“Touch Wood”: when Van Cleef & Arpels was already making people touch wood in 1916
At Van Cleef & Arpels, luck is never a mere coincidence. It forms its own distinct jewelry language, composed of four-leaf clovers, benevolent fairies, natural materials, and protective symbols. The Croire à la Chance (Believe in Luck is one of its most singular expressions: a jewel in precious wood and gold that transforms a maxim by Jacques Arpels into a personal talisman.
Reinterpreted at the beginning of 2013, this bangle bracelet draws its inspiration from an iconic creation of the 1970s. Available in ebony, amaranth and violet wood, it testifies to a lesser-known facet of the Place Vendôme House: its long-standing taste for wood, organic materials and jewelry imbued with lucky charm value.
Thestory of the Believe in Luck bracelet begins well before the 1970s. It has its roots in 1916, in a context where lucky charm jewelry was particularly popular.
Starting in February 1916, Van Cleef & Arpels marketed a line of wooden jewelry called Touch Wood. The name refers to the superstitious gesture of touching wood to ward off bad luck. Bracelets, rings, and wedding bands were then made of wood or materials designed to imitate certain precious woods, and then embellished with platinum, diamonds, or colored stones.
Thename Touch Wood was registered on June 30, 1916, a sign that the House did not consider wood a mere seasonal fad. It was already seeking to build a coherent creative universe around this material and its talismanic dimension. The collection remained on the market until March 1920.
This story reveals a particularly modern approach to jewelry. The precious object does not rely solely on the intrinsic value of the gold or the stones: it acquires its power through the narrative, the gesture, and the belief that its owner attributes to it.
Luck, a founding value of the House
Luck runs through the entire history of Van Cleef & Arpels. In the Maison's archives, the four-leaf clover appears as early as 1906, alongside horseshoes, ladybugs, charms, guardian fairies and wooden talisman jewelry.
Jacques Arpels, nephew of the founding couple, himself maintained an almost ritualistic relationship with symbols of good fortune. He would pick four-leaf clovers in the garden of his house in Germigny-l'Évêque and offer them to his collaborators, accompanied by the English poem Don't Quit, an invitation to maintain hope and determination.
He is credited with this phrase, which has become inseparable from the identity of the House:
"To be lucky, you have to believe in luck."
More than just an advertising slogan, the quote sums up a philosophy: luck is not just an external event, but an inner disposition, a confidence that one chooses to cultivate.
This design found its most famous expression in 1968, when Van Cleef & Arpels created the first Alhambra, composed of twenty quatrefoil motifs in crushed yellow gold. Inspired by the four-leaf clover, it quickly became one of the most recognizable lucky charms in contemporary jewelry.
The Believe in Luck bracelet, an iconic creation from the 1970s
In the 1970s, jewelry broke free from some of its conventions. The pieces became more generous in size, yellow gold gained prominence, and houses explored unexpected combinations between precious and natural materials.
Van Cleef & Arpels then returned to wooden jewelry, frequently made from snakewood or amboyna. The material was sought after as much for its nuances and feel as for the popular belief associated with it.
It was during this decade that Jacques Arpels' maxim appeared on a wooden bracelet. The inscription transforms the piece of jewelry into an object of conviction: the wood evokes the gesture of "touching wood," while the words give tangible form to optimism.
The heritage archives of Van Cleef & Arpels confirm this return of wooden jewelry in the 1970s and 1980s, as well as the presence of the famous assertion on one of the new bracelets from this period.
The creation thus distinguishes itself from a simple vintage accessory. It brings together three essential dimensions of the Van Cleef & Arpels style :
- a natural material laden with symbols;
- a design simple enough to let the wood speak for itself;
- a personal message that transforms the object into a talismanic jewel.
The 2013 reissue: three precious woods, three personalities
At the beginning of 2013, Van Cleef & Arpels brought back the Croire à la Chance bracelet in a special edition. The creation takes the form of a wide and sculptural bangle, punctuated with engraved plaques in yellow or rose.
Three wood species were then selected: ebony, amaranth, and violet wood. Each has its own chromatic depth and reacts differently to light.
Ebony, for a graphic contrast
Deep black, ebonyreveals , after polishing, a dense and almost mirror-like surface. Combined with yellow gold, it creates a sharp, architectural, and immediately legible contrast.
This version is probably the most radical in the series. The bracelet becomes a dark line around the wrist, punctuated by the warm glow of the engraved plaques. It pairs easily with a minimalist wardrobe, an ivory suit, a white shirt, or a black dress.
Amaranth, for an unexpected color
Amaranthrecognizable by its purple hue, which is revealed when the wood is cut and worked. Its fine grain and intense color give the bracelet a more expressive presence.
When paired with rose gold, amaranth creates a warm and contemporary harmony. It will particularly appeal to those who love colored gemstones, jewelry with deep hues, and combinations less conventional than the traditional black and gold duo.
Violet wood, for its rich grain
Violet wood displays brown tones with purple undertones. Its irregular grain makes each surface naturally unique.
This material lends the bracelet a more nuanced, almost retro elegance. The object seems to carry within it the memory of precious furniture, marquetry, and French decorative arts, without ever losing the purity inherent in a contemporary piece of jewelry.
The dialogue between the jeweler and the cabinetmaker
Working with wood to adapt it to the body requires a different approach than working with metal. The material has its own grain, density, tensions, and natural variations. It must be selected, stabilized, shaped, and then polished to obtain a smooth curve and a surface that is pleasant to the touch.
For this re-edition, Van Cleef & Arpels partnered with a master cabinetmaker ,creating a dialogue between artistic crafts. The jeweler works on the gold elements, engraving, and assembly; the cabinetmaker reveals the depth of the essence and constructs the bracelet's volume.
This collaboration gives the jewelry a special position. It belongs to the world of jewelry, but also borrows from exceptional furniture its relationship to surfaces, polishing and the sensuality of the material.
The Croire à la Chance bracelet serves as a reminder that luxury isn't measured solely by the quantity of stones or the weight of the metal. It can also reside in a perfectly balanced curve, carefully chosen veining, or the softness of a material under the fingers.
A creation that straddles the line between jewelry and art object
The Croire à la Chance bracelet naturally occupied a place in the cultural landscape of the early 2010s. The Musée des Arts Décoratifs in Paris dedicated the exhibition "Van Cleef & Arpels. TheArt of High Jewelry ", presented from September 20, 2012 to February 10, 2013.This retrospective traced more than a century of creation and highlighted, in particular, Van Cleef & Arpels' ability to combine innovation, precious materials, and decorative arts.
In this context, the re-release of the bracelet was not a matter of gratuitous nostalgia. It showed how a Maison can revisit its archives without mechanically reproducing them: preserving the founding idea, refining the proportions, renewing the essences and adapting the jewel to contemporary sensibilities.
How to wear the Believe in Luck bracelet?
Despite its width, the bracelet maintains a great formal simplicity. It can be worn alone as a cuff, but also incorporated into a more personal composition.
Alone, as a manifesto piece
An ebony bracelet is enough to structure a silhouette. Worn against the skin or on the thin sleeve of a cream suit, it becomes the focal point of the outfit.
With natural hues
Amaranth and violet wood pair easily with beige, sand, cognac, chocolate, or dusty rose. The wood then brings a warmth rarely found in an entirely metallic room.
In measured accumulation
The bracelet can be paired with a delicate gold chain, a simple bangle, or a watch with understated proportions. However, layering should be done sparingly to preserve the legibility of the inscription and the grain.
This freer approach to composing jewelry aligns with the current evolution of jewelry design: pieces conceived for everyday wear, mixed and matched to create a personal style. This approach is also explored by Dinh Van and his concept of jewelry as a gesture.
The engraving turned inward
The quote can be oriented towards the inside of the wrist. The message then becomes almost secret, visible only to the wearer of the bracelet rather than to those around them.
This detail profoundly alters the relationship with the object. The bracelet is no longer a slogan on display, but a personal reminder: a phrase that one keeps close like a ritual or a promise.
Why does the Believe in Luck bracelet remain so desirable?
Several reasons explain the enduring strength of this creation.
The first reason lies in its timeless design. The bracelet is based on a simple shape, strong enough to last through the decades without appearing dated.
The second lies in its combination of materials. The contrast between precious wood and gold produces an elegance less expected than that of an entirely metal bracelet. The surface is never completely uniform: each shade and each vein contributes to the piece's personality.
The third is narrative. At a time when enthusiasts seek jewelry capable of telling a story, Croire à la Chance (Believe in Luck) brings together heritage, craftsmanship, and emotion. It doesn't just showcase a jewelry signature; it embodies an idea.
This narrative value also contributes to the interest of historical creations in the second-hand jewelry, where discontinued, documented and immediately recognizable pieces are particularly sought after.
A contemporary talisman by Van Cleef & Arpels
The Croire à la Chance bracelet encapsulates the world of Van Cleef & Arpels with remarkable economy of means. It features neither spectacular pavé settings nor demonstrative motifs. Its power lies in a balance between material, form, and language.
Wood evokes a universal superstitious gesture. Gold affirms its jewelry-like quality. Engraving transforms the piece into a message. Together, these elements create an object worn as much for its beauty as for what it represents.
Through it, the House reminds us that preciousness does not depend solely on the rarity of a gem. It can be born from a living material, the work of several artisans, and a phrase precise enough to transcend time.
Ultimately, believing in luck may mean wearing on your wrist the idea that elegance can also protect, reassure, and accompany.
Frequently Asked Questions about the Believe in Luck Bracelet
What is the origin of the "Believe in Luck" bracelet?
The model is part of the history of Van Cleef & Arpels' lucky charm jewelry in wood, which began with the Touch Wood line in 1916. A bracelet bearing Jacques Arpels' maxim then appeared in the 1970s.
What phrase is engraved on the bracelet?
The bracelet bears the quote attributed to Jacques Arpels: "To be lucky, you have to believe in luck."
What type of wood was used for the 2013 edition?
The 2013 special edition was offered in three versions: ebony, amaranth and violet wood, with engraved plates in yellow gold or rose gold.
Why does Van Cleef & Arpels use wood?
Wood is prized for its aesthetic qualities, its feel, and its symbolic association with good luck. It has been part of the House's creative vocabulary since the Touch Wood collection, launched in 1916.
Also read
- Piaget Place Vendôme: when the flagship becomes a house of hospitality
- When Dinh Van turns jewelry into a gesture: modernizing a French icon
- Discover Luxe Daily's jewelry analyses
Official French sources
- Van Cleef & Arpels – Van Cleef & Arpels and luck
- The Van Cleef & Arpels Collection – Lucky Charm Jewelry
- Museum of Decorative Arts, Paris – Van Cleef & Arpels, The Art of High Jewelry
