
Wes Anderson tapped Cartier to create a rosary for The Phoenician Scheme
If there's anything we can expect from the Wes Anderson Cinematic Universe, it's that everything will be beautiful. Famously dedicated to aesthetics, no detail is too small for the director. For his latest film, The Phoenician Scheme (which premiered yesterday at the 2025 Cannes Film Festival), Anderson tapped Cartier to fashion one of the film's most recurring props: a rosary. Courtesy of TPS Productions/Focus Features © 2025 All Rights Reserved.
Anderson's 12th directorial venture follows a wealthy, embattled businessman, Zsa-zsa Korta (Benicio del Toro), who designates his only daughter, Liesl (Mia Threapleton), as the heir to his estate. Liesl, a nun, is almost always pictured with the rosary wrapped around her hand.
Anderson approached Cartier to create Liesl's bespoke rosary after stumbling upon one of the house's cross pendants from approximately 1880. Artisans from the high jewellery studio recreated the cross on a larger scale, at nearly 5.5 cm, to help enhance visibility onscreen. The ornate white gold cross is inlaid with rose-cut diamonds and a large central ruby cabochon, while the 78.5 cm chain features emerald beads, briolette-, square-, and rose-cut diamonds, along with five ruby cabochons. Matthieu Lavanchy Courtesy of TPS Productions/Focus Features © 2025 All Rights Reserved.
Cartier opted to incorporate rose-cut stones into the necklace as they felt it lent to Anderson's vision and penchant for vintage-inspired aesthetics. Meant to sparkle under candlelight, rose-cut diamonds peaked in popularity during the Victorian Era. So, while perhaps it would be unusual to see a nun carrying such an opulent piece of jewellery in our world, it fits right into the universe that Wes Anderson has created.
This article was originally published on Vogue .com.
Hashtags

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles


CNA
2 days ago
- CNA
How a vacuum cleaner designed by a Singaporean found its way to an award-winning Thai film and on the Cannes red carpet
Despite the recent Cannes Film Festival being an assemblage of some of the biggest stars in the world, it was a vacuum cleaner that sucked up the attention at the red carpet – and a major prize to boot. But this is no ordinary household appliance. Designed by award-winning product designer Sim Hao Jie, the red-and-white vacuum cleaner is one of the main stars of the Thai film A Useful Ghost, which won the Grand Prize at the Critics' Week section of this year's Cannes Film Festival. View this post on Instagram A post shared by 185 Films (@185films_official) The debut feature of director Ratchapoom Boonbunchachoke, A Useful Ghost stars Davika Hoorne and Witsarut Himmarat, and tells the story of a widower who discovers that the spirit of his deceased wife has possessed a vacuum cleaner. Sim is one of the Singaporean creatives who worked on the film, which is also co-produced by the Singapore-based media company Momo Film Co. View this post on Instagram A post shared by Hao Jie 豪杰 (@simhaojie) A recipient of numerous industry accolades, Sim Hao Jie is a staunch advocate of social design. In 2019, his team won the National Council of Social Services' Design Challenge with their idea of a platform that allowed senior citizens to actively contribute to society. In 2023, he was one of the recipients of the Outstanding Young Alumni Award at his alma mater: The National University of Singapore (NUS). 🏆🎉Congratulations to the winners of the NCSS Sector Design Challenge! Groups comprising individuals, member agencies and... Posted by NCSS Singapore on Thursday, December 5, 2019 So how did someone who, in his own words, uses design 'to address real-world social issues' end up working in a film about a vacuum cleaner that exorcises vengeful spirits? Well, we have Momo Film Co founder Tan Si En to thank for that. 'I knew Si En, and she introduced me to the team. Because of my background in designing consumer appliances, they brought me on board to develop the vacuum cleaner,' said Sim. But don't let the synopsis of A Useful Ghost fool you. According to Sim, it's not 'a typical film'. 'The story itself drew me in,' said Sim of his reason for joining the project. 'The plot was whimsical and layered with meaning. Unlike commercial projects that often focus on function and usability, this one gave me space to explore form as a way to tell a story.' Sim added that after he spoke with the director and producers, he felt that there was 'real room to play and express the character's narrative through design'. 'I had a gut feeling it would be a fun and meaningful project.' Designing the vacuum cleaner took about five months and Sim was given 'full creative freedom' in the initial exploration. 'Director Ratchapoom had a clear vision and shared visual references that helped guide the direction,' shared Sim. 'We refined the design together as a team.' Sim wanted the vacuum cleaner to strike a balance between realism and whimsical. 'I drew inspiration from the evolution of vacuum cleaner design and design movements like the [Italian design collective] Memphis Group and Soft Electronics,' shared Sim. 'One subtle detail is its slightly forward-leaning posture, which reflects the main character's subservient role in the story.' For Sim, the main challenge of his task was landing on a vacuum cleaner design that 'felt believable as an off-the-shelf product' while possessing the 'surreal, character-driven qualities of the story'. Nonetheless, the experience taught him how to design for cinema and making something that has 'visual presence and memorability on screen', to which he also gave props to the movie's prototype-making team. 'Their craftsmanship made the vacuum cleaner feel like a true character on screen.' View this post on Instagram A post shared by 185 Films (@185films_official) Of course, A Useful Ghost's Grand Prize win at Cannes made Sim's experience even more meaningful and fulfilling. He shared that the Cannes Film Festival marked the first time that he met the cast and crew in person. He also got to meet other collaborators like fellow Singaporean Lim Ting Li – the sound designer of A Useful Ghost – and French VFX studio Block D, which gave him a deeper appreciation of the entire filmmaking process. View this post on Instagram A post shared by Momo Film Co (@momofilmco) His vacuum cleaner proved to be a star on the red carpet as well. Dressed in a tuxedo, it drew the attention of many of the festival's attendees, who stopped by to take photos with it. 'It was surreal to see it receive so much attention. People described it as iconic, cute and memorable,' recalled Sim. 'It truly felt like the Useful Ghost vacuum character was with us the whole time.' With the film's win, Sim hopes that it opens the doors for Singapore designers in the film industry. 'There is so much potential for design from Singapore to contribute to storytelling in new ways.'

Straits Times
3 days ago
- Straits Times
The Phoenician Scheme review: Wes Anderson's beautiful but lifeless political satire
At The Movies: The Phoenician Scheme is a lifeless satire while The Life Of Chuck uplifts The Phoenician Scheme (NC16) 110 minutes, opens on June 5 ★★☆☆☆ The story: In 1950, the corrupt and internationally reviled millionaire Anatole 'Zsa-zsa' Korda (Benicio del Toro) is looking to cement his legacy with a massive construction project in the nation of Greater Independent Phoenicia. However, the tycoon is beset by those seeking his downfall, among them various governments, members of his family and business partners he has betrayed. After surviving a plane crash – the latest in a string of assassination attempts – Korda reconnects with his convent-raised daughter Liesl (Mia Threapleton), hoping that she will continue his work in case the assassins succeed. Father and daughter, accompanied by Norwegian tutor Bjorn (Michael Cera), head overseas to raise money for the project. When billionaires today get nostalgic about returning the world to a Golden Age, they are thinking about the time when the ultra-rich did the things they do today – sire offspring by as many women as they can, topple and install governments, build empires on the backs of forced labour – but without the annoyance of officials carping about alimony, child support or paying workers a living wage. Korda is American film-maker Wes Anderson's cartoonishly exaggerated version of the 1950s tycoon. The scoundrel has fobbed off his many children to a dormitory that houses them in pauperish conditions. A few of his former wives have died under mysterious circumstances, including Liesl's mother. He cares nothing for his kin. All he worries about is his legacy, the project of the film's title. This is Anderson's most political film since the Oscar-winning The Grand Budapest Hotel (2014), which used a fictional setting to explore the real consequences of 1930s fascism. Greater Independent Phoenicia might also be fake, but men like Korda were real, as were his equally wealthy and ruthless associates – Leland (Tom Hanks), his brother Reagan (Bryan Cranston) and Marty (Jeffrey Wright) – each representing an aspect of 1950s crony capitalism of the kind that secured monopolies in mining, shipping and industry in the wake of post-war decolonisation. Also lovingly lampooned are the movements that rose in response to men like Korda. British comedian and writer Richard Ayoade is Sergio, a Marxist rebel seeking to derail Korda's pet project, and Scarlett Johansson is Cousin Hilda, hoping to establish a kibbutz-like utopia in the desert. Despite some funny jokes and clever slapstick, it all feels like an arid exercise in moving chess pieces around a beautifully decorated board. Fine performances by Threapleton and del Toro breathe some humanity into the story, but even they cannot overcome the feeling that The Phoenician Scheme is a trip to an art gallery featuring mid-century aesthetics and not much more. Hot take: Anderson's visually gorgeous but cartoonish satire of post-war power and legacy takes a cool, distant view of a subject that deserves a more emotional assessment. The Life Of Chuck (NC16) 111 minutes, opens on June 5 ★★★☆☆ Tom Hiddleston in The Life Of Chuck. PHOTO: SHAW ORGANISATION The story: Best-selling American author Stephen King co-scripted this adaptation of his 2020 novella about an everyman named Charles Krantz (Tom Hiddleston). The Life Of Chuck opens into a world of deluges, wildfires and mass suicides. The internet then crashes in the surest indication of the end times. A schoolteacher (Chiwetel Ejiofor) and a nurse (Karen Gillan) are a divorced couple seeking connection, while puzzling at the sudden proliferation of billboards around their American town congratulating what looks like Marvel Cinematic Universe antagonist Loki on his retirement after '39 great years'. Charles 'Chuck' Krantz is this accountant embodied with mild-mannered charm by British actor Hiddleston. Three chapters will narrate in reverse his orphaned childhood (wonderfully played in succession by Benjamin Pajak, Cody Flanagan and Jacob Tremblay) with his grandparents (Mia Sara and Mark Hamill) to his death at age 39 from cancer, back at the movie's start. The universe is a manifestation of his lived experiences, and its accelerating obliteration of his relationships, memories, every moment of sadness and joy, including an exhilarating impromptu promenade dance to a busker's (played by American dummer The Pocket Queen) drum: This seven-minute centrepiece has gone viral for Hiddleston's fabulous footwork. Here is the humanist King of Stand By Me (1986) and The Shawshank Redemption (1994), rather than the touted 'King of Horror' of American producer, director and writer Mike Flanagan's previous King adaptations – Gerald's Game (2017) and Doctor Sleep (2019). The two constant collaborators are a match in creative sensibilities. Grandpa's haunted attic aside, the only supernatural pondered in their thoughtful and unexpectedly touching metaphysical fable is the wonder of life, even one as ordinary as Chuck's. Hot take: Soppy? Sure. But this uplifting tale on the fullness of the human existence is completely without cynicism. Join ST's Telegram channel and get the latest breaking news delivered to you.

Straits Times
4 days ago
- Straits Times
Less searching, more waiting: The Phoenician Scheme director Wes Anderson's formula for creativity
Director Wes Anderson (in green) with (from far left) Mathieu Amalric, Mia Threapleton and Benicio del Toro on the set of The Phoenician Scheme. PHOTO: UIP Less searching, more waiting: The Phoenician Scheme director Wes Anderson's formula for creativity NEW YORK – Opening in Singapore cinemas on June 5, American writer-director Wes Anderson's new film The Phoenician Scheme is a black comedy starring Benicio del Toro as Zsa-zsa Korda, a ruthless tycoon and arms dealer whose adversaries keep trying to kill him. After narrowly escaping death, he sets out to convince his estranged daughter Liesl (Mia Threapleton), a nun, to become his heir and, if need be, avenge his death. But as the pair embark on a globetrotting journey to secure funding for Korda's infrastructure project in the fictional nation of Phoenicia, they are pursued by rivals determined to sabotage his plans. Anderson, 56, brings his signature style – eccentric, stylised and ornate, with whimsical characters played by a large ensemble cast – to a story about a dysfunctional family, one of his pet themes. And as with movies such as comedy-drama The Grand Budapest Hotel (2014) – which was nominated for Best Picture, Best Director and Best Original Screenplay Oscars – he directed this from an original screenplay he wrote himself. But, asked how he comes up with these ideas, Anderson confesses it is a mystery even to him. Wes Anderson at The Phoenician Scheme's New York City premiere on May 28. PHOTO: AFP 'I don't know the answer to that,' the film-maker says at a recent New York screening of The Phoenician Scheme. 'Usually, when I'm finishing a movie, there's something else that comes along and that I start to get drawn to,' explains Anderson, who was also Oscar-nominated for the family comedy The Royal Tenenbaums (2001) and animated feature Isle Of Dogs (2018). 'I don't so much experience the act of searching for a new thing. It's usually, somehow, kind of waiting. Director Wes Anderson on the set of The Phoenician Scheme. PHOTO: UIP 'I think your brain is doing work that you're not totally aware of – something's kind of brewing and suddenly it clicks, and it can tell when you're ready for it,' says Anderson, who won a Best Live Action Short Film Oscar for The Wonderful Story Of Henry Sugar (2023), a fantasy based on a story by author Roald Dahl. 'But I do think the more you're reading and watching movies and sort of studying, the more it comes to you,' he adds. Puerto Rican actor del Toro, 58, who took home the Best Supporting Actor Oscar for crime drama Traffic (2000), agrees this is part of the formula for creativity. 'You have to study for the rest of your life forever, and be a student forever,' says the star, who picked up a Best Actor Oscar nomination for the crime thriller 21 Grams (2003). Anderson is known for attracting big names to his projects and working repeatedly with a handful of actors – notably Bill Murray, Owen Wilson, Willem Dafoe and Adrien Brody. Del Toro, who also starred in the film-maker's 2021 comedy The French Dispatch, says it is a singular experience acting with Murray, who appears in The Phoenician Scheme – his 11th collaboration with Anderson – as God. Puerto Rican actor Benicio del Toro (left) and US actor-comedian Bill Murray at a photo call for The Phoenician Scheme at the Cannes Film Festival on May 19. PHOTO: AFP 'I've always wanted to work with Bill Murray,' del Toro says of the 74-year-old American actor best known for his role in the Ghostbusters supernatural comedies (1984 to 2024). 'And I think I've seen everything – I've seen an actor show up with his own script, his own wardrobe, his own everything – but I've never seen an actor show up with his own soundtrack.' Murray, he reveals, walked onto the set one day blasting English singer-musician Eric Clapton's hit 1991 song Tears In Heaven from a Bluetooth device. 'It was very sad and everyone's attitude on set changed. 'And then Wes, who was very far away, screamed , 'Bill, classical music only!' And Bill went straight from Eric Clapton to Bartok or something. And everybody went back to work,' del Toro recalls, laughing. Benicio del Toro (left) and Mia Threapleton in The Phoenician Scheme. PHOTO: UIP The Phoenician Scheme marks English actress Threapleton's first lead role in a feature film . And even though she is no stranger to celebrities – being the daughter of English actress Kate Winslet, 49 – she was often starstruck on set, especially with American actor Tom Hanks, who plays Korda's business associate. 'I grew up watching all of those people, and the voice of Tom Hanks was my childhood,' says Threapleton, 24, who appeared in the period drama series Dangerous Liaisons (2022) and The Buccaneers (2023 to present). 'I sat down and was, like, 'Oh my god, he's talking to me. And he's telling stories about (the 1998 war film) Saving Private Ryan.' Director Wes Anderson (centre) with The Phoenician Scheme actors (from far left) Jeffrey Wright, Michael Cera, Benicio del Toro, Mia Threapleton and Rupert Friend at the Cannes Film Festival on May 18. PHOTO: REUTERS But she decided her best strategy was to take a deep breath and collect herself. 'I went, 'I'm just going to sit here and try not to have some sort of panic attack.'' The Phoenician Scheme opens in Singapore cinemas on June 5. Join ST's Telegram channel and get the latest breaking news delivered to you.