Van Cleef & Arpels’ Seminal Exhibition ‘The Art Of Movement’ Is A First For Oceania - Here’s What We Saw

A history lesson in the power of whimsical diamonds. Dan Ahwa takes a closer look at how this Maison is leaning into its unique heritage.

An ornate powder case might be the sort of handbag essential some starlet from the roaring 20s would slip out of a pochette to touch-up her rouge. But, look a little closer and it’s constructed with a secret watch – all the better to discreetly check the time before escaping a dull conversation at a party.

Perhaps it’s a cigarette case embellished with diamond-encrusted charms of anchors and a sailing boat, or a brooch in the shape of a bird in mid-flight.

Or it’s a platinum, yellow gold and diamond necklace intended for Jacqueline Auriol, France’s first woman test pilot in 1956, featuring a gold airplane taking off.

These and over 100 other precious and unique creations make up a seminal exhibition on display now in Sydney called The Art of Movement: Van Cleef & Arpels, Living Instants, Eternal Forms.

The French Maison, founded in 1906 following Estelle Arpels’ marriage to Alfred Van Cleef in 1895, is synonymous with a certain whimsy that’s undefinable; the sheer range of ideas on display is testament to the Maison’s ability to combine its craft with a sense of humour.

From ornate flowers to dancing ballerinas, when surveying the collection close-up, it’s remarkable even to the untrained eye how any craftsperson can create the sort of pieces that feel as if they’re jumping off a lapel or pirouetting from earlobes.

Since its first presentation in 2021 in Shenzhen followed by Chengdu in mainland China, the exhibition has continued to evolve and delight audiences in London in 2022, before returning more recently with showings in Wuhan, and last summer in Guangzhou. Its arrival in Australia is a first, located at the iconic Watersedge at Campbell’s Stores in Sydney, which creates another opportunity for storytelling unique to its temporary new home.

For Julie Clody, the president of Van Cleef & Arpels Asia Pacific, it’s an opportunity to showcase these one-of-a-kind creations in an entirely new way that is sensitive to its surroundings. In this case, it is the Campbell’s Store’s historic brick building from the 1800s, which overlooks the glamour of Sydney’s glistening harbour and Opera House in the distance.

“What feels really new about this iteration is the openness. Guangzhou was also housed in a beautiful heritage building, but everything was in a fully dressed space, but in Sydney there is a beautiful flow between the indoors and outdoors. Some of our visitors can in a way ‘voyage’ through time – I love that parallel between the view of the water.”

The exhibition is intimate and not overwhelming, with a curation of 100-plus pieces supported by close to 50 archival documents. Visitors can explore a ribbon-like navigation with plush carpeted floors, cases displaying the Maison’s emblematic pieces alongside new acquisitions, all with a nod to the concept of movement.

Greeting you at the main entrance is a large mobile floral motif that invites you to trail the various rooms at your own pace. Clody says it’s another way to incorporate a sense of fluidity in an exhibition that explores the concept of movement both literal and abstract.

“Along with our extensive image archives, we have screens that showcase videos and even a mini cinema where visitors can put their headphones on and delve deeper into the history. It feels much more immersive. We also have at least 50 creations that haven’t been exhibited before, so there is a constant renewal through this new iteration.”

The exhibition’s evolution also allows the curation to adapt to its location; the next city to host is Nanjing in China.

It is divided into four key themes: Human Odessey, Nature Alive, Elegance and Abstract Movements – each concept highlights how Van Cleef & Arpels has dreamt up some of the most unique pieces of jewellery and objects in the world.

“It’s also beyond movement for me,” says Clody, “for me it’s also the travel across period and time.

“When you deep dive, these pieces are a testimony of the context of an artistic period. They tell us so many stories, however they remain surreal. That’s the beauty of it. Some elements are also nourishing the creations of today, and we always say to our clients that the contemporary collections become the heritage of tomorrow.”

As the Maison celebrates its 120-year milestone in 2026, this exhibition is the perfect opportunity for fans of high jewellery, fashion, art, design and history to experience the iconography that makes the rarefied world of Van Cleef & Arpels feel more accessible.

“What the Maison is known for is high jewellery first and foremost, but we have a unique way of wanting to look at the world in a positive and poetic vision of life,” says Julie To, the managing director of Van Cleef & Arpels Oceania, who along with Clody, play the elegant co-hosts to the exhibition’s official opening dinner.

“I think this exhibition allows us to welcome in a wider audience to discover who we are as a Maison, but to also transmit the French savoir-faire and craftsmanship that many don’t really understand goes into making one of these pieces,” says To.

While there are many vintage pieces that transcend time, what the exhibition does make a convincing case for is a return for those powder cases – the Maison is synonymous with its vanity cases known as Minaudières.

One standout is a vanity case rendered in yellow gold from 1950, shaped like a flower and featuring patterns inspired by the Rococo period of 18th-century France, its arabesque motifs and unusual shape signalling a design well ahead of its time.

Another favourite also comes from the Nature Alive collection – the swirling elegance of the platinum, yellow gold and diamond Fern Clip from 1942, which combines a naturalistic and a stylised interpretation of a fern frond. It’s the type of piece that wouldn’t feel out of place adorning the satin lapel of a rising young actor on the red carpet.

At a time when luxury brands are reflecting on what they stand for, the exhibition and its whimsical nostalgia offer something much richer; sink deeper into its archives and you’ll realise that its greatest testament to the art of movement is being able to transcend time so seamlessly. And yes, there’s so much more to the business than its ubiquitous (and beloved) Alhambra.

“Everyone’s definition of luxury is personal,” says To. “For me, it’s being able to appreciate our creations, the time that it takes to make. Luxury is being able to appreciate the craftsmanship and the emotions that they bring to myself and the wearer.”

For Clody, who has a strong understanding of the changing tides of consumers after 25 years in the business, those days of luxury as a status symbol and possession have gently made way to reveal a client who is far more educated.

“We value the transmission of ideas, especially through our Van Cleef & Arpels, L’ÉCOLE, School of Jewellery Arts that was founded 12 years ago.

“So, we take to heart sharing to the widest audience what is behind jewellery in terms of craft, gemology, and savoir faire. We really value sharing of knowledge. Ultimately, clients are well aware the world now is super connected. Behind luxury, there is more than showing off an acquisition – it’s about emotion that goes beyond what you possess. It’s a story, a memory and ultimately time.

“I always remember this quote from an interview with Nicolas Bos [chief executive of Richemont and global president and chief executive of Van Cleef & Arpels) that feels relevant to the celebration of this exhibition.

“‘We don’t need jewellery to live, but life without jewellery would be sad.’”

The Art of Movement: Van Cleef & Arpels, Living Instants, Eternal Forms is on display now until May 8 at Watersedge at Campbell’s Stores, 25 Hickson Rd, The Rocks, Sydney.

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