Suzanne Belperron: ‘My style is my signature’

In 1948, a discreet advertisement appeared in the French edition of Vogue magazine publicising the partnership of Jean Herz and Suzanne Belperron. The announcement, which simply stated the firm’s name and address in the 9th arrondissement in Paris, was illustrated with what appeared to be a silver paper chain, but on closer examination revealed itself to be a magnificent diamond ‘Tube’ bracelet.

This seemingly understated approach was absolutely in keeping with the firm’s identity, one that had been formed in the Art Deco era by Jean’s father, the successful Parisian gem dealer Bernard Herz, and the maverick jewellery designer Suzanne Belperron. Together they created some of the most innovative jewellery of the 20th century.

Today, Suzanne Belperron’s name is associated with a daring mastery of design. Her pieces, with their bold, angular shapes and modern materials, were coveted for their exclusivity; Diana Vreeland, Daisy Fellowes and Wallis Simpson were all clients. To be a Belperron woman was to be a sophisticated player in high society.

Belperron had a strong sensibility, taking inspiration from wherever she pleased: traditional Congolese jewellery, Brutalist architecture and Japanese sakura (cherry blossom) were all translated into provocatively cutting-edge designs. Her pieces transcend the time in which they were created, revealing a confident, visionary designer.

So distinctive was her work that Belperron never felt the need to sign it, stating, ‘My style is my signature.’ This has presented something of a challenge when it comes to attribution, and goes some way to explaining why the designer’s name was all but forgotten by the time of her death in 1983.

It was certainly the problem faced by Christie’s Jewellery specialists when Belperron’s ‘Tube’ bracelet was first offered at auction in 2018. Impressed by the scale and design of the piece, they concluded that it had probably been made by an important French jeweller — but, unlike in the case of paintings, provenance is rarely recorded with jewellery. Without a signature, it would be virtually impossible to prove that their conclusion was correct.

It was while leafing through a book about the designer that a specialist came across the advertisement in which the bracelet was featured. That advert, which appeared in 1948, marked the end of a traumatic period in Belperron’s life.

In 1942, the Nazis had arrested Bernard Herz and Belperron in German-occupied Paris, and while the designer was released, Herz, who was Jewish, was sent to Drancy internment camp. Before their arrest, Herz had signed the company over to the designer for safekeeping. Over the next few months, Belperron fought to have Herz released, but he was sent to Auschwitz, where he died.

After the war, Herz’s son Jean, who had been a prisoner of war, returned to Paris, whereupon Belperron transferred the company back to Bernard’s rightful heir. As a token of his gratitude, Jean Herz made Belperron a partner. The ‘Tube’ bracelet marked something of a rebirth for the designer, and the beginning of a successful working relationship that continued for many years.

The partnership of Herz and Belperron lasted until 1974, when the designer retired. Always an intensely private individual, Belperron disappeared into obscurity. It was not until the late 1980s, when her jewellery began appearing for sale, that interest in her work was reignited.

Despite this, it is still unusual to see her jewellery at auction, and a handful of pieces by Belperron in a sale marks an important event for 20th-century collectors. The problem persists that people often don’t know what they have — as the case of the ‘Tube’ bracelet illustrates. The Belperron name and her remarkable story add another dimension to what would be a significant piece of jewellery even without them.

While Belperron remains something of an enigma, she is unquestionably unique. She made her own rules in an industry dominated by men, and she created a lasting legacy. Once you’ve seen her work, you never forget it.

Joaillerie Paris is live for bidding until 17 December 2025 and on view from 12 to 17 December at Christie’s in Paris

Related artists: Suzanne Pelperron