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Cartier Tank Anglaise Small Rose Gold and Stainless Steel Ladies Watch W5310036

It looks great, and it fits my small wrist well. I also like the spring hinged bangle. However, it is rather heavy for a watch and begins to hurt my wrist at the end of the day. It keeps time excellently and does not scratch easily.

---- [Rating: 5 / 5 stars]

Review by Diane Ruohonen, From United States Joshua Tree

Cartier Baignoire Small Silver Dial 18kt White Gold Diamond Ladies Wach WB520011

Amazing Cartier Baignoire Small Silver Dial 18kt White Gold Diamond Ladies Wach WB520011, really cheap, it's definitely worth it.

---- [Rating: 5 / 5 stars]

Review by Jim R, From United States Durham

Cartier Tortue XXL Multiple Time Zone Manual Wind 18 kt Rose Gold Men's Watch W1580049

great style, great bling. Larger than it looks in the picture, but I still love it!

---- [Rating: 5 / 5 stars]

Review by Duck, From United States Reno

This will be a big year for heritage at Cartier with the opening of the renovated farm in La Chaux-de-Fonds that is the new home for the brand's metiers d'art craftsmen…

I am always delighted when people link this to the idea of heritage. It's not necessarily the definition of my role in terms of heritage but it is also how I see things. We are building tomorrow's heritage today and this is precisely what the metiers d'art are. It is today's riches that will become tomorrow's heritage.
Heritage is often seen as something that is oriented towards the past and people only see the idea of preservation. But this is not the main aspect of my work. I have to consider the preservation of today's work. In other words, based on the experience that we already have, decide what we should keep for future generations.

How do you approach this challenge, particularly in an era where technology is evolving rapidly?
To take just one example, consider photography. We have been systematically photographing our creations since 1906. So the evolution of photographic techniques is also part of our heritage. Today, of course, we are in the digital age and we photograph everything digitally. We have our own internal studio with our own full-time photographers.

How big is your team?
There are around 40 people in the design studios, then the heritage department is divided into three units. The archives are split across three sites: Paris, London and New York, where there are about 10 people working. The documentation department is based solely in Paris and consists of five people working on everything that is not considered as belonging to the archives but which nevertheless forms part of our history. The archives concern everything from creation to production and the sale of our products, which by its very nature is confidential. Only our designers have free access to this. Documentation, on the other hand, is available to everyone because it is either material that the brand has made public over the years or material in the public domain that makes a reference to the brand, such as advertising, mentions in literature, appearances in films and the like. The third department is the collection, which is stored in a safe in Geneva, where five people work.

How do you approach the strategy for Cartier?
I have regular interdepartmental meetings to discuss style and trends and the direction we should be heading in. I like to do this outside of the day-to-day business, where we are often working to specific briefs and at a very fast pace. So I like to add something extra and look to create objects that meet a brief that does not exist. But this is a battle with time. I organize cultural seminars at least once a month where we meet other artists with our designers or visit museums and exhibitions. This is essential to gain fresh ideas and not to get too absorbed in developing things that people have asked us to develop, in order to be able to invent outside the box. It's also interesting to see people's different reactions at the same time when faced with the same thing, which helps us to share the overall visions for the brand with everyone.

What is your biggest challenge?
My biggest challenge is having to say no. It's very easy to say yes but creative types can be very sensitive so if I say no to something I have to be able to explain and justify myself.

The Poinçon de Geneve is dead, long live the Poinçon de Geneve! This royal allegory hides an unprecedented technological change at this famous institution. In short, the Poinçon de Geneve, found on the timepieces of brands such as Cartier, Chopard, Roger Dubuis and Vacheron Constantin, will no longer be a hallmark in the literal sense. Its vocation and the regulations governing it remain the same, but the famous hallmark will no longer be applied by a stamping process. The new engraving technique is based on nanotechnologies.

The same, but different
For the watch buying public, little changes. For those in the industry, however, it's a genuine revolution. Why? Because the ancient technique of hallmarking by stamping (the "poinçon" in the Poinçon de Geneve is the punch that stamps the die-set on a press) consisted of nothing less than a violent compression of materials.
This squashing of metal often resulted in an imprecise contour, which meant that the engraving had to be reworked to make it clean and smooth - a process known as trimming. Another disadvantage was that such hallmarks could not be stamped on to materials that were too fragile or too hard (because the stamp would not leave an indent). But the myth persisted and nobody thought about eradicating these problems. Nobody, that is, apart from the very institution behind the hallmark itself, Timelab.

Contactless engraving
The problems occurred because of two materials being in a state of shock against each other. So to improve on this the process needed to be carried out without contact, and it was along these lines that Timelab worked. Its partners: a laboratory at the Faculty of Science at the University of Geneva (UNIGE) and the MaNEP network (Materials with Novel Electronic Properties), a non-profit association based in Geneva, in collaboration with PHASIS, a spin-off of the UNIGE.

The result of their work is this new type of contactless engraving, called "nanostructuring engraving". It is based on the principle of electrolysis, sending a number of electrical impulses to the surface to be engraved . Technically, the Poinçon de Geneve is no longer a hallmark. But for the beauty of the name and its history, the name will be kept. "The Poinçon de Geneve is not changing, it is innovating," summarises Anne-Sophie Guerra, Director of the Timelab foundation.

New opportunities
This invention opens up new opportunities for the industry. The absence of contact means that the Poinçon de Geneve can now be placed on extremely thin products, even jewellery pieces. "As long as they have a metallic element that can receive the electrolysis and thus the engraving," Jorge Cors, Manager of PHASIS, points out.
Furthermore, all metals can now be "hallmarked", even the very hard platinum. The new hallmark will also offer a better definition, since the material will no longer be compressed: instead its surface is merely modified. This method also allows the engraving to be done on plates before they are cut out, or on the finished product, which offers manufacturers greater flexibility to choose at which stage their timepiece is hallmarked.
In turn, other industries, such as medicine or aerospace, may soon be interested in this technology.
 

It may be the effects of the imminent summer break, but there was a positive mood in the world of watchmaking last week. The feedback from the EPHJ-EPMT-SMT trade show in Geneva was upbeat and since many of the exhibitors depend on the watch industry for their business, things can't be too bad. The May statistics published by the Federation of the Swiss Watchmaking Industry bore this out, with exports of luxury watches increasing above the industry average in terms of both units and value.

We continued our series on the Geneva Watchmaking Grand Prix with an interview with Stephen Forsey of Greubel Forsey, who won the award back in 2010, while two of our contributors focussed on some less well-known aspects of watchmaking: the secret signatures used by some brands and the possibilities of personalisation offered by others.

As we started our Summer Watches series with an article on regatta watches, a couple of other stories also captured the summer mood. De Bethune announced its first-ever ambassador, French tennis star Gael Monfils, who will be wearing the brand's DB28 model for the first time at this year's Wimbledon tennis championships, whose legendary strawberries and cream are the epitome of summer for us Brits. Meanwhile, Cartier chose the Societe Nautique here in Geneva to formally present its new Calibre de Cartier Diver, an important launch for the brand, since it is their first-ever diver's watch.

Next week we bring you education, art, refinement and diving… all from the watchmaking angle, of course.

The watch : Rotonde de Cartier Double Tourbillon Mysterieux
Mystery! The word is particularly appropriate for this supremely understated model that hides a highly complex mechanism. In order to create the impression that the tourbillon carriage is floating in mid-air, the Cartier development team drew inspiration from the tricks of Jean-Eugene Robert-Houdin, the father of modern conjurers. The flying tourbillon looks as if it is suspended in the void with no apparent connection with the gear wheels. To achieve this, a glareproofed sapphire disc has been enlarged to the size of the tourbillon. The designers came up with the ingenious idea of placing on the outer edge of the sapphire plate a rack-and-pinion mechanism that transforms the disc into a large toothed wheel making one turn every 5 minutes. While the tourbillon spins once on its axis every five minutes, the carriage performs a second rotation at a rate of once every five minutes. The impression of levitation is astonishingly lifelike. This original mechanical construction, stemming from lengthy research, is housed within a pared-down aesthetic setting that gives pride of place to the visual illusion.   The building: le Cube Orange, Lyon, France par Jakob + MacFarlane Architects
 Built on the banks of the River Saône in the Confluence district of Lyon, the Orange Cube was erected in 2011. The project is designed as a five-storey orthogonal "cube" measuring 29 x 33 metres, from which a huge void has been cut out so as meet the need for light and for the circulation of air, as well as affording fine views. It pierces the building horizontally from the banks of the Saône all the way up to the rooftop terrace. This perforation stemming from the conjunction of two curves instates a diagonal relationship to angles. It pulls the façade into the depth of the volume, while creating a huge atrium circumscribed by a series of corridors connecting the office platforms together. Such impressive structural manipulation provides a clear architectural vocabulary for visitors and gives impressive visual pre-eminence to this singular opening. This is a truly clever trick in that, above and beyond the structural reasons behind it, the approach diverts observers' attention by creating an optical effect that draws all eyes towards the void, thereby apparently reducing the monolithic dimensions of the overall building.The process involved in designing the Rotonde de Cartier Double Tourbillon Mysterieux watch is similar to that of the Orange Cube: a conjuring trick that sets up a fascinating kinetic sequence. The illusion is created and resorting to these tricks diverts the utilitarian value of both objects, endowing them instead with a nobler emblematic value.

A Timely Perspective - 14 January 2013

The 2013 Show Season is upon us and begins exactly one week from today with the opening of the very prestigious watch trade event: Salon International de la Haute Horlogerie Geneve (SIHH).

This luxurious exhibition in Geneva, the 23rd such event, is sponsored by the Fondation de la Haute Horlogerie (FH) and the Richemont brands. As such, the exhibitors include the finest in the world of watchmaking: A. Lange & Sohne; Baume & Mercier; Cartier; IWC; Jaeger-LeCoultre; Montblanc; Officine Panerai; Piaget; Ralph Lauren' Roger Dubuis; Vacheron Constantin; Van Cleef &Arpels. Also exhibiting are Parmigiani Fleurier, Greubel Forsey, Richard Mille and Audemars Piguet. AT this show, the exhibitions are lavish, with grand scale decorations in every brand's suite and the newest creations that will be making their way to the retail market later this year.

Concurrently with the SIHH, held in a remarkable location in the center of the city, is the GTE Show, held at the Batiments des Forces Motrices  in Geneva. The top exhibitors at this show include brands such as Hautlence, Peter Speake-Marin, Louis Moinet, Antoine Martin and more. Additionally, Franck Muller will be holding exhibitions of its brands at WatchLand — with new pieces from Franck Muller, Backes & Strauss, Cvstos, Pierre Kunz, Pierre Michel Golay, and others.

WORLDTEMPUS - 11 July 2012

It sounds like a distant dream, one slated to shape the future of mechanical watchmaking, not the present. Three years ago, Cartier's ID One proved that it was possible to create an escapement not in need of regulation. This week, the Manufacture Cartier team headed up by exceptional watchmaker Carole Forestier-Kasapi has proven that this unique technology can be industrialized enough to apply to a limited edition wristwatch.

Restricted to just 50 pieces, the Astrotourbillon Carbon Crystal combines technologies discovered through creating the ID One with the unique mechanics of the Astrotourbillon. Aside from the 47 mm niobium-titanium case - chosen for development for its extreme protection against shock - this special production of the unique Astrotourbillon boasts several of the ID One's innovations within its movement. One of these is the use of what Cartier calls carbon crystal components. More commonly known as synthetic diamond-coated silicon components, they were created with the cooperation of Diamaze. Cartier prefers to describe this material as carbon crystal (which it absolutely is at base) to avoid any confusion with the sparkling stones that are generally so prevalent in the embellishment of Cartier's watches and jewelry. The result of the tourbillon bridges, pallet lever, pallet fork and escape wheel - as well as pivots in tungsten carbide - crafted in this material is the ability to completely omit lubrication of the adjustment-free escapement.

ID Two
Three years after the ID One, Cartier launches the sequel to the premier Innovation and Development (I and D) concept watch. These are not meant to go into serial production as is, but rather to act as tiny laboratories testing the new technologies found within.

The most obvious new feature of the ID Two is its transparent case crafted in what the company calls Ceramyst, which reveals an incredible view of all the new technology stored within, beginning with the ADLC prevalent within the movement. This black PVD-applied treatment chiefly comprising amorphous diamond-like carbon interacts with the components - including several in DRIE-etched, carbon crystal coated silicon - in such a non-friction way that lubrication is no longer necessary. Additionally, ID Two's gear train has been redesigned to include differential gearing utilizing ultra-light components not requiring lubrication. The double spring barrels - a signature element of Cartier's manufacture movement design - have been redesigned, coated with ADLC and filled with an industry-wide first: mainsprings crafted in a finely cut glass microfiber (also known as fiberglass) that provide a great deal more of the desired springy tension than conventional mainsprings and can furnish 32 days of power reserve. The adjustment-free escapement of the ID One with its DRIE-etched silicon, carbon crystal and pivot axes in ADLC-coated titanium inhabits a very special atmosphere within the transparent confines of the case: it is a vacuum.
According to research performed by Forestier-Kasapi and her team, it is the air resistance within a watch case that provides a great deal of the friction stealing energy created. Additionally, a vacuum atmosphere does not allow dust or humidity to enter the case: two more benefits.

Why?
Why all this effort, time, energy and cost? Forestier-Kasapi explains that in a conventional timepiece, a whopping 75 percent of the energy created is actually wasted. Taking the air - and thus this form of resistance - out of the case removes this added problem. Additionally, it allows the case back to attach itself to the monoblock case without even the use of screws. Aided and abetted by special gaskets and a crown construction that are less porous than usual, the vacuum atmosphere can remain status quo for up to ten years.
Both Forestier-Kasapi and head of product and services for Cartier's watchmaking innovation division Edouard Mignon stress the fact that all this innovation was brought to life to lead somewhere: to benefit the end consumer by improving reliability and chronometry of serial watches.
By experimenting with materials, coatings, optimized geometry, high-precision manufacturing techniques, new materials, air pressure within the watch case, and new solutions to old problems, Cartier envisions a renewed future for high watchmaking. Could it be clearer?

After publishing early results related to 10 Haute Horlogerie brands for SIHH, here are the full results of the 6th edition of the study that deciphers the online demand for the 25 luxury watch brands, based on over 500 million online searches.
Important facts:
• Global demand for watch brands has increased by 24.5%
• China dominates BRIC : 59% of demand originates from the Middle Kingdom
• Counterfeits: for the first time, demand for counterfeit products decreased by 22% in
the U.S., while increasing in the European markets
• Facebook: watch brands have an average of 18'400 fans. Hublot becomes the first
brand to surpass 100'000 fans.

Omega claims - for the second consecutive year - the top two searched models with the Seamaster (10.6%) and the Speedmaster (5.1%)

Global demand for watch brands has increased by 24.5%
This number confirms the increasing importance of the internet in the act of purchasing Consumer interest in the "High Range" category (Ebel, Baume & Mercier, Longines, Montblanc, Rado, Raymond Weil) has seen the biggest increase (+42.4%), followed by the "Prestige" category (Breitling, Hublot, Omega, Rolex, TAG Heuer) which has increased by 34.8%, and the "Women's/Jewellery" category (Bulgari, Cartier, Chopard, Piaget) which has increased by 27.2%. Finally, the "Haute Horlogerie" category (Audemars Piguet, Blancpain, Breguet, Franck Muller, Girard-Perregaux, IWC, Jaeger-LeCoultre, Patek Philippe, Vacheron Constantin, Zenith) rounds out the field with a more modest increase of 14%.
China Dominates BRIC
The Middle Kingdom represents 59% of online demand coming from the BRIC, leaving Brazil (20%), Russia (13%) and India (8%) to make up the remaining 41%.
Within the BRIC, nearly one in every two searches relates to Omega or Rolex, who hold 23% and 21% market shares, respectively. Rolex remains the most acclaimed brand among Russian and Brazilian internet users, while the Chinese and Indian markets prefer Omega.
Decrease in Counterfeits
Demand for counterfeits in the U.S. has decreased by 22%. However, the U.S. is still the leader in total volume (47% of global searches) Of note, however, is that this bane continues to increase in Europe (+5.8%).

Social Networks
Facebook and its 400 million users worldwide is becoming the largest community of watchmaking aficionados, with over 450'000 users declaring themselves as fans. Among the best progressions, Hublot takes the prize with over 107'000 fans on their "Hublot-Geneve" page, followed by Cartier and Rolex, who boast 64'000 and 60'000 fans, respectively.