The brand opted for staging events in Florence and Lucca to unveil and celebrate 80 never-before-seen pieces from the new “Le Voyage Recommencé” collection.
More specifically, the history of Villa Reale di Marlia itself intertwines with the brand’s. After being purchased by Napoleon’s sister Elisa Bonaparte Baciocchi in 1806 and being greatly renovated, the property passed to the Pecci-Blunt family in 1923. Through her social events, countess Mimì Pecci-Blunt started attracting artists, aristocracy and jet-set personalities to the location, ranging from Salvador Dalì and Jean Cocteau to Jacqueline Kennedy, to name a few.
Rather than choosing an overarching specific inspiration, Cartier’s director of high jewelry creation Jacqueline Karachi and the company’s craftsmen delved into the heritage and reinvented the core aesthetic codes of the house through unique pieces that hinged on interplays of geometries, volumes and new chromatic juxtapositions.
Elsewhere, the Vespro necklace further built on the game of contrast between static structures and movement with its beaded tips, while the Panthère Givrée necklace celebrated the spirit animal of the jewelry house, introduced in 1914 by Louis Cartier. The realistic shape of the feline covered in diamonds with onyx spots and emerald eyes was flanked by a set of three aquamarines totaling 20.33 carats as well as lapis lazuli for a touch of color.
“It’s a constant challenge because we are obsessed about finding the nicest stones. We have some very strict guidelines criteria and we are committed to finding the most beautiful natural stones and at the same time to comply with principles not only in terms of quality, but also in terms of provenance,” said Carrez, mentioning decisions not to source from some countries, such as Afghanistan in the case of lapis lazuli.
“The share is already high and it’s even higher in some regions. Especially in Asia, we are already perceived as an aspirational brand… for watches, jewelry and sometimes for fine jewelry and accessories. When we look at Cartier’s iconic collections, they are by essence transgenerational, so they do cater to multiple generations. We are not obsessed about [young generations].
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