As lecturer David Cabrera noted, “Symbolism is very subjective.” Still, certain patterns persist. In Chinese tradition, the number eight evokes prosperity, so much so that some request it in phone numbers or license plates. In contrast, the West historically vilifies the number thirteen, tracing its origin to Judas, the thirteenth guest at the Last Supper. These numerical superstitions find echoes in design: Gabrielle Chanel’s affinity for the number five led to the naming of the now-iconic N°5 fragrance, while Christian Dior, a man so superstitious he never left home without five charms, immortalized his devotion to the number in both narrative and motif.

Cultural motifs, too, become translatable signs in the lexicon of high jewelry. The Eye of Fatima, prevalent in Asia Minor, serves as a talisman of protection, often reimagined in enamel and sapphire by regional designers. In North Africa, the Khamsa or Hand of Fatima evokes hope and warding off the evil eye. Within the course, participants learned that should an evil eye trinket shatter, it has done its duty, absorbing harm, breaking in sacrifice.

Shapes, stripped to their essence, carry weight as well. The triangle represents protection, the circle symbolizes imperfection and the cyclical nature of life, while the square is seen as the embodiment of perfection and structure. These symbols, when integrated into luxury jewelry design, transform objects into coded language – talismans of intention.

Fashion houses have not only embraced these symbols, but built legacies around them. Chanel’s star-drenched “1932” collection celebrated cosmic inspiration and Leo-centric power, echoing Mademoiselle’s own words: “I love everything that is above; the sky, the moon, I believe in the stars.” She once declared, “I am a lion, and like it, I emerge from the bushes, powerful and independent.”

At Cartier, the panther, sleek, regal, untamed, became a house icon during the Art Deco period. From 1915 to 1958, the panther emerged as a symbol of femininity and strength, immortalized in gold and onyx. The maison’s “Tutti Frutti” jewels, emerging post-1925’s Tutankhamun discovery, channeled Egyptian revivalism into modern design. Likewise, Dior’s lily-of-the-valley flourishes – said to be hand-stitched into his suits – were tributes to delicacy and personal belief.

Van Cleef & Arpels, a maison rooted in poetic whimsy, has long embraced symbolism as design language. The Alhambra motif, a modern four-leaf clover, speaks of luck and balance. The Palais de la Chance collection is a medley of charms: ladybugs, swallows, stars, and leaves rendered in emeralds, diamonds, and coral. As Jacques Arpels once mused, “To be lucky, you have to believe in luck.”

Stones, too, become celestial conduits. According to the course’s second chapter, “Powerful Stones,” gems are tethered not just to terrestrial power, but cosmic alignment. Gold, long associated with the sun, finds its gemstone in the diamond with a symbol of clarity and resilience. The moon, tied to silver, is linked with moonstone and emerald – both carrying energies of intuition and growth. Chinese culture reveres jade for its healing properties and sacred history. The jade funerary armor from China’s Han Dynasty (206 BCE–220 CE), for instance, is the only known complete suit of its kind – not made for royalty, but a soldier, elevating symbolism over social rank.

Personal meaning also threads through lineage. In a poignant video shared during the session, Jean Arpels (nephew of Estelle Arpels, co-founder of the house) spoke of the jade piece he wears in honour of his grandmother. Given to him at 18, engraved with “Arpels,” the ring served as both a keepsake and a legacy, a physical embodiment of faith and familial belief.

Contemporary designers continue this lineage. David Webb’s mid-century masterpieces fused animal symbolism with architectural drama: zebras, totems, serpents and celestial beasts crafted in ruby, coral, jade, and diamond. His works remain beloved by collectors who view jewelry not merely as accessory, but as artifact.

As the session closed, a quiet moment unfolded: the distribution of certificates. A gesture both ceremonial and symbolic, not unlike the subject matter of the course itself. Proof not just of attendance, but initiation into a centuries-old language of meaning through ornament.

In a world where the visual often supersedes the spiritual, jewelry continues to serve as a bridge between worlds, between selves, between past and future. The L’ÉCOLE School of Jewelry Arts reminds us that sometimes, meaning lies not in scale or sparkle, but in belief.