Asked to describe the moment that delighted him the most on the set of Frankenstein, the Guillermo del Toro film opening in theaters on October 17 before streaming on Netflix beginning November 7, Christopher Young immediately recalls the day he arrived on set with the Wade Necklace, a historic diamond and platinum design created by Tiffany & Co. in 1900 for Cleveland society matron Ellen Garretson Wade. Commissioned by her husband, financier and philanthropist Jeptha Homer Wade II, the necklace showcases more than 40 carats of old mine-cut diamonds in an intricate garland and floral design — and until that day on the Frankenstein set, it had never been seen on any woman’s neck other than Mrs. Wade.

When Young proceeded to place the necklace on Mia Goth, who plays Elizabeth in del Toro’s reimagining of the legendary Mary Shelley tale, he says he expected that some temporary adjustments to its size might be needed. “But it fit her perfectly; we didn’t have to do a thing to it,” explains Young, Tiffany & Co.’s vice president and creative director of Tiffany patrimony and global creative visual merchandising. “It was also obvious that wearing the necklace affected Mia, because she sat up differently. The diamonds, meanwhile, sparkled in a different way because Guillermo had chosen to light the scene using candlelight. That’s an effect you can’t create using imitation materials, and he saw it also, because he ended up reframing the scene.”

Tiffany & Co.’s inclusion in Frankenstein began as a request from costume designer Kate Hawley, who also has collaborated with del Toro on 2015’s Crimson Peak and 2013’s Pacific Rim. When Hawley first contacted Young, he says he didn’t immediately embrace the idea. “It’s normal when someone says Frankenstein, the first image that comes to mind is Boris Karloff and a dark castle and an insane scientist in the background,” Young tells The Hollywood Reporter. “But it was nothing like that when I started seeing the designs Kate produced. It was immediately apparent that this lavish production would be very suitable as a storyline to include Tiffany archival objects and jewelry.”

More than many other jewelry houses, Tiffany & Co. can boast a close connection to Hollywood — perhaps most famously when Audrey Hepburn strolled in front of its famed Manhattan windows in 1961’s Breakfast at Tiffany’s, and more recently with 2013’s The Great Gatsby, which produced a collaboration similar to Frankenstein. For 2002’s Sweet Home Alabama, a key scene starring Reese Witherspoon and Patrick Dempsey was filmed on the main floor of Tiffany & Co.’s flagship on New York’s Fifth Avenue. But there was a next-level element to the archive jewels used for Frankenstein, Young says. “It’s incredibly rare for these pieces [in the film] to see the light of day,” he notes.

That’s especially true of a double-row scarab necklace Goth also wears in the film, a 1914 design crafted of art glass and gold in the workshop of Louis Comfort Tiffany by two of his most celebrated artisans and designers, Meta Overbeck and Julia Munson. “There’s a wonderful symmetry about a necklace being realized by two talented women in the early 20th century, to be worn today by another talented woman, who is starring in a film based on a novel by yet another talented woman, Mary Shelley,” Young points out. Like the Wade Necklace, this is the first time the scarab design has been used in a film.

Among other Tiffany & Co. designs seen in the production, the house also crafted a pocket watch worn by Charles Dance, who plays Leopold, the father of Oscar Isaac’s Victor Frankenstein. “It’s not an archive piece; instead it’s a recreation of a 19th-century design, executed faithfully in gold,” Young says. “But there was an existing Frankenstein crest, and we had that engraved onto the watch to add to its authenticity.”

Both del Toro and Young seem equal parts amused and understanding of the additional measures required by Tiffany & Co.’s participation in Frankenstein. “We had more security for the Tiffany pieces than for many of the stars of the film,” the director jokes in a just-released featurette about the collaboration.

“The jewelry had its own trailer,” Young adds to THR.

Now those jewels grace the flagship’s Fifth Avenue windows in yet another collaboration. Del Toro lent some of the miniatures he oversaw for Frankenstein‘s production design to be used as window-display backdrops for both the jewels seen in the film and related modern designs. The jewelry house describes the window designs as an immersive experience featuring digital and lighting elements interspersed with animation and the film score by Alexandre Desplat, who won an Oscar for his work with del Toro on 2017’s The Shape of Water. The best time to view the windows? After 7 p.m., Young recommends, when the various elements combine to create an experience that celebrates the film and is shown at 10-minute intervals.

Young says the director expressed an interest in creating something for the windows early in the filming. “Guillermo is a very tactile artist, and we always think of our windows as a sort of street theater,” he explains. “It was his idea to create these scenes and this experience in the windows, using some of the miniatures created for the film’s special effects, because he’s an artist and a true storyteller.”

The Tiffany & Co. windows highlighting Frankenstein are open for viewing through November 3 at 727 Fifth Avenue in New York, while a second window exhibition will be on display at Selfridges London from October 17 through November 9.