Mai­son Cartier

Avion Luxury International Airport Magazine - - BRAND HISTORY - Watch High Jewellery Col­lec­tion 2012. Temps Moderne de Cartier. Case in 18 carat white gold. 508 bril­liants (ap­prox­i­mately 3.7 carats). Down, from left. Pan­ther clip brooch, 1949. This pan­ther is the sec­ond three-di­men­sional ex­am­ple that Cartier made for

Cartier’s his­tory is tied to the pi­o­neer­ing spirit of its founder Louis-François Cartier, when in 1847, he took charge of his mas­ter’s jewellery work­shop in Paris. A pas­sion nur­tured by the fam­ily for years. Nowa­days it is part of the Richemont Group. What were the fun­da­men­tal choices for its growth? The third gen­er­a­tion of the Cartier fam­ily had very am­bi­tious projects for the Mai­son and a vi­sion based on val­ues that went be­yond fam­ily ties. Al­ready by 1933, when Louis Cartier de­cided to re­tire from the busi­ness, he en­trusted the run­ning of the Mai­son to Jeanne Tous­saint, who al­though not part of the fam­ily was in his eyes the best per­son for the role. So we can say that from that day, al­though the Mai­son was still prop­erty of the Cartier fam­ily, it was de­cided to pass the lead­er­ship on to the most com­pe­tent peo­ple around, with the aim of mak­ing the com­pany grow in line with the founders’ poli­cies. In short, a change in man­age­ment did not bring about a change in the Mai­son’s val­ues, which brought suc­cess and cre­ated Cartier’s story: a unique style, recog­nis­able by ev­ery­one and by its rel­e­vant cre­ations. Cartier has al­ways had ex­cep­tional clients, from the royal world (kings, em­presses, princes, princesses and duchesses) to that of show busi­ness (the em­blem­atic “Tay­lor-Bur­ton” di­a­mond). What has made Cartier jewels so sought af­ter? I think that it’s the ex­cel­lence of the cre­ations in terms of style, the qual­ity of the ma­te­ri­als and the savoir-faire in cre­at­ing a rap­port be­tween clients and the Mai­son: for ev­ery ex­cep­tional client and ev­ery ex­cep­tional oc­ca­sion, there is an ex­cep­tional item of jewellery. Also, Cartier has al­ways been the source of eco­nomic trans­ac­tions of il­lus­tri­ous pieces. Our clients know that the Mai­son is the right place to find ex­cep­tional jewellery. Par­tic­u­larly, we have been a link be­tween the his­tor­i­cal jewels of Old Europe and the new con­ti­nents, first Amer­ica then Asia. In 1904 the Mai­son cre­ated the first wrist­watch for the pilot Al­berto San­tos-Du­mont. To­day it is a leader in fine watch mak­ing and Tortue, Tank, Baig­noire, Pan­thère, Pasha re­call the “Cartier era”. How have they be­come class archetypes? Cartier has al­ways been con­sid­ered pi­o­neers of wrist­watches; there­fore it al­ready has strong cred­i­bil­ity in this field. The Mai­son is tied, in the peo­ple’s imag­i­na­tion - and with good rea­son -, to the creative watch in terms of form, ef­fec­tively since 1904. It is pre­cisely this cre­ativ­ity that con­tin­ues to set us apart from all other watch­mak­ers, and al­lows us to lead in this field even to­day. Ob­vi­ously we’re not talk­ing about vol­umes, pro­duc­tion, ma­te­ri­als or move­ments, I’m re­fer­ring to the cre­ativ­ity and the orig­i­nal­ity of the mod­els. The art of Cartier jewellery blos­somed in 1906 with Art Déco jewels, and then in 1924 passed to one of the brand’s most fa­mous cre­ations, the Trin­ity. Fol­lowed by Must de Cartier in the 70s and more re­cent ex­quis­ite cre­ations. What artis­tic abil­ity has made Cartier’s know-how fa­mous around the world? We are con­tin­u­ously search­ing for ex­cel­lence in savoir-faire. Our crafts­men are trained in-house for sev­eral years in or­der to raise them up to our level of re­quire­ments and our stan­dards. Our savoir-faire is not only based on aes­thet­ics, our aim is to also cre­ate pieces that are a plea­sure to wear, com­fort­able, in move­ment. The Cartier piece is ex­halted by the flu­id­ity of the ma­te­rial, the man­ner in which the pieces are struc­tured, with flex­i­bil­ity. The piece needs to take the body’s shape, so we fo­cus on plea­sure just as much as aes­thet­ics.

Collezione Orologi Alta Gioiel­le­ria 2012. Temps Moderne de Cartier. Cassa in oro bianco 18 carati. 508 bril­lanti (circa 3,7 carati). Sotto, da sin­is­tra. Spilla con pan­tera, 1949. Questa pan­tera è il se­condo tridi­men­sion­ale es­em­pio che Cartier ha fatto per la duchessa di Wind­sor. Spilla in platino, opale, smer­aldo e dia­manti. Anello Sor­tilège della collezione Cartier.

Cartier has suc­cess­fully dif­fer­en­ti­ated its busi­ness: the bur­gundy leather goods, pens, scarves, per­fumes, glasses and gift items. Dif­fer­ent prod­ucts united by the ex­clu­siv­ity of the brand… Since its cre­ation in 1847, the Mai­son has po­si­tioned it­self as “gioiel­liere, orefice e marc­hand de nou­veautés” which means that it sold all types of ob­jects. Jac­ques Cartier, on the oc­ca­sion of the French Arts Ex­hi­bi­tion in Cairo in 1929, gave an in­ter­view in which he ex­plained that the Mai­son’s vo­ca­tion was to cre­ate the most lux­u­ri­ous fin­ery with the most beau­ti­ful stones, up to small combs that women can slip into their hand­bag. It is im­por­tant that the aes­thet­ics and the savoir-faire give the ob­ject all the nec­es­sary el­e­gance and pre­cious­ness. From the be­gin­ning un­til now the Cartier vi­sion has re­mained the same. Since 1989, Cartier has owned a pri­vate col­lec­tion that has been in­creased in size by buy­ing pieces pri­vately or at in­ter­na­tional auc­tions. Of the 1360 pieces, which, in your opin­ion, best re­flects the his­tor­i­cal and stylis­tic im­por­tance of the Mai­son? A plat­inum tiara in “halo” style comes to mind. Plat­inum is a very im­por­tant in­no­va­tion for Cartier, and the “halo” is a style that the Mai­son in­vented - a re­turn to Neo­clas­si­cism at the height of the Art Nou­veau pe­riod. I would choose Queen El­iz­a­beth of Bel­gium’s plat­inum tiara in “halo” style, cre­ated in 1910 and later adapted es­pe­cially for her in a ban­deau style in 1912, in other words it was worn on the fore­head in­stead of on top of the head - an avant-garde style for it’s time - which was later pop­u­larised af­ter the First World War. The “Cartier Tra­di­tion” di­vi­sion was cre­ated from the pri­vate col­lec­tion, a long ex­pe­ri­ence of mar­ket­ing and sales of the cre­ations pro­duced be­fore 1970. What type of clien­tele does it cater to? Cartier Tra­di­tion in­volves all types of clien­tele. His­tor­i­cal pieces are be­com­ing in­creas­ingly more in­ter­est­ing to lovers of beau­ti­ful ob­jects and jewellery, with­out dis­tinc­tion, and the ma­jor­ity of the time it’s love at first sight. The pieces can be bought from our bou­tiques that stock fine jewel- lery (the Mi­lan-Mon­te­napoleone and Rome bou­tiques in Italy). There are also par­tic­u­lar oc­ca­sions where more ex­ten­sive stock is pre­sented in se­lect bou­tiques around the world or in some show­rooms, just think of the An­tiques Bi­en­nial in Paris. Ob­vi­ously the Cartier Tra­di­tion col­lec­tion is very limited be­cause the pieces are al­ways harder to find, and are ac­quired by us only when we are sure that we will be able to restore them re­spect­ing the tech­niques of the time. How many of the Mai­son’s bou­tiques are there around the world? It is present even in the most im­por­tant in­ter­na­tional air­ports. Is spe­cial at­ten­tion paid to air­port travel re­tail? We are present in 300 bou­tiques around the world and in a se­lec­tion of air­ports: those who re­serve ex­tremely high qual­ity spa­ces for a Mai­son like ours. We are very care­ful about the type of en­vi­ron­ment in which we can place an air­port bou­tique, just as we are when it comes to a city: we al­ways choose a lo­ca­tion that suits us de­pend­ing on the area, the street and of­ten even the po­si­tion that the bou­tique would oc­cupy on that street. From your ex­pe­ri­ence in this uni­verse of el­e­gance, how do you see the fu­ture of watch mak­ing and jewellery for the Mai­son? I’m very op­ti­mistic in the sense that hand-crafted items, and more gen­er­ally those which con­vey the idea of ex­cep­tion and cul­ture, are al­ways more recog­nised and val­ued. To­day more than ever, the con­cept of tech­ni­cal knowhow is im­por­tant and nec­es­sary to cre­ate ex­cep­tional prod­ucts from an aes­thetic and stylis­tic point of view. Par­tic­u­larly, watch and jewellery mak­ing per­fectly fit into this ten­dency - there’s a high de­mand for th­ese ob­jects. There­fore we con­stantly de­velop our tra­di­tional savoir-faire and our craft. We try to use new and un­ex­pected ma­te­ri­als with in­no­va­tive work­ing tech­niques, like the use of straw or mo­saics in our watches or even the plique à jour enamel in our jewellery cre­ations for the An­tiques Bi­en­nial (translu­cent enamel in a fine me­tal struc­ture). We look to­wards the fu­ture with con­fi­dence thanks to our unique style and our ca­pac­ity for in­no­va­tion, with­out for­get­ting the Mai­son’s ex­cep­tional her­itage.

Newspapers in English

Newspapers from Italy

© PressReader. All rights reserved.