History has never stopped moving forward. In the process of social change, only visionaries have the glory of being in parallel with time. Since its founding in 1847, Cartier has always been in the midst of historical changes, listening to the voice of the times and leading the trend of aesthetics, thus achieving its leading position in the history of modern jewelry and even in the history of art. Interpretation of the evolution of Cartier’s fine jewelry in a hundred years Cartier bracelet, circa 1865, gold, silver, lapis lazuli, rose-cut diamonds The prelude to the legend: 1847-1889 In 1830, the ‘July Revolution’ overthrew the Bourbon dynasty, and the conservative forces finally gave way to the wave of liberalism. The enthusiasm of the aristocrats for jewellery has not diminished, and the emerging bourgeoisie is full of eagerness to spend a lot of money and demonstrate power. At this time, the social fashion standards continue the classical luxury style, and jewelers are springing up like mushrooms. Louis, 1847? Francois? Louis-Fran?ois Cartier (1819-1904) created a jewelry store named after him, and an immortal legend began. In 1852, visionary Louis? Francois? Cartier moved the store to No. 5 Xiaochang Street near the Orleans Palace. This move quickly ushered in the first VIP of Cartier, an important artistic figure of Napoleon III, the Countess of Utskirk (Comtesse de Nieuwerkerke). In the era of shell embossing, the first order of the Countess in Cartier was a retro-style shell embossed necklace. Since the husband was the former art director of Napoleon III, the countess’s love for this necklace immediately attracted the interest of the royal family. In 1856, Princess Mathilde (the virgin of Napoleon I) became the first royal guest to receive Cartier. Within three years, Princess Mathilde ordered 55 pieces of jewelry from Cartier. Under her referral, Emperor Eugénie, the wife of Napoleon III, also customized a set of silver tea sets to Cartier in 1859. At the time of the transformation of Paris by Baron Georges-Eugéne Haussmann (presided over the Parisian urban plan from 1852 to 1870), the Italian avenue presented a bustling style. Ladies dressed in ponchos came and went, and the crowds poured into the cafes, bringing an endless flow of visitors to the street. Cartier once again moved to this place, attracting all the elites of Paris at that time. The birth of style: 1890-1919 In 1899, Cartier took an important step to relocate the store to 13 Rue de la Paix. Later, other jewelers and many fashion boutiques have also entered this elegant and elegant neighborhood, making it a trading center and sacred place for high-end jewellery in Paris and even the world. This relocation has opened a new chapter in the development of Cartier, which also indicates that the Cartier style is maturing. With the influence of the industrial revolution affecting the entire continent of Europe, from the end of the 19th century to the outbreak of World War I, European society entered the ‘Belle?poque’ of rapid economic development. European culture, art and lifestyle have grown at an unprecedented rate during this period. The railway began to connect with major European cities, and high fashion began to sprout in Paris. At the same time, the delicate curves of soft flowers, vines, laces, ribbons, etc., have become the new darling of jewellery aesthetics. A ‘garland era’ born out of naturalism and warmth is opened. The flourishing and popular “Garland Style” has benefited from a landmark initiative in the history of jewellery – the first introduction of platinum into jewellery creation, and the leader of this initiative is the Cartier that never stops exploring. . In the previous jewellery creations, gold and silver as the main material, it is too bulky, and will greatly weaken the brilliance of diamonds. Platinum is not only stronger but also lighter. Its use has revolutionized the gem setting process: the “bead-toothed” inlay method has been used to embellish diamonds in a platinum base, presenting regular sawtooth shaped like beads, adding a feminine touch to the jewelry. Touch. Its exceptional strength and flexibility give jewellery a natural pleats that make bold designs possible. Cartier’s jewellery designers draw inspiration from plants, flowers, branches, vines and other plants commonly used in classical oil paintings, creatively using lace, iron lattice and other expression techniques, delicately and subtly create a transparent and light-feeling style for the garland style. The use of platinum also provides a strong technological foundation for creating a light and elegant posture of plants. Since then, Cartier has written a true floral symphony with roses, daffodils, violets, poppies, pine cones, bay leaves, ferns and thorns. In addition, the elegant bow and delicate water droplet shape also boldly interpret the neo-classical art style. In the social field at the time, there was an unwritten rule: to maintain your position, you need to imitate and imitate, and you need to constantly seek excellence and difference. From Mary? Marie Bonaparte’s gorgeous and intricate wedding flower baskets provide a glimpse of this high society’s preferences. Therefore, Cartier provides a unique ‘marriage flower marriage’ for the royal bride. Lucien? This outstanding royal descendant of Lucien Buonaparte brings this style to the extreme, as evidenced by Cartier’s creation of the Napoleonic family’s chest, shoulder and olive leaf crowns. These works are all typical ‘garland styles’. It is because of the bold innovation and uniqueness in this style that Cartier quickly won the love of many royal aristocrats and laid a long-term and stable foundation for development in the future. Intuition and Innovation: 1920-1939 The ancient order collapsed in 1914, and the lifestyle of the 18th century France was also faltering. After being separated from strict social hierarchy and etiquette, grand celebrations and ceremonies are no longer honored. The First World War cast a bleak veil on this world of elegant illusion. The war has changed the attitudes and mental models of the ‘good times’. The Century of Speed flew with a rumble. The new creations wanted to replace the old rules, and the gorgeous colors came out. The Fauvism, German Expressionism and Russian Ballet made Paris fascinated after the shock. At the same time, cubism and abstract design are beginning to sprout. Clothing has also gradually begun to shift to meet the practical needs of women’s work and sports. The tights disappeared, and with the advent of day and evening wear, new styles are coming out. Surprisingly, as early as the early 20th century, when the ‘garland style’ was still popular, the third generation of Cartier was Louis. Louis Cartier (1875-1942) has taken a step forward. Modernization and industrialization prompted him to look for a new design style that fits the characteristics of modern life. The trend-setting aesthetic creator began to pour into the abstract geometry and become the pioneer of the Art Deco style with amazing foresight. power. This modern and simple minimalism was later adopted by architectural design until 1925, at the Exposition Internationale des Arts Décoratifs et Industriels Modernes, in the history of aesthetics. Really got the name. Louis? Cartier boldly introduces a variety of bright colors and original and modern geometric shapes: cubes, polygons and diamonds in jewel styles are simple and exquisite. His keen artistic intuition quickly got the designer Charles? Strong support from Charles Jacqueau. In 1904, Cartier used his imagination to create a diamond-shaped brooch with diamonds and rubies. A jewel-like design resembling a style, including a brooch introduced in 1906, sapphire and diamonds complement each other. These designs are the original representatives of modern art style. This design style, known as ‘decorative art’ in the future, has a wide range of influences and became the source of inspiration for many innovative designs from 1920 to 1939. And this also tells the story of a legend: a jeweler who is in sync with the pulse of the times always calls for a new style with an incomparable design. It seems that in response to the Wall Street financial crisis of 1929, another brand new aesthetic trend came into being, and the end of the ‘Roaring 20’ was announced. Jewelry returns to the classic style, and diamonds of different cutting styles combine various geometric shapes. This is a white jewel, a ‘white Art Deco style’ of platinum, diamonds and colorless crystals, in stark contrast to the rich colors of the 1920s. In the era of both political and economic complexity, Cartier’s jewelry design has been adjusted accordingly, and at the same time did not abandon the dream of soft and charming that Cartier customers have always pursued. With the decline of the European royal family, European society began to look to the distant East, trying to find comfort in the foreign civilization. Once, in the American interior designer Elsie? Germany? At the party in Versailles’ home, Elsie de Wolfe even saw a real elephant from Jaipur. In this trend, Cartier is interested in the interpretation and reproduction of oriental myths and totems, and in his own unique way, he has created a large number of works deeply influenced by Asian culture. Similarly, Cartier has never been a tribute to the aesthetics of the times. It always predicts the development of future aesthetics with precise intuition. As early as 1913, Cartier combined the hollow pattern, the Islamic star and the diamond shape in the brooch, bracelet and necklace works. Coincidentally, in the same year, Cartier chose the tower door as a decoration for black agate and diamond pendants. This immortal door to the ancient temples has also become a style that Cartier has repeatedly used in his Egyptian design. When Westerners boarded the Darjeeling express train to explore India, they were deeply attracted by its rich exotic and poetic mood. Cartier also regards India as a magical continent that shines with sacred brilliance and artistic brilliance: rich and irregular patterns, rare and brilliant gems, complex colors, even embossed silk, court decorations and Rajasthan garden style. They have become the source of inspiration for the creation of Cartier jewelry. The Indian style is gorgeous, the most distinctive and the most difficult to interpret, that is, its temperament is full of contrast and paradox. Using pear-shaped cutting and engraving, Cartier combines jewels with smooth, textured beads to reconcile color or texture conflicts to create the famous “Tutti Frutti”. . Which piece shines in the French legendary lady Daisy? The custom necklace of the Daisy Fellowes neck blends the contrasting rubies, sapphires and emeralds into a unique exotic style, making it the most famous masterpiece of this style. Inspired without borders, Cartier is also immersed in the unremitting exploration of Chinese art. Chinese Buddha, Xianglong and Qilin bring endless inspiration and imagination to Cartier. These Chinese-derived materials, images, symbols and gods have made Cartier’s jewelers ecstatic. Cartier reinterprets the inner beauty of China’s ancient Eastern country with a creative vision of jewellery experts. For example, a unicorn bracelet created in 1928, Chinese traditional materials such as jade, coral and enamel intertwined the ‘God’s mount’ recorded in this ancient book, while the mysterious eyes are inverted cushion diamonds. constitute. What’s even more amazing is that the way to open the bracelet is to reverse one of the animal heads, which adds to the magical fantasy of this piece. Legendary era: 1940-1959 In 1933, what? Ms. Jeanne Toussaint took over as director of Cartier’s fine jewelry division, which heralded the legendary era of Cartier. Under her strong proposition, gold has returned with a gorgeous image and has become Cartier’s favorite metal in this period. This gold jewellery is both abstract and symbolic, almost unconstrained, and has a variety of volume and style. Some of the works are inlaid with rainbow-like gems, and some are even unprecedented combinations, such as matching the surreal background with amethyst and aquamarine. What? Under the influence of Dusan, the animal image of Cartier also shined in the 1940s. In the years after the end of the Second World War, Cartier’s “Nature Kingdom” grew further. The war has shaken the entire society, and nature has become the ultimate refuge to escape human fratricidalism. The world of animals and plants is transcendental to everything. Nature will never be betrayed. At most, there is only a certain distance between realism and symbolism. Finding this perfect distance is the key to the vertical and horizontal creativity. In Cartier, gem-set birds unfold their wings that symbolize peace. At the same time, Cartier found new inspirations from the changes in women’s dress: slim waistline, soft shoulders, and mid-length skirts that cleverly wrapped the hips. These women present a wild animal spirit like a cat. The pride and laziness of the animals. In 1948, what? Under the leadership of Dusang, Cartier’s first three-dimensional leopard-shaped brooch was born, and this cheetah standing proudly and sharply pointed to the annals. Hey? Dusang knows that cheetahs represent the ambitions and ambitions of modern women. Their desire for freedom, independence and social identity is no longer considered to be a departure from social secularity, but for the first time with elegance. number. While the animals have become Cartier’s design themes, the master’s creative style has evolved with the times: snake scales, leopard fur, parrot feathers, turtle shells or ladybug wings, etc., conveying different times in the details. Aesthetic taste. On the other hand, Cartier does not forget to use the treasures to interpret the emotions and meanings that animals symbolize in people’s minds—the wildness of Africa, the sacredness of Egypt, and the enthusiasm of Asia for dragons and unicorns. In the long history of Cartier, from the era of ‘garland style’, flowers have long been a key vocabulary for interpretation of jewelry. The beautiful flower is the best theme of diamond carving, giving the fine jewelry brooch or the British, or neoclassical finish. Wild roses, narcissus, morning glory, Bama violet, poppies and daisy frequently appear on the noble brooch, and through the three-dimensional carving, the flowers are vividly depicted. The flower has also become an important theme for Cartier’s later rejuvenation of the ‘garland style’. Thorns, ferns, pine cones, and large bunches of lilies appear on brooches and pendants, transforming Cartier’s jewelry world into a sea of flowers. The voice of the new era: the persistence and resound of style Regardless of where the wheels of the era headed, women’s love and pursuit of jewelry never stopped. As the new era brings irresistible innovations in lifestyles and ideas, they are increasingly exploring their own. This deep desire was captured by Cartier one by one, and with their unwavering creative passion, they presented their brilliant masterpieces. In keeping with the classic aesthetic style, Cartier gives each piece a new vitality, making it more daily and personalized, thus meeting the needs of today’s women, highlighting its style Replica Cartier Love Bracelet. The cheetah is a totem-like image in the legend of Cartier style.
The three-dimensional cheetah brooch tailored for the Duchess of Windsor has long been one of the most famous jewels in history Replica Bulgari B.zero1 Rings. Elegant and self-explanatory, it is the essence of the never-fading art of the cheetah. In the new era, young women’s love for jewellery is more intense, and they convey the temperament of vitality and self-confidence all the time. So the ‘young’ three-dimensional cheetah came into being: it quietly crouched on a 24.46-carat sapphire, elegant and leisurely, playful and petite gesture with a focused and pleasing look, a little bit of domineering in the lively state of mind, add A touch of tenderness. Once, Cartier’s “fruit recipe style” was included in the French celebrity Daisy? The heat of Faro and others is sought after: diamonds, rubies, sapphires and emeralds, full of moisturizing colors and exotic, oval, pear, flower and rib and fine work between the natural world. The flowers are clustered and the fruit is fragrant. This style has become a classic when it has led the trend. Similarly, the circumstance of the times has brought about a new aesthetic trend. Cartier’s new interpretation of the ‘fruit kit’ continues the bold combination of blue, green and red, but the choice of gem color is more and more bright and bright, so the ‘fruit kit’ style new work is a bit more crystal clear Through, a little more exaggerated and mature. The berries and leaves seem to bloom gorgeously between the gems, and the sorrows are hidden in the warmth, intertwined into a pleasant fragrance.