Water Aspis Necklace
White gold, five cabochon-cut sapphires from Ceylon totalling 43.49 carats, one 4.49-carat F VS1 modified brilliant-cut diamond, lapis lazuli, triangular-shaped diamonds, brilliant-cut diamonds
For example, flora and fauna come alive through technological advances that have been adapted to each of the Maison’s major creative trends. This is clear through specific techniques used that allow sources of movement: The so-called “trembling” setting, which allows pin brooches from the 1950s to come to life with the slightest movement, or highly technical articulation such as was used for the Palmier brooch in platinum, rubies and diamonds from 1957, or even María Félix’s necklace with two lifelike crocodiles created in 1975.
In this way, Cartier reveals and develops its expertise, employing practices that have emerged throughout its history as well as invoking to- day’s techniques. The Maison uses complex ancient crafts and modern-day innovations, both of which its craftsmen have perfectly mastered.
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Iwana Necklace
Platinum, three hexagonal-shaped cabochon-cut emeralds from Colombia totalling 43.31 carats, hexagonal- and round-shaped emeralds, rose and brilliant-cut diamonds
The Iwana necklace is made up of three Colombian emeralds weighing 43.45 carats in a unique shape: cabochon-cut hexagons with very pronounced edges. The facets of the cabochon multiply into a weave of openwork tri- angular motifs, set or paved with diamonds and emeralds.
It may look simple in design but look closer at the construction which is an assembly of triangles, whose location and orientation have been rigorously studied and fixed. Linked together with tiny metal rings, these countless diamond and emerald triangles create a highly flexible necklace. The Iwana necklace follows the neck as closely as possible and settles naturally on the skin. This comfort, which is self-evident, is the result of the Maison’s genuine expertise.
Next is the Water Aspis necklace that uses a technique that has long been a part of Cartier’s repertoire: Snake-like linking, a skilful feat that reproduces the sinuosity of reptiles. Diamonds are found everywhere in tiny geometric patterns, in triangles aligned like a ridge, and on the pendant, consisting of two Sri Lankan sapphires separated by a sumptuous round rose-cut diamond.
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Nouchali Necklace
White gold, one 10.61-carat cabochon-cut rubellite, six kite-shaped diamonds totalling 3.45 carats, kite- shaped diamonds, chalcedony and rubellite beads, black lacquer, brilliant-cut diamonds
The Nouchali necklace is crafted in three dimensions, this stylised water lily is com- posed of lacquered and articulated elements set with stones. Mounted “en tremblant”, these delicate components vibrate at the slightest movement. This technique, which is part of Cartier’s repertoire of expertise, has been used on some of the Maison’s creations since the 1950s. Thin lines of lacquer add shadow-like effects and underscore the ethereal nature of this three-dimensional construction. On the reverse side, this inverted structure reveals an architectural motif like a stained glass rose window. The extremely fine metal increases the interplay of light tenfold.
The Amodea ring has a constructed spiral of curved openwork bands, paved with diamonds. In the openings, pear-shaped rubies seem to project out of the vortex. The Maison’s savoir-faire is entirely at the service of its creative ambition: The desire to elevate the nuances of the centre stone. Bold and free, this aesthetic requires great rigour on the part of the jeweller who creates it.
