Cartier’s High Jewellery Exhibition In Sydney Marks The Historical Arrival Of More Than 300 Rare Jewels

The glittering harbour of Sydney played host to a historical collection of Cartier High Jewellery. Fashion director Dan Ahwa reports from the opening of the seminal exhibition that connects French savoir-faire with the beauty of Australia’s natural world.

Fashions change, but high jewellery it seems, is eternal.

Whether rendered in contemporary shapes of the day or harking back to the classical hallmarks of high jewellery design, the French Maison of Cartier is synonymous the world over for its dedicated approach to the craft of jewellery. For 177 years it has been able to adapt to changing tastes in style, navigating design movements through the decades and accumulating a collection of jewellery in its highest artform along the way.

This week, the arrival of more than 300 of those high jewellery designs from Cartier’s universe made their way to a unique exhibition in Sydney, helping cement Australia’s deep connection to the rarefied world of haute jewels.

In a combination of craft, beauty, design and the natural world, the impressive collection was housed in a sprawling exhibition hall along a central Sydney pier, marking a glamourous celebration of the largest collection of Cartier high jewellery ever to visit Australia. The exhibition also marks a major year for Cartier in Australia, including its commitment to supporting First Nations artists as part of this year’s 24th Biennale of Sydney next month (9 March – 10 June).

In the exhibition, five complementary themes were highlighted: Cartier Tradition, sellable creations from the past century; Panthère, the Maison emblem in figurative and abstract interpretations; Incredible Diamond Creations; Flora and Fauna, high jewellery inspired by nature; and Centre Stones, pieces containing rubies, sapphires and emeralds.

Within these unique themes, a celebration of Australia’s natural world provided a thoughtful backdrop for the jewels to shine.

Exploring each of the specially curated salons, one in particular favourite paid homage to Australia’s famous red gorges in the Kimberly and Kakadu National Parks, complemented by artfully arranged eucalyptus branches floating from the ceilings above.

Elsewhere, encased in a glass cabinet was one of Cartier’s rarest jewels — the unique Ocelle necklace made from Australian opal, a reminder of the distinctive gem’s uniqueness to this part of the world.

Other highlights include a bold medley of timepieces, Cartier’s beloved tank watches rendered in an array of gemstones and diamonds.

One of those featured an 18K rose gold case and bracelet set with brilliant-cut diamonds, amethysts, coral, chrysoprases, and a 18K rose gold bezel set with brilliant-cut diamonds.

Another, the Cartier Libre watch, is unlike any watch I’ve seen before. Geometric in design, the distinctive rose gold reversible strap is set with 735 brilliant-cut diamonds totaling 12.28 carats, with 56 pyramid-cut sapphires, 52 pyramid-cut corals, 52 pyramid-cut chyrsoprases, 84 black pyramid cut spinels.

Australian sculptor and fibre artist Tracey Deep’s intricate, spiraling works also helped enhance the local connection, reinforcing the shared storytelling threaded throughout the exhibition. One work mimicked the circular shape of a guilloche — a decorative technique of an intricate and repetitive pattern mechanically engraved — found on the dials of Cartier timepieces.

The diversity of the pieces on display also showcased the richness of Cartier’s connection to various design movements.

Art deco motifs (pieces from the iconic Tutti Frutti collection made their Australian debut) and the flamboyant flourishes derived from the Belle Époque era at the turn of the 20th century, reminded guests of how these pivotal design movements have greatly influenced the boundless creativity found in these rare jewels.

A favourite piece came via the 1970s — the Asteroid bracelet from 1975 made of yellow and white gold platinum with emeralds. It’s a colour combination that says so much about the trends and tastes of the time.

Later that evening, guests were transported to a new venue at The Hermitage in Vaucluse, an 1840s heritage-listed home owned by the influential Hemmes family. The sprawling estate offered a welcome backdrop as guests took in panoramic views of Sydney Harbour shimmering at night. Guests were served bespoke cocktails by James Irvine of Merivale, and canapes; while bumps of caviar and granita glistened — much like those haute diamonds did.

When in Sydney...

For further proof of Cartier’s unique connection to Australia, you only have to visit the remarkable two-story Oceania flagship on the corner of King and George Streets in Sydney. Here is proof (all 749 square metres of it) of the brand’s unique relationship to the Australian market, featuring a shining example of Cartier’s adept ability at customisation, with 80 per cent of the store’s materials locally sourced. Step inside this unique space where you’ll discover its array of jewels and timepieces of course, along with special touches including the Opal Bar where customers can order Cartier-exclusive beverages, along with a unique woven artpiece from the indigenous Bula’ bula Arts collective.

Dan Ahwa was flown to Sydney as a guest of Cartier.

Dan Ahwa is Viva’s fashion and creative director and a senior premium lifestyle journalist for the New Zealand Herald, specialising in fashion, luxury, arts and culture. He is also an award-winning stylist with more than 17 years of experience, and is a co-author and co-curator of The New Zealand Fashion Museum’s Moana Currents: Dressing Aotearoa Now.

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