No other luxury brand manages its heritage with quite the same erudition and style as Cartier replica watches with white dials as can be seen through the constantly refreshed cycle of exhibitions that the maison stages or supports around the world, from properly academic retrospectives presented by the likes of the British Museum to more conceptual experiences such as the “Precious Garage” staged as part of Milan’s Fuorisalone.
The cheap Cartier Crash fake watches in Motion show, staged at the new Design Museum in Kensington breaks new territory for the brand as it leaves much of the curation to Norman Foster and the museum’s director, Dejan Sudjic. Lord Foster gives the exhibition a much more personal flavour that Cartier could impart itself, as he focuses on the characters and cultural shifts that excite his attention. In practice, that means acknowledging the enormous energy that Baron Hausmann’s new city plan unleashed, looking at Louis Cartier’s relationship with adventurous spirits such as the pioneering aviator, Alberto Santos-Dumont and Gustave Eiffel and exploring Louis Cartier’s interest in new technologies. There’s a replica of the Demoiselle plane that Santos-Dumont built to contest the Deutsch Grand Prix d’Aviation as well as designs doe cars, boats and planes form Louis Cartier himself.
The greater part of the exhibition concentrates on the watches and timekeepers that Cartier design for the following generations for whom flying was more glamour than adventure (at least in theory). There are numerous versions of the Tank, the wristwatch that copy watches with golden cases designed after seeing a First World War Renault tank, mystery clocks, nécessaires for motorists, while the Foster touch makes itself felt through beautifully designed showcases and models made by the Foster and Partners studio. Underpinning the exhibition is Foster’s absolute respect for the craftsmanship that is at the heart of everything that Cartier does, a concern that takes physical form with the inclusion of a watchmaker’s workbench and tools.
When Emperor Napoleon III asked Baron Haussmann to clean up the stinking, narrow streets of 19th century Paris and recast the French capital as a modern, airy and elegant city, little did he know he would usher in a gilded age of invention.
Haussmann’s new Paris rapidly became an epicenter of elegance and fine geometry, of machines, mechanisms and structures that no one had seen before. Gustave Eiffel built his bridges and his famous tower, while Alberto Santos-Dumont made fantastical flying machines for racing and for zooming around Paris to all of his favorite restaurants.
Around the same time, Louis Cartier replica watches with mechanical movements moved his workshop to central Paris and, inspired by Haussmann’s strict geometric shapes, began designing his watches and clocks with angles and fine lines to reflect the new, spare and industrial aesthetic.
Cartier and London’s Design Museum are marking that moment in history with an exhibition curated by the airplane-obsessed British architect Sir Norman Foster, which runs from May 25 to July 28.
Cartier in Motion
“Cartier in Motion,” which is co-curated by the Design Museum’s director Deyan Sudjic, takes a look at the design revolution that happened in those years, and how Cartier Santos fake watches with white dials and jewels were shaped and influenced by the inventors of the day.
The star of the entertaining show is Santos who, with his passion for nutty flying machines and great heights, pushed exquisite Cartier Santos replica watches to come up with the wristwatch at a time when everyone was wearing a pocket watch on a chain.
The newfangled Cartier invention was an efficient device that allowed Santos to tell the time without having to lift his hand from the steering wheel of the airplane.
Fittingly, the centerpiece of the show is one of Santos’ Demoiselle airplanes, a spindly, one-seater creation made from bamboo tubes. It sits in the middle of an upstairs room at the museum, surrounded by cases full of more than 170 objects and artifacts. There are Cartier copy watches withand jewelry, a vintage workbench with tools, backlit black-and-white images of Cartier and his fellow innovators, and a timeline that aims to contextualize all that was happening during the golden years of Parisian invention.
There’s even a tableau featuring replicas of the “high furniture” from Santos’ Paris apartment. He liked his guests to experience what it was like to eat and drink 10 feet off the ground.
Foster, who is best known for projects such as The Reichstag Building in Berlin, London’s Millennium Bridge, Wembley Stadium and the Great Court at the British Museum, said the Cartier project played to his obsessions.
Cartier in Motion
“I’m an aviation freak,” Foster said during a walk-through. “I’m fascinated by how things are made, and I think there’s a kind of inner beauty in the making.” Foster said he’s always been moved by the “time, love and craftsmanship that goes into something that will never be seen.”
The show has been designed around “Paris and the new geometry of Haussmann. It’s also a departure from a normal exhibition because everything is movable and reusable. The show is totally independent of the space,” he said.
He was also interested in bringing the themes of urbanism, design, fashion, art and locomotives together in one show. “I’ve never been happy compartmentalizing different worlds,” he said.
Pierre Rainero, director of image, style and heritage at Cartier, said the aim was also to explore the “how” and the “why” behind the objects and that the show was the result of much in-depth research.
Highlights include the original Santos copy watches with golden cases design from the early 20th century: Cartier’s design features straight lines, right angles and rivets that resembled the ones on the Eiffel Tower.
The show also demonstrates how Cartier has been able to accommodate changing times and tastes. There’s an updated version of the Santos from the Seventies. Waterproof with a metal bracelet, the watch can be worn day and night, to the office and during sports.
Surely, those improvements would have wowed the daring Mr. Santos.
The filmmaker Sofia Coppola has been a fashion muse for the designer Marc Jacobs, and now, her talent and style is inspiring the world of horology. To mark the reintroduction of its 1980s Panthère jewelry watch, Cartier has given Ms. Coppola carte blanche to create a commercial around the new collection, both of which will debut worldwide on June 1. (A select number of the Cartier Tank replica watches with white dials are exclusively available on Net-a-Porter.com until May 31.)
Arnaud Carrez, Cartier’s international marketing and communication director, said that Ms. Coppola “has always resonated with the spirit of Cartier as an icon of style, taste and elegance.
“The scale of the relaunch and this kind of communication platform has never really been done” at Cartier, he added. “It’s a big story for us.”
Ms. Coppola, who, like Cartier, is based in Paris, is a fan of the jewelry house. She treated herself to one of its Tank copy watches with golden cases in 2005 after finishing “Marie Antoinette.”
Like that movie about France’s doomed queen, the Panthère commercial is a modern reinvention of the past — this time, 1983, the year the Panthère was introduced (production stopped in 2004). “There were so many great movies, and I love the stars of that time,” Ms. Coppola said in a statement. “I remember the glamorous kind of women who wore a Panthère watch.”
The commercial, which will be shown in theaters and on social networks in 60- and 30-second versions, stars the Australian actress Courtney Eaton (“Mad Max: Fury Road”) and Brooklyn and Amanda Sudano, the performer daughters of the disco queen Donna Summers.
The 2017 Panthère’s design, with its square case and rounded corners, is nearly identical to the original, save for a few performance tweaks like a strengthened bracelet and enhanced waterproofing. The Cartier fake watches with self-winding movements can greatly show the elegance characters of wearers
The exquisite Cartier Tank replica watch comes in two sizes and 14 styles, ranging from a $4,000 steel model to a $98,000 white gold and diamond version. There also are three limited-edition styles in a lacquer panther-spot motif: white gold and pavé diamonds ($123,000) or pink gold in two sizes (from $22,900).
The jewelry house has invested heavily in the Panthère’s reintroduction, including (in early May) a party with Ms. Coppola in Los Angeles. (Her latest film, “The Beguiled,” is in the running this week for the Cannes Film Festival’s top prize.)
IWC unveils a new editions of the Portuguese Chronograph Classic available in three new colour combinations.
The top-of-the-line version has an 18-carat red gold case and a silver-plated dial, as well as golden hands and appliqués. It is fitted with a hand-finished brown alligator leather strap (Ref. IW390301). The IWC fake watches with rose golden cases are available with a stainless-steel case and a black alligator leather strap. One features a silver-plated dial and blue hands and appliqués (Ref. IW390302), while the other has a midnight blue dial and rhodium-plated hands and appliqués (Ref. IW390303).
When it comes to the technical components inside these watches, IWC relies on the aspect of continuity: the new Chronograph copy watches with white dials are still driven by the tried-and-tested IWC-manufactured 89361 calibre with flyback function, self-winding system and a power reserve of 68 hours. The recorded time is particularly easy to read on the combined hour and minute counter at “12 o’clock”. A see-through sapphire-glass back provides a view of the movement and the rotor, which is adorned with Geneva stripes.
The new IWC Portuguese Chronograph Classic replica watches with brown crocodile straps are available now in IWC boutiques and from authorised IWC dealers.
No other luxury brand manages its heritage with quite the same erudition and style as Cartier replica watches with white dials as can be seen through the constantly refreshed cycle of exhibitions that the maison stages or supports around the world, from properly academic retrospectives presented by the likes of the British Museum to more conceptual experiences such as the “Precious Garage” staged as part of Milan’s Fuorisalone.
