Ahead of the launch of Cartier, Jeweler of the Arts, the latest expo from Cartier's art museum the Fondation Cartier, which begins April 3 in Paris, Relaxnews met up with Cartier Europe's managing director Cyrille Vigneron to discuss how a prestigious maison stays ahead in an ever evolving luxury market.
Relaxnews: Cartier, Jeweler of the Arts brings together four artworks commissioned by Cartier and made by four very different artists (David Lynch, Takeshi Kitano, Alessandro Mendini, Beatriz Milhazes) using precious and semi-precious stones no longer deemed suitable for the brand's jewelry. What makes a luxury house decide to team up with contemporary artists?
Cyrille Vigneron: The artists can see what others don't see in terms of trends, arts, design, all forms of expression. They see a different way to represent the world and the foundation doesn't think about what Cartier is doing -- it just thinks about the art world. The Fondation won't become a design studio for Cartier products. Some other brands are doing that, calling artists or designers and saying 'sign our products' or making something that is co-branded. I won't say who but you can easily see. It becomes a hybrid which has some value but it changes the orientation and perception. A brand should be true to its own creative past, its own patrimony, and the designer should serve that as a purpose. When it comes to a designer working for himself it's something different.
RN: The Fondation Cartier is known for championing emerging contemporary artists from across the globe, but where does Cartier stand on rising US jewelry designers such as Alexis Bittar and Pamela Love? Do you feel a challenge to compete or consider them separate?
CV: For jewelry I say the more players the better. Having more famous designers gets people interested and creates stimulation and diversity. But each has to find its own style. For example, Hermès is moving into it and exploring its own way with the famous Hermès handbags being transformed into jewelry for the luxury market. This is something exploratory, something no one has done before. As long as we have many designers doing something genuine it's fine, when a designer starts to copy another one that's not fine.
RN: Cartier was one of the main luxury jewelers in the limelight following last year's Elizabeth Taylor jewelry auction, and some of the opulent designs inspired by the star's collection have been reinterpreted on a mass scale. What is your take on this?
CV: When you are copied it means that you're interesting, but if some brands just come and copy others without making any innovation or developments then it's counterfeit. You should respect others. If you just say, "We'll copy this and make it cheaper and it will be fine," it's just disgusting. But if you really go further and try something new and I'll find clients for that then it's great, then it stimulates everyone's creativity and inspires us to do things better.
RN: So would Cartier ever collaborate with a more affordable brand?
CV: No, never. There can be room for premium jewelry or costume jewelry; it can all be something interesting as far it is what it is. Then there is fine jewelry, then there is high jewelry and it's a different world. We can have simple designs; for example the trinity ring is very simple, a wedding band is a wedding band -- simple, straight, symbolic -- we're happy to do it. But a lower end collaboration to diffuse via a mass production -- never. Projects such as the recent Cartier Odyssey movie make Cartier universal. Whether you intend to buy or not doesn't matter.
RN: How does Cartier maintain a balance between keeping traditional clients happy and attracting new ones?
CV: The maison has a stature and has been endorsed by really famous people from past and present: Liz Taylor, the Duchess of Windsor, Grace Kelly. But this can only continue if our contemporary creations are rejuvenated. Now the most demanded pieces come from the Tutti Frutti collection, each of them is new but has been inspired by the 1920s. We can make new ones out of the same inspired style and then have something really daring and new in terms of shape and style and ways to wear. Classics are the kind of designer pieces or products which can talk to anyone at anytime -- a design that has been outstanding whether made in the 1930s or 1970s or this generation. That's why collections go through generations; whether it's a trinity ring or a love bracelet. At some point they were daring and then they become classic because someone wears them. Our creations are constantly kept alive, adding new variants to the same model but also keeping the initial model alive itself and that's why we have many variants on the Tank watch collection or the trinity collection.
Relaxnews: Cartier, Jeweler of the Arts brings together four artworks commissioned by Cartier and made by four very different artists (David Lynch, Takeshi Kitano, Alessandro Mendini, Beatriz Milhazes) using precious and semi-precious stones no longer deemed suitable for the brand's jewelry. What makes a luxury house decide to team up with contemporary artists?
Cyrille Vigneron: The artists can see what others don't see in terms of trends, arts, design, all forms of expression. They see a different way to represent the world and the foundation doesn't think about what Cartier is doing -- it just thinks about the art world. The Fondation won't become a design studio for Cartier products. Some other brands are doing that, calling artists or designers and saying 'sign our products' or making something that is co-branded. I won't say who but you can easily see. It becomes a hybrid which has some value but it changes the orientation and perception. A brand should be true to its own creative past, its own patrimony, and the designer should serve that as a purpose. When it comes to a designer working for himself it's something different.
RN: The Fondation Cartier is known for championing emerging contemporary artists from across the globe, but where does Cartier stand on rising US jewelry designers such as Alexis Bittar and Pamela Love? Do you feel a challenge to compete or consider them separate?
CV: For jewelry I say the more players the better. Having more famous designers gets people interested and creates stimulation and diversity. But each has to find its own style. For example, Hermès is moving into it and exploring its own way with the famous Hermès handbags being transformed into jewelry for the luxury market. This is something exploratory, something no one has done before. As long as we have many designers doing something genuine it's fine, when a designer starts to copy another one that's not fine.
RN: Cartier was one of the main luxury jewelers in the limelight following last year's Elizabeth Taylor jewelry auction, and some of the opulent designs inspired by the star's collection have been reinterpreted on a mass scale. What is your take on this?
CV: When you are copied it means that you're interesting, but if some brands just come and copy others without making any innovation or developments then it's counterfeit. You should respect others. If you just say, "We'll copy this and make it cheaper and it will be fine," it's just disgusting. But if you really go further and try something new and I'll find clients for that then it's great, then it stimulates everyone's creativity and inspires us to do things better.
RN: So would Cartier ever collaborate with a more affordable brand?
CV: No, never. There can be room for premium jewelry or costume jewelry; it can all be something interesting as far it is what it is. Then there is fine jewelry, then there is high jewelry and it's a different world. We can have simple designs; for example the trinity ring is very simple, a wedding band is a wedding band -- simple, straight, symbolic -- we're happy to do it. But a lower end collaboration to diffuse via a mass production -- never. Projects such as the recent Cartier Odyssey movie make Cartier universal. Whether you intend to buy or not doesn't matter.
RN: How does Cartier maintain a balance between keeping traditional clients happy and attracting new ones?
CV: The maison has a stature and has been endorsed by really famous people from past and present: Liz Taylor, the Duchess of Windsor, Grace Kelly. But this can only continue if our contemporary creations are rejuvenated. Now the most demanded pieces come from the Tutti Frutti collection, each of them is new but has been inspired by the 1920s. We can make new ones out of the same inspired style and then have something really daring and new in terms of shape and style and ways to wear. Classics are the kind of designer pieces or products which can talk to anyone at anytime -- a design that has been outstanding whether made in the 1930s or 1970s or this generation. That's why collections go through generations; whether it's a trinity ring or a love bracelet. At some point they were daring and then they become classic because someone wears them. Our creations are constantly kept alive, adding new variants to the same model but also keeping the initial model alive itself and that's why we have many variants on the Tank watch collection or the trinity collection.
Keeping Cartier contemporary: the jewelry house discusses modern art, mass market collaborations and the revival of classics
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Keeping Cartier contemporary: the jewelry house discusses modern art, mass market collaborations and the revival of classics
