staging with which the house has maintained its aura of mystery over the decades. Cartier’s creative genius is evident in its ability to take up the history of the decorative arts and translate it into desirable pieces—such as the “Garland Style,” a feminine and romantic aesthetic inspired by 18th century French architecture.

Cartier’s ateliers have become a source of technical finesse and innovation, where the creative force makes the seemingly impossible possible—be it in jewelry, watches or other special objects. An impressive example of Cartier’s ability to combine aesthetic and natural designs with technical skill to reflect the personality of the wearer is the extraordinary snake necklace commissioned by Mexican film star María Félix. A scarab brooch, whose caliber-cut wings set with colorful gemstones are a nod to the bazoo bracelet (a traditional Indian bracelet for the upper arm), is a testament to the same inventiveness. Other masterpieces include a geometric brooch from 1925, which is strongly influenced by the Art Deco style, as well as numerous pieces from the famous “Tutti Frutti” collection. These include the Mountbatten bandeau, which was produced by Cartier London in 1928 and purchased by Lady Mountbatten.

American heiress Barbara Hutton’s necklace, which consists of one of the most precious jade beads collections ever, and the Allnatt brooch with 101-carats of yellow diamonds, are also worth seeing.

Milestones in the art of contemporary watchmaking can also be admired, such as the first modern wristwatch, the Santos, which changed the typical watch image with its square shape in 1904 and which was to be followed by all future Cartier watches. Another highlight is the iconic Crash (1967), a symbol of the artistic freedom and non-conformity of the swinging sixties.

From April 12 to November 16, 2025, the Victoria & Albert Museum invites you to a glittering retrospective through Cartier’s sparkling history, providing a glimpse into the soul of a house that has reinvented the language of jewelry time and time again.