LONDON — Cartier has all the time been generally known as a bunch extraordinaire, and now that London is slowly coming again to life, it has been making a return to the social circuit.
Its newest idea is Studio 7, an interactive photographic exhibition that appears on the home’s seven best-known types throughout jewellery and watches: Santos, Tank, Trinity, Love, Juste Un Clou, Panthère and Ballon Bleu.
The present builds on a worldwide marketing campaign by Cartier that spotlights its signature creations. It’s a well timed transfer, given customers’ collective shift away from ephemeral developments and towards heritage classics.
“In the current context, when you are facing a period of uncertainty and thinking about your life, people are going back to the core values. From a health perspective, it might mean thinking about what you eat, and what exercise you do. In the luxury world, there’s a tendency to go back to core values, core brands and the core creations,” mentioned Laurent Feniou, managing director of Cartier U.Ok., in an interview.
“We are part of this extremely small group of companies with such heritage and have, not one, but a group of icons that still resonate today. So it made sense to highlight them all together in this exhibition, and add our original twist.”
The present, unfold throughout 4 rooms on the Saatchi Gallery in Chelsea, is supposed to focus on the enduring enchantment of those creations by showcasing them on celebrities, pals of the model and purchasers through the years.
The first gallery showcases a collection of historic black-and-white portraits — Andy Warhol together with his Tank watch, Jean Cocteau and his Trinity ring, Tina Turner along with her Love bracelet — alongside a number of the earliest iterations of the designs. There is a Santos watch relationship again to 1916, and one of many first Love bracelets from 1969.
A second gallery focuses on the current day, with a collection of recent portraits shot by Mary McCartney and that includes modern-day model ambassadors and pals in a Cartier design of their alternative.
The intimate black-and-white pictures are projected on a floor-to-ceiling display “for a full immersive experience.” McCartney has captured actresses Emma Corin and Vanessa Kirby; boxer Ramla Ali; milliner Stephen Jones, and the director and actor David Oyelowo.
“We are completely inspired by these photos and they magnify this connection of past and present. Just like we created these legends in the past, we wanted to replicate that for today and to create new memories,” added Feniou, who’s all the time trying to create long-term relationships with expertise, and to seize “the icons of today.”
Showcasing the home’s well-known pals wasn’t Cartier’s solely precedence. The model additionally labored with McCartney to arrange a makeshift photographic studio inside the gallery the place prospects can are available in carrying their very own Cartier items and get their photos taken by rising photographers who’ve been handpicked and mentored by McCartney.
Those portraits will later be exhibited in a transferring show within the fourth and last gallery of the exhibition.
“It was really important to make this engaging for our important clients and to make sure they can see themselves in the exhibition,” mentioned Feniou, including that he additionally sees a chance to fulfill the corporate’s rising group of on-line purchasers for the primary time.
“In a way, they are already connected with us, but they are only connected digitally. We want them to participate physically in some of our events, which doesn’t necessarily mean coming to the boutique.”
Feniou added that the Cartier designs foster a way of familiarity, which, in the course of the pandemic, translated into sturdy on-line gross sales.
Cartier was a comparatively early adopter of on-line gross sales, with very profitable launches on Net-a-porter, its sister firm within the Richemont secure, and thru its personal e-commence platform.
According to Feniou, the early transfer to on-line meant the workforce was “well-prepared for the shifts” that the pandemic imposed, with gross sales associates transferring swiftly to the digital chat realm, and a renewed deal with native purchasers.
“Virtual chats created sales at the time, but they also created relationships, which can be built now that the clients are back in stores,” he mentioned, including that since London’s reopening, the model’s Bond Street flagship has been seeing fewer informal guests and taking extra appointments from purchasers who’re arriving ready, and who’re spending extra time within the retailer.
In the primary quarter ended June 30, Richemont’s jewellery homes, of which Cartier is the biggest, notched a 38 p.c uptick in income in contrast with the corresponding interval in 2019, pre-pandemic. At fixed alternate charges, income grew 43 p.c to 2.52 billion kilos within the three-month interval. Richemont’s jewellery portfolio contains Cartier, Van Cleef & Arpels and Buccellati.