As a youngster, the allure of the 2001 film Moulin Rouge!, featuring Nicole Kidman and Ewan McGregor, left a lasting impression on me. It was my first introduction to the legendary song “Diamonds Are a Girl’s Best Friend,” a sentiment that undeniably resonates with the V&A’s Cartier exhibition.

Open until Sunday, November 16, this exhibition delves into the mesmerizing world of diamonds in their most splendid forms. It offers an exclusive opportunity to get up close to some of the most renowned jewels crafted by one of the globe’s most esteemed jewelry houses.

Showcasing over 350 items, including jewelry, timepieces, and decorative boxes, the collection is presented under gentle, evocative lighting that highlights each piece’s brilliance. The exhibition narrates the evolution of Cartier’s unique style while celebrating its technical prowess, outstanding artistry, and timeless appeal in an ever-changing world.

Within the section dedicated to the British Royal Family, a number of jewels are on loan from King Charles himself.

A particularly enchanting piece is a brooch that once belonged to Queen Elizabeth II. The Williamson Diamond Brooch was commissioned by Her Late Majesty in 1953, the year she was crowned.

At its core is the breathtaking 23.6-carat pink Williamson diamond, a unique wedding gift she received in 1947. Yet, many are unaware of the captivating history behind this precious gem.

Discovered in Tanzania earlier that year, the rough 54.5-carat stone was unearthed in a mine owned by Canadian geologist John Thoburn Williamson, who presented it to Princess Elizabeth on the occasion of her marriage.

In 1948, Elizabeth visited the diamond-cutting factory Briefel and Lemer in Clerkenwell Green with her grandmother, Queen Mary, to oversee the transformation of the rough stone into a faceted gem. 

According to the Montreal Gazette, Elizabeth ‘smiled delightedly’ as she admired the progress made on the diamond. 

The paper noted that, ‘true to form,’ Queen Mary – a renowned connoisseur of jewels – ‘asked numerous questions of a technical nature’ throughout the hour-long visit. 

Once cut to 23.6 carats, the gem was sent to Cartier to be set into a platinum jonquil-shaped brooch, designed by Frederick Mew of the London branch. An additional 203 white diamonds completed the dazzling composition.

Queen Elizabeth’s beloved Williamson Diamond Brooch features a 23.6-carat pink diamond, a wedding gift she received in 1947

The dazzling Williamson Diamond Brooch, commissioned by Queen Elizabeth in 1953, is on display at the V&A’s Cartier exhibition

The Queen wore the brooch on numerous significant occasions, including the weddings of the Prince of Wales and Lady Diana Spencer in 1981, and the Earl of Wessex and Sophie Rhys-Jones in 1999

Queen Camilla most recently wore it at a Buckingham Palace garden party in 2024, offering a glittering reminder of its royal legacy

The original design sketches are displayed at the V&A, revealing the creative process behind the jewel, from alternative floral motifs to experimental gemstone cuts

The original design sketches are displayed at the V&A, revealing the creative process behind the jewel, from alternative floral motifs to experimental gemstone cuts. 

The Queen wore the brooch on numerous significant occasions, including the weddings of the Prince of Wales and Lady Diana Spencer in 1981, and the Earl of Wessex and Sophie Rhys-Jones in 1999.

Following her passing, the brooch was bequeathed to King Charles. Queen Camilla most recently wore it at a Buckingham Palace garden party in 2024, offering a glittering reminder of its royal legacy.

Displayed alongside it are a pair of ruby brooches, commissioned by Queen Elizabeth The Queen Mother in 1943. 

At the time, figurative jewellery was growing in popularity, and the Queen requested two designs incorporating rubies from her own collection. 

The result is nothing short of exquisite – platinum settings adorned with diamonds and rubies that sparkle beautifully under the lights. Each brooch mirrors the other, allowing them to be worn together or individually, as Queen Elizabeth preferred.

The exhibition also features Princess Margaret’s Rose Brooch, a cherished piece she wore on numerous occasions – including her sister’s coronation and in a series of portraits by Cecil Beaton to mark her 25th birthday. 

Seeing it in person was a real highlight; the design is breathtaking, featuring a three-dimensional pavé-set rose in full bloom, with openwork leaves and a stem set with baguette, single and circular-cut diamonds. 

Created in 1938, the piece holds particular sentiment, as Margaret’s middle name was Rose. 

An especially meaningful item is the original typewritten letter from Cartier’s assistant managing director, Alfred Foreman, to King George VI, proposing a diamond microphone charm to mark a 14-year-old Princess Elizabeth’s first live BBC radio speech during the Blitz in 1940. 

Described as a gift to commemorate the ‘exceedingly happy occasion,’ it offers a glimpse into the close and personal relationship between the Royal Family and the jeweller – a theme that runs throughout the exhibition. 

A pair of ruby brooches, commissioned by Queen Elizabeth The Queen Mother in 1943, are also on display at the V&A. At the time, figurative jewellery was growing in popularity, and the Queen requested two designs incorporating rubies from her own collection

The exhibition also features Princess Margaret’s Rose Brooch, a cherished piece she wore on numerous occasions – including her sister’s coronation and in a series of portraits by Cecil Beaton to mark her 25th birthday

Princess Margaret’s breathtaking Rose Brooch features a three-dimensional pavé-set rose in full bloom, with openwork leaves and a stem set with baguette, single and circular-cut diamonds 

Princess Anne’s Aquamarine Pineflower Tiara was a gift from The Queen Mother to commemorate her wedding in 1973. True to her practical nature, Anne had the sides of the tiara shortened and replaced the central aquamarine and diamond element with a rectangular-shaped stone

Princess Anne’s Aquamarine Pineflower Tiara also caught my attention. It was a gift from The Queen Mother to commemorate her wedding in 1973.

True to her practical nature, Anne had the sides of the tiara shortened and replaced the central aquamarine and diamond element with a rectangular-shaped stone.

The original central aquamarine was later repurposed as a brooch, while other elements of the piece were modified into a pendant, suspended from a single strand of pearls.

Unsurprisingly, I was captivated by the collection of jewels once owned by Wallis Simpson, Duchess of Windsor, who adored Cartier’s Panthère motif and colourful gemstones. 

Panthers have been a signature in Cartier’s jewelled menagerie since the early 20th century. The first appearance of the Panthère can be traced back to a 1914 Cartier wristwatch, where the pattern was rendered in diamonds and onyx. 

The first three-dimensional Cartier Panthère necklace was created in 1948 for Wallis, featuring a 116.74-carat emerald from her husband, Edward, Duke of Windsor’s personal collection. 

Among my favourites at the V&A are the sculptural Panther Bracelet and a magnificent bib necklace adorned with turquoise, diamonds and amethysts – notably worn at a 1953 ball in Versailles.

Wallis’ Panthère Clip Brooch, commissioned by Edward in 1949, perfectly captures the couple’s shared love of distinctive jewellery. 

The platinum and white gold panther, studded with diamonds and sapphires, sits atop a staggering spherical cabochon sapphire that weighs 152.35 carats.

Wallis Simpson, Duchess of Windsor, adored Cartier’s colourful gemstones and distinctive designs

The collection of jewels once owned by Wallis Simpson includes the Flamingo Brooch (far left), an amethyst, turquoise and diamond necklace (centre), and the Panthère Clip Brooch (far right) 

Princess Grace wore her Cartier ring in her final film, High Society (1956), after Prince Rainier III presented it to her as a second engagement ring

Princess Grace was given the Bains de Mer Tiara, crafted in the colours of the Monaco flag, as a wedding gift. The tiara’s three diamond elements can be removed and worn as brooches

The exhibition closed with an incredible room of cabinets displaying further tiaras – diamonds, sapphires, emeralds, rubies, pearls… you name it 

The Cartier Pearl and Diamond Kokoshnik was created  for Beatrice Mills, Countess of Granard, in 1937 

Running until Sunday, 16 November, the showcase delves into the dazzling realm of diamonds in their most exquisite forms, offering a rare, up-close look at some of the most famous jewels ever created by one of the world’s most prestigious jewellery houses

The exhibition features more than 350 pieces displayed under soft, atmospheric lighting that lets each one shine. It traces the evolution of Cartier’s distinctive style, celebrating the house’s technical innovation, exceptional craftsmanship, and ability to stay relevant in a changing age

Equally striking is the Flamingo Brooch, one of the most flamboyant pieces in her collection, commissioned by her husband in 1940. Made from rubies, sapphires, emeralds, citrine and diamonds, it’s as playful as it is extravagant.

I absolutely loved the room dedicated to Cartier in film, where footage plays alongside some of the jewels themselves. I’d heard that Princess Grace of Monaco’s engagement ring was on display, so I kept my eyes peeled for it.

Cartier’s first major appearance on the silver screen was in 1926, in The Son of the Sheik, starring the Rudolph Valentino. He convinced the director to let him wear his Cartier Tank Watch, marking the start of the brand’s illustrious Hollywood association.

In 1946, Josette Day cried diamond tears – crafted by Cartier – in Jean Cocteau’s Beauty and the Beast. I hadn’t seen the clip before, but I’ll definitely be watching the film now.

Fast forward to the 1974 adaptation of The Great Gatsby: Mia Farrow, playing Daisy Buchanan, wore Cartier’s Marquise Diamond Engagement Ring and the Love Birds Brooch, featuring ruby and onyx parrots symbolising Daisy and her husband, Jay.

As for Princess Grace, she wore her Cartier ring in her final film, High Society (1956), after Prince Rainier III presented it to her as a second engagement ring.

The ring itself is breathtaking: a 10.47-carat emerald-cut diamond flanked by baguettes. On screen, it played a central role, with Grace’s character, Tracy Lord, polishing and admiring the stone, cementing its place in film history. 

Seeing the ring up close is equally awe-inspiring. It is displayed alongside Grace’s Bains de Mer Tiara, a wedding gift crafted by Cartier in the colours of the Monaco flag, and the combination of the two pieces is even more stunning than any photograph could capture. 

Grace’s engagement ring marked the beginning of her lifelong relationship with the Parisian jeweller. 

On the night of her civil ceremony, she attended a grand gala wearing another wedding gift: a Cartier diamond festoon necklace, set with 64 brilliant and baguette-cut diamonds. It became a cherished piece, remaining with her throughout her life.

The necklace remains part of the Monegasque Royal Family’s collection and has been worn by Grace’s granddaughter, Charlotte Casiraghi, who chose the heirloom piece for her own wedding day in 2019. 

The exhibition concludes with an incredible room of cabinets displaying countless tiaras set with diamonds, sapphires, emeralds, rubies and pearls in every imaginable design.

It is worth taking the time to admire each piece up close – royal glamour is practically within arm’s reach, yet, as ever, just out of reach.