It suits an actor whose range runs from the feverish glamour of Saltburn to the tragic grandeur of Frankenstein, and who wears tailoring with unforced ease. It suits Cartier too, a house that has long favoured quiet confidence over spectacle.
The collection itself widens an idea born in New York in 1969, when designer Aldo Cipullo made love a freedom, fastened with a screw. The new necklace unfurls like a golden ribbon, its fluid gadrooned links interspersed with the signature screws. It comes in rose gold, yellow gold or rhodium-plated white gold, and is made to drape and move with the body.
The bracelets are the real surprise. In place of the screws sit 0.80-carat round diamonds, held in a screw-shaped white gold setting, even on the rose and yellow gold versions. The stones gain brilliance while the LOVE vocabulary stays intact. Each piece is assembled from 200 miniaturised components, every one polished by hand, and an invisible, patented clasp lets the diamond bracelet join another, so you can pair, layer and mix with the original all-gold design as you please.
The campaign, shot in Paris, follows a couple along the Seine, a river that unspools like a ribbon and a fitting metaphor for infinity.
That is the point of LOVE Unlimited. Love must be felt and worn as it can hardly be staged or merely displayed.