Peek into the life of Tiffany & Co. designer Elsa Peretti and the spanish village she called home

My journey with Elsa Peretti started many, many moons ago when I was a wee 16-year-old and wanted desperately to have a silver bean necklace for my birthday. I was living in London at the time and Tiffany to me was all about Audrey Hepburn in the iconic movie, Breakfast at Tiffany’s. Two years later, dad got me an iconic blue box for my 18th birthday. I thanked him, excited to receive that precious box with the white ribbon. But alas, no pretty bean nestled in a soft blue bag. Instead, I got a manly sterling silver money clip with crisp British pounds attached to it. Many years later, when I started working in fashion, I wanted a piece of Elsa Peretti around my neck and it happened in the form of her iconic crucifix.

“When I decided to design the Madonna, I visualised the little medal lost such a long time before. Bit by bit, as I carved the wood and ivory, a line began to emerge, giving me a feeling of protection which symbolised my Catholic religion. I approached the cross in many different ways,” said Elsa Peretti.

That humble silver cross, with Christ’s head downturned, his body pinned to a simple T, was so poetic, so meaningful and hung around my neck for years as a symbol of my faith and as a protection. The fact that it was also so beautifully chic was never lost on me. I slowly began collecting more pieces of Peretti, from her bone cuff, to her starfish brooch to her poppy brooch. Delicate, whimsical, with a purity of line and exquisite polished finish, there’s a refinement in Peretti’s pieces that go beyond trends and fashion, and has a rhythm that transcends time.

And this year, when I was invited to experience a trip to her home in Spain, on the outskirts of Barcelona in a quaint town of Sant Marti Vell, I was thrilled. Peretti lived in the village until her death in 2021. She contributed to many projects in the village, including rebuilding, renovation of the local church, excavation of a Roman site, and establishing beautiful vineyards.

When Peretti acquired her house, it was not even in a livable state. The roof had collapsed and it was in complete disrepair. Interestingly, she wanted to retain much of the house’s character, and restored the home lovingly, ensuring most things and spaces stayed the same. Peretti’s love for all things eclectic ensured the house had a mix of everything.

As I walked into her personal space, it was as if she was still living there. Rooms were divided for her collection of art, her living and working spaces, and of course, her bedrooms and entertainment spaces. A whole room is dedicated to her equestrian loves, with a wall full of her famous belt loops.

“I designed a great many buckles with the same soft leather approach, a silver stud allowing for colours to be changed. I love all of them, but the horse, that handsome, strong, noble animal, inspired my first one,” said Peretti. She believed strongly in astrology, was friends with Dali in the ’60s and had many surrealist inspirations in her life and work.

The teardrop symbol, for example, was so significant in her work for Tiffany & Co. as she believed having a tear on your neck meant that you wouldn’t have it in your eyes! There was such beauty and symbolism in her work, and stepping into her space, you could feel her spirit.

Part of her home has been turned into a living museum of sorts, with spaces carved out extolling her close friendship with Halston, Liza Minelli, Frank Sinatra, Joe Eula (creative director of Halston) and Victor Hugo (window dresser for Halston and his lover).

Besides her work and her personal effects such as the perfume bottle she designed and the caftan she wore, the presence of her friends are also keenly felt, whether in pictures, photographs or in specially designed ornaments and decorations. Her guest room was painted a soft montserrat blue, which is a special mix of chalk and lapis lazuli. This colour gave her peace and symbolised water and sky.

She loved animals and always travelled with bird cages. You could say she was eccentric, and certainly had quirky habits that her housekeeper and personal assistant, Mariangels, recounted with humour. They include Peretti’s extensive to-do lists and how she would recite them with no note taking. She would follow up, remembering every single detail, and she would read everything. She loved Japan, the islands, and would often travel alone.

Peretti lived in three different homes in the village—Can Noves; Casa Caveilo, her entertaining space; and Casa Pequena, her favourite house to live in and sleep. There you can see pinboards of her work, and the 40th anniversary catalogue for Tiffany she was working on before she passed. Peretti invited artists to her home, such as Xavier Corbero whose work can be seen on the walls.

Mixed in are images by photographer Hiro of fighting fish hung on staccato walls, with an imposing round stone table with six large brass chairs. Everything here was a creative refuge—from the Patou perfume she always wore to her feather earrings. There was always music playing in the house, be it flamenco or jazz. Diptyque candles and smoke filled the house with intense light and scents.

Perhaps the most symbolic act by Peretti lies in a local Catholic church with its own private niche. In there, on top of a green lit column, sits a solid silver rectangular box that she had designed containing her ashes. Even in death, Peretti’s legacy of design, purity, simplicity and beauty lies encased in sterling silver. A fitting symbol of style in life and death.