Cartier's High Jewelley Collection: Beautés Du Monde - Chapter 3

Luxferity, 03.02.2023

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Cartier's High Jewelley Collection: Beautés Du Monde - Chapter 2

CARTIER RECOGNISES THE BEAUTY OF THE WORLD WHEREVER IT MAY BE.

This is a true vocation inherited from the Cartier brothers, who travelled the world, observed, and drew inspiration from it in order to better reinvent it, taking care to always add their artistic touch and savoirfaire. Seeing the beauty of the world, preserving it, and above all, enriching it, is a passion that has continuously influenced the Maison’s philosophy.

Cartier's High Jewelley Collection: Beautés Du Monde - Chapter 2

Brand news

Cartier's High Jewelley Collection: Beautés Du Monde

Cartier's High Jewelley Collection: Beautés Du Monde - Chapter 2

Brand news

Cartier recognises the beauty of the world wherever it may be.

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ENRICHED BY ITS HISTORY AND CURIOSITY, CARTIER GAZES ON THE WORLD AND ITS DIVERSITY WITH EVERLASTING WONDER, AND THE LATEST HIGH JEWELLERY COLLECTION IS TESTAMENT TO THIS.

From the perfect arrangement of a bird’s feathers to the abstraction of a traditional Japanese motif, Cartier never ceases to marvel at all the beauty in the world and convey it through its sumptuous and spirited High Jewellery creations.

THE OCELLE NECKLACE

OF ALL BIRDS, THE PEACOCK IS POSSIBLY THE MOST FASCINATING.

It was through his passion for the Islamic arts that Louis Cartier perceived the power of blue and green. For him, the discovery of this chromatic combination was so powerful that it became part of the Maison’s palette under the name of “peacock motif.” This combination quickly became a Cartier signature.

The Ocelle necklace from the Beautés du Monde collection pays tribute to the bird with two opals weighing 16.59 and 6.19 carats respectively, and a 21.18-carat Zambian emerald.

In addition to the colours, the necklace incorporates the form of the eyespots that characterise the peacock’s plumage.

These are miniaturized, multiplied and highlighted by an onyx trim. Partly overlapping each other and mobile, these small feathers bring great suppleness. The fluidity of the ensemble attests to the excellence of the Cartier workshops, as does the custom cuts of the opals and emerald, which are mounted on their culasse to create an invisible setting. The upper opal detaches to be worn as a brooch.

THE SPLENDENS NECKLACE

FAITHFULLY REPLICATING THE UNDULATING FINS OF A FIGHTING FISH.

Was never the intent of this necklace, which introduces a new animal into the Cartier bestiary; rather, it was the desire to abstractly represent the delicate nature of their floating fins while creating a High Jewellery necklace.

A creative stroke of handiwork made with a cascade of spinel beads selected for their harmony of colours and increasing size. Each bead is held within a type of invisible cap by a tiny nail whose surface plays with the light like water would over the scales of a fish.

This exceedingly supple bib necklace is lined with nine oval and pear spinels totalling 27.79 carats. Remarkable for its chromatic uniformity, the ensemble is studded with square- and lozenge-shaped diamonds that electrify this fluid necklace, which seems to flow along the body’s curves.

THE CAMAIL NECKLACE

CARTIER CAN SEE BOTH LIFE AND MOVEMENT IN NATURE’S PERFECTION.

A bird’s plumage thus becomes the abstract motif of a choker. Inspiration came to the artisans as they gazed in wonder upon the 42.44-carat ensemble of five Zambian emeralds, remarkable in their pear-shaped beauty.

Each gem is highlighted by a curve of square diamonds trimmed with custom-cut onyx. The design thus creates a strong sensation of movement.

Behind this rhythmic composition lie two feats of jewellery-making prowess: first, the necklace’s suppleness and second, the prongless settings of the emeralds which seem to rest on top of the diamonds. In reality, each stone is precisely fitted onto a crescentmoon paved with diamonds that is integrated into the border.

This creation renews and explores the chromatic harmony between white, green, and black that appeared around 1910 and has since become an emblematic combination of the Maison. The black of onyx, lacquer and enamel provides contrast, suggests volume and depth, and highlights geometric motifs. This combination heralded the Art Deco movement, of which Cartier was a pioneer.

THE OBI NECKLACE

FOR CARTIER, THE BEAUTY OF THE WORLD IS ALSO THE BEAUTY OF TRADITIONS.

Drawing inspiration from Japanese fabrics decorated with the rising sun motif, the Obi necklace pays tribute to the culture of Japan, an inspiring land cherished by the Maison for more than a century.

A rare ensemble composed of eight cabochon-cut emeralds, including a 12.53-carat specimen from Zambia, provides the starting point. The gemstones become the heart of the radiant motifs, linked together. The roundness of the cabochons contrasts with the motif’s geometry, which is punctuated by small calibrated rubies. Thanks to the very delicate custom-cut onyx inserts, the angles are marked, volumes accentuated, and the entire necklace gains depth. Green, red, and black: a signature chromatic harmony for Cartier, which since the beginning of the 20^th century has dared to create unprecedented combinations. The colour black represents a new modern entry into the Cartier universe, and is now emblematic of its style.

In keeping with Cartier’s tradition of transformable pieces, the pendant motif detaches to be worn as a brooch.

“Always striving to enchant the senses, we transcribe the richness of cultures, landscapes, fauna, and flora with a contemporary outlook. Each collection represents an opportunity to reveal a new and distinctive aspect of the Cartier style, a unique multifaceted style.”

“Seeing a stone for the first time is a magical experience charged with emotions that transport and guide the creation from naturalism to abstraction, constantly pushing the limits of creativity and savoir-faire. The Maison’s savoirfaire is a permanent dialogue between creation and technique. The jeweller’s virtuosity makes it possible to hide the shaping and cutting process, in order to highlight the aesthetics and the stones.” - JACQUELINE KARACHI