Pierre Rainero is someone who protects heritage, but also strives to make new history.
When you hear a job title like Director of Image and Heritage you can imagine that there is a lot of weight on the shoulders of person who is bestowed such a title. The responsibility to carry a name like Cartier can’t be easy, but Pierre Rainero takes it in his stride and is truly passionate about what the great house stands for and how it can push boundaries today.
Pierre Rainero
He takes risks within reason, finds it difficult to say no, while also juggling many departments that rely on his vision and guidance. He is protective of Cartier’s image but looks forward to the challenges of engaging new audiences and how to introduce them to the world of fine watches and jewellery. Be it overseeing a gallery exhibition, flying all over the world, or spending hours overlooking design and precious stones, there seems to be not enough hours in the day to accomplish the task of keeping Cartier relevant and exciting.
With one eye on us and another on his Drive de Cartier, we get to the bottom of how he manages it all and what the future holds for the house.
How did you start at Cartier?
I was working in an advertising agency and oversaw international accounts when Cartier asked me to join and look after international advertising. I didn’t know much about the heritage of Cartier but the thing I liked was that it was very cultural and it was facing different clients globally. That was in 1984.
What is a normal day for you?
Every day is very different. Part of my time is spent in Geneva, and I fly to other countries too. I’m also in charge of the expertise department and travel to see pieces as well as look after the antique collections for Cartier Tradición and many exhibitions. Every week we have a creation committee when I see heads of the studio and many of the designers one to one. I oversee all the special orders for clients, as well as look at all the new stones we might buy.
I’m also responsible for the image, and my department directly produces elements such as books, as every year we have a book on high jewellery. We also have a photography studio and capture all the pieces that we produce for all the departments.
What is the challenge that you face everyday?
There are two kind of challenges. Time to think about the future and to have new ideas and new focus. To find time to be active and not reactive and stimulate the people I work with. For that you need time and my challenge is not to be absorbed in day to day life.
The other challenge, which is professional and personal, is the capacity to say no. When you say no to some proposals there are disappointments but it takes strength to say no, and is for the sake of the company.
How can you ensure that you are doing a line that connects the path of the brand with the present and the future?
That’s the most difficult part, and is my central responsibility. Of course, what I don’t like is repetition. You shouldn’t repeat and pretend it’s new. It’s different when there is something strong which you think that even if it was created years ago, it’s still relevant and people might have a desire to have it, like the Panthère. It’s something that belongs to our history and even though it was created in 1983, we do think it’s a contemporary design and is relevant to today.
We like new ideas and going forward but we always think of different criteria. We have to imagine people living with this creation.
When we look at a project we ask, is it beautiful, is it Cartier, is it now and are we able to produce it at a price that is relevant for the creation? Because you might have a beautiful idea, but if it costs a fortune and will not match the lifestyle of the people then it will not succeed, and that is something we need to be sensitive to.
How does historical image and heritage of Cartier fit with the contemporary?
It’s a question of design. The lesson we learnt from our founders is that the design is strong thanks to its capacity to evolve and to contain variations for the future. The Panthère is a result of different Cartier creations from before.
Do you think it’s easier to pick a watch from the archives and recreate it, or to create a whole new one?
Both are challenging. Even a variation of an existing design is a huge responsibility and a whole new design is also very challenging. The key is to have in mind all the elements of our style, and for us, style is a living language that makes Cartier unique. So, we play with that vocabulary and the language evolves with time, creating a balance between the new and traditional worlds. We can express different things and be relevant for the people today.
How would you describe the image of Cartier in one word?
I am tempted to say ‘unique’ or ‘different’. There’s something distinctive because Cartier always went its own way.
After all this time at Cartier, can you imagine yourself at another brand?
I think many Maisons have their own personality, but I think Cartier is unique and it would be frustrating to be at another house. Cartier is so rich, history is long and design is incredible, and the fields of expression from watches to jewellery are unique. There’s nothing forbidden in terms of inspiration, there is a freedom to look at different inspirations, which would be difficult to find at another house.
What steps should people take when investing in a luxury timepiece or jewellery?
First of all, they should like it. We are talking about objects of art and the first preoccupation is ‘do I like it, is it me?’ Then you will never be disappointed in whether it grows in value or not. You should have an emotion, and only then you ask how much it is worth and if it’s part of my possibilities or not. But the first step should be to like it and not be concerned by the price or value. You raise that question after you’re sure you want the object.
What watch are you wearing today?
Drive de Cartier, the automatic one from last year.
How many museums around the world can you find pieces from Cartier?
I haven’t counted, but many important museums have Cartier in their permanent collections like the Met in New York and the British Museum, Victoria & Albert and even the Kremlin. The Met has one historical piece which was a gift from the city of Paris to Tsar Nicolas II.
What is your definition of an historical watch?
There are different histories. You have a history of design and history in terms of age. History of design is on our side. Cartier is the creator of watch shapes. We made history when we created a watch that was designed to be specifically worn on the wrist in 1904. Before it was the pocket watches that adapted to your wrist.
And then history with a big H is different. Some watches are part of history because they belong to someone who made history. The Cartier Tank watch is part of history because of the people who lived with it. Like Michelle Obama or Lady Diana who wore the Tank watch and created a legend around it.
However, some of the watches, like the Tank, are both part of history of design and history in general.
What are the goals for the brand when it comes to history and heritage?
Every creation will be part of history because Cartier is part of something that might be in a museum one day.
Tell us a secret that no one knows about you?
I don’t have so many secrets. Although my favourite watch is a Tank, which many people won’t know.
By Charline Deek
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