Cartier launches Inde Mysterieuse at London Fashion Week 19th September 2007
The house of Cartier launches its newest high jewellery collection during London Fashion Week. The event will showcase a new high jewellery collection, inspired by the mystery of India, to the international fashion community.
To celebrate the launch Cartier is hosting a cocktail dinner on Wednesday 19th September, which promises to be one of Cartier's most elaborate to date. The extraordinary setting, one of London's most prestigious landmarks, will be transformed into an Indian palace with a sumptuous and decadent interior. Cartier is expecting British and International VIP guests and eminent Cartier clients from around the world.
London has been chosen for this spectacular unveiling owing to Cartier London's rich heritage and ties with India and it's most famous Maharajahs. This event marks the first international Cartier jewellery launch in London.
CARTIER AND INDIA
THE FOUNDATIONS OF JEWELLERY
SHROUDED IN MYTHS AND LEGENDS
It was in New York in November 1913 that Cartiersnvision of India made a splash with an exhibition on Fifth Avenue. Twenty pieces inspired by Indian art were also depicted in a previously unpublished catalogue, which had a cover illustrated with Indian miniatures. Cartier revealed the incredible diversity of its designs, drawn loosely on Islamic and Indian art. The Moghul jades, ruby beads, engraved emeralds Indian stones bearing the history of civilisations, from their discovery in the 16th century by the Spaniards in Colombia, traded by the Portuguese in India before returning once again to Europe. A cultural and gemmological journey in which Cartier was one of the major players in its day.
CARTIER, TRANSPORTING THE INDIAN DREAM
Where religions and civilisations meet, India provides Cartier with the chance to use its myths and symbols, its jewellery tradition, its mysteries. A continent of creative and universal freedom that allows the jeweller one day to work on an emerald engraved with versesn from the Koran, which he mounts for the Aga Khan in 1930, on another to produce an emerald engraved with the ascetic Hindu gods Shiva and Parvati seated on a tiger skin backdrop, the central stone in a necklace created at the New York workshops in 1925. India had always had its own approach to stone cutting. Rubies and emeralds were ribbed or engraved, diamonds were briolette or rose cut. A timeless craft, such as these small enamelled plates from Jaipur, decorated in red, green and white with birds and branches in flower mounted by Cartier in the rigid and graphical frame of its vanity cases or cigarette-holders. A blend of East and West, a new and daring combination of stylistic influences in which, contrary to prejudices, the floral or figurative motifs do not conflict with Cartiers geometric choices, but rather, lift them. The motifs, lotus flowers and palms or cone-shaped clusters of leaves with tilted points, as in the Kashmiri shawls, lightness laced with a powerful symbolism, which Cartier translated to the present-day.
CARTIER BESTOWED UPON INDIAN ANTIQUES THE SECRET OF ETERNAL YOUTH
The Cartier brothers were enlightened travellers who landed in India in 1919. Jacques was to travel up and down the continent, returning from each stage with countless photos, documenting the unknown. On the first stopover in Bombay a branch was set up of The Bombay Trading Company. The private contemporary India of the maharajahs opened its doors to them, placing orders for their most stunning parures. So, while the maharajahs had Cartier re-set their gold parures into platinum, Cartier, in turn, took an interest in traditional Indian creations. Works of art that it adapted and brought into the 20th century, Moghul miniatures whose natural brilliance embellished elegant everyday objects, such as jewellery boxes or ashtrays; intricate and formal portraits of Shah Bahadur I, the Shah Jahan who erected the Taj Mahal, that Cartier framed or highlighted with a line of red or green enamel. Transformed but retaining their original spirit, these 17th century turbaned figures appear as a mysterious punctuation mark on the bare, almost minimal front of a nephrite cigarette-case. Images from Indian tales, the subjects are anecdotal, the objects useful, the form pure, geometrical and precious. Once created, women clamoured for this Indian style. Everywhere, in Vogue or Harpers Bazaar, from London to New York, they demanded the stunning blend of original authenticity and sophistication in these yellow gold jewels, some of which included antique pieces, such as a necklace made of a locket in the shape of a jade plate, engraved with a ruby flower motif and a choker highlighted with enamel squares set with stones. It was provocative to wear this native finery and the women of the day relished it.
FROM EXOTICISM TO STYLE INDIA DEFINITIVE CONTRIBUTION TO CARTIER CREATIONS
Cartier created the fashion for Indian style which the West was clearly infatuated with, above all for the splendour of the stones, the Kashmiri sapphires, Burmese rubies and wonderful Moghul engraved emeralds. Cartier adored the poetry of the irregular shapes, threading them onto rows of twisted beads, strands of string held together by trimming cords. The stones were pear cut and then engraved. Some found them unrefined, while to others they were an expression of a natural style that lent elegance to these fragile platinum and diamond earrings, finished off with two supreme pear-cut emeralds. Motifs, stones, colours Cartier had explored all the riches of India. With a single gesture that embraced a cosmopolitan and scintillating continent, Cartier encapsulated the cradle of flamboyant jewellery, transposing to it a sparkling splendour in the form of a style created in the pop years and baptised Tutti Frutti. An explosion of flower, fruit or anthemion motifs, smooth and ribbed beads, briolettes, rubies, sapphires and engraved emeralds with leaf motifs set in floral compositions, of which Daisy Fellowes necklace remains one of the best examples. The high priestess of fashion memorably wore this necklace at Carlos de Beisteguis famous costume ball in Venice in 1951. A triumphant meeting of two worlds, India with the profusion and tremendous variety of its gemstones, and the West, with its rigid structures but also its settings, the movement of its invisible hinges, the harmony of its superimpositions completed in Cartier workshops. The marriage of these two genres is a mixture of abundant sensuality and artistic geometry, most purely represented in this sublime pendant composed of two engraved emeralds and a large cabochon sapphire, joined together with delicate rectangular links.
THE MAHARAJAHS AND THEIR EXTRAVAGANT ORDERS
Cartier absorbed and incorporated the Orient. The influences came, went and replaced one another. Enter the maharajahs. They had money, stones, taste, Western aspirations, fashionable jewels and accessories, such as a yellow gold travel clock engraved with the coat of arms of the Maharajah of Rajpipla. Charming princes, who were charmed by Paris, y Cartier, two words that sum up chic magical formula. They entrusted the jeweller of Rue de la Paix and New Bond Street with their family treasures so that they could be re-set to the fashions of the day. Nothing was too beautiful for these great dignitaries, nothing too spectacular, they were flamboyant spenders. The Maharajah of Patiala, the prince of the largest state in the Punjab ordered ceremonial necklaces, belt rings, buttons and upper arm bracelets from Cartier. This fabulous inventory was the subject of an unprecedented exhibition in the windows at the Rue de La Paix in 1928. Another exceptional creation, a gravity pendulum in lapis-lazuli and malachite dotted with coral stars, testament to a bold choice of colours, seduced this aesthete and his eclectic tastes. The Maharajah of Kapurthala was also an enlightened admirer of European creativity. He had 250 timepieces, the majority of which were Cartier and for which he hired a servant who was in charge of winding up their mechanisms. Supremely refined, he attached as much importance to the detail of his daily life as to his appearance when wearing ceremonial dress and ordered for his wife a gold cigarette-holder with clean lines held by a long stem and worn as a ring.
Simplicity became the hallmark of all Cartier creations for India, where the jeweller exploited the abundance of the stones and treasures, while stripping back and paring down the structures and settings, as exemplified by this elegant upper arm bracelet, made of 831 diamonds, a special commission in 1922 by Sir Dhunjibhoy Bomandji of Bombay. A platinum piece made up of an articulated central plate to be adjusted around the arm and three leaf-shaped detachable parts, joined together by large rings decorated with a diamond pavage. A traditional Indian decoration transformed by Cartier. Here, as is often the case, the exotic is transcended for aesthetics, for a creative perspective, somewhere between geometric abstraction and exquisite oriental delights. This subtle, bold fusion, secures the future of Cartier, for whom style was never enslaved to a look. Every now and then, Cartiers path returns to India.
The India of stories and legends, the India of symbols, to which in 1991 it dedicated a collection entitled On the road to the Indies where the elephant was king. A historical India, whose grandeur was revived in 2000 when Cartier recreated the necklace of Sir Bhupindar Singh, Maharajah of Patiala. But also the India of stones, such as the famous Star of the South diamond, which originated in Brazil and then went on to join one of the most beautiful Indian collections, that of the Maharajah of Baroda, later to be mounted on a bracelet by Cartier for the 2006 Biennale des Antiquaires. And finally modern India, vibrant with energy, serene and spiritual, sensual and mysterious, the India upon which Cartier rests its marvelled and marvellous gaze with its latest jewellery collection opening its doors in September 2007 to spellbound creations.
Monica Bellucci and Bernand Fornas CEO of Cartier -Monica Bellucci and Kappauf - Princess Michael - Bernard Fornas, CEO of Cartier, Princess Michael of Kent and Arnaud Bamberger, Managing Director of Cartie - Arnaud Bamberger, Managing Director of Cartier, Bipasha Basu and Bernard Fornas, CEO of Cartier - Marta Sanchez and Vicky Martin - Trinny Woodall - Bernard Fornas, CEO of Cartier and Arnaud Bamberger, Managing Director of Cartier - Mr and Mrs Nick Mason - Cecile Cassel - ) Monica Bellucci , Bernard Fornas and Melita Toscan Du Plantier - Bipasha Basu - Bernard Fornas and Alexandra Shulman - Christian Louboutain and Monica Belluci - Nicky Haslam and guest - Ben Elliot, Carina and David Frost - HRH Rajmata Gayatri Devi - Alexandra Shulman, Kirsty Young and Nick Jones - Sir David and Carina Frost - Nicholas and Georgina Coleridge - Linzi and Will Stoppard - Margot Stilley - Tom Aitken and Amber Nuttall - Trinny Woodall and Heather Kerzner - Amanda Wakeley and Netty Mason - Amanda Wakeley and Hugh Morrison - Nick and Netty Mason - Kim Hersov - Duke of Marlborough - Princess Michael of Kent and Mark Shand - Robert Hersov
Monica Bellucci - Princess Michael - Sir David Frost and Lady Carina - Mr and Mrs Andy Wong - Trinny Woodall - Bipasha Basu - Mr and Mrs Nick Mason - Linzi Stoppard - Tom Aikens and Amber Nuttall
Reflecting on the skin like a sparkling jewel, an Indian light flowing through a Cartier prism. A collection in which Cartier has captured the essence of an invisible and secret fragment of a world, unfurling the magic of bewitching jewels, encrypted with symbols of the past.
Magical jewels that look to India with its ceremonial necklaces, rows of trimmings, girandoles, arm bracelets and the stones, predominantly engraved, ribbed and cut in the Jaipur style, reflecting the authenticity and truth of an enduring and unique skill.
Monica Bellucci Biography
Birth date: 30, 1968
Place of Birth: Castello Italy
Her couple since 2001: Vincent Cassel
Monica Bellucci and Vincent Cassel met each other while they were acting in the film L'appartament, directed by Gilles Mimouni.
Monica Bellucci worked as a model.
1990 She acted in "Vitta with i figli" and "Le riffa".
1992 She started taking acting lessons and worked in "Ostinato Destinato", directed by Roman Coppola.
2002 Monica Bellucci interpreted the role of Cleopatre in Asterix et obelix, mission cleopatre of Alain Chabat, a film of great budget, approx. 45 million euro.
May Monica Bellucci was present at the 55th Festival of Cannes to represent the movie Irreversible
2003 June The Auction "Stars Photographs sale", supported this year by Sophie Marceau, will take place Monday June 16, 2003 , in Paris. It is organized by Reporters Without Borders. Www.rsf.org.
2004 The italian actress Monica Bellucci, wife of the actor Vincent Cassel, gave birth Sunday 12 September in Rome to her daughter Deva. "Everybody behaved well", declared Laurent Gregoire.
2004 Premiere of the film the Brothers Grimm, with Monica Bellucci, directed by Terry Gilliam
2005 Monica Bellucci will have a wax figure made for her next April 25th. Monica Belucci, age 36, has even been chosen one of the most important women of the 21st century by a french institution. Monica has donated one of her personal dresses, a black Dolce & Gabbana, in order to dress up her wax figure sculpted by Eric de Saint-Chaffray.
2007 Le Deuxieme souffle, (The Second Wind) of Alain Corneau
2007 Shoot Em Up of Michael Davis
2007 Manuale d'amore 2 (Capitoli successivi) of Giovanni Veronesi
2006 Le Concile de pierre (The Stone Council ) of Guillaume Nicloux
2006 Napoleone of Paolo Virzi
2006 Sheitan (Satan) of Kim Chapiron
2005 Combien tu m'aimes? (How Much Do You Love Me?) of Bertrand Blier
2004 She hate me de Spike Lee
2004 The Brothers Grimm of Terry Gilliam
2004 The Passion of the Christ of Mel Gibson
2004 Agents Secrets (Secret Agents) of Frederic Schoendoerffer
2003 Tears of the Sun of Antoine Fuqua
2003 The Matrix reloaded of Andy Wachowski, Larry Wachowski
2002 Asterix et obelix,mission cleopatre (Asterix & Obelix: Mission Cleopatra ) of Alain Chabat
2002 Irreversible of Gaspar Noe
2001 Malena of Giuseppe Tornatore
2000 Le Pacte des loups (Brotherhood of the Wolf ) of Christophe Gans
2000 Under Suspicion of Stephen Hopkins
2000 Franck Spadone of Richard Bean
1998 Comme un poisson hors de l'eau of Herve Hadmar
1998 Mediterranees of Philippe Berenger
1998 Le petit plaisir et ses petits tracas of Nicolas Boukhrief
1997 Mauvais genre of (Benegui)
1997 Dobermann of (Kounen)
1996 L'appartement of Gilles MIMOUNI
1996 La Legende d'Alisea, (Tv)of
1996 Come mi vuoi (Amoroso) of
1995 Palla di neve (Nichetti) Il cielo e sempre piu blu (Grimaldi)of
1994 I Mitici (Vanzina) of
1991 La Riffa of Francesco Laudadio
1992 Bram Stoker's Dracula (Dracula)of Francis Ford Coppola
1990 Briganti of Marco Modugno
1990 Vita coi figli of Dino Risi
Thank you for sharing your wonderful story with the whole world, you're truely remarkable in design, stature, excellence and opulence. We all really appreciate your wonderful history on House of Cartier.
Best Wishes to the contributors