Louis Cartier produced the maison’s first wristwatch in 1904, for Brazilian aviator Alberto Santos-Dumont; today, nearly 120 years later, the maison continues to innovate with every collection it unveils. Its latest offerings at this year’s Watches and Wonders are a clear reflection of this enduring legacy of combining reinvention and tradition.
Tatler sits down with Pierre Rainero, Cartier’s image, style and heritage director, to dig into how the iconic designs of the early 20th century still pulse at the heart of the maison’s modern creations, proving that true style never ages, it only evolves.
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Reflection de Cartier watch (Photo: courtesy of Cartier)
How are Cartier’s 20th-century designs reflected in this year’s novelties at Watches and Wonders?The choices that were made in terms of type of shapes [in the early 20th century] were linked to what Cartier was calling strong design; and by “strong”, we mean the capacity to remain [relevant] in [that] time, but also the capacity for each design to go through variations, without losing the original soul. [Today,] we are [not only] in line with the original vision, but [also with] the will to be ahead [of time] for the future of the house. [We have] very creative new pieces that are not linked specifically to one existing shape. This shows the permanent creativity with a side of legacy. This was the philosophy invented [by Cartier].
Which is your favourite Cartier collection launched this year?Personally, I liked the work we did with the [Cartier Privé] Tortue [Monopoussoir Chronograph]. I like the Santos-Dumont variations in terms of colour and craftsmanship, with lacquer on the bezel. The [Santos-Dumont] Rewind is very interesting also.
But I am totally in love with the Reflection [de Cartier] for many different reasons, because I see a piece that is inscribed not only with the history of Cartier but a long history of jewellery. The two- headed bracelet has existed since the early days of jewellery in ancient civilisations, but we have a totally different vision. The fact that you can reflect the dial [on a polished gold surface to view the time] and if you look at the profile [of the bracelet], it’s very interesting, because it’s not a traditional circle— it’s a play on shapes.
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Santos de Cartier Dual Time large model in steel (Photo: courtesy of Cartier)
How challenging is it to reinvent your legacy year after year?For us, style is the common thread linking the past to the present, so there’s a logic that is totally natural in our [creation] process. I wouldn’t say that it’s because it’s natural [or] easy. No, nothing is easy. When we [start] a new project, it’s a constant preoccupation to wonder about its contemporary relevance, and contemporary relevance needs to cover at least two different dimensions. [One, that there is] a contemporary sense of beauty, because we have to be conscious that beauty evolves with time—what we feel is beautiful today is very much inscribed in the now and different from what we experienced 10 years ago, 50 years ago, a century ago. The second is that beauty is not enough; it has to be relevant in the life of our clients today. We think, how could this object be worn? When? By whom? In which circumstances? You have to feel the beauty of it but you have to have the desire to live with it.
Cartier has a very long-standing relationship with royalty and celebrities. How do you tailor your new creations to meet the requirements of such clients today?The success among royalty or celebrities is a consequence. It’s not an objective; in fact, you’re desirable among a certain group of people if you do your job. I think people of all kinds are interested in our creations, because we also try to be faithful to who we are and this is appreciated. That’s why we create.
Have changes in technological advancements ever challenged the maison’s desire to maintain its aesthetic?As a philosophy, innovation is linked to Cartier’s main objective—to create beautiful objects. Technology is at the service of the aesthetic, and also [of ensuring] the convenience [of wearing] our objects. For instance, the fact that we invented the way of changing the bracelet into a strap, this is convenience, and this is innovation.
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