About the Cartier exhibition

The exhibition opens with an introduction to Louis, Pierre and Jacques Cartier, who were united in their ambition to grow the family business which had been established by their grandfather Louis-François in 1847, into a business of global renown. Their close bond and complementary skill sets enabled them to expand the house internationally, establishing branches in Paris, London and New York. With an enviable client list of royalty and aristocracy, Cartier became known as ‘the jeweller of kings and the king of jewellers’ and later broadened its appeal thanks to the devotion of leading creatives from the worlds of film, music and fashion.

The first of three main sections focuses on the creativity of Cartier: sources of inspiration, the emergence of the Cartier style, and the strength of its relationships with key clients and how these collaborations resulted in some of its most magnificent creations. Cartier’s creative genius lay in exploring decorative arts history, both on its doorstep and around the globe, in the first decades of the 20th century, translating it into creations with imagination, discernment and authenticity.

The emergence of the ‘Garland Style’ is explored – an aesthetic inspired by 18th century French architecture and decorative arts – as well as early global-inspired pieces, including a Cartier London scarab brooch; a diamond-set openwork piece inspired by the bazuband – a traditional Indian upper arm bracelet; and an exquisite Islamic-inspired diamond plaque brooch.

A highlight object in this first section is the Williamson Diamond brooch, on loan from the Royal Collection. It was commissioned from Cartier London by Queen Elizabeth II in 1953, the year of her coronation, and features the rare 23.6 carat pink Williamson diamond that she had received as a wedding gift in 1947. Nearby on display will be a rose clip brooch that was previously in the private collection of Princess Margaret, now in the Cartier Collection – one of her favourite pieces that she wore at her sister’s coronation. A 1928 ceremonial diamond necklace and choker commissioned by the Maharaja of Patiala will encapsulate Cartier’s sophistication in combining Indian jewellery tradition with Art Deco modernism.

The next section focuses on the workshops, the setting of exceptional gemstones, and technical invention. Client demand led each Cartier branch to establish its own in-house workshops where craftsmen worked to the firm’s exacting standards. The early 20th century saw Cartier creating pieces featuring some of the most important gems in the world.

In a section entirely devoted to the materials behind the creations, a necklace owned by American heiress Barbara Hutton made from one of the finest collections of jade beads in existence will be on display alongside the 101-carat vivid yellow diamond Allnatt brooch, and the Tutti Frutti Mountbatten bandeau, made by Cartier London in 1928. An exceptional snake necklace with lifelike movement, commissioned by Mexican film star María Félix, encapsulates Cartier’s ability to combine aesthetic invention and technical prowess to create a unique object that reflects its client’s individual style.

The watches on display include the first modern wristwatch designed to be worn by a man, the Santos, which changed the face of watchmaking in 1904 and heralded a modernity of design from which all future Cartier timepieces would follow. A selection of Cartier London watches from the 1960s and 70s will feature, including the iconic Crash (1967), which embodied the artistic freedom and nonconformity that defined Swinging London. An unrivalled collection of mystery clocks, whose hands seem to float in mid-air as they move, are also part of this section.

The final section of the exhibition celebrates how Cartier shaped its image to become one of the most widely recognised luxury Maisons in the world. As early as the 1900s, its name became a byword for sophistication, originality and taste. It propagated that image through pioneering marketing techniques, including public exhibitions, advertising and loans to society events and fashion magazines.

At the 1925 Exposition Internationale des Arts Décoratifs et Industriels Modernes in Paris, Cartier was notable as the only jeweller displaying its creations alongside leading couturiers in the Pavillon de l’Élégance. Its display of audacious jewels included an orchid hair ornament of onyx, diamonds and platinum.

As time went on, actors and music artists replaced royalty and aristocrats as the style icons of their day. Successive generations of artists have admired Cartier and given it their own contemporary twist, helping it remain one of the most recognisable names in the world today.

The exhibition culminates in a spectacular display of tiaras. The ultimate symbol of status, wealth and elegance, tiaras also represent the highest expression of a jeweller’s creative imagination and technical skill and are still made by Cartier today. Highlights include the never-before-exhibited Opal Tiara, commissioned by Mary Cavendish, the Marchioness of Hartington in 1937, and worn as a necklace at Elizabeth II’s coronation in 1953; the Garland Style Scroll tiara from 1902, also worn at the coronation, and by Rihanna in 2016 on the cover of W Magazine; and an Art Deco diamond and platinum halo tiara created in 1934 by Cartier London, which was inspired by ancient Egypt and worn by Begum Aga Khan III, who was considered one of the most stylish women of her day.

Cartier became a master of these splendid jewels at a time when high society wore them to the most glittering events in the social calendar. Although today few occasions require a tiara, they remain a pinnacle of glamour, romance and artistry, and some of Cartier’s finest creations.