Into eternity: Cartier CEO opens up about bringing jewelry exhibition to Seoul

Arts & Design

Published: 01 May. 2024, 18:01

Into eternity: Cartier CEO opens up about bringing jewelry exhibition to Seoul

Cartier President and CEO Cyrille Vigneron, 62, poses for photos with the JoongAng Ilbo at the Dongdaemun Design Plaza, central Seoul, on April 25. [JOONGANG PHOTO]

The Seoul leg of the “Cartier, Crystallization of Time” exhibition, jointly held by the JoongAng Ilbo and Seoul Design Foundation welcomed visitors on Wednesday at the Dongdaemun Design Plaza (DDP) in central Seoul.

Cartier is participating as a special partner for the exhibition, which features some 300 antique pieces dating as far back as the 1970s. The exhibition consists of pieces from both Cartier's collection and other private collections from around the world. It runs until June 30.

Cartier President and CEO Cyrille Vigneron, 62, paid a visit to Korea ahead of the exhibition's opening, on April 25.

Items on display at the Seoul leg of “Cartier, Crystallization of Time,” jointly held by the JoongAng Ilbo and Seoul Design Foundation [JOONGANG PHOTO]

He joined Cartier’s parent company, Richemont, in 1988 and has played major roles, such as managing director of Cartier Japan, President and CEO of Richemont Japan and managing director of Cartier Europe. He took on his current position in 2016.

The JoongAng Ilbo, an affiliate of the Korea JoongAng Daily, met with Vigneron at the DDP to discuss the ongoing exhibition, as well as Cartier’s view of the arts.

This interview has been edited for clarity.

Q. What is the meaning of the exhibition's title, “Crystallization of Time”?

A. The title of the exhibition epitomizes jewelry’s relationship with time. This exhibition has pieces of jewelry that are from different ages and periods, but their stones have been buried on Earth for hundreds and millions of years. Eternity is not what lasts forever but what gets you out of time. And jewelry has the power to take you out of time.

Of the 300 pieces on display, which one best encapsulates this theme of the exhibition?

I would say it is the phoenix broach. Made with platinum and diamond, it has a beautiful shade. When a phoenix dies, it is born again from the ashes and this, in some ways, depicts another part of eternal life.

The phoenix broach on display at the Seoul leg of “Cartier, Crystallization of Time,” jointly held by the JoongAng Ilbo and Seoul Design Foundation at the Dongdaemun Design Plaza in central Seoul [JOONGANG PHOTO]

Many of the exhibition’s pieces are borrowed from customers. How was this possible?

When our clients are contacted to lend their pieces, they are happy and proud. They realize that this connects them and their stones all over the world, throughout time. It is like a single fabric woven in with different threads.

Why should Cartier’s jewelry be viewed as art?

It's art because it touches your heart, like any other art or music. I call it a type of 'movable' because you can wear and carry it on your body. It is not meant to be installed in one place, like sculptures or paintings.

Items on display at the Seoul leg of “Cartier, Crystallization of Time,” jointly held by the JoongAng Ilbo and Seoul Design Foundation at the Dongdaemun Design Plaza in central Seoul. The interior of the exhibition incorporates wood and rock materials. [JOONGANG PHOTO]

What do you say to those who claim that only a select few can enjoy high jewelry?

Have you been to the Palais Garnier opera house in Paris? There is a beautiful ceiling by Chagall that no one can buy. The beauty of luxury, including high jewelry, can be enjoyed by everyone, whether you possess it or not. Everyone can come and find this beauty through this exhibition and our collection as well. In that sense, high jewelry can be seen as a paradox: it is the most exclusive if you want to buy, and it is the most inviting if you want to enjoy it. I hope many people come to the exhibition and enjoy the jewelry as art.

This exhibition opened in Tokyo in 2019 before its scheduled opening in Seoul. Holding the same show consecutively in Asia seems a bit unusual. Is there any specific reason for selecting Seoul as a venue?

I think the theme of eternity has more resonance in Asian countries, like Korea, Japan and China. The perception of impermanence in material and the fragility of ephemeral life is better understood in Asia, and the sense of our place in space and time is closer to what is felt here. I would love it if it could open in other countries as well, though.

Do you have a particular image of Seoul?

I have been living in Japan for 12 years and visited Korea about a dozen times. I think there is something very close between Seoul and the Kansai region of Japan. My wife is Japanese and whenever we are here, she also says she feels like she is in Japan. Seoul is also always transforming. Each time I come, I see new towers and cities being developed. But also the scenic, old towns stay the same. So, there is a sense that things both change and stay the same in this city. The Korean culture is very vibrant, constantly reinventing itself. Young people, including artists, are pushed to perform their best.

Cartier is committed to supporting the arts through Fondation Cartier pour l'art contemporain and other unique collaborations. Why is Cartier so devoted to such endeavors?

High jewelry is an art in and of itself and is very much linked to relationships between people and culture. The balance of having deep roots and living in today’s time and being relevant is something we value. Fondation Cartier pour l'art contemporain was founded 40 years ago when contemporary art was dismissed compared to classic art. Now, of course, everyone is interested in contemporary art. We continue sponsoring it for its links between art and science and its relationship with today’s issues, especially surrounding the environment.

Is Cartier’s philosophy reflected in its artists?

We value our designers very much. We do not ask them to design certain products. I think that would banalize both the art and the value of the creation of our products. They make beautiful pieces and we are usually positively surprised. We also work with architects, like New Material Research Laboratory’s Hiroshi Sugimoto, for this exhibition.

How was working with Korea’s traditional culture research center, Onjium?

There was a beautiful balance between the deep history and simple materials that express so many things inside and outside. Each element brings balance and harmony. Korean designers have a strong sense of material. They may appear simple on the outside yet are very sophisticated pieces.

BY LEE HYUN-SANG [kjdculture@joongang.co.kr]