Icons: The signature emblems of the world’s greatest jewellery maisons

With nary a logo in sight, these signature design emblems have come to define the essence, and the desirability, of these hallowed jewellery maisons. So how did these timeless symbols come to be?

Shot at the Grand Hyatt Singapore Presidential Suite

Wild things

Cartier, renowned for its iconic panther motif, has also found inspiration in another formidable creature of the wild: the crocodile. This unique addition to its design lexicon has an intriguing backstory, dating back to 1975. It was then that the legendary Mexican actress, María Félix, made a dramatic entrance into a Cartier boutique with her pet crocodile on a leash. She challenged the maison to create a jewellery piece that embodied the essence of this reptile, thus giving birth to Cartier’s crocodile collection. 

The original design, a testament both to Cartier’s craftsmanship and Félix’s bold personality, featured a pair of yellow-gold crocodiles. One was adorned with 1,060 emeralds, their deep green hues evoking the lushness of the crocodile’s natural habitat. The other shimmered with 1,023 brilliant-cut fancy intense yellow diamonds. 

Today, the crocodile continues to inspire Cartier’s designers, evolving into a variety of forms and interpretations within the maison’s archives. This enduring motif serves as a reminder of the brand’s ability to draw inspiration from the natural world, transforming the untamed beauty and power of animals into exquisite and timeless works of art.

“Actress María Félix entered a cartier boutique with her pet crocodile on a leash.”

Elevating the bow

Sixty years after Laurence Graff began his jewellery apprenticeship in London’s Hatton Garden, his eponymous jewellery house is a testament to his keen business acumen and dedication to craftsmanship. By vertically integrating every stage of the supply chain, Graff ensures exceptional quality and standards in each piece. Remaining a family-owned business, the maison infuses a personal touch into every creation.

Among its most recognisable collections is ‘Tilda’s Bow’, inspired by Laurence’s granddaughter. The bow, a seemingly commonplace motif, is transformed into a thing of beauty in Graff’s hands. Design director Anne-Eva Geoffroy explains, “The silhouette had to be distinctive, while reflecting Graff’s unique style.” The meticulous design process, from intricate sketches to the careful selection of each diamond, brings the bow to life. Even the partially hidden diamonds contribute shadows and depth, demonstrating Graff’s unwavering commitment to detail.

“Serpenti is the result of a perfect storm of ingenuity, timelessness and marketing.”

Serpentine journey

The iconic status of the Bulgari ‘Serpenti’ is the result of a perfect storm: demand, ingenuity, timelessness – and strategic marketing. The 1948 Tubogas bracelet-watch, with its flexible strap inspired by gas pipes, laid the foundation for the Serpenti’s success. Over time, the snake motif evolved, inspiring designs featuring both literal and figurative elements such as its head, scales, and body.

The 2000s saw Bulgari intensify its Serpenti marketing efforts, cleverly positioning it as a design icon through exhibitions and retrospectives. While some may view this as revisionist history, there’s no denying the Serpenti’s enduring popularity. It remains highly sought-after in all forms, whether as a bag, jewel or watch, and remains a testament to Bulgari’s prowess in both design and marketing.

Timeless expressions of freedom

It’s telling of Frédéric Boucheron’s genius that a necklace he created in 1883, the Plume de Paon, continues to inspire the French maison today – and to delight its clientele. The necklace’s innovative design, featuring a flexible, clasp-free construction, is said to have been a testament to Boucheron’s progressive vision, which resonated with the spirit of independent women of that period. We can’t presume to know what he was thinking, but neither can we deny that Boucheron of today often leads the way in high jewellery, pushing design boundaries and exploring innovative techniques.

Boucheron’s campaign imagery showcases the Plume de Paon’s versatility, styled over casual t-shirts and worn by both men and women. The design’s enduring appeal lies in its bold asymmetry and graceful lines. As creative director Claire Choisne observes, “The apparent simplicity of the choker and the off-centre motif represented a total break with the subtle harmony commonly found in naturalistic jewellery at that time.”

A rose by another name

The rose, often associated with Valentine’s Day clichés, is elevated by Piaget into a recognisable emblem. For the maison, the rose represents its transformation from a movement maker to a luxury brand under Yves Piaget’s leadership. Under his tutelage, the Swiss maison fully embraced its reputation as the maker of ultra-thin watches as well as audacious jewels. 

He was deeply passionate about roses, and was the patron of the Geneva International New Rose Competition. He even had a rose varietal named after him by renowned horticulturist Alain Meilland, which has become the inspiration for the maison’s floral creations. 

Piaget’s rose designs, interpreted in various styles, pay homage to this cherished symbol. By embracing the rose, Piaget demonstrates its ability to transcend clichés and imbue a familiar motif with new meaning.

“I try to make everything look as if it were growing, uneven, organic.”

A confluence of design and art

Jean Schlumberger, one of only four designers granted the privilege of co-signing Tiffany & Co’s creations, left an indelible mark on the American jewellery house. Even 36 years after his passing, his legacy continues to inspire. Tiffany & Co has wholeheartedly embraced Schlumberger’s genius, revisiting his designs and sketches through exhibitions and expanding collections of new pieces based on his work.

Schlumberger was more than a designer; he was an artist who transformed precious metals and stones into works of art. His fascination with wildlife and the natural world infused his creations with an organic, almost living quality. He once remarked, “I try to make everything look as if it were growing, uneven, organic. I want to capture the irregularity of the universe.” 

After working with Schiaparelli in Paris, Schlumberger moved to New York City following World War II, where he quickly attracted a clientele of high-society figures. In 1956, he joined Tiffany & Co as vice president and head of design, revitalising the then-struggling company and establishing a new design language that continues to captivate collectors worldwide. His iconic creations, including the Bird on the Rock, the Sixteen-Stone ring, and the enamel bangles, remain highly sought-after, solidifying his status as a true legend in the world of jewellery design.  

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