Interview

Interview: Tell us about Cartier in Europe and how it came to America 100 years ago.

Pierre Rainero: Cartier has been in business since 1847. It was founded at a key period, because it was the end of the last French monarchy—the last year, in fact. And it was the beginning of a second republic—what we call the Second Empire—a period of incredible development for France.

Interview: That’s when Paris, as we know it today, was built, yes?

Rainero: Yes, exactly. The architecture, the big boulevards and avenues . . . It’s exactly that period. It was really when Paris started to shine internationally, and Cartier developed its business with global expansion. Paris became again—I say “again” because it was replaced at the end of the 18th century—the center attraction of the world. So for half a century, until at least World War 1, it was an incredible period for Paris, and Cartier became one of the most important jewelers. We had an international clientele already—not only the aristocracy of the Second Empire, but also the Russian princes and the rich American people. And another key period was the very last years of the 19th century. In 1898, Louis Cartier, grandson of the founder, LouisFrançois Cartier, joined the business with a new ambition and a new vision for the company. His ambition was to become the jeweler, and the new vision was the creation ofthe Cartier style. Before him, no jewelry house could be recognized through its own style.

Interview: Louis Cartier had that vision, but was he an artist or an artisan?

Rainero: Louis Cartier was not an artisan. He was a man of culture. And so he became what I suppose is called now the art director. He never really drew anything. His process was very much about concept and commentary on what should be done. He would rely on talented people. He had a vision that the final object should be the result of many different talents working together, inspired by a specific heart, a specific eye—his eye and his vision.

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Interview: And so he was the author of the style of the House of Cartier?

Rainero: Yes. And in a very specific, very particular manner. Because it’s not a style linked with a specific knowhow. You don’t recognize a Cartier piece that way. It is more a sense of proportions, a philosophy, an eye for colors—it’s really a way of looking at things. And that’s why the Cartier style is very recognizable. There is a grammar to it, and an aesthetic vocabulary. There’s a graphic design that can be recognized and also a philosophy. And the richness of that style is that it can evolve. It’s open to new influences. Everything he was looking for, in terms of new designs, should open doors for the future. For instance, that’s why he was strictly against the art nouveau. Because for him, art nouveau was a deadend street. It could not evolve, you know—it was art nouveau and that was it. That was the modernity of Louis Cartier’s vision.

Interview: Did Louis Cartier live in an artistic milieu? Did he mix with painters and musicians?

Rainero: The entire family was interested in culture. His grandfather, LouisFrançois, and his father, Alfred, were musicians. They were also fascinated by books, and they spoke English and French. That was quite new for the time. But that was very aristocratic, more than bourgeois. And Louis Cartier was linked with other people, like ArmandAlbert Rateau. Rateau was a creator of furniture and also a big decorator. Louis was also a friend of George Barbier, an illustrator very much linked with the Ballets Russes—he was involved in designing costumes and sets for it.

Interview: I would imagine that the jewelry business was much like the couture business, that everything was made to order.

Rainero: Yes and no. Because things were made for stock. But they were all unique pieces. He really increased the pieces for stock, showing his vision in terms of creation. That was daring, because the most important pieces were usually all specific orders, special orders, guaranteed for the customer. He had the initiative to create important pieces for stock. It means that he had a certain trust in his vision because it was, of course, an investment.

Interview: The expansion into America happened because there were suddenly a lot of American industrialists, wealthy Americans, traveling to Paris and coming into Cartier?

Rainero: Exactly. And, in fact, we’d already opened in London, in 1902. We had a great aristocratic clientele—specifically, the Prince of Wales, who became Edward VII after the death of Victoria. He is the one who really asked Cartier to settle in Great Britain. His coronation took place in 1902, and we went to London and supplied many people who attended the coronation. We received 27 different orders for tiaras for that coronation.

Interview: That’s incredible.

Rainero: Incredible, yes. It was thanks to a specific creative development that is now called the gallant style. Louis Cartier began the use of platinum in his jewelry. That was why we obtained that quantity of special orders.