Imagine a 120-year-old diamond necklace, never worn by anyone but its original owner, gracing the neck of a modern actress in a reimagined Frankenstein film. Sounds like a fairy tale, right? But it’s exactly what happened when Tiffany & Co. partnered with Netflix for Guillermo del Toro’s latest masterpiece. This exclusive collaboration brings historic jewels out of the archives and into the spotlight, blending Hollywood glamour with the eerie allure of Mary Shelley’s classic tale. And this is the part most people miss: these aren’t just props—they’re pieces of history, each with a story as captivating as the film itself.
When Christopher Young, Tiffany & Co.’s Vice President and Creative Director of Tiffany Patrimony and Global Creative Visual Merchandising, arrived on set with the Wade Necklace—a 1900 platinum and diamond masterpiece commissioned for Cleveland socialite Ellen Garretson Wade—he expected adjustments. After all, the necklace had never adorned anyone else. But here’s where it gets magical: it fit Mia Goth, who plays Elizabeth, perfectly. No alterations needed. Young recalls, ‘She sat up differently,’ as if the necklace’s history and sparkle transformed her. And del Toro, ever the visionary, reframed an entire scene to capture the diamonds’ glow under candlelight—an effect only genuine gems could achieve.
But here’s where it gets controversial: Is it risky to use irreplaceable archival pieces in a film? Young admits he was initially hesitant. ‘Frankenstein evokes images of dark castles and mad scientists,’ he says. Yet, costume designer Kate Hawley’s lavish designs convinced him this was no ordinary monster movie. The result? A seamless blend of Tiffany’s heritage with del Toro’s reimagined world. And let’s not forget the double-row scarab necklace, a 1914 art glass and gold creation by Louis Comfort Tiffany’s artisans, Meta Overbeck and Julia Munson. Worn by Goth, it connects three eras of female talent: the designers, the actress, and Shelley herself. Talk about a full-circle moment!
Tiffany & Co.’s Hollywood legacy is undeniable—from Audrey Hepburn’s iconic Breakfast at Tiffany’s to The Great Gatsby. But Frankenstein takes it up a notch. ‘These pieces rarely see the light of day,’ Young notes. Even the pocket watch worn by Charles Dance, playing Leopold, is a faithful recreation of a 19th-century design, engraved with the Frankenstein crest for authenticity. And the security? ‘The jewelry had its own trailer,’ Young quips, echoing del Toro’s joke about the gems outshining the stars.
Now, the jewels are back where they belong—in Tiffany’s Fifth Avenue windows—but with a twist. Del Toro lent miniatures from the film’s production design to create immersive displays, complete with digital elements, animation, and Alexandre Desplat’s Oscar-winning score. It’s street theater at its finest, best viewed after 7 p.m. when the 10-minute intervals come alive. A second exhibition opens at Selfridges London on October 17, running through November 9.
Here’s the question that’ll spark debate: Does using historic jewelry in film elevate the art, or is it a risky gamble? Young and del Toro clearly think it’s worth it, but what do you think? Let’s hear your thoughts in the comments—agree or disagree, this collaboration is a conversation starter like no other.
