For Cartier, the important part of savoir-faire is the hyphen between “savoir” and “faire”: the incessant movement between designers and craftsmen, the fruit of a creative dialogue and productive exchanges.
The challenge is to make the panther emerge through the design. Muscles, head, paws and ears: by stylising the detail, the power is released. The design becomes an animal, the panther comes to life.
The Cartier panther first leapt into the Maison’s aesthetic in 1914. Whilst Louis Cartier was the first to tame the legendary creature, his associate Jeanne Toussaint went on to make magnificent use of the now-iconic feline motif. Since then, the panther, by turns predatory, playful or languid, has revealed different facets of its wild personality from collection to collection.
Launched in 1992, the Pasha de Cartier Eau de Toilette became the symbol of an era, with a hedonistic trail that explores all the facets of lavender: aromatic, mineral, ozonic.
A sophisticated, sensual fougère accord, this new edition of the Pasha de Cartier fragrance features depth and warmth from the addition of amber. The fullness emerges and the heat spreads, woody like a crackling fire, smooth with sandalwood notes.
A scent in keeping with today’s generation, a talented community who owes its success to bold choices. Their creative and expansive vision of the world allows this exceptional pairing. A great classic, the Pasha de Cartier perfume, is partnered with an utterly contemporary and off-beat allure.
The bottle expresses this energy with its extraordinary design and distinctive Cartier codes:
The metallic gleam of the three bands that encircle the cap.
The lid topped with a blue cabochon inspired by the winding crown of the Pasha de Cartier watch.
The gadroons which add structure and upend the dynamic of the bottle.
Cartier and the Panther: Destinies Intertwined
Wild, magnetic, feline, the panther has been a creative signature for Cartier since her first sighting in 1914.
The first transformation took place in 1948, due to Jeanne Toussaint, nicknamed “La Panthère”. An eccentric, emancipated visionary, she dared to flesh out the creature into three dimensions.
A Surprising Aesthetic!
Jeanne Toussaint’s Panthère became the signature for a generation of bold women who saw themselves reflected in her; first and foremost, among them were the duchess of Windsor, Daisy Fellowes, and María Félix.
The iconic feline exercises its power and magnetism on the Panthère de Cartier collection.
The Design: Naturalist, Graphic, Abstract
Through the design of the panther, whatever its artistic expression, Cartier always demonstrates its desire to embrace the essence of things. The shapes, colours, cuts, volumes, postures, and symmetry or asymmetry structure the design, and punctuate and unleash the composition’s power of abstraction.
For Cartier, what is most important in the word “savoir-faire” is the union of the two words. It is a dialogue between creativity and technique, a permanent to-and-fro between designers, watchmakers, jewellery-makers, gem-setters, polishers and gem-cutters.
Creative and Technical Harmony
Design, gem mounting and paving all contribute to the panther’s realistic charm, down to the very last detail – the panther’s silky coat, which Cartier creates using its own “fur” setting technique. The idea is not to imitate but pay homage to nature, to breathe life into the animal and to provide it with a personality.
Panthère De Cartier: A Total Inspiration
From jewellery and watches to perfume and accessories, the panther has been reinvented over time and through different collections.
A Unique Assemblage of Exceptional Stones
Paying homage to the great ceremonial necklaces of the Maharajahs, this piece showcases an exceptional assembly of emeralds, as well as sapphires and rubies, set in accordance with ancient Indian know-how and tradition.
The engraved emeralds brought together by Cartier are all the more singular, as the “cluster” form of the pendant is rare in High Jewellery – though Cartier already made use of it in the 1920s and 30s. This pendant comprises 19 gems. The ensemble is completed by two emeralds totalling 86.96 carats and a central stone of 43.73 carats. All three are sourced from Colombia, one of the world’s most renowned gem-mining regions.
Their impressive weight is accentuated by the colour, brilliant intensity and crystallisation of their combined forms.
They are joined by an 18.58-carat hexagonal engraved Zambian emerald, a 23.24-carat engraved Burmese ruby, eight Burmese rubies totalling 46.34 carats and two Burmese rubies totalling 13.26 carats.
A remarkable assemblage of emeralds, perfectly matched in terms of hue, intensity and crystallisation, this necklace offers a dynamic visual composition in which colour adds rhythm and tempo. A total of 4,566 hours of jewellery work, setting and polishing went into this piece.
The Link Between the Design — the Jewel
The transition from two-dimensional drawing to an actual object is the first feat of the Maharajah necklace. From idea to reality, this transformation ushers in a multitude of unknowns, from modifications to the stones and colours, to adjustments that enhance the piece’s ergonomics. Designers and jewellers work side by side to serve a common purpose: transforming the original idea into an exceptional jewellery piece.
The Link Between Front — Back
A High Jewellery creation is a dazzling marvel, a dream transformed into reality. It is also an ingenious construction, conceived down to the millimetre, with a complexity of design that is imperceptible. The 19 emeralds on the necklace’s pendant comprise a perfect ensemble of architectural proportions. To create this drop, each gem is set in a very fine metal band, a lace-like structure affixed to the back of the necklace. As each stone is unique, the development of this customised framework sparked intense collaboration in the workshop, combining equal parts of aesthetic and technique.
The Link Between Visible — Invisible
To guide one’s gaze to the pendant’s emerald drops – and not to the tiny points of metal, just visible from certain angles – the designer and workshop manager came up with a trick: tiny sapphire beads were added to finish each emerald drop. In this way, the sapphire draws the eye to the emerald, in a colour pairing dear to Cartier.
The Link Between Weight — Lightness
All around the central part, several rows of beads are arranged, becoming a transformable bib. Depending on the chosen wearing style (the necklace can be worn in eight different ways), the number of rows varies, and with it the distribution of the gems’ weight. For this to be comfortable for each wearing style, the threading was intensively studied – with ensuing multiple tweaks and adjustments.
The Link Between the Physical — the Mind
Over 4,500 hours of work in the jewellery, setting and polishing workshops were necessary to bring the Maharajah necklace to life. The design sketch is the starting point: it provides the direction and foresees the different steps in the workshop, which are associated timelines. Parallel to this working time comes the time spent throughout the development of the piece, which compels designers and jewellers to envision a multitude of answers to questions that arise as the physical piece takes shape.
The Modular Nature of the Maharajah Necklace
This creation perpetuates the great Cartier tradition of transformable jewellery, revealing eight main ways of wearing the necklace and two variations for the pendant earrings. Thus, the inner ruby part is transformed into a choker; tassels and clusters of emeralds surrounding the central motif can be removed, offering a shorter version of the adornment; the central cluster is worn as a pendant on a chain. As for the pendant earrings, they can additionally accommodate the two side emeralds.
The determined and independent Ella Balinska joins the Panthère tribe: a community of strong personalities united by the same instinct.
A line of devoted panther fans including its creator Jeanne Toussaint, the Duchess of Windsor, María Félix and even Daisy Fellowes… all women of character for whom the panther symbolises freedom.
As well as graduating from the prestigious Guildford School of Acting, Ella has also trained in martial arts at the Academy of Performance Combat: Cartier has chosen this young British actress for her boldness and positive energy which she demonstrates in both her personal life and in her performances.
A carefree and joyful young woman whose magnetic vitality is expressed through her latest cinematic role in the continuation of Charlie’s Angels, inspired by the hit 1970s TV series and due for release in cinemas at the end of 2019. She stars as one of the three shining and exuberant heroines alongside Kristen Stewart and Naomi Scott.
An expert overview of the illustrious maison, the jeweller of choice for kings and queens, celebrities and tycoons. Illustrated with historic and beautiful Cartier necklaces, bracelets, rings, brooches and clocks sold at Christie’s.
The history of Cartier
The House of Cartier was founded in 1847 when the 28-year-old Louis-François Cartier took over a shop at 29 rue Montorgueil in Paris. His son Alfred took control of the company in 1874, by which time it already had an excellent reputation. However, it was Alfred’s three sons — Louis, Pierre and Jacques — who would go on to establish Cartier as a world-famous jewellery brand.
While Louis retained the responsibility for Paris, in 1902 Jacques went to London and only two years later received the Royal Warrant, thereby supplying jewellery to King Edward VII and his court. Pierre travelled to New York where, in 1917, he famously acquired 653 Fifth Avenue for two strands of the very finest pearls. This piece of prime real estate remains a flagship store to this day.
Since then the Maison has expanded globally, becoming what many consider to be the finest jewellery house in the world. Its clientele has encompassed royalty, film stars and business tycoons. King Farouk of Egypt, The Duchess of Windsor, Elizabeth Taylor, Grace Kelly and Clark Gable all made their way to Cartier to buy or have their jewellery made.
Important pieces and collections
- Cartier Trinity rings
- Cartier Panther
- Tutti-Frutti by Cartier
- Love and Juste un Clou
- Cartier Mystery clocks
Masterpieces and great Cartier collectors
King Edward VII of England used to refer to Cartier as ‘the jeweller of kings and the king of jewellers’. This reputation was such that at the coronation of King George V in June 1911, 19 of the tiaras worn at the ceremony were by Cartier. From Spain to England, Belgium to Russia, India to Siam, Kings and Queens around the world made Cartier their official supplier of royal jewellery.
Socialites and movie stars followed suit and Merle Oberon, Elizabeth Taylor, Grace Kelly and Gloria Swanson were all great collectors of Cartier jewellery.
Even the most discerning of diamond collectors would go to Cartier to have them mounted. Such was the case of Salomon Barnato Joel, who had made his fortune in the South African diamond mines, being the director of Barnato Brothers as well as De Beers Consolidated. In 1912, he asked Cartier to mount four of his best diamonds. Cartier created an outstanding stomacher or devant-de-corsage brooch, so fashionable during the Belle Epoque.
Designed around a central pear-shaped diamond of more than 34 carats, two navette-shaped diamonds and a heart-shaped diamond, this devant-de- corsage is a great example of the subtle and delicate ‘Lily-of-the-Valley’ setting used by Cartier around 1910 and mastered by their famous workshop ‘Atelier Henri Picq’ in Paris.
Up to this day, Cartier remains a favourite amongst great jewellery collectors and royal families. As an example Catherine Middleton, now Duchess of Cambridge, chose to wear the Cartier Halo diamond tiara for her wedding to Prince William in 2011.
Annabelle Wallis Shines In Cartier At The Premiere Of Seberg During The 76Th Venice Film Festival
MONICA BELLUCCI SHINES IN CARTIER
AT THE PREMIERE OF IRREVERSIBLE – INVERSION INTÉGRALE
Italian actress and Cartier ambassadress, Monica Bellucci, stunned in Cartier at the screening of Gaspar Noé’s Irreversible – Inversion Intégrale during the 76th Venice Film Festival. In 2002, Monica Bellucci moved the Cannes Film Festival jury with her performance in Irréversible by Argentine director Gaspar Noé. In this new version, he presented his dramatic film in chronological order.
Revealing beauty in all its guises: that is an enduring concept at Cartier, a filter through which all creation is viewed and an idea which gave rise to the Baignoire. It all began with an unprecedented step taken to reveal the creative power of watchmaking design hidden in ordinary forms. Cartier took this inspiration quite literally by initially designing an oval case in the 1910s that would later be transcended by several years of formal research. Transforming objects and embracing beauty are two key components of Cartier’s stylistic vocabulary and here this combined approach resulted in the birth of the Baignoire watch.
His stylistic research culminated in two straight, parallel lines joined by two curves, which formed the shape of a bathtub (baignoire in French) – hence its name.
The aesthetics would continue to evolve until eventually adopting its familiar slightly curved oval shape in the late 1950s, its dial stamped with Roman or Arabic numerals bordered by gold gadroons. This constituted the first stage of a creative process. Entirely reworked by Cartier’s design studio, today the Baignoire watch asserts its own essence. Its exacting finishes strike a balance between pure design and linear sophistication, paying homage to the cult 1958 model. Its design remains unchanged, yet the piece itself has evolved to offer a narrower bracelet and redesigned Roman numerals on a silvered sand-blasted background. The case back is seamlessly integrated into the case with water resistance up to 30 m offering full conformance with modern quality standards.
The Baignoire watch continues this aesthetic heritage by revealing a more dazzling presence than ever before as a graphic and sensual yellow-gold oval that adorns the wrist. On the white-gold version, the staggered diamond setting continues along the width of the gadroons to reach the case back. Although invisible, it represents the greatest refinement.
The Baignoire watch is a signature watch for women who have their sights set high, who forsake trends and fashions and choose this piece for its timeless French chic.
It speaks to cultured women blessed with great taste such as Catherine Deneuve, Romy Schneider and Jeanne Moreau – women who are only concerned with freedom and wit, in beautiful objects and life in general.
Angelina Jolie wore Cartier to Comic-Con.
Cartier Juste un Clou earrings, 18k yellow gold
Cactus de Cartier earrings, 18k yellow gold, diamonds
Cactus de Cartier ring, 18k yellow gold, diamonds
Cartier Les Oiseaux Libérés earrings, 18k white gold, emeralds, sapphires, mother-of-pearl, diamonds Panthère de Cartier ring, 18k white gold, diamonds, emeralds, onyx
Étincelle de Cartier ring, 18k white gold, diamonds
IN MAGNITUDE, CARTIER’S NEW HIGH JEWELLERY COLLECTION, MATERIALS COLLIDE IN A MARRIAGE OF PRECIOUS STONES AND ORNAMENTAL HARD STONES RARELY SEEN IN HIGH JEWELLERY.
AN UNEXPECTED ENCOUNTER, A STYLISTIC FEATURE STEEPED IN CHARACTER THAT BALANCES TECHNIQUE WITH CREATIVE FLAIR, UPDATED BY CARTIER TIME AND AGAIN SINCE THE EARLY 20TH CENTURY.
Original form, landscaped material, primary colours, varied nuances: the design translates the power of confrontation through an interplay of lines, ruptured rhythms and flowing movements. Light flashes from stones that bear the memory of the world. From this glittering collision, rippling rays of light project the force of the origins into the future.
Blue and purple sapphire, garnets and diamonds compose the material-landscape of the bracelet. At its centre is a 77.27-carat matrix opal. The evocative power of this fascinating gem sets the tone for the whole creation, from the choice of materials to the choice of colours. Rocky brown, aquatic and icy blues and flashes of purple make for harmonies of earthy colours with a hint of electricity.
Fused together in the central stone, the tones diffuse across the bracelet. Adding to the potent colours and contrasts is the evocative power of the cuts: round, faceted, fleshy briolettes; the glittering frosty bite of the geometric motifs in diamonds. This mobile, animated piece is an impressive feat of jewellery – a world worn preciously upon the wrist.