The Cartier family’s fascination with the diverse cultures of distant shores began in France and flourished under Alfred Cartier’s sons, Louis, Pierre, and Jacques. These visionaries transformed their grandfather Louis-François Cartier’s quaint Parisian boutique, founded in 1847, into a global icon of luxury and creativity.
In the early 20th century, Cartier’s fascination with Islamic art profoundly influenced the Maison’s style and design philosophy. This shift began as Paris emerged as a vibrant hub for the Islamic art trade, largely due to major exhibitions at the Musée des Arts Décoratifs in Paris in 1903 and Munich in 1910. Louis Cartier’s introduction to the distinct shapes and styles of Islamic art at these exhibitions gradually influenced French society and Cartier’s designs.
Louis Cartier’s personal collection of Islamic art, which included Persian and Indian miniatures, manuscripts and precious inlaid objects, reflected his deep engagement with the style. These
pieces, along with Indian and Persian jewellery, demonstrated Cartier’s explorative approach towards integrating Islamic motifs and design elements into their jewellery.
One of the earliest examples of Islamic influence on Cartier’s work dates back to 1904, when the Maison began developing pieces inspired by the geometric patterns of Islamic art found in ornamentation and architecture books. The influence of Islamic art is evident in Cartier’s bold colour ranges, such as lapis lazuli blue, emerald green and turquoise, contrasting with the monochromatic diamond settings prevalent at the time. Additionally, shapes and construction techniques from Persian and Indian jewellery brought about technical innovations, such as platinum mountings, enhancing flexibility and design versatility.
Jacques Cartier, Louis’s brother and an enthusiastic traveller, played a significant role in this artistic journey. His travels to India in 1911 allowed Cartier to reinforce strong relationships with Indian princes,
leading to the collection of many antique and contemporary jewellery items. These were either resold, used as inspiration, or dismantled for incorporation into new designs. His acquisitions and inspirations
were crucial in blending Eastern and Western design philosophies, enriching Cartier’s portfolio with a unique fusion of styles.
The celebrated Tutti Frutti creations, drawing from traditional Mughal Indian jewellery, exemplify Cartier’s fusion of Eastern and Western aesthetics. These creations, with their vibrant rubies, emeralds, and sapphires, signalled a bold departure from traditional jewellery norms. Jules Glaenzer’s Asian travels and Maurice Richard’s Persian voyages, who were both Cartier salesmen, further diversified
In 1912, Jacques travelled to Bahrain on a mission to find the world’s finest pearls. At that time, pearls rivalled the allure of diamonds, with those from the Arabian Gulf, especially Bahrain, being the most valuable.
Jacques’ visit to the Gulf was more than just a business trip—he immersed himself in the local culture, mingling with pearl merchants, sharing meals, and observing the life of a pearl diver. This journey inspired a new design ethos within Cartier. Jacques’ meticulous notes and pictures from his time in Bahrain captured local motifs, Islamic shapes, and regional architecture. His visit to Egypt, and his meeting with King Fuad I of Egypt in 1929 further infused Cartier’s collections with the opulence and mystique of the Middle East.
Jeanne Toussaint, a Belgian-born French jeweller and fashion designer, was also instrumental in shaping Cartier’s artistic direction, significantly influencing the Maison’s design approach. Toussaint’s work was
characterised by a luxurious fusion of cultural richness with her distinct stylistic flair, and she was celebrated for her deep affinity with Indian art. Her creations, particularly the lavish necklaces of 1936 and 1953, as well as the botanical-inspired designs of 1949, showed her ability to seamlessly incorporate Indian motifs into Cartier’s aesthetic.
Cartier’s exploration of Islamic art and its integration and interpretation into the Maison’s designs represents a significant chapter in the history of luxury jewellery. It showcases the Maison’s commitment to embracing diverse cultural influences, leading to a unique and enduring style that blends Eastern and Western artistic traditions. Each jewel in Cartier’s world is a story of global harmony and universal curiosity, blending the Cartier family’s paths with the diverse cultures they encountered. Cartier goes beyond luxury, representing the unification of the world’s art and elegance one exquisite piece at a time.
