Cartier, the Power of Magic: Inside the maison’s latest exhibition in Shanghai

The exhibition’s scenography was designed by Chinese artist Cai Guo‑Qiang and his custom‑built artificial intelligence (AI) model cAI (read as “AI Cai”), combining traditional Chinese landscapes and craftsmanship with modern technology. Speaking to the media at the exhibition’s press conference, Cai shared how he was inspired by the gardens of Jiangnan, the Chinese region located south of the Yangtze River, which also encompasses Shanghai. Harnessing AI, he created picturesque landscapes using silk, light projections and, notably, stone carvings and porcelain reliefs hand‑crafted by artisans from his home town in Quanzhou.

While in Shanghai, Tatler also sat down with Pascale Lepeu, director of the Cartier Collection, for more insight into the exhibition and some of its standout pieces. Quoting French writer and film director Jean Cocteau, who she shared likened Cartier to a “subtle magician who captures fragments of the moon on a thread of sun”, she believes that the theme of magic is a fitting tribute to Cartier’s ability to weave art and alchemy into jewellery and objects that transcend time.

“There’s magic everywhere in Cartier,” Lepeu declared. “Stones are magic; stones are little miracles found in the earth—they’re sometimes a billion years old. There is also magic in the craftsmanship of Cartier that brings panthers or snakes to life. Also, the magic of Cartier is [its ability] to capture deep emotions and feelings [with] jewels. Jewels carry a lot of emotions. There’s also a kind of new magic in this collaboration with cAI, who designed all the scenography and takes us on a wonderful walk in beautiful landscapes.”

The panthers and snakes that Lepeu spoke of are present in key pieces in the exhibition. One of the maison’s most emblematic jewellery creations, the precious Panthère brooch from 1949 is no stranger to Cartier Collection exhibitions around the world and in Cartier, the Power of Magic, it takes pride of place in the first chapter, The Glory of Symbol, to represent Cartier’s daring spirit. Made in platinum and white gold, and set with white and yellow diamonds as well as sapphires, the panther has a distinguished and commanding presence, poised atop a mesmerising Kashmir sapphire cabochon. “Here, the panther really looks like she’s protecting the world,” Lepeu remarked. “And whenever you wear a panther ring or bracelet, you feel like you’re protected. It’s a perfect companion and brings you self‑confidence.”

Cartier’s other animal motifs are just as full of personality. Take, for example, the famous Snake necklace commissioned by the late Mexican actress and singer María Félix in 1968, which took Cartier two years to make. On display in The Charm of Personality section, the 57‑cm‑long articulated necklace is incredibly lifelike, crafted in platinum as well as white and yellow gold, and featuring diamonds, emeralds and enamel. “It’s completely flexible; it’s almost alive,” said Lepeu, adding that Félix used to frequently play with the necklace. “It’s fascinating. It’s really the magic of our workshops to be able to bring life into these jewels.”

Cross‑cultural

A significant aspect of the Cartier, the Power of Magic exhibition is its exploration of cultural exchange. Lepeu described the process of working with Shanghai Museum curators as deeply enriching. “We established very good friendship links,” she shared. “We learnt from [one another] and it’s a collaboration that reveals the timeless connection between cultures.”

The exhibition features Chinese artefacts alongside Cartier creations, presenting a dialogue among them and illustrating how art transcends boundaries. Lepeu noted that exhibitions such as this “establish bridges between people and between cultures”, emphasising how Cartier has long been fascinated by Eastern aesthetics, as seen in some of the exhibited pieces with designs inspired by Chinese art.

In fact, Lepeu shared that Cartier’s connection to Chinese art runs deep, with influences seen as early as the 19th century and reaching a crescendo during the art deco era. This influence is vividly illustrated in the exhibition’s array of mystery clocks adorned with motifs as well as materials—think jade, coral and onyx—that recall ancient Chinese craftsmanship. Befitting the magical theme, the mystery clocks create the illusion of hands that appear to levitate and function without being connected to any movement, thanks to the use of transparent glass discs.

The Cartier Collection director shared her fondness for these rare mystery clocks, which she described as part of the maison’s “extraordinary collection” of 20, with 10 on display at the exhibition. “Sometimes, we have the chance to look at them functioning and it’s really something particular,” she effused. “Because the dial is empty, you just dive into the time.”

Lepeu added that while Cartier has made several mystery clocks in its history, the ones with Chinese influences are the most striking. “Some of the mystery clocks were very simple, but China has been a major influence in the creation, obviously, during the art deco period and sometimes, we had clocks with Chinese sculptures that were very decorative,” she said.

Highlighting the importance of respecting these inspirations, Lepeu noted: “Louis Cartier found modernity in these cultures, which were really ancient, with thousands of years of history. But he was always respectful of these arts and cultures, and he gathered an extraordinary library of books on art because he wanted his designers to also be aware and conscious of the culture, and be respectful.” She referenced two sculpted jade screen clocks made by Cartier in 1926 and 1927, displayed together with a Chinese jade table screen from the Qianlong period (1736–1795) depicting an engraved scene of three goats on a mountain, symbolising the Chinese saying “San Yang Kai Tai”, which signifies the auspicious beginning of a new year.

In ancient China, such table screens were often used to decorate a scholar’s studio or the front of a window to shield the tabletop and its contents from the breeze. Its influence is clear in the Cartier screen clocks, which are of a similar size to the table screen displayed and engraved with traditional Chinese landscapes. “These clocks respect the proportion of the Chinese screens,” said Lepeu, emphasising that the respect for proportion and heritage that Louis Cartier advocated then is still central to the house’s work now.

More than a celebration of the maison’s creations, Cartier, the Power of Magic is a testament to human creativity and cultural dialogue. It invites visitors to contemplate the idea of eternity, both in the longevity of Cartier’s designs and in the enduring connections between the East and the West. “These timeless designs and [creations] will survive us,” Lepeu reflected. “They carry with them the magic of creation, history and emotion.”

The exhibition also underscores Cartier’s commitment to innovation, heritage and the power of cultural dialogue. As Lepeu put it, such exhibitions are like “the Silk Road, [facilitating] an endless exchange of inspiration and ideas”.

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