The Maison unveiled a pop-up boutique at the Mandarin Oriental, on the famous southwest coast of Turkey. Visitors were able to discover exclusive collections inspired by the Aegean summer while enjoying traditional Turkish coffee on a private terrace.

Every detail was taken care of by Cartier, from personalized services to deliveries by hand all over Bodrum, including to yachts.

From February 16 to 25, Cartier High Jewelry was showcased in Sydney, with a selection of jewelry sets presented around the Maison’s major stylistic themes. “Architecture and Purity” was staged within a scenography based around the iconic architecture of the Sydney Opera House, while “Fauna & Flora” presented jewelry sets in the wilderness of Australia as well as the spectacular “Kimberley Gorges”. Finally, for “Cultural Dialogues”, the Sydney sandstone decor was chosen to symbolize Australia, a land of encounters between the different cultures of the world.

The Sydney Opera House, a World Heritage Site, was transformed into a Cartier box for a gala evening. A truly exceptional experience, as this was the first time a Maison had been invited to such a venue. From the staircase to the red carpet and Cartier bellboys, all the Maison’s codes were there to welcome guests and invite them to the concert hall stage for dinner. They were treated to a performance by pianist Van-Anh Nguyen, soprano Cathy-Di Zhang and the Sydney Dance Company, supported by Chorus Collective.

In 2024, the Fondation Cartier commissioned 14 First Nations artists, bringing their rich cultural heritage and unique artistic creativity to the international contemporary art scene.

Presented as part of the 24th Biennale of Sydney throughout all venues and the Sydney Opera House, the artists included Cristina Flores Pescorán, Darrell Sibosado, Doreen Chapman, Dylan Mooney, Eric-Paul Riege, Freddy Mamani, Gail Mabo, John Pule, Kaylene Whiskey, Mangala Bai Maravi, Megan Cope, Orquídeas, Barrileteras, Yangamini and Nikau Hindin in collaboration with Ebonie Fifita-Laufilitoga-Maka, Hina Puamohala Kneubuhl, Hinatea Colombani, Kesaia Biuvanua and Rongomai Grbic-Hoskins.

Created in 1995 at the Cartier Watchmaking Institute in Couvet, the Cartier Prize for Watchmaking Talents of Tomorrow reflects the Maison’s commitment to shaping watchmaking of the future. This year, the Prize was also opened up to technical watchmaking students, who joined the ranks of apprentices.

Belgium was invited to take part for the first time, alongside Switzerland, France and Germany. With the theme “The Magic of the Senses”, participants had to work from the movement of a clock, developing their aesthetic and sensory vision according to very precise specifications. After the jury’s deliberations on December 16, the competition will end with the announcement of the winners and the award ceremony in mid-January 2025.

Since May, the Kohlmarkt 1 store has been radiating with renewed splendor. The Parisian interior designer Laura Gonzalez has created a spectacular transformation, with generous spaces, an emphasis on the Maison’s heritage, and a focus on light and refined decoration.

Punctuated by the Parisian codes found in store after store, the space is also rooted in local culture through a subtle interplay of allusions. Echoing the work of Viennese painter Klimt, this space celebrates the fauna and flora of the Maison, particularly the Panther, which is represented right from the reception area. It invites you to take a journey through the Maison Cartier.

From April 13 through September 16, 2024, the Peggy Guggenheim Collection presented Jean Cocteau: The Juggler’s Revenge, the largest retrospective ever organized in Italy dedicated to Jean Cocteau (1889–1963), the enfant terrible of the French twentieth-century art scene. It was supported by the Maison, the main sponsor of the exhibition. Curated by eminent Cocteau specialist and New York University art historian Kenneth E. Silver, the exhibition highlighted the artist’s versatility and multidisciplinary nature of his work.

The exhibition offered the opportunity to admire the Academician Sword for Jean Cocteau (1955), on loan specially for the occasion from the Cartier Collection. Designed by the artist himself, it was rendered by Cartier in gold, silver, emerald, ruby, diamond, ivory (originally), onyx, and enamel. This exquisitely refined object features a profile of Orpheus, a central figure to Cocteau’s artistic identity for decades, a lyre, and a star, which are recurring symbols in his work. The sword was first unveiled on October 20, 1955, when the artist was elected as a member of the Académie Française.