The NGV’s Cartier exhibition is one of the most visually spectacular exhibitions Melbourne has seen in recent years. Walking through room after room of diamonds, gemstones, tiaras and high jewellery, it is difficult not to be impressed. The exhibition offers a rare opportunity to see objects most people will never encounter outside of magazines, films or celebrity photographs. Whether you are interested in fashion, design or history, there is an undeniable thrill in standing face-to-face with pieces that represent the pinnacle of luxury craftsmanship.

More than simply objects of adornment, the works on display trace Cartier’s long association with figures of cultural and historical prominence. From monarchs and Maharajas to Hollywood icons and contemporary celebrities, including the likes of Elizabeth Taylor, Princess Margaret, Rihanna and Andy Warhol. Maison Cartier lives up to its reputation as the “king’s jeweller,” with the creations not only designed for beauty, but for being seen, worn and remembered by power, fame and influence. This sense of generational lineage adds an additional layer to the exhibition’s aura, positioning Cartier less as a traditional jeweller and more as a timeless presence representing status itself.

What struck me most was the exhibition’s design. Once again, the NGV has created an immersive environment that does more than simply display objects behind glass. The design is a collaboration between the NGV and Rotterdam-based studios Studio Sabine Marcelis and CLOUD, and it leans heavily into the sensory qualities that define Cartier’s jewellery itself, colour, light and materiality. Rather than treating the pieces as static historical artefacts, the exhibition frames them within shifting atmospheres that echo the brilliance of the gemstones on display.

Across the galleries, light is carefully manipulated to heighten reflection and surface detail, while colour and material choices subtly mirror the tones and textures of the jewellery. The result is a space that feels deliberately constructed to extend the visual language of Cartier beyond the objects themselves. At times, it feels less like a traditional museum layout and more like stepping into an abstracted Cartier environment.

The standout space was undoubtedly the moody, circular tiara room. Surrounded by crowns and tiaras, the space felt almost unreal, as if we had stepped into an impossibly grand walk-in wardrobe dedicated entirely to tiaras, each one available to be chosen for the day. It was one of the few moments where the scale and significance of Cartier’s influence became truly tangible, with the display transforming these objects from historical artefacts into something almost theatrical in their presence.

At the same time, I found myself experiencing a strange contradiction throughout the exhibition. On one hand, I was captivated by the beauty and craftsmanship on display. On the other, I could not escape the sheer scale of wealth these objects represent. The exhibition never states the prices of individual pieces. Some works include details such as carat weight, but the absence of pricing only adds to the sense of curiosity, while also reinforcing the obvious fact that these objects sit far beyond ordinary means. Throughout my visit, I repeatedly caught myself making comments such as, “The fact that people actually own this is insane,” or imagining someone casually gifting a multi-million-dollar diamond necklace in a pool while on holiday (cough cough, Elizabeth Taylor). The exhibition becomes a reminder of a world of excess that exists far beyond the reach of most people.

Interestingly, this feeling was not necessarily the fault of the exhibition itself. The curators largely avoid presenting Cartier as an exercise in excess. Instead, the focus remains on artistry, design innovation and cultural significance. Yet, when confronted with hundreds of carats of diamonds and jewels, broader questions inevitably surface about the origins of these gems and the histories attached to some of the exhibition’s most significant pieces, such as the Patiala Necklace. The exhibition does not dwell on these issues, choosing instead to highlight the maison’s heritage, craftsmanship and design, and it does so remarkably well. Even so, it is difficult to entirely separate these extraordinary objects from the privilege, power and exclusivity that made their creation possible.

While I left with mixed feelings, I would gladly return for another glimpse of its elegance and spectacle. The Cartier exhibition is not the strongest exhibition the NGV has produced in recent years, nor is it the most intellectually challenging. However, it may be one of the most captivating. There is something compelling about seeing these extraordinary objects up close, knowing that most visitors will never own, wear or even encounter them again. The exhibition offers a glimpse into a world of glamour and high society that feels both alluring and distant. That tension—between admiration and disbelief—is ultimately what makes it memorable.