Few art forms capture romance quite like ballet. With its graceful movements, poetic storytelling and emotional intensity, the practice mirrors the same spirit that defines Van Cleef & Arpels — long celebrated for transforming imagination and elegance into luminous jewellery.
Since its inception in 1906, the luxury house has found enduring inspiration in the realm of dance. Particularly, the artistry and discipline of ballet has lent an ethereal and poetic touch to the maison’s ornaments.
The relationship dates back to the 1920s in Paris. At the time, Louis Arpels — a passionate admirer of ballet — would often bring his nephew Claude to performances at the Palais Garnier, located just a short walk from the brand’s historic Place Vendôme boutique.
Fascination from the two combined forces led to the company’s most recognisable motifs. In 1941, the first Dancer clips were born — miniature ballerinas that quickly became signatures of the house.
Each figurine captures a fleeting moment of movement — an uplifted chasse or arabesque, a poised relevé or a sweeping turn — translated through precious metals and stones. Carefully executed details and unique individuality have since made them coveted among collectors worldwide.
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Several of these objets d’art were recently showcased in Singapore during the Ballerinas by Van Cleef & Arpels exhibition, held from Dec 5, 2025, to March 10, 2026, at Raffles Arcade. Concealed behind the “hidden” doors of Les Jardins Secrets by Van Cleef & Arpels, 38 dance-inspired items from patrimonial and private collections appeared to twirl elegantly behind glass vitrines, forming a glittering corps de ballet.
Seeing the Dancer clips up close evoked a sense of mesmerism. Suspended in mid-gesture, the feminine figures seem weightless, like enchanted beings captured in motion. Sculpted from various types of gold and platinum, each dancer is completed with carefully rendered accents — elaborate headdresses, pointe shoes, handheld props and layered tutus.
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In live productions, lithe and supple gestures are translated through clean lines. Achieving that breathtaking effect requires vigorous training and strength. Like the art form itself, a meticulous creative process lies behind the delicate designs.
Each clip begins as a hand-sculpted model in green wax, allowing the jeweller to study the figure’s volumes and posture in three-dimension. Once perfected, the wax is melted away and replaced with gold, which is then refined, polished and assembled by hand. Finally, carefully selected gemstones are set, illuminating the silhouette and introducing hues of colour.
One of the most distinctive features of the Dancer clips is the face, often represented by a rose-cut diamond. Popular across Europe from the 16th to 18th centuries, the rose cut predates the modern brilliant diamond. Without electricity in earlier centuries, its faceting captured candlelight in a softer, more diffused sparkle that created shadows reminiscent of human facial contours.
Many design elements also reflect the era in which each piece was created. Early editions from the 1940s, for instance, often feature larger diamonds. Round-cut stones embellished not only the face but also the bodice and tutu, sometimes complemented by emeralds or rubies. As the decades progressed, designs evolved alongside changing tastes and trends — later pieces became more vibrant and expressive through the use of gemstones and bold combinations such as various sapphires, coral and black onyx.
Beyond the statuettes, dance motifs have also appeared across other jewellery forms. Earrings, necklaces and brooches echo the textures of stage costumes, recreating the shimmer of sequins as well as the versatility of lace and embroidered fabrics. Fluid and ergonomic construction ensures comfort and flexibility for the wearer.
Scenes from renowned sequences are also engraved on top of vanity cases. The rectangular frame of vintage powder cases present the perfect canvas to illustrate the stage — celebrated performances such as Swan Lake and Raymonda are etched into the golden covers.
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In some moments, the maison’s imagination ventures further into fantasy. Eccentric creations that depict winged ballerinas or birds evoke a dreamlike world where dance and storytelling intertwine, paying homage to the whimsical nature of Van Cleef & Arpels.
Some pieces also pay tribute to celebrated icons in dance history. One such creation honours renowned American ballerina Suzanne Farrell, who danced the “Diamonds” part of Jewels imagined by the influential choreographer, George Balanchine. Her athleticism is captured through craftsmanship — from her defined muscles to the creased satin of well-worn pointe shoes.
This artistic dialogue is revisited by the house up until the present day. This year, 12 new clips were unveiled to complement the Ballet Précieux collection, introduced in 2007. These pieces draw inspiration from classical repertoires and their symbolic characters, some of which were presented at the Van Cleef & Arpels boutique at ION Orchard, the brand’s first duplex store in Southeast Asia. Amid the lush foliage of the in-door greenhouse, Danse de Séville, Fée Dragée, Castilla and Cléopâtre pranced side-by-side, their faces reflecting the natural sunlight that streamed through the open windows.
The dialogue between dance and jewellery extends beyond the display case. In 2020, Van Cleef & Arpels launched Dance Reflections, a patronage initiative dedicated to supporting choreographic creation, education and cultural transmission worldwide. Through collaborations with artists and institutions, the programme fosters new works while celebrating the heritage of dance.
This shared history was explored further during the “Dancing Jewels” conversation with choreographer Étienne Ferrère and art historian Laure Raibaut of L’École, School of Jewellery Arts. Their discussion traced the parallel evolution of dance and gems — from the opulent royal ballets of the 17th century, where dazzling garments adorned performers such as Louis XIV, to the enduring fascination with jewels both on and beyond the stage.
Ultimately, the connection between the two arts feels almost inevitable, with both fields pursuing perfection, precision and mastery to bring artistry to life. As the saying goes, “a dancer dies twice — once when they stop dancing, and this first death is the more painful”. In the hands of Van Cleef & Arpels’ artisans, however, their movements are immortalised in timeless works of art, forever holding their pose in golden radiance.
Bringing together three seminal works by American choreographer William Forsythe, one of the season’s highlights supported by Van Cleef & Arpels’ Dance Reflections unfolds through the presentation of Quintett, Trio and Enemy in the Figure. Performed by France’s Opéra national du Rhin Ballet, the programme reflects Forsythe’s enduring influence in reshaping contemporary ballet by reimagining classical vocabulary through a modern, theatrical lens.
Spanning works produced between 1989 and 1996, the evening opens with Quintett (1993), a deeply personal work set to Gavin Bryars’ poignant compositions. Gestures unravel with emotional restraint and quiet intensity through a continuous flow of solos, duets and trios — accompanied by choreography that convey memory and loss.
In contrast, Trio (1996) introduces a lighter, more playful energy. Set to the Allegro movement of Beethoven’s String Quartet No 15, the piece becomes an energetic dialogue between three dancers who explore balance, weight and momentum. Their interactions — sometimes cooperative, sometimes teasing — create an intricate interplay that feels spontaneous yet precisely controlled.
The programme culminates with Enemy in the Figure (1989), one of Forsythe’s most celebrated works. Starkly set against a diagonal screen and shifting spotlights, 11 dancers emerge from the shadows in a series of rapid, angular movements. Speed, precision and dramatic tension merge to produce a hypnotic spectacle, elevated Thom Willems’ pulsating electronic score.
