When Tiffany & Co throws a party, you RSVP: yes. That’s precisely what I did when the famed American jeweller extended an invitation to Tatler to attend its breathtakingly-researched Vision & Virtuosity brand exhibition launch at the Saatchi Gallery in London. Featuring over 400 items from the Tiffany archives, the exhibition promised to be a deep dive into the “the breadth of the American jewellery brand’s astonishing innovations since its founding,” as we reported earlier this month, and—it did not disappoint.
In case you missed it: Here’s What to Expect at Tiffany & Co’s ‘Vision & Virtuosity’ Exhibition in London
It was one of those gorgeous English summer days as we headed to the venue for the media preview, just a day before the big blowout. Sweeping into the grounds of the gallery, a handsome classical Georgian heritage building formerly used by the military, with its soaring columns and spacious double height galleries, I was immediately struck by a new addition on the grounds: a towering Daniel Arsham sculpture in his signature ‘Bronze Eroded’ style. I was later told that the sculpture—called Eroded Venus of Arles (2022)—would be moved to the American jeweller’s NYC Fifth Avenue flagship (currently under renovation), where it would be on display for the foreseeable future.
Unsurprisingly, the eye-catching statue was an instant hit with influencers and models at the media preview (Caroline Daur, Georgia Fowler and Sarah Ellen were among some of those we spied copping selfies and photo ops) and celebrities who attended the opening party the next day.
Moving into the gallery, I was struck by the transformation to the space—an almost-ceiling-height screen displaying the poster of the Vision & Virtuosity exhibition—and was instantly drawn into the first of the exhibition rooms, dedicated to Tiffany & Co’s witty window displays, by the oohs and ahs of the group ahead of ours.
Peering over the shoulders of a clutch of press and influencers, I could see the dramatically-lit displays, each with a visually arresting diorama that showcased some of the house’s most magnificent pieces. Schlumberger’s Bird on a Rock? Set in a silhouetted London skyline with the theme, Blue Moon. The Snowflake Clip? Bursting out of a specially-designed headpiece by milliner Stephen Jones in another case, titled Spring Bonnet à la Tiffany. A stunning necklace (first designed under the direction of Louis Comfort Tiffany) featuring a Montana sapphire? Clock it in the display dedicated to Baz Luhrmann’s The Great Gatsby.