Inside the history between crown jewels and luxury brands: Queen Elizabeth and Princess Diana inspired Garrard, Cartier was a go-to for Indian royalty and Boucheron paid homage to Maharaja of Patiala

Nov 24 , 2022

The Joséphine Aigrette Impériale tiara. Photo: Chaumet

Crown jewels are the pinnacle of craftsmanship and the maisons lucky enough to be commissioned to create new wonders delve deep into their archives for sufficiently glorious inspiration.

“The Windsor motif is a repeated pattern of round and geometric diamonds, which is seen in several of our signature collections, including Albemarle and Fanfare,” said Sara Prentice, creative director of Garrard. The motif, she added, was inspired by the Girls of Great Britain and Ireland tiara, one of the most recognisable royal tiaras in the world. Its base features a bandeau with a distinctive round and lozenge-shaped pattern of diamonds – the inspiration behind Garrard’s unmistakable Windsor motif.

A green sapphire, green tourmaline, tsavorite and chrysoprase cocktail ring in 18-carat yellow gold from Garrard’s Blaze collection. Photo: Garrard

The Sovereign motif is seen in the Aloria, Regal Cascade and Fanfare collections as well as one-of-a-kind high jewellery pieces. “The inspiration for the Sovereign motif draws on the historic setting of the most precious stone in history. In 1910, Garrard crafted an ornate enamel and gold setting to hold the 530.20-carat Cullinan I, the largest cut and colourless diamond in the world,” Prentice said.

The jeweller’s penchant for the past is clear: the new Blaze fine jewellery line is based on their 1735 collection, itself inspired by Princess Diana’s engagement ring.

A preparatory sketch for a bandeau tiara adorned with a pear-shaped emerald, circa. 1915. Photo: Chaumet

Family-owned Boodles, founded in 1798, also digs deep for inspiration. The Peace of Mined collection tracks the provenance of the Cullinan I and II – the Greater and Lesser Stars of Africa, both of which are now among the Crown Jewels – all the way to the famed Cullinan Mine in South Africa. The British jeweller drew inspiration from the geometry of the Crown Jewels, honouring the link between Queen Elizabeth and the Cullinan Mine.

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Chaumet’s beloved muse, Empress Joséphine of France, was known for her love of tiaras. Two centuries later, the maison brought out a collection dedicated to the empress. New pear-shaped horological interpretations and high jewellery sparklers set with pear-cut gems pay tribute to her favourite shape. The Déferlante high jewellery collection includes a necklace with a central pear-cut diamond of 3.57 carats. Similarly, the Ondes et Merveilles collection, unveiled by Chaumet in summer, features the Chant de Sirènes necklace, ring and earrings realised with pearls, diamonds and tourmaline, celebrating the empress’ fascination with pearls.

Boucheron’s creative director Claire Choisne pored over the 149 historic references and sketches to pay homage to the Maharaja of Patiala, Bhupinder Singh. In 1928, he arrived at Boucheron with 40 members of his staff, and iron safes containing diamonds, rubies, emeralds and pearls. Spurred by the drive to discover new design possibilities, Choisne pays homage to this royal treasure with the New Maharajahs collection.

A decorative belt designed for the Maharajah of Patiala in 1928. Photo: Boucheron

According to Choisne, the New Maharajah Necklace rendered in platinum, diamonds, emeralds and rock crystal, “tells the story of the Maharaja of Patiala’s commission, but without the weight of history”. Nine Colombian emeralds, totalling 40 carats, form the central motif, which can be worn as a brooch.

The necklace transforms into a collar, lined with baguette-cut emeralds. The New Sarpech (the sarpech is an Indian turban ornament) is elevated into a hair jewel and brooch. Throughout the collection, Boucheron references elements that symbolise ancestral India – the lotus flower, turban ornaments and wedding bangles and bracelets.

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Cartier’s Trait d’Eclat watch. Photo: Cartier

Back in the day, Cartier was the go-to jeweller for royalty in India, a love affair sparked by Jacques Cartier’s own travels in 1911 where he met maharajas, trading in gemstones and pearls and building relationships with them. Besides a design vocabulary entrenched in colour, head ornaments, tassels and bazubands (ornaments worn on the upper arm) subsequently found their way into the House of Cartier. In the 1930s, under the artistic direction of Jeanne Toussaint, Cartier’s style melded new shapes and colour combinations inspired mainly by India. Multi-coloured pieces, sautoirs and voluminous jewellery became part of Cartier’s highly recognisable style and its creations of the second half of the 20th century.

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According to Francesca Cartier Brickell in her book The Cartiers, her grandfather’s trips to India inspired the creation of the “Hindou Jewels”, now known as the Tutti Frutti jewels.

Rubies play an especially key role in the history of Cartier’s style. The Trait d’Éclat timepiece is amplified by 15 oval Mozambican rubies that glide along the dial and the diamonds that accentuate it. Predominant in commissions for maharajas in the early 20th century, the stone remains relevant in Cartier’s high jewellery, suffused with modernity while honouring the past with new renditions that capture its spirit.

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Jewellery 2022

British jeweller Garrard uses a Windsor motif inspired by the Girls of Great Britain and Ireland tiara and has worked with the 530.20-carat Cullinan I, the world’s largest cut and colourless diamond
Chaumet’s muse, Empress Joséphine of France, loved tiaras and the brand released its Ondes et Merveilles 2022 collection featuring the Chant de Sirènes necklace