CNN
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At the now wrapped-up Met Gala and the Cannes Film Festival, which is in full swing, megawatt diamonds and vibrant gemstones lit up the red carpet. Yet, it’s the rare, not-for-sale pieces drawn from jewelers’ private vaults that continue to dominate the conversation on social media.
Think of Isha Ambani’s custom-made necklace — a blinding cascade of diamonds, each immaculately cut and set. The striking jewel, worn by the Indian billionaire heir to the Met Gala, was inspired by a historic Cartier design, created in the 1930s for Maharaja Digvijaysinhji of Nawanagar and later reproduced for the movie “Ocean’s 8.” Meanwhile, singer and actor Diljit Dosanjh wore a lavish, torso-spanning necklace to the event that echoed the ceremonial 1,000 carat-diamond necklace Cartier designed for Maharaja Bhupinder Singh of Patiala in the 1920s, now on display at the Victoria & Albert Museum in London.
A penchant for the “old” isn’t entirely new, but it has been accelerating in recent years. When Lady Gaga grabbed headlines at the 2019 Oscars for wearing Tiffany’s show-stopping 128.54-carat yellow diamond — the same stone that was famously first worn by Audrey Hepburn during the publicity tour for “Breakfast at Tiffany’s” in 1961 — it felt like the starting gun of a new race, as the pop star became the third person to ever wear the historic diamond valued at more than $30 million.
The red carpet trend of wearing archival pieces became even more noticeable at the 2022 Met Gala, when the dress code — “Gilded Glamour and White Tie” — inspired Cartier to style actor Emma Corrin in diamond earrings from the 1930s, pin a vintage flower brooch into Maude Apatow’s hair, and crown YouTube star Emma Chamberlain with a 1911 diamond tiara and a choker that was believed to have been previously owned by the Maharaja of Patiala.
As the momentum around vintage and archival styles continues to grow, luxury houses are increasingly buying back their historical creations (from auctions, collectors and vintage dealers) and restoring them with meticulous care, occasionally lending them to some of the world’s most photographed celebrities for red-carpet appearances.
At the BAFTAs in February, Cynthia Erivo dazzled in vintage emerald jewels from Tiffany — a nod to the green hue of her character Elphaba in “Wicked.” At the Oscars the following month, Mikey Madison accepted her first statuette wearing a diamond Tiffany necklace from the early 1900s, while Felicity Jones — nominated for her performance in “The Brutalist” — walked the red carpet in a silver gown paired with a Boucheron parure of diamond jewels, including an Art Deco bracelet from 1927.
“Using heritage jewelry from the archive is incredibly appealing — not just because these pieces are considered exceptional by the Maison, but also because access to them is so rare,” explained stylist Nicky Yates, who masterminded Jones’s look. “That exclusivity helps us create a real fashion moment,” she told CNN over a text message.
Not just for archivists
While some brands might seek to preserve and safeguard historical pieces, Boucheron CEO Hélène Poulit-Duquesne believes that the house’s archive is not just for archivists, but should — on occasion — be admired and worn. “We consider our patrimony (archive pieces not for sale) as living and breathing rather than museum pieces,” she explained over email.
Since taking the reins in 2015, Poulit-Duquesne has expanded Boucheron’s heritage collection to over 800 creations — a selection of which are now “always included in the jewel selections presented to celebrity stylists ahead of major events around the globe,” Poulit-Duquesne said.
Lending heritage jewels for the red carpet gives the house a competitive edge, Poulit-Duquesne explained. “Having them worn by international personalities with a strong sense of style — male or female — is a powerful way to show their timelessness,” she said, adding that “the fascination surrounding these historical designs creates compelling stories that resonate far beyond traditional advertising.”
And it has the potential to boost sales too. Achim Berg, an independent consultant who was a former senior partner at McKinsey & Company leading their fashion and luxury division, believes that the red carpet is a prominent platform to showcase that “jewelry is a good investment,” he told CNN. “It shows that jewelry from a top house will always remain relevant. It’s timeless. And when pieces from the past continue to receive recognition, it’s a clear sign of their lasting creative and cultural value.”
Tiffany & Co. president and CEO Anthony Ledru echoed this view. “Red carpet moments have allowed us to generate excitement around our historical pieces, many of which have inspired our designs today,” he said, citing the iconic “Bird on the Rock” brooches that the late Jean Schlumberger designed for Tiffany as an example of an archival design whose sales have taken flight.
Value for younger brands, too
It’s not only century-old brands like Cartier, Boucheron, and Tiffany that have invested in their archives and actively promote them. Pomellato, founded in 1967, is doing so as well. The Milanese brand’s history took center stage at the Fosun Foundation in Shanghai late last year, and again during Salone del Mobile in April, where jewels from its archive were showcased in-store alongside photography by Gian Paolo Barbieri. Earlier in February, at the Sanremo Music Festival held in the Italian city of Sanremo, Liguria, Pomellato’s new ambassador, actor Pilar Fogliati, wore vintage jewelry, further highlighting the house’s heritage.
“It was Pilar’s choice,” according to Pomellato’s chief marketing and product officer Boris Barboni. “Pomellato was happy to lend them to her, as it allowed us to showcase creations from the past in which we recognize the same creative energy found in our contemporary jewelry as well as our identity,” he said. By investing in its heritage, Pomellato is able to rediscover its history in new ways, which can lead to inventive, new designs, Barboni added. Last November, Pomellato launched a capsule collection of “Mosaico” rings inspired by its designs from the 1990s.
“Archive matters for the final client,” said Barboni, noting that by looking to the past, “jewelry lovers can better understand the brand’s creative vision and the messages behind the designs — and truly appreciate the depth of its artistic value.”
Showcasing historical pieces on the red carpet has become a surefire way to generate positive PR, said Laurent François, a partner at Paris-based communications agency 180 Global. “For luxury-savvy audiences, spotting an archival piece in a contemporary context is a thrill,” he explained over a call. “It invites deeper engagement. And there’s something generous about it, as jewelry houses offer the public a rare glimpse into its most treasured past.”
“Luxury is heading now toward rich, emotionally resonant experiences that reward curiosity and signal belonging,” François added, noting that with historical pieces on show, “the red carpet is turning into a kind of cultural treasure hunt.”