Welcome to the Cartier Yearbook, celebrating a remarkable 2024. Explore the stories behind our iconic moments, from boutique renovations to the 40th anniversary of the Fondation Cartier, in this immersive journey through creativity, innovation, and timeless elegance.This year has been marked by power, regeneration, and magical transformations. From bold High Jewelry designs to global recognition of icons like the Trinity and Tortue Monopoussoir Chronograph, Cartier's creations have captivated the world.

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Edito — 2024

When Trinity celebrates its 100th anniversary, there's Magic in the air.

<bigtitle>Paris, London, New York</bigtitle>The celebrations took place, almost simultaneously, in three different parts of the world: New York, London and Paris. Three destinations that represent the pillars of the Maison founded by the three Cartier brothers at the beginning of the 20th century.

A special occasion and the opportunity to celebrate the love and diversity that is so dear to the Maison in the company of the great Cartier family from across the world.The five Trinity ambassadors - Paul Mescal, JISOO, Labrinth, Yara Shahidi, Jackson Wang - along with Jake Gyllenhaal, Vanessa Kirby, Rami Malek, Monica Bellucci, Lily Collins, Sofia Coppola, Isabelle Huppert, Golshifteh Farahani, Emma Corrin, Manu Ríos, Emma Chamberlain, Jeremy Pope, Mélanie Laurent, Virginie Efira, Lou Doillon, Raphaël Quenard, Vincent Lacoste, Deva Cassel, Khatia Buniatishvili, Blanca Li and Nadine Labaki were there to celebrate this joyous centenary.

100 years of Trinity

Explore how Trinity, Cartier’s founding icon, embodies love and emotion through its timeless beauty and innovative design.

Cartier Celebrates 100 Years of Trinity

How, with a simple ring, the jeweler reveals the beauty of a shape.

A legend was born, that of a ring charged with meaning and emotion.

<bigtitle>A founding icon of Cartier design culture</bigtitle>The year was 1924, and the Maison had designed a ring featuring three intertwined, mobile rings in platinum, yellow gold and rose gold. It heralded the dawn of a new art of jewelry. Everything was bold: the color combinations, the fluid movement of the rings, the simplicity of the design and its symbolic strength. Trinity was ahead of its time.

<sectiontitle>The birth of an icon and its link to Jean Cocteau</sectiontitle>Success came quickly, helped not least by the poetic and lyrical persona of the artist Jean Cocteau who adopted the ring in the 1930s. How did he wear it? Sometimes as a pair on his left little finger, always side by side.  A legend was born, that of a ring charged with meaning and emotion that celebrates all forms of love, such as that of Jean Cocteau and actor Jean Marais, who he is said to have introduced to Trinity by saying: “The first ring is you, the second is me, and the third is our love.” Like him, a large number of celebrities have an affinity for the ring, from Timothée Chalamet to Grace Kelly, from Romy Schneider to Alain Delon.

<sectiontitle>A timeless icon</sectiontitle>The talent of Trinity is its ability to reinvent itself. To celebrate its 100th anniversary, Cartier has created new designs that are as simple and pure as they are daring. A square version, whose rings slide over each other with the same ease as the round version. A reissue of the Trinity bracelet in its best form. Cartier increases the volume of the three rings in this XL version and also offers a large, powerful ring whose size emphasizes the timeless modernity of the design.

TRINITY a contemporary icon

Discover how the iconic 1924 Trinity ring redefined jewelry as a timeless symbol of love and creativity.

Trinity: A Contemporary Icon

The five Cartier global Ambassadors united by these three rings full of meaning and emotion.

<sectiontitle>Yara Shahidi</sectiontitle>“Trinity to me embodies friendship, love and kindness. It’s an absolute honor to be a part of this campaign.”This 24-year-old American actress and producer began her career at the age of 9, starring alongside Eddie Murphy in the film Imagine That. Various roles followed, notably the character of Zoey Johnson in Black-ish. In 2018, while still starring in the series, the actress began her studies at Harvard University. Shahidi is considered one of the most influential young women of her generation, thanks to her efforts to promote diversity on screen. She has been nominated multiple times for Best Actress awards, and in 2023 took on the role of Tinker Bell in the film Peter Pan & Wendy.

<sectiontitle>Jackson Wang</sectiontitle>“I hope everyone can find their own standard of happiness and satisfaction. I try to establish emotional links that resemble Trinity’s values.”Musician, performer, artistic director and founder of Team Wang, he is the first Chinese artist to perform two years running at the Coachella Valley Music and Arts Festival. His first album, Magic Man, placed in the Top 13 of the Billboard 200. In January 2024, he completed the first part of his Magic Man World Tour.

<sectiontitle>Labirinth</sectiontitle>“Trinity is an emblem of connectivity and love, which is so fitting, as my own life is a result of the deep love I’ve felt from my community of support.”The composer of the music in the Trinity film, Timothy McKenzie, better known as Labrinth, was born in London in 1989. The British singer-songwriter, performer, musician and producer explores several genres including R&B, hip-hop, rap, soul and electro. His debut solo single Let the sun shine, released in 2010, proved an instant hit. In 2017, he worked with Sia on the Wonder Woman soundtrack and a meeting with Sia and Diplo resulted in the LSD project. Three years later, he received an Emmy Award for his track All For Us.

<sectiontitle>Paul Mescal</sectiontitle>“Trinity to me embodies friendship, love and kindness. It’s an absolute honor to be a part of this campaign.”Irish actor Paul Mescal, born in 1996, has made a name for himself on stage and on screen for his ability to bring characters to life with a delicate touch. In 2020, he lit up the small screen in the series Normal People, before appearing in Maggie Gyllenhaal’s directorial debut. In 2022, he was nominated for the Best Actor Oscar for his lead role in Charlotte Wells’ Aftersun.

<sectiontitle>JISOO</sectiontitle>Trinity is an emblem of connectivity and love, which is so fitting, as my own life is a result of the deep love I’ve felt from my community of support.”Born in Seoul, South Korea, JISOO made a name for herself as a teenager with her earliest TV appearances, when she was invited to promote her single Square Two. With nearly 80 million Instagram followers, this K-pop star has captivated a whole generation in every conceivable discipline: from a singer in the girl group Blackpink to critically acclaimed actress in the dramatized series Snow Drop.

All Linked by Trinity

Five Cartier global ambassadors share their personal connections to Cartier’s iconic Trinity rings, symbols rich in meaning and emotion.

All Linked by Trinity

An icon whose values are passed on by the Friends of the Maison.

Trinity, a Symbol of Unity

An icon whose values are passed on by the Friends of the Maison.

Trinity, A Symbol of Unity

Cartier celebrates Trinity’s 100th anniversary with an immersive journey in the form of a unique pop-up.

A truly immersive experience, this ephemeral space is divided into various rooms that showcase the icon, one of which is dedicated to the magic of the number 3. Three, like the three brothers Louis, Pierre and Jacques, and like the three historic Cartier boutiques in Paris, London and New York.Cartier continues this journey with another room dedicated to Jean Cocteau, who adopted the three rings in the 1930s. Actors, artists, princesses - just as he did, a large number of celebrities share an affinity for the ring, and are also the subject of a series of projected images on giant rolls of film. This immersion in the world of Trinity continues with an examination of its unmistakable design, which has allowed its reinvention over time.

Trinity 100, the journey of Trinity

Cartier Celebrates Trinity’s 100th Anniversary With an Immersive Journey in the Form of a Unique Pop-Up

Trinity 100, The Journey of Trinity

Bijoy Jain imagined the exhibition as a physical and emotional experience: an invitation to breathe, to wander in quietude and to rediscover silence. For the architect, this aspect was key, “Silence has a sound: the sound of breathing. We hear its resonance in ourselves. This sound connects all living beings; it is the breath of life.”Light and shadow, lightness and gravity, wood, brick, earth, stone, and water convened to compose a sensory experience, in resonance with the materials. Crafted by hand and in rhythm with the act of breathing, the exhibition’s installation was composed of architectural fragments.

Crafted by hand and in rhythm with the act of breathing, the exhibition's installation was composed of architectural fragments. Stone and terracotta sculptures, facades of traditional Indian dwellings, rendered panels, lines of pigment drawn with thread, bamboo structures inspired by tazias—funerary monuments carried on the shoulders in memory of a Saint during Shiite Muslim processions—these transitory, ephemeral structures presented a world that is both infinite and intimate, carrying the visitor to places both near and far.Bijoy Jain also invited Chinese painter Hu Liu and Alev Ebüzziya Siesbye, a Turkish-born Danish ceramist who lives in Paris, to join him in creating the exhibition. All three give the same importance to the ritual mastery of gesture, to resonance, and dialog with material; they share the same ethos and sensibility. Hu Liu’s monochrome black graphite drawings are created with repeated iterations of the same movement to reveal the essence of natural elements: grass caressed by the wind, the rolling of the waves, or the silhouette of tree branches, conveying a timeless solemnity. Alev Ebüzziya Siesbye’s ceramics are also the culmination of great skill and dexterity, as well as an intense dialog with the clay.

Living Breathing Architecture

Bijoy Jain’s Breath of an Architect exhibition at Fondation Cartier explores the deep connection between man, nature, and the importance of time and gesture.

Living Breathing Architecture

Cartier creations and works of kinetic art in resonance. 

<bigtitle>Bringing the stationary to life </bigtitle>In 1913, Marcel Duchamp said goodbye to classic painting when he attached a (mobile) bicycle wheel to a stool. And as such, a seminal work in kinetism was born: when the piece is positioned next to the window, the sunlight shining on it refracts through the wheel’s spokes as the artist spins it with his hand. And so movement and light become the materials of creation. A real pedal towards modernity, this piece opened up a vast creative field, which would become known as kinetic art in the 1950s. <bigtitle>Achieving the impossible...</bigtitle>… is possible for jewelry! These precious, static creations adopt movement through their relationship with the body and their ability to seamlessly adapt to the wearer’s movements, which, for Pierre Rainero, is “a fundamental and invisible signature of the Maison.” Beyond the talent of Cartier artisans making pieces with remarkable finesse, movement is also found in the designers’ expertise. Their knowledge is based on an in-depth understanding of materials, interplays of light, and volume effects specific to each gem. “A designer’s eye is trained to spot this phenomenon where light refracts, scatters, and penetrates matter,” explains Pierre Rainero. Finally, the design, which, aside from working on the line of each piece, introduces articulated designs, plays with the ideas of fullness and emptiness, and sometimes adds mobile elements, such as moving tassels or rolling balls that aid the optical illusions. In kinetic art, movement is seen as the center of an experience in which the spectator loses their bearings and has their visual and sensory emotions disrupted. Perception and participation are key to kinetic art. Everything moves, and nothing is stable for the spectator, who experiments and comes face to face with randomness. Their curiosity is projected towards the unknown. Only the eye provides a constant and a point of stability. According to Matthieu Poirier, “perception is the true medium.“

Cartier creations from the beginning of the 20th century explored a creative territory that anticipated the fundamentals of kinetic art. Equipped with Louis Cartier’s notebooks of ideas, the Maison’s designers began creating jewelry which, through continuous abstract motifs, evoked the fluidity of waves. This vibration effect was seen again in the work of Heinz Mack. “I no longer saw the metal relief, but instead a shimmering, vibrating structure of light”, explained Mack.

The movement inherent in this bracelet is defined by the design. An infinite spiral emerges from the center of the stone and endlessly spins round itself. The jewelers created this chromatic explosion using small onyx, sapphire and openwork elements. In the 1920s, to create the illusion of volume, Marcel Duchamp designed the Rotoreliefs: a collection of six cardboard discs printed on both sides and placed on a phonograph which, when rotated, creates a moving image brought to life by the 3D effect of the reliefs and dips.

Combining rigorous geometry with finesse, this necklace's structure is built around a line of sapphires. The eye is both drawn to the center and then led outwards again along an infinite line of tiny sapphire, onyx and emerald elements. The repetition of these shapes only encourages this movement. A sense of diffraction and rupture pervades this painting by Philippe Decrauzat: from the center, an echo resonates and gradually changes.

Shaking at the slightest movement, the tassels on this ring recall those of the Pol Bury fountains through their sound. For Matthieu Poirier, kinetism is “obsessed with movement and inner workings, as if waves were being transmitted between kinetic mechanisms and the brain, itself a machine.”

Watchmaking also lends itself to these creative explorations. This Tank watch, one of Cartier’s watchmaking icons, transports us to another dimension. Through a window into a world about which we can only speculate, we are drawn in as much as we are rejected: we have no way of understanding the reference system it uses. François Morellet’s stained-glass windows create a feeling of displacement: the center, being the point of reference, is blurred, dispersing the gaze

Moving the eye

Pierre Rainero and Matthieu Poirier explore the idea of ‘alive’ jewelry in a creative dialogue between Cartier and kinetic art

Moving the eye

Reversing the course of time: that’s the technical and aesthetic challenge of the Santos-Dumont Rewind watch. A creation that aims to read time backwards, defying tradition. A healthy dose of pioneering spirit, a hint of provocation, and a touch of fantasy combine to create a watch that wholeheartedly celebrates the whimsical spirit of the aviator Alberto Santos-Dumont.

Turning Back Time: The Santos Rewind Watch

The Reflection de Cartier watch invites us to play with the mystery of time, using an optical phenomenon to transform the real into the imaginary. This hybrid watch enjoys blurring the lines. Spectacular architecture, sun-kissed yellow gold, paved or smooth surfaces, the grainy texture of the reverse setting or the powdery texture of the snow setting: the eye moves from contrast to contrast, dazzled. Then it stops, fascinated, to perceive a tiny dial facing a mirror.

From the other side of the mirror: Reflection de Cartier

Maurice Couët took inspiration from the clocks of Jean-Eugène Robert-Houdin (1805-1871), famous illusionist and inventor of modern magic. The principle, which he took up and perfected, was based on a brilliant idea: the hands were not directly connected to the movement, but were attached to two glass discs fitted with a serrated metal edge. Driven by the movement, generally housed in the base of the clocks, they lead the hands, one turning at the speed of the minutes, the other at the speed of the hours. To create the perfect illusion, the edges of the discs are hidden by the hour circle. They are said to be “mysterious” because their hands appear to float in the transparent body of the clock with no apparent link to the movement. These “watchmaking miracles”, as they were called by La Gazette du Bon Ton in 1925, are the result of the collaboration between Louis Cartier and Maurice Couët, an exceptional watchmaker. Couët was only 25 years old when he was discovered by Cartier – and he already had solid experience. From 1911, he designed clocks exclusively for Cartier. The production of these mysterious clocks has never ceased. They fascinate designers and inspire them to explore their infinite creativity.

Houdini, the master of illusion

<sectiontitle>A brief history of mystery at Cartier</sectiontitle>The first Mystery Clock, known as Model A, left the workshops in 1912. Model A is available in several variations, depending on the type of base (onyx, agate, nephrite, gold, etc.), the decoration of the dial and frame (white enamel, mother-of-pearl, etc.) and the shape of the hands. In the 1920s, Cartier introduced the “central axis” model. Unlike Model A, the discs are not driven by two axes on either side of the base, but by a single axis. This innovation gives Cartier even greater freedom in its aesthetic research. In 1923, the movement was installed at the top of the famous Portico Mystera Clocks.

Time is an illusion

Cartier reimagines time as a magical playground, blending reality and imagination through playful shapes and boundary-crossing designs.

Time is an illusion

<bigtitle>Botanical Metamorphosis</bigtitle>At first glance, the outline is completely obscured. On closer inspection, a tortoise appears, hidden within the design. Combining surprise and creativity, this necklace calls on the imagination through an interplay of sinuous lines that conceal a tortoise under an impressive 71.90-carat rubellite. The camouflage effect is not produced at the cost of versatility: the animal can be detached in its entirety, head and feet included, to form a brooch.

<bigtitle>Optical Illusion</bigtitle>From its stripes to its profile, ears and muzzle, its presence can be felt - it shines. Everything is enhanced by the design’s precise, stylized lines. Together everything moves with rhythm, full of life and power. Cartier’s beloved animal holds an emerald-cut diamond and a pear-shaped rubellite weighing 6.25 carats in its mouth. The iconic coat of the zebra, with its rhythmic pattern, creates an illusion, playing with the visible and invisible.

<bigtitle>Urban Chessboard</bigtitle>Sinuous and symmetrical, two reptiles snake around the neck separated by nine octagonal Colombian emeralds weighing 14.72 carats. Their diamond scales are set with emeralds and their heads crowned with kite diamonds. The design blends the organic into the urban through an interplay of motifs with perfect geometry. It offers a balance between two worlds in motion, two forces that resonate in total harmony thanks to the chromatic intensity of the stones.

<bigtitle>Magnetic Elegance</bigtitle>The panther is tamed to the point of playing on your hand in the form of a hybrid piece of jewelry with magnetic elegance. This fully articulated bracelet-ring adds wild energy to the smallest of movements. With tapered limbs, a diamond coat dotted with sapphires and an emerald gaze, the panther watches us, ready to leap as it fiercely guards its Zambian emerald totaling 8.63 carats.

<bigtitle>Play on Perspective</bigtitle>Playing with material and perspective, a flamingo with a beak adorned with black lacquer and rose gold takes form within a stylized landscape. Emeralds evoke reeds while punctuated aquamarine subtly makes reference to an aquatic environment. The signature palette culminates around a remarkable aquamarine weighing 38.50 carats.

A Precious New Hybrid

A Precious New Hybrid

<sectiontitle>Vienna</sectiontitle>Cartier brought its new high jewelry collection to light in Vienna, a city with a rich historical legacy that, like this magical event, breathes culture, art, and music.

<bigtitle>The Exhibition</bigtitle>The Nature Sauvage High Jewelry collection was revealed in one of the Austrian capital’s most prestigious venues: the Kursalon Hübner, a Renaissance-style music hall dating back to the late 19th century. The scenography unfolded in three parts. The classical elegance of the salons was taken over by an organic-themed decor, allowing nature to proliferate freely in these salons with refined elegance.

<bigtitle>The Gala</bigtitle>The Maison stopped over at The MAK, a place of art and history that was opened in 1864. Now a benchmark for architecture and contemporary art, for one evening this building filled with history and beauty was transformed into a sanctum where time stood still. After the cocktail reception and fashion show, guests—including Friends and Ambassadors of the Maison Elle Fanning, Sofia Coppola, Kimberley Anne Woltemas, Anna Sawai and Franz Rogowski—enjoyed a choreographed performance by Arthur Cadre and a recital by Italian tenor Fabio Sartori. The evening continued with a performance by British artist RAYE, who broke records at the Brit Awards.

Diary of an Enchanting Journey

The Diary of an Enchanting Journey

<sectiontitle>María Félix, Amira Casar’s idol</sectiontitle>As a child, I adored flamboyant actresses from the past. Those multi-disciplinary ones who effortlessly transitioned from the stage to the screen, embracing all the different forms of the performing arts. I found them both captivating and fascinating. And they were rebels. I used to slip in and out of TV theaters late at night, or dip into movie theaters all around town to escape my own reality; to escape the clutches of my strict school and distant family. That’s how obsessed I was. I was captivated by their smooth voices, their broad shoulders, their dry humor and their vulnerable eyes – not to mention the flawless, radiant skin of these ‘angels of death’ hiding any faults or weaknesses behind their beautiful appearance.

And that’s how one day, when my love for world cinema was at its most intense, I discovered María Félix. María was one of those FREE BIRDS. Those multi-talented, wild and undisciplined individuals who were determined to forge their own path no matter what, trusting in fate and the gods to make sure that they got onto the one-way road to their dreams. (Even if that meant leaving her family behind). That’s what made my fascination for her grow as I watched her films. Her style was iconic and her taste in jewelry was boldly unique, an example of her flair and fearlessness. Agile and lifelike, her Cartier diamond snake evoked the power of the reptile that was a monumental God in ancient Aztec civilizations. She nonchalantly wore it around the neck like the trophy it was, before following it with crocodiles, super vibrant necklaces and large coiled snake earrings. I sensed that, beneath that thick head of hair, there was a feisty temperament and a voracious appetite for work, which you can see in all of her films (no one else could evoke the sophistication and glamor of terrestrial creatures in contrasting forms like she could). Across her 47 films, her smile is unforgettable and her integrity striking. Her dreamy eyes are filled with mystery and mischief. The one known as La Doña lives on in my dreams. She’s always there.”

An Image, An Emotion

An Image, An Emotion

They met in the bustling atmosphere of the Maison’s workshops in central Paris. The connection was instant, and the actor dived head-first into the Maison’s treasures. For him, there was no doubt about it—Cartier is the Maison for special occasions. Only its craftsmen could create the two jewelry sets destined to appear in two highly anticipated movies: Paul King’s Wonka, at the end of 2023, and Denis Villeneuve’s Dune, which released in March 2024.

<bigtitle>Dune movie</bigtitle>To start with, there is one design: a tubular structure whose interior, closer to the neck, is entirely paved with cut-to-measure onyx. The fi rst necklace, made up of 964 gems, features zesty hues that evoke delicious candy: emeralds, blue opals, Paraiba tourmaline and rubies.

<bigtitle>Wonka movie</bigtitle>The second, with its 775 stones, recalls shades of the desert land-scape with added bluish variations, echoing the eyes of the Fremens: a set of brown, yellow, and orange diamonds as well as sapphires and gray-blue spinels.

Create the unexpected

<sectiontitle>The story continues</sectiontitle>Each of these two creations, which were produced to a very precise schedule, required nearly 450 hours of work. First unveiled at the movie previews in October 2023 and February 2024, the necklaces have left the red carpet behind to start a new chapter. Away from the spotlight, they joined the Cartier Collection, as part of which they will be exhibited in the world’s most prestigious museums, alongside a collection of fabulous historical pieces by Cartier.

Creative Alchemy

<sectiontitle>But if it’s not a scarf, what is it?</sectiontitle>It’s a hand-woven and hand-rolled silk work of art. A mental landscape in which several scenes are layered on top of each other. Cartier plays with proportions, inventing colors and constructing perspectives. A composition of subtle motifs engraved and then printed layer by layer, from the deepest color to the lightest, in historic factories in Lyon or in the Italian lake region.

More than Just a Scarf

More than Just a Scarf

<sectiontitle>Extra Time</sectiontitle>Why not turn a carabiner into a time-telling accessory? A carabiner, but mobile in every way, colored and paved with snow-set diamonds. Functional yet totally extravagant jewelry that explores a wealth of savoir-faire, cuts and settings: channel-set baguette diamonds, snow or brilliant-set diamonds, prong-set sapphires and emeralds.

<sectiontitle>Focal point</sectiontitle>Four articulated discs of white gold, onyx and diamonds make up the phases of a solar eclipse. Thanks to a jewelry mechanism, the ring can fold or unfold on the hand.

<sectiontitle>Take out Your Claws</sectiontitle>A brooch to clip onto the lapel of a garment, which reveals a miniature dial paved with snow-set diamonds when one of the moonstones is pressed.

<sectiontitle>From Dawn to Dusk</sectiontitle>Trace the stages of a sunrise: each phase corresponds to a fine stone - pink chalcedony, orange moonstone, palmeira citrine, Madeira orange citrine, intense fire opal, spessartite garnet, pink sapphire, yellow sapphire - and at the zenith, an orange rutilated quartz in the guise of a solar disc.

<sectiontitle>Matter of Detail</sectiontitle>See the beauty in the smallest detail. There’s no shortage of details on these two brooches, with their profusion of colored stones, their variety of settings and their art deco color schemes. Intriguing and extravagant in equal measure, these helical watches can be worn on the lapel of a jacket or a sleeve – it doesn’t matter, as long as they do what they’re designed for: to tell the time by means of miniature set dials.

<sectiontitle>The signature of a Maison in motion.</sectiontitle>This is the creative challenge Cartier takes on with Polymorph, the latest edition of Cartier Libre, one of surprise and transformation. Here, versatility goes hand in hand with lightness, humor, and charm. A miniature watch emerges from a panther’s claw, a necklace is worn across the shoulder like a braid, and, proving that time is also an accessory, you clip your carabiner watch onto your jeans… Cartier shakes us up in every dimension. Its vision transports us to the most precious everyday, towards jewelry tools and unexpected ways to wear.

Polymorph: Evoking the Unexpected

Polymorph: Evoking the Unexpected

<sectiontitle>Chromatic tension</sectiontitle>For even more surprise, a colorful foam of tiny bubbles consisting of blue and white opals, rubellites, blue chalcedony, tanzanite and set platinum extends across this architectural watch. At the center, the miniature dial contrasts the randomness of the snow setting and sapphire index with the textured rose gold of the bezel and the bracelet.

<sectiontitle>Precious Frills</sectiontitle>Adorned with colorful tassels that rustle joyfully, these rings sparkle with the smallest of movements. The strands studded with diamonds, onyx and chrysoprase create a chromatic harmony cherished by Cartier: the black, green and white combination has been a feature of the Maison’s creations since the early 20th century.

<sectiontitle>Total Indulgence</sectiontitle>A Tutti Frutti signature, the melon cut is transformed here into a motif itself. The amplified, sculpted and large shape draws the eye. Cartier has added a diamond at the center, inside a pistil set with beads. The transparency of the center stone, amethyst and chrysoprase adds sensuality and a sense of indulgence, emboldened by the precious gold details. Alternating onyx elements and gold pavé claws give rhythm to the relief. These creations pay tribute to Jeanne Toussaint by exploring her style and love for yellow gold worked in volume through Cartier’s cherished chromatic trio.

Spectacular Exuberance

Spectacular Exuberance

Wawira Njiru and Pascale de la Frégonnière have combined their efforts to establish a sustainable way of providing high-quality, nutritious meals to schoolchildren. It all started in 2012, when Wawira Njiru, a young student in nutrition and food sciences, raised the capital to set up her non-profit organization, a tiny, corrugated iron structure in her hometown Ruiri, about 10 miles from Nairobi.

<bigtitle>Pascale de La Frégonnière</bigtitle>

Since then, it has grown 14-fold and provides meals to a quarter of the children enrolled in the city’s public schools, the majority of whom come from the city’s poorest neighborhoods. This tremendous success saw her elected Kenyan personality of the year 2021 by the United Nations and earned her the 2022 Global Icon Award from The World’s 50 Best Restaurants. Food for Education is one of 58 partner organizations supported by Cartier Philanthropy.

<bigtitle>Wawira Njiru</bigtitle>

<smalltitle>What made Cartier Philanthropy decide to support Food for Education? </smalltitle><caption>Pascale de la Frégonnière:</caption>Every day, millions of children around the world go to school on an empty stomach. Hunger is detrimental to their concentration and impairs their ability to learn. Hungry kids are also more likely to miss school because of illness, and more likely to suffer from depression and anxiety. Effectively and locally managed school meal programs have many proven benefits: not only do they provide pupils with adequate nutrition, but they also improve their school attendance and educational outcomes. Considering the urgency of the problem, our priority is to support programs that are proven to work, are cost-effective and can be replicated and expanded. That’s why we’re funding Food for Education, which is making school meals available to thousands of children in Kenya. <smalltitle>What are the challenges that Food for Education is addressing in Kenya and what is the organization’s mission? </smalltitle><caption>Wawira Njiru:</caption>Approximately 90% of the continent’s children do not have access to the minimum acceptable level of nutrition and this crisis is particularly acute in Kenya, where one in four children under 5’s development is stunted. Undernutrition and hunger affect children’s physical, cognitive and social-emotional development. <smalltitle>What are your ambitions for the future?</smalltitle><caption>Wawira Njiru:</caption>Since its creation, Food for Education has grown from serving 1 million meals a year to over 1 million meals a month and is now feeding nearly 300,000 children every day. Beyond addressing childhood hunger, we’re seeing encouraging results in educational outcomes too, with increased enrollment and attendance in the primary schools we serve. We have the ambitious goal of serving 1 million children per day by 2027. <smalltitle>How does this resonate with Cartier Philanthropy’s strategy? </smalltitle><caption>Pascale de la Frégonnière</caption>As a foundation, we have a responsibility to make a positive change to people’s lives, if we are to tackle some of the world’s most complex social challenges. Our strategy is therefore to fund organizations that have come up with solutions proven to be effective and have an ambition to expand them and reach as many people as possible. Food for Education’s numbers could not be more convincing: they are providing nutritious meals for 300,000 children per day at a cost of 30 cents each. That’s remarkable! Counties in Kenya have asked for Food for Education to start operating in their region because they understand the benefits of school meals. Parents are moving their kids to schools where school meals are available. This is creating a virtuous cycle.<smalltitle>How can private-sector donors best support your goals? </smalltitle><caption>Wawira Njiru:</caption>Food for Education wants to expand so as to reach as many children as fast as is humanly possible. Our vision is of a Kenya where all 10 million children in state primary schools receive a daily, affordable, nutritious school meal. The private sector and donors can really support this vision by providing long-term, flexible funding so we can accelerate our impact and reach our solution sustainably. We run Food for Education like a business, and private sector expertise on expanding it is helpful as we build the blueprint for feeding school children from scratch.

A Virtuous Cycle of Nutrition and Education

Food for Education partners with Cartier Philanthropy to tackle childhood hunger in Kenya, delivering high-quality meals that boost both nutrition and education.

A Virtuous Cycle of Nutrition and Education

<sectiontitle>Eco-Acoustics: An Orchestral Perspective</sectiontitle>or over 40 years, Bernie Krause has collected almost 5,000 hours of sound recordings of natural habitats, both terrestrial and marine, inhabited by almost 15,000 animal species. Invited by the Fondation Cartier pour l’art contemporain, he created The Great Animal Orchestra, an exhibition that offered the public a wonderful immersion into the sound universe of animals. Revealing the beauty, diversity and complexity of the languages of wild animals in this poetic project, he also implores us to listen to the voices of the living, non-human world before they are definitively shrouded in silence.

<bigtitle>Planet Indonesia</bigtitle>From a faint buzz to an almost imperceptible rustle of leaves, nature speaks volumes to those who listen. Its sounds form a heartbeat, a steady rhythm of life, often taken for granted. Local grassroots organization Planet Indonesia harnesses the power of sound and science to safeguard an irreplaceable natural treasure: the Heart of Borneo. They use highly sensitive microphones and AI-driven eco-acoustic software to decode the natural soundscapes of Borneo’s rainforests, and ultimately, protect the habitat and its species.Their initiative is supported by Cartier for Nature, the Maison’s philanthropic initiative to conserve and restore biodiversity and ecosystems for the benefit of people and nature. Founded by the Maison in 2020, Cartier for Nature today supports more than 27 organizations around the world in their missions to preserve the planet. The Heart of Borneo bio-region spans the West and Central Kalimantan border and hosts the largest remaining Bornean orangutan population, as well as providing a habitat for various endangered species, including the helmeted hornbills, Bornean white-bearded gibbons and Sunda pangolins. Aware of the intimate knowledge Indigenous peoples have of their environment, Planet Indonesia works closely with local Dayak communities who live in this bio-region.Tradition and innovation work hand in hand through this approach, supporting the management of natural resources and forest area in a way that is sustainable for people and the environment. Using a highly specialized program, Planet Indonesia analyzes the calls of different species to monitor the status of the ecosystem and register changes over time. This allows them to detect any new threats and measure the impact of their conservation work and enables the local communities to make data-driven conservation decisions.Over an initial period of two years, the groups will track the heartbeat of this irreplaceable rainforest, listening to each voice, from whispers to roars. As they change and develop over time, they will generate evidence to support a protected network of “no-take” zones, areas of the forest that are particularly important for biodiversity and where no logging or other harvesting of natural resources is allowed. In time, Planet Indonesia hopes to expand such a network to further parks in Kalimantan, creating an interconnected haven of biodiversity, endorsed and protected by their communities.

Listening to a Forest's Heartbeat

Planet Indonesia uses AI-driven eco-acoustics to monitor the sounds of Borneo’s rainforests, empowering local communities to protect endangered species.

Listening to a Forest's Heartbeat

“To become a character and make people believe feels like magic to me. I am grateful to have a job that transports me to other time periods, or even fantasy worlds at times.”

<bigtitle>Elle Fanning</bigtitle>

“I find magic in my interactions and relationships with other people. Being with my oldest and dearest friends never fails to inspire – what is that, if not magic?”

<bigtitle>Vanessa Kirby</bigtitle>

“Whenever I’m snowboarding, I consciously take the time to soak up the stunning natural beauty that surrounds me. This profound connection with nature and the present instills a sense of magic that is deeply felt.”

<bigtitle>Su Yiming</bigtitle>

“Currently my life’s overflowing with magic – I’m preparing for a role as an amateur magician and professional psychiatrist, Douglas Kelley. I’m forever finding missing playing cards, disappearing cigarettes, or double-sided coins, hidden up coat sleeves or stitched into the lining of my jacket.”

<bigtitle>Rami Malek</bigtitle>

How to Make it Magic?

Magic is found in the everyday, from friendships to nature. The Friends of the Maison share the moments that inspire their sense of wonder.

How to Make it Magic

In the 1960s, 102 Greene Street underwent its initial transformation, nearly 50 years after the clothing industry had all but moved out. A new creative dynamism arose and Downtown and SoHo emerged as two of the leading communities of artists and gallery districts in the world. During this period, William Tarr, a sculptor and resident at 102 Greene Street, crafted a 14-foot door, composed of layered iron plates and rivets, that now functions as the main entrance to Cartier SoHo. It is a fitting homage to this artistic legacy, where visitors are welcomed into a 21st-century boutique through a 20th-century door that leads them inside a 19th-century structure.

<sectiontitle>Cartier and Soho: A Shared Spirit of Creativity</sectiontitle>

The Maison’s emblematic panther, depicted in an original mural carved into the brick wall, guides visitors to the second-floor speakeasy complete with a bar and comfortable lounge spaces all wrapped in handmade wallpaper by Atelier Antonin Anzil. Lining the walls, the bas-relief of Velin d’Arches’ gold patinated paper represents a serene landscape with an abstract mineral pattern, enticing viewers to imagine themselves in the artistic landscape.

<sectiontitle>A Transportative Speakeasy</sectiontitle>

Cartier’s transformation of the space began with Paris-based architectural firm Studioparisien, who reimagined the space as a large loft; outfitted with raw and precious materials, the boutique features preserved cast-iron ceilings and columns, exposed brick walls, the staircase, and precious wood flooring, combining the locale’s industrial past with its artistic heritage and timeless Cartier codes.

<sectiontitle>The Echo of an Artist’s Haven</sectiontitle>

From the very beginning, this space at 102 Greene Street has been associated with craftsmanship, art, culture, and fashion. Forged in the historic Cast Iron District, the structure that stands today was designed in the late 19th century by Henry Fernbach, a prolific architect who designed more buildings on Greene Street than any other individual. The first occupants of his building were a hat and cap manufacturer.

<sectiontitle>Artistic Heritage in Bloom</sectiontitle>The third floor recalls historic Downtown loft spaces that doubled as studios and living quarters for creatives in postwar New York with a living room, private dining room, and library. Meanwhile, the flora-filled rooftop garden presents an urban oasis, providing an opportunity to be immersed in nature in the middle of New York City, at the zenith of a space that celebrates artistry, transcending past and present, to form expressions of creativity in perpetual metamorphosis. With the inauguration of 102 Greene Street, the spirit of the Cartier panther roams from her home on Fifth Avenue to Downtown Manhattan, opening up a new space to play, innovate and inspire.

Here, Studioparisien entrusted Studio François Mascarello with the installation of a straw marquetry panel representing a characteristic element of the city: the iron staircases. A mirror gallery by Atelier Bonnefille reveals abstract patterns in subtle shades of bronze. These pieces set the stage for the rest of the floor, which showcases the Maison’s iconic collections.

Enchanting Soho

102 Greene Street in New York transforms into a vibrant residence that blends artistic heritage with contemporary luxury.

Enchanting Soho

César, the man who helped create the Fondation Cartier: he explained to Alain Dominique Perrin that artists need money to create and places to exhibit their work, suggesting that they should create such a space. Unknown to wider audiences in the early 1980s, the initial work of sculptor César consisted of many creations that used welded iron.Through the Les Fers de César exhibition presented in Jouy-en-Josas in 1984, the Fondation Cartier was able to showcase the artist’s work from between the years of 1955 and 1963, displaying both a remarkable aesthetic homogeneity and a fascinating, uninhibited imagination that was entirely unique.

<sectiontitle>Les Fers de César. 1984</sectiontitle>

Through the Hommage à Ferrari exhibition, the Fondation Cartier showed how beauty can be found in all of the world’s technologies. Nowadays, it’s normal to break down the barriers between art, craftsmanship and design, but the Fondation Cartier did so boldly and intuitively before anyone else.

<sectiontitle>Hommage à Ferrari. 1987</sectiontitle>

The Fondation Cartier became the first institution to unveil the work of movie director David Lynch during a very special event. Experimenting with all forms of creative expression, from painting to photography, drawing and sound creation, David Lynch’s work is among the most protean of our time.His connection with the Fondation has led to his contributions to exhibitions such as Mathematics: A Beautiful Elsewhere in 2011 for which he did the scenography in the ground-floor space and gave a concert with Patti Smith. David Lynch also came up with Jeweled Triangle for the Cartier, Jeweler of the Arts exhibition in 2012 which presented a body of work created from precious and semi-precious stones.

<sectiontitle>David Lynch, The Air is on Fire. 2007</sectiontitle>

At a critical point in the world’s history, where our actions and plans for the future were becoming heavily influenced by the environment, the Native Land, Stop Eject exhibition reflected on the ideas of taking root and uprooting, as well as the identity questions attached to those ideas. While Raymond Depardon spoke in front of people who, despite being pushed to leave, wanted to remain in their land, Paul Virilio exposed the threat to the very idea of settled life in the face of unprecedented levels of migration in the contemporary world.

<sectiontitle>Native Land, Stop Eject. 2008</sectiontitle>

The Fondation Cartier opened its doors to the mathematics community and chose a selection of artists to accompany them. Together, they were the artisans, discoverers, designers and creators of this exhibition.

<sectiontitle>Mathematics: A Beautiful Elsewhere. 2011</sectiontitle>

Inspired by the work of American musician and sound ecologist Bernie Krause, The Great Animal Orchestra exhibition brought together artists from around the world and encouraged the public to immerse themselves in an aesthetic meditation—through sounds and images—centered on an animal world that is increasingly under threat.

<sectiontitle>The Great Animal Orchestra. 2016</sectiontitle>

Lightness, transparency, simplicity and proximity to nature are the key themes for Japanese architect Junya Ishigami. He willingly draws links between his architectural creations and landscapes, tearing down the boundaries between the outdoor world and interior spaces. 

<sectiontitle>Junya Ishigami, Freeing Architecture. 2018</sectiontitle>

Bringing together a community of artists, botanists and philosophers, the Fondation echoed the latest scientific research taking a refreshing look at trees and highlighting the beauty and biological richness of these fundamental contributors to the living world, which are now massively threatened.

<sectiontitle>Trees. 2019</sectiontitle>

Cherry Blossoms, the subject of Damien Hirst’s first institutional exhibition in France, commented on beauty, life and death. The exhibition marked the British artist’s grand return to painting. In this series, Damien Hirst reinterpreted the traditional subject of landscape with joyful irony, as well as the great artistic movements of the late 20th century, from impressionism to action painting.

<sectiontitle>Damien Hirst, Cherry Blossoms. 2021</sectiontitle>

In 2022, the Fondation presented the first big retrospective in France dedicated to the work of Mexican photographer Graciela Iturbide, dating from the 1970s to the present day. Known for her black and white portraits of Seri Indians from the Sonora Desert or of women from Juchitán, Mexico, Graciela Iturbide created a color series especially for this exhibition.

<sectiontitle>Graciela Iturbide, Heliotropo 37. 2022</sectiontitle>

Staying true to its pledge to address themes that are typically absent from museums, the Fondation presented the Vraiment faux exhibition, which focused on counterfeiting. Among the copied and plagiarized objects, a collection of 80 Mona Lisa fakes discovered in museums around the world were on display.

<sectiontitle>Vraiment faux. 1988</sectiontitle>

Through the La Vitesse exhibition, the Fondation explored relationships between contemporary art, science, technology, human science, sport, communication and even computing. It was a unique event, as highlighted at the time by philosopher Paul Virilio: “It was the last time we questioned the speed of the world and the spreading of information before the internet arrived.”

<sectiontitle>La Vitesse. 1991</sectiontitle>

This exhibition was dedicated to the face: what it represents and the questions it poses. Bringing together works from over 80 artists, À visage découvert provided an overview of faces in all their forms, from ancient and non-European art to recent trends in contemporary art.

<sectiontitle>À visage découvert. 1992</sectiontitle>

This exhibition explored a new way to present creative fashion in art museums.

<sectiontitle>Issey Miyake, Making Things. 1998</sectiontitle>

In 2002, Kaikai Kiki was Takashi Murakami’s first exhibition in Europe. Considered to be one of the leaders of Japanese neo-pop, the artist claims to be an heir to Andy Warhol and American pop art, analyzing how Japanese art can find autonomy in a Western system.

<sectiontitle>Takashi Murakami, Kaikai Kiki. 2002</sectiontitle>

This exhibition was born from an encounter between shamans from the Yanomami village of Watoriki, in the Brazilian Amazon, and a group of international artists.One by one, they were welcomed into the Yanomami community before exposing their creative universes to the Yanomami concept of shamanic images, with the intention to create a ‘free association’ space rather than illustrate or translate. Since then, the Fondation has continued to support the Yanomami cause and has presented artistic projects created by indigenous artists from all over the world.

<sectiontitle>Yanomami, l’esprit de la forêt. 2003</sectiontitle>

An iconic figure in African contemporary art and an ambassador for Congolese artists, as well as for his colleagues and friends at the Kinshasa ateliers where he lives and works, Chéri Samba creates brightly-colored paintings, sometimes enhanced by glitter and accompanied by a hand-written message criticizing, condemning and questioning the world.He was among the first artists to stay in residence in Jouy-en-Josas. Since then, his ties to the Fondation have been repeatedly demonstrated, most notably during the Beauté Congo – 1926-2015 – Congo Kitoko, 2015 exhibition.

<sectiontitle>J’aime Chéri Samba. 2004</sectiontitle>

For the first time in France, the Fondation presented a personal exhibition from the artist Ron Mueck. His figures, which are intensely realistic but play with surprising changes of scale, introduce dreams into reality and invite us to question our relationship with our bodies, objects and existence. Working with the artist as he evolved, the Fondation dedicated two more exhibitions to him in 2013 and 2023, which were incredibly successful.

<sectiontitle>Ron Mueck. 2005</sectiontitle>

40 Years: A Beautiful Milestone for the Fondation Cartier

For 40 years, the Fondation Cartier has shaped how we see the world, using art and innovation to inspire transformation and dialogue.

40 Years: A Beautiful Milestone for the Fondation Cartier

“Like the words of Angela Davis, I firmly believe that we are not here to accept the things we cannot change, but to change the things we can no longer accept. The decision to do so lies within our hands, pretty much every day.ELSA is dedicated to aiding organizations in preventing sexual harassment in the workplace, a subject that has spurred powerful and much-needed social movements. The path forward requires acknowledging the problem, comprehending its root causes and taking action. This three-step process has already transformed the landscape of work for over half a million employees in the Latin American region.”

<sectiontitle>Marlene Molero Suárez ELSA Founder</sectiontitle>

“Change is not an overnight occurrence; it requires consistency and commitment. Solid’Africa’s journey exemplifies this truth.From feeding only five patients a day in 2010, our organization has grown exponentially, now providing meals to 1,500 patients daily in 2024. Understanding that intentional, small steps can transform society, we debunk the notion that financial wealth is a prerequisite for making a difference. Solid’Africa started humbly as a group of passionate young individuals cooking meals in their own homes.”

<sectiontitle>Isabelle Kamariza Solid’Africa Founder</sectiontitle>

“The journey to changing the world starts close to home with personal encounters and believing that life’s purpose is bigger than oneself.This could be due to living in a specific place, as in my experience. India faces a growing water crisis: 80 percent of water sources are polluted by untreated sewage, making clean, safe water an increasingly scarce commodity. There are many, many cities that have actually run out of groundwater already. While many face these crossroads, it’s those driven to address the issue long-term who carve out change. Changemakers are driven by a shared goal: to leave our world better than we found it.”

<sectiontitle>Mansi Jain DigitalPaani Founder and CEO</sectiontitle>

“The key to driving change is shifting from thinking someone else should solve this to I can solve this.Picture a world that is at least 80% visually oriented. Now, consider the 285 million visually impaired individuals navigating a world not designed for them. Why not advocate for this significant number of people? These 285 million people deserve the same quality of life as everyone else.”

<sectiontitle>Sadriye Görece BlindLook Co-Founder</sectiontitle>

“You first have to believe that you are more than enough and that the time is now!Middle ear infection is the number one reason for a child’s hearing loss and surgery under general anesthesia. Operating in Cambodia over a decade ago, I could not insert ear tubes for hundreds of kids with MEI without an operating theater, GA or microscope. That heartbreak inspired both guts and urgency. NousQ now has CLiKX, the world’s first robotic handheld device for ear tube surgery with just one click in clinic, using local anesthesia and a headlight. Onwards to change the world with Cartier!”

<sectiontitle>Lynne Lim NousQ Founder and CEO</sectiontitle>

What is the First Step in a Journey to Change the World?

The 2024 fellows of the Cartier Women’s Initiative share their first steps in tackling global challenges, reminding us that change starts with small, intentional actions.

What is the First Step in a Journey to Change the World?

The first step to being French is finding a bag perfectly sized for your morning boulangerie run.

<bigtitle>« …et un croissant, s’il vous PLAÎT »</bigtitle>

High-brow literature makes a très chic table decoration as you judge the outfits of passers-by.

<bigtitle>« Café allongé or au lait ?  »</bigtitle>

All true Parisians take sunset strolls in Montmartre. The tourists are there to admire the authenticity.

<bigtitle>Suivez le guide</bigtitle>

That’s just their je-ne-sais-quoi darling, wait until you get to know them.

<bigtitle>You find Parisians cold?</bigtitle>

By all means, take them home to admire before you change into a striped top for your rendez-vous at the Eiffel tower.

<bigtitle>La Vie en Roses</bigtitle>

If all else fails, make friends through your dog. No Parisian can resist the extended paw of friendship.

<bigtitle>Maximum Impact, Miniature Pet</bigtitle>

Clichés, Clichés

Step into the real Paris, where clichés meet reality in style, and the perfect leather bag is your chic companion for every Parisian moment.

Homo Faber 2024:
The Magic of Life

Cartier Words