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A Thousand And One

A Thousand And One

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Hollywood sold Elizabeth Taylor before she was old enough to understand what was being sold. Then she learned how to own the spectacle.

Her face sold films. Her marriages sold magazines. Her diamonds drew queues around the block. But somewhere between MGM, Richard Burton, Bulgari and Fifth Avenue, Elizabeth Taylor stopped being simply the product — and became the woman controlling the value of her own image.

This is not really a story about jewelry. It is a story about ownership.

We follow the Taylor–Burton diamond and the queue on Fifth Avenue, the 33-carat Krupp she wore to breakfast, the Bulgari emeralds from the “money room,” La Peregrina — the pearl once worn by Spanish queens — the Vatican scandal, Lloyd’s of London and armed guards, White Diamonds becoming a billion-dollar business, and the 2011 Christie’s auction that turned her jewel box into history.

0:00 The queue for the diamond
1:27 The face that didn’t belong to her
2:44 The wedding was a premiere
4:29 The scandal economy
7:58 Cleopatra
9:43 The vault: the tiara, the rubies, the emeralds, the Krupp, the pear
18:24 How to wear it in 2026 — five rules
19:53 The cost
21:52 The name on the till
22:46 The designer
24:04 The auction of the century
25:19 The red ribbon

This video uses short excerpts for commentary and review from Ocean’s 8 (2018), Cleopatra (1963), Elizabeth Taylor: The Lost Tapes (2024), Working Girl (1988), the White Diamonds commercial (Elizabeth Arden, 1991), and 1950s newsreel footage.

Leipzig fashion fair photo: Bundesarchiv, Bild 183-1987-0825-005, CC-BY-SA 3.0. Stock footage via Pexels: KATRIN BOLOVTSOVA, Videogrammer.com, Ch Jawad, Alberto Escalona, Victor Silva, Clément Proust, Sahil Singh Raahee, Kamaji Ogino, Bofforss, cottonbro studio, Deeana Arts.

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