We go behind the scenes with Swarovski to discover exactly who wore what at the opening of their new exhibition, Masters of Light

Swarovski has always understood a certain kind of desire—the kind that plays out in close-ups, on carpets, under bright lights. You don’t survive 130 years in fashion by being polite background decoration. You survive by being part of the image.

For its anniversary, the brand didn’t go to Vienna, or a museum, or anywhere you’d expect a heritage house to reflect on itself. Instead, it took over Amoeba Music in Los Angeles—a venue known more for dusty vinyl than jewellery vitrines—and invited Hollywood to come look. Cher showed up. Kylie Jenner , too. Viola Davis, Venus Williams, Baz Luhrmann, Catherine Martin, people whose lives require wardrobe planning and a tolerance for attention. If someone told you this was the premiere of a buzzy biopic about glamour, you’d believe them.

The centrepiece was Masters of Light – Hollywood, a new exhibition curated by Alexander Fury that pieces together Swarovski’s history through the costumes and screen moments it has long helped construct. There’s an honesty in acknowledging that the brand’s influence hasn’t been discreet at all—from Old Hollywood showgirls to Luhrmann’s maximalism, Swarovski has been a co-conspirator in dressing up the idea of fame. Under Giovanna Engelbert, Swarovski has sharpened that instinct. The jewellery is bigger, bolder, and increasingly comfortable being the point rather than the finishing touch. It feels designed for people who don’t apologise for liking beautiful things—or for wanting to be noticed wearing them.

And as such, this anniversary doesn’t read like a brand trying to reclaim relevance. More like one recognising that it never actually lost it. Hollywood keeps calling. Stylists keep reaching. People keep wanting something that changes how they feel the second it’s on. No sweeping reinvention. No breathless nostalgia. Just Swarovski crystals, still doing
what they do: making a moment look worth remembering.

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