Cartier Love Unlimited
When Cartier introduced the Love bracelet in New York in 1969, it wasn’t just jewellery—it was a manifesto. At a moment when the city pulsed with the glitter of the disco era, and the “me generation” was rewriting the rules of romance, Aldo Cipullo’s oval bangle landed like a revolution. Inspired in part by the provocative symbolism of medieval chastity belts, its screwdriver clasp and visible screws made commitment look downright daring. Worn by the likes of Elizabeth Taylor and Sophia Loren, it was less an accessory than a badge of belonging to love’s most exclusive club.
Fast-forward fifty-five years, and Cartier is still writing the story. Enter Love Unlimited, a supple new chapter that reimagines the icon as a fully flexible ribbon of gold. Composed of nearly 200 miniaturised components, the design is tactile, fluid, and unexpectedly sensuous—a second skin that coils with ease around the wrist. Each gadrooned link is punctuated by the collection’s signature polished screws, their rhythm adjusted to preserve what Cartier calls a “jewelled cadence.”
True to form, innovation runs beneath the surface. A patent-pending invisible clasp—cleverly disguised as a screw—allows one bracelet to link seamlessly to another, creating pairs, chains, or even infinite loops. Available in white, rose, or yellow gold (and mirrored in a matching ring), Love Unlimited proves that even legends can evolve.
The message remains unchanged: love as bold declaration. But the form, like love itself, adapts—intimate, fluid, effortless. Just as Cipullo’s original spoke to the restless liberation of the late ’60s, this new incarnation feels made for today’s age of reinvention. Cartier’s lesson is clear: true love stories don’t fade. They only find new ways to shine.
Tiffany & Co. Bird on a Rock High Jewellery
When Jean Schlumberger dreamed up the Bird on a Rock brooch in 1965, he turned whimsy into iconography: a jeweled bird perched irreverently atop an outsized stone, equal parts audacity and charm. First designed for philanthropist and style arbiter Bunny Mellon, the brooch quickly took flight beyond its original commission, becoming one of Schlumberger’s most recognisable creations. Nearly six decades on, Tiffany & Co. is letting that bird soar once more.
Under the eye of Nathalie Verdeille, chief artistic officer of jewellery and high jewellery, Bird on a Rock by Tiffany reimagines the motif in a sweeping new collection that spans high and fine jewellery. Two suites anchor the high jewellery debut: one in tanzanite, a Tiffany “legacy stone” introduced in 1968, the other in turquoise, long beloved by Schlumberger.
“We studied birds as Jean Schlumberger did—carefully observing their stances, their feathers, the structures of their wings—to create dynamic forms that seem to flutter and perch upon the wearer,” Verdeille says. The result? A high-flying reminder that some legends never roost for long.
Fred “Force 10 Rise”
Born on the French Riviera in 1966, Fred’s Force 10 bracelet was an ode to sailing, sport, and the easy glamour of Saint-Tropez. Its nautical cable and bold buckle quickly became shorthand for a new kind of luxury: casual, unisex, and effortlessly chic. Nearly six decades later, the icon gets a fresh lift with Force 10 Rise, a collection that trades rigging for radiance. In bracelets, rings, earrings, and pendants, sleek gold and diamonds echo the rope’s tension and movement, updated for a generation that prizes versatility and individuality.