Suzanne Belperron: A Timeless Presence in Fashion Magazines

Suzanne Belperron: A Timeless Presence in Fashion Magazines

In the late 1920s and throughout the 1930s, Suzanne Belperron established herself as a name that transcended the boundaries of fine jewellery. While her daring designs were admired by collectors and aristocrats, it was the world’s most prestigious fashion magazines that amplified her reputation, ensuring her work reached a global audience.

An editorial muse for the avant-garde press

Publications such as Vogue, Harper’s Bazaar, Femina and L’Officiel de la Mode recognised early on that Belperron’s jewellery was not just an accessory but a statement of modernity. Her pieces appeared alongside the creations of pioneering couturiers like Elsa Schiaparelli, Robert Piguet and Mainbocher, photographed to highlight their sculptural lines and organic curves.

Editors knew that a page featuring Belperron’s work needed no extravagant caption: the forms spoke for themselves, adding drama and originality to any editorial spread.

Legendary photoshoots that defined a style

Her jewellery quickly became a favourite subject for iconic photographers such as Horst P. Horst, Hoyningen-Huene, and Cecil Beaton. They captured her bold cuffs, twisting rings, and cabochon-studded collars in portraits that still resonate with collectors today.

One famous example is the double cuff bracelet with a swirl motif, worn by a model dressed in Robert Piguet’s evening gown, shot by Horst for American Vogue in June 1935. These images immortalised her jewels as true sculptural art, enhancing the mystique that Belperron cultivated throughout her career.

Print media: her secret marketing weapon

At a time when advertising was taking over the pages of fashion publications, Belperron preferred to rely on the subtle power of editorial photography. She famously refused to sign her jewellery, insisting, “My style is my signature.” Yet through repeated appearances in the top magazines, her style became instantly recognisable to an international audience.

These spreads also helped attract new private clients in America and the UK, well beyond Parisian salons. The discreet yet impactful presence of her pieces in print turned each page into an unspoken endorsement from the most influential tastemakers of the era.

A refined image shaped by journalists

Suzanne Belperron maintained a selective and carefully managed relationship with editors and writers. She offered no ostentatious interviews and kept her personal life away from the spotlight. Instead, she let her jewels and the elegance of the photographic spreads speak for her.

Behind the scenes, she collaborated closely with stylists and photographers, allowing them to interpret her designs freely. Some rare unpublished shots even show her jewels worn backwards, layered or combined in unexpected waysa visual playfulness that feels surprisingly modern even today.

From historic pages to contemporary inspiration

Many of these original prints are now housed in private archives and specialist collections. They serve as an enduring testament to the close dialogue between Belperron’s craft and the editorial world that celebrated her work.

Her legacy lives on not only through auctions and exhibitions but also through new features in current fashion media. Modern magazines continue to honour her as a pioneer whose vision of jewellery as wearable sculpture still shapes trends and inspires today’s designers.