Van Cleef & Arpels’ Alhambra collection has a new fan base in male athletes and rappers, from Drake to Junior Caminero

When Hong Kong fencer Cheung Ka-long clinched Olympic gold in Paris last summer, it wasn’t only his swordsmanship that caught attention. Around his wrist gleamed Van Cleef & Arpels’ iconic Vintage Alhambra bracelet – a yellow gold piece featuring five four-leaf clover motifs in red carnelian, with the four-leaf clover and the colour red long associated with good luck and courage. As photos of his victory circulated, so did close-ups of his jewellery, which also featured Cartier’s Love bangle and ring in yellow gold, and two tri-link rings by the Santa Monica-based brand Hoorsenbuhs. The look was quiet but striking – one that captured how the Alhambra motif, once considered a quintessentially feminine symbol of luck, has become a global phenomenon among men. The story of the Alhambra begins in 1968, when Van Cleef & Arpels unveiled what would become one of the most recognisable designs in jewellery history. Inspired by the four-leaf clover and guided by Jacques Arpels’ belief that “to be lucky, you have to believe in luck”, the maison created a long necklace of 20 gold motifs edged in delicate golden beads. The design, launched as part of its La Boutique line, captured the optimism of the late 1960s. The jewellery was playful, tactile and meant to be worn every day. Unlike Van Cleef & Arpels’ high jewellery creations, La Boutique was approachable, offering “sensitive jewels, tender jewels, meaningful jewels”, as one advertisement from the 1970s put it. The Alhambra’s talismanic quality, combined with the house’s craftsmanship, quickly made it a favourite among stylish women such as Princess Grace of Monaco, Françoise Hardy and Romy Schneider. In each decade since, the motif has evolved through new materials – from onyx, lapis lazuli and tiger’s eye to rock crystal and mother-of-pearl – while retaining its core message of luck and elegance. In recent years, a growing number of men have made the clover their own. Canadian rapper Drake frequently wears Van Cleef & Arpels’ Alhambra necklaces in mother-of-pearl and 18k white gold, even name-dropping the brand in his 2022 song “BackOutsideBoyz”. British rapper Central Cee and American artist Offset have also accessorised their favourite luxury watches with Alhambra motifs, pairing them with diamond chains and bracelets for a layered look. In the world of Latin music, artists including Peso Pluma and Natanael Cano have also embraced the motif, weaving it into the bold, jewellery-heavy aesthetic of Mexico’s corridos tumbados (trap corridos) movement. The trend has also gained surprising traction within professional sport. Los Angeles Dodgers shortstop Miguel Rojas was among the first players to make the onyx Alhambra necklace part of his regular look, pairing it with a rotation of fine jewellery. His ear stack often includes Van Cleef & Arpels’ Sweet Alhambra studs in onyx alongside delicate Sweet Butterflies earrings in mother-of-pearl – an unexpectedly refined mix for the field. Meanwhile, Tampa Bay Rays infielder Junior Caminero has recently embraced the style, introducing his own onyx necklace and layering it with tennis chains, beads and a pair of matching Alhambra bracelets on off days. The Alhambra has also been spotted on cultural icons such as A$AP Rocky, football’s Jack Grealish and basketball’s LeBron James, each styling it in their own way – whether with tailoring, streetwear or stacks of fine jewellery. Sarah Cartwright, buying manager for accessories, fashion and fine jewellery at Selfridges department store in London, observes: “We’ve noticed a shift in how men are wearing Alhambra. It’s increasingly being embraced by high-profile figures who often mix pearls and Alhambra pieces in a way that feels both masculine and fluid. This visibility has helped redefine Alhambra as a gender-inclusive expression of modern luxury.” Cartwright adds that men are styling the pieces more creatively – pairing bracelets and necklaces with watches or Cartier’s Juste un Clou. “While they initially favoured more classic options like white gold, diamond and onyx Alhambra motifs, over the past year there’s been a clear shift towards bolder choices, with colours like green and red becoming increasingly popular,” she says. “This evolution reflects growing confidence and individuality among male jewellery buyers, as well as a broader move towards self-expression through accessories.” Van Cleef & Arpels’ visual identity, shaped by decades of floral motifs, fairies and delicate colours, celebrates a distinct softness and romanticism. Yet precisely that femininity may be what draws men to Alhambra now. As attitudes towards gender and luxury evolve, the idea of wearing something once considered “for women” has become a quiet declaration of confidence – a new kind of power dressing built on nuance rather than bravado. For many of its wearers, the Alhambra still carries its original meaning as a lucky charm – a subtle reminder of Jacques Arpels’ enduring belief in good fortune. In Hong Kong, Cheung Ka-long’s choice to wear a red carnelian Alhambra bracelet during his Olympic win was a clear snapshot of how far the motif has travelled. More than five decades after its debut, the Alhambra remains one of Van Cleef & Arpels’ most recognisable designs. Reimagined each season in new materials yet faithful to its original four-leaf clover form, it endures because it balances heritage with versatility – a design rooted in luck that now speaks to a new generation of male jewellery lovers.

Van Cleef & Arpels’ Alhambra collection has a new fan base in male athletes and rappers, from Drake to Junior Caminero

.css-1c6uqr6{color:inherit;font-weight:inherit;font-size:inherit;font-family:inherit;line-height:inherit;overflow-wrap:break-word;}The collection has attracted stars like A$AP Rocky, Offset, LeBron James and Hong Kong Olympic champion fencer Cheung Ka-long – but why?

The collection has attracted stars like A$AP Rocky, Offset, LeBron James and Hong Kong Olympic champion fencer Cheung Ka-long – but why?