Good things come in threes, they say. That proverb rings especially true for Cartier, which marks the 100th anniversary of its Trinity line this year. Marked by three interlocking rings in different tones, the icon has become synonymous with simple yet effective fine jewellery design.
“Trinity is all about multitudinous forms of love, universality and diversity of bonds, both infinite and indefinite,” says Anne Yitzhakov, managing director for Singapore, Asean and Malaysia at Cartier. The line’s longevity, she tells Options, comes as the values it represents have become “more relevant than ever today”.
Though the values that define the Trinity have remained the same, the list of celebrities who have adorned the Trinity over the years has continually grown and evolved. From Grace Kelly and Princess Diana to Jisoo and Vanessa Kirby, the Trinity’s popularity has endured across decades. Men, too, have embraced the design; today, Cartier counts Jackson Wang and Rami Malek among its storied list of global ambassadors.
Eye on Singapore
Jisoo and Wang were in town for a star-studded anniversary event at the Marina Bay Cruise Centre in July, ahead of the opening of the experiential Trinity 100 pop-up at Arts House. The pop-up was unveiled in Shanghai a month earlier and will make its way to Japan and the US later this year.
See also: It’s beginning to look a lot like Christmas with these festive gift ideas
Spanning close to 700 sq m, the Trinity 100 pop-up comprised seven rooms, each providing insights into a chapter of the icon’s history. One of these rooms highlighted two other key Cartier trios: brothers Louis, Pierre and Jacques, grandsons of founder Louis-François Cartier; and the Maison’s three original locations in London, New York and Paris.
The decision to host an anniversary event here — others were held in the cities of the founding boutiques — didn’t come by chance. A Julius Baer report in June noted that Singapore has “cemented its place as an important regional and global hub”; this comes as high-net-worth individuals remain “willing to spend more … [on] fashion and accessories” despite price increases in goods and services.
“Singapore holds a pivotal place in Cartier’s regional strategy,” says Yitzhakov. “The market is mature, with a discerning and knowledgeable clientele. This dynamic environment demands that luxury Maisons maintain a competitive pace to sustain their market presence.” The goal of the brand’s efforts in the city-state, she adds, is to “continue building on [Cartier’s] longstanding presence and maintain its desirability by creating unique experiences that resonate with Singaporean clients”.
See also: Beyond trends: A look at Brunello Cucinelli's Fall/Winter 2024 collection
Cartier also launched at the Trinity 100 pop-up a new collaborative project, Imagine Infinite Circles. Curated by Jérôme Sans, the collection consists of over a hundred pieces by creatives from around the world; of these, 30 were shown at Arts House, including works by homegrown talents He Shuming and Churen Li.
The latter’s piano composition, entitled The Sun, the Moon and the Star, struck a chord with Yitzhakov. While she says it is difficult to pick a favourite among the pieces in Imagine Infinite Circles, she points out that the melody, performed in three movements, “deeply resonated” with her.
Reimagining an icon
The Trinity came into being as a ring designed by Louis Cartier, with the bands first rendered in platinum, yellow gold and rose gold. Most versions today feature white gold instead of platinum; there are also several pavé diamond pieces, and some with black ceramic.
Over the past century, the Trinity has taken on a myriad of new forms; some vary the bands’ texture and width, and others have reenvisioned its form altogether as earrings, bracelets and necklaces. The three-banded motif has also been applied to other Cartier creations, especially in the 1970s and 1980s.
For more lifestyle, arts and fashion trends, click here for Options Section
Yitzhakov notes that the Trinity has become a “cultural icon”, with pieces from the collection appearing in literature, art and film over the years. “The Trinity collection is no longer only a product collection, but has become synonymous with instinctual shared stories and relationships,” she adds.
Earlier this year, Cartier unveiled a new cushion-shaped iteration of the Trinity, a modular version with interlocking bands, and an “XL” variant of the ring with a corresponding reissue of the “XL” bracelet.
Marie-Laure Cérède, Cartier’s director of watchmaking and jewellery design, says the idea of redesigning the Trinity “seemed almost laughable, an impossible feat”. Starting from scratch, the Maison worked on the fundamentals: three interlinked bands, and the way those bands interact as they slide across one another.
The resulting pieces, she adds, “capture the absolute essence of the original, but with a unique and incremental creative recipe”. Both the cushion-shaped and modular versions retain the tri-colour scheme, while adding a new sense of dimension: in the former, the softly squared angles add a modern interest, while the latter’s bands interlock to add new ways of wearing the ring.
“Like a Kumiki puzzle, we envisioned the Trinity bands interlocked as one structure, and then designed in reverse to deconstruct them into three,” says Cérède of the modular piece, while referring to a traditional Japanese puzzle game. “This naturally creates multiple ways to wear the same ring, which makes this Trinity so contemporary and adds to its universality.”
For the future
Changing up the Trinity’s look is more than just an aesthetic refresh; it is about capturing a new generation of luxury consumers and collectors. Yitzhakov notes that consumers’ preferences “have evolved significantly on all fronts”, moving beyond the physical aspects of a product but also what it represents.
“Today’s clients … seek a deeper connection with the values, beliefs, and philosophy of a brand,” she adds. “Cartier’s ability to stay true to its heritage while embracing innovation and sustainability has allowed us to thrive.”
One part of its approach to continually draw in the market comes from a constant dedication to high design. Yitzhakov says “pure lines, precise shapes and precious details” form the core of the brand’s aesthetic; these tenets, exemplified in both jewellery and watch lines, allow the brand to “create timeless pieces that resonate across generations”.
At the same time, continuing to draw on its heritage — through milestone celebrations such as Trinity 100 — has made Cartier more well-understood among younger demographics, including millennials, who “account for a large proportion of clients”, as well as Gen Z. “Even with our rich heritage, we’re a ‘younger’ brand than many may think,” says Yitzhakov.
“The digital revolution has transformed the way consumers engage with luxury brands,” she adds. “Cartier has embraced this shift by enhancing our online presence and creating immersive digital experiences that complement the in-store experience.”
Last year, the brand collaborated with Snap to create a filter using augmented reality. The filter superimposes a Tank Française timepiece on users’ wrists and adds backgrounds with significant locations in the watch’s history. Data from Snap shows that in 2022, a similar campaign — with a filter allowing users to stack different Cartier pieces — in four Middle Eastern markets reached more than 11.7 million Snapchat users.
Leveraging the reach and influence of celebrities has also garnered interest among youths, with each crop of ambassadors embodying “the magnetism, aura, and creative spirit of the collections they represent”, says Yitzhakov. The impact of these ambassadors is undeniable; photos and videos of Jisoo and Wang at the July event in Singapore quickly went viral, while each post by an ambassador on social media typically generates engagement with hundreds of thousands — if not millions — of fans.
Omnichannel integration is another way in which Cartier has continued to optimise its retail experience for today’s consumers. Business of Fashion and McKinsey’s State of Fashion 2024 report notes that 61% of Chinese luxury consumers are “true omnichannel shoppers”, who are “more likely to engage with brands that can interact through familiar digital ecosystems”. Yitzhakov says clients now “expect seamless, borderless retail and omnichannel experiences when it comes to luxury shopping” and that this trend is set to endure.
On the sustainability front, which Yitzhakov notes is a “key challenge”, Cartier launched the Watch and Jewellery Initiative 2030 with Kering in 2022. The initiative unites “watch and jewellery brands committing to ambitious goals while collaborating on projects that deliver impact all along the value chain”, according to its website. A “minimum commitment toolkit” across three pillars guides Cartier and other participating brands towards improving their environmental and social impact.
“Sustainability and ethical considerations have become increasingly important in the luxury sector,” says Yitzhakov, adding that Cartier has taken “significant steps” towards responsible sourcing of materials and implementing ethical practices throughout its supply chain. “This commitment to sustainability resonates with today’s conscious consumers, and we plan on continuing to work towards a more sustainable future.
Up next
Looking ahead, Cartier is focusing on growing its presence in Asean. “The Cartier market in our region encompasses countries of impressive diversity in culture and history, each at very different levels of size, complexity, and evolution,” Yitzhakov points out. Efforts to cement the brand’s foothold in the region have already begun, with new and refreshed locations including a renovated boutique in Manila and a new flagship in Ho Chi Minh City.
Zooming back in on Singapore, Yitzhakov says Cartier plans to develop its arts and culture road map here. Around the world, the brand has worked with creators, museums and festivals to promote art appreciation among the public; efforts include its partnership with the Venice Film Festival since 2021.
“Following our successful initiatives in Australia, including our most recent collaborations with the Sydney Biennale and Foundation Cartier, we are now building similar cultural engagements in Singapore,” Yitzhakov adds. “This underscores our commitment to cultural enrichment and aligns with the values of our clientele.”
