Old Souls, New Sparkle

Louis-François Cartier, founder of the maison that bears his name, is said to have lived by the mantra: “Never imitate, always innovate.” Innovation would become the firm’s guiding principle—but Cartier’s genius was never about abandoning the past. Rather, it lay in weaving history into modernity: reviving age-old motifs, color palettes, architectural principles, and textiles; reimagining ancient patterns, storybook gemstones, and Indiana Jones–esque objects; and transforming them into designs that felt at once timeless and groundbreaking.

His sons—Louis, Pierre, and Jacques—honed this vision and brought it to the wider world, propelling Cartier onto the global stage in the late-nineteenth and early twentieth centuries. They understood that style is cyclical, with each era rediscovering and reinterpreting what came before. Their creative genius, coupled with astute business acumen and a talent for cultivating relationships with royalty—whether royal by blood, wealth, or fame—was a delicate alchemy that cemented Cartier’s reputation as a house of enduring importance.

When considering the 178-year oeuvre of a firm like Cartier, one inevitably encounters the question of exemplarity. How might a particular era, stylistic element, or individual object be identified as most representative of a brand—perhaps surpassing all others in historical or collectible value? For the true connoisseur, this question is less about resolution than about pursuit—a pursuit that, for some, can last a lifetime.

It may come as a surprise that the term “vintage,” at least in the context of jewelry, refers to a piece that is more than approximately 25 but less than 100 years old. Which means that—to the shock and horror of millennials like myself—those late 1990s and early 2000s trends that feel like yesterday are, technically speaking, vintage. By the same standard, nothing less than a century old can be considered antique. But it does mean that, in 2026, pieces from the height of the Art Deco period now qualify as antiques.

Looking further back, beyond the twentieth century—which is, it’s safe to say, the most likely era one encounters when buying second-hand jewelry—can feel like a blur of loosely defined eras, imperial and geographic references, and trade terminology that can be difficult to grasp. Humanity has adorned itself since the dawn of time, but it’s worth considering this relatively brief timeline in light of a few truths. Jewelry, though not always made from precious materials, has traditionally been valued for its rarity and refinement. Such rare and fine objects were long reserved for royalty or the elite as emblems of elevated social status. These materials also hold intrinsic value: gold and other precious commodities can be melted and reworked indefinitely, meaning many early pieces were dismantled, repurposed, or lost entirely over the centuries.

So, we return to the question of exemplarity: did one era surpass the rest in terms of creative output, beauty, or collectability? It depends on whom you ask. If you wish to remain objective, you might look to auctions. Auctions have long served as mirrors of demand. While they have inherent limitations as cultural barometers, they provide a transparent platform through which to assess value. As auction specialists, we constantly study recent results as indicators of the strength of current and future trends—and how those trends influence value—as well as other societal factors.

“Antique and vintage jewelry is currently experiencing a resurgence, gaining a new and younger audience thanks in part to a number of celebrities and influencers,” says Natalie Betteridge, owner of Greenleaf & Crosby, the 130-year-old jewelry purveyor of estate and contemporary jewelry, located on Palm Beach’s Worth Avenue.

Betteridge points to Taylor Swift, whose engagement ring features an elongated, old-mine-cut diamond in a heritage-inspired gold mounting and comes at a critical time as lab-grown specimens threaten the natural diamond market.

“The unique qualities of Swift’s ring have inspired a new generation of consumers to seek more well-worn items imbued with unique stories from the past to wear now,” Betteridge adds.

True connoisseurs of vintage and antique jewelry often seek designs from lesser-known, sometimes esoteric makers whose work is defined by a particular era or design style. While such pieces enjoy appreciation and perform well in the secondary market, they often appeal to a more niche audience. In today’s market, the most widespread and robust demand is for pieces signed by important makers—many of which are household names, such as Cartier, Van Cleef & Arpels, Tiffany & Co., Bulgari, David Webb, and Harry Winston. These names consistently represent the pinnacle of auction results, as Angela Hedges, the New York City–based head of brand heritage, archives, and valuations at Harry Winston can attest.

“Recent large, single-owner collections sold at auctions are far surpassing expectations,” Hedges says, noting that mid-century signed Winston pieces command strong interest and often achieve prices well above estimates. “These sales underscore not only the strong market demand but also the house’s diverse and experimental design range.”

While many houses have histories spanning the full spectrum from vintage to antique, a renewed focus on the jewelry of the late twentieth century is evident in both broad auction results and TikTok-fueled nostalgic references to ’90s chic. In stark contrast to the boldness of the 1980s, the 1990s represent a certain refinement—epitomized by the understated elegance of Carolyn Bessette Kennedy. This deeply restrained luxury resonates with today’s emphasis on ethical sourcing and minimal ecological impact, values embraced by a new and emerging class of buyers.

Provenance—whether a piece was owned by or associated with the great tastemakers of the last century—can have a significant impact on value. One example is the Van Cleef & Arpels Manchette cuff, which is among the firm’s most iconic designs. Inspired by Neil Armstrong’s 1969 lunar landing and the cratered surface of the moon, Van Cleef & Arpels seamlessly merged a widely celebrated American triumph with the free-form gold movement of the 1970s. These bracelets were favorites of style icons, most famously Jacqueline Bouvier Kennedy Onassis, who was photographed wearing a pair alongside Muhammad Ali in 1977. While Onassis’ original cuffs were sold as part of her estate in 1996, even examples not owned by her benefit from the association. In 2016, a pair owned by Nina Gore Auchincloss Steers Straight—Onassis’ stepsister—with serial numbers sequential to Onassis’ own, sold for $162,500 against an estimate of $40,000 to $60,000, proving the added value of celebrity provenance.

Part of the success of many storied brands lies in this exact ability to tap into the aesthetics of a generation and transform them into iconic objects of desire. Cartier’s Love bracelet, for instance, was devised in 1969 by Italian jewelry designer Aldo Cipullo after a breakup, as the story goes. The bracelet, designed intentionally not to slip over the hand like other bangles, separates into two pieces and requires another person’s help to secure it around the wrist with a miniature screwdriver that accompanies every bracelet. Initially presented to Tiffany & Co., the conservative house rejected the design—and its subtext—as too unconventional. Cipullo then brought it to Cartier, where it was enthusiastically embraced and marketed under the slogan “Make Love, Not War.”

The Love bracelet remains Cartier’s most successful design some 56 years later. Early examples from the inaugural 1970 launch are signed by Cipullo and especially collectible. That Cipullo signature is generally an indication of age and authenticity—a critical concern, as the Love bracelet is among the most widely faked pieces in the world. Faux versions can be increasingly difficult to identify with confidence. In the realm of “super fakes” (extremely high-quality replicas), the Love bracelet is perhaps the most imitated, alongside Van Cleef & Arpels’ Alhambra designs. Many super fakes are sold with boxes, papers, and even forged receipts. This is why bona fide authentic pieces on the secondary market can command premiums comparable to retail prices. As always, it is essential to work with a trusted source—and while there may be a premium to purchasing directly from the boutique, doing so can be the best way to protect your investment.

Ultimately, whether your heart is set on Cartier or Van Cleef & Arpels, Art Deco or retro, vintage or antique, signed or unsigned, when buying jewelry on the secondary market, if the stars align and a piece is verifiably representative of the height of materials, aesthetics, industrial triumphs, cultural ethos, and creative minds of its era, then it is, by definition, important and collectible. This is why my advice to prospective bidders, buyers, connoisseurs, and enthusiasts is always the same: no matter your taste, seek out what most epitomizes the era or maker (or both) you desire. Set a budget. Buy the best you can afford. And most importantly—buy what you love. 

Down to Details

Dating vintage and antique jewelry is a study in detail, and this quick guide can help you determine the era in which your piece may belong. For a video on how to use a loupe for closer inspection, visit naplesillustrated.com/loupe.

Georgian (circa 1714 to 1837): Handmade featuring naturalistic motifs, Rococo and neoclassical influences, closed-back settings, and foil-backed gemstones. High-karat gold and silver, often with rose-cut diamonds, garnets, topaz, and paste stones.

Victorian (circa 1837 to 1901): Romantic (1837 to 1860) include sentimental motifs, hair jewelry, and secret compartments. Grand (1860 to 1880) features larger designs, bold gemstones, heavy gold, and mourning jewelry. Aesthetic (1880 to 1901) include lighter designs with Japanese and Renaissance influences, and diamonds from new mining sources.

Belle Époque/Edwardian (circa 1890 to 1915): Elegant, lacy, and refined designs in platinum and diamonds. Delicate yet strong mountings. Motifs include bows, garlands, wreaths, and lace-like openwork.

Art Nouveau (circa 1890 to 1910): Artistic and nature-inspired with organic lines. Motifs include dragonflies, flowers, peacocks, and female figures. Plique-à-jour enamel, opals, moonstones, and horn with emphasis on artistry and symbolism over intrinsic material value.

Arts and Crafts (circa 1880 to 1920): Simple forms and natural motifs as well as cabochon-cut stones, silver rather than gold, and minimal ornamentation. Celebrates the maker’s hand and regional craftsmanship.

Art Deco (circa 1920 to 1939): Bold, geometric, and symmetrical designs reflect modernity and industrial progress. Linear patterns, contrasting gemstones, platinum, and onyx. Ancient Egyptian, Asian, and the Machine Age influences shape a sleek aesthetic.

Retro (circa 1939 to 1950s): Oversize designs featuring large, colorful, semiprecious stones and sculptural gold work. Ribbons, scrolls, and volutes dominate, evoking Hollywood glamour.

Second Half of the Twentieth Century (circa 1950 to 2000): The 1950s showcase sleek designs with mid-century elegance, femininity, and some Victorian aesthetics. The 1960s and ’70s feature playful experimentation, textured gold abstract forms, colorful gemstones, and the influence of pop art and space-age design. The 1980s are known for statement pieces, bold gold, oversize chains, and opulence. The 1990s shifted toward minimalism, understated luxury, and refined simplicity.

The post Old Souls, New Sparkle appeared first on Naples Illustrated.