Where would Cartier be without the influence of Islamic art?

In more than 400 objects, a new exhibition tells the story of an enduring relationship

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  A bandeau by Cartier Paris, 1923. The platinum and diamond piece was a special order for Madame Ossa Ross. Photo: Cartier Collection.

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  The Dallas Museum of Art in Texas. Photo: Dallas Museum of Art

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  A view of the 'Cartier and Islamic Art: In Search of Modernity' installation at the Dallas Museum of Art. Photo: Dallas Museum of Art

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  Part of the Dallas exhibition. Photo: Dallas Museum of Art

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  View of the display at Dallas Museum of Art. Photo: Dallas Museum of Art

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  A bandeau from Cartier Paris, 1922, made with platinum, gold, round old, single, and rose-cut diamonds, coral beads and batons, onyx rondelles and batons, tortoiseshell, black enamel. Photo: Cartier Collection

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  A Cartier tiara from 1912 made on special order with platinum, round old and rose-cut diamonds, pear-shaped diamonds, carved rock crystal and a millegrain setting. Photo: Cartier Collection

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  Installation view, 'Cartier and Islamic Art: In Search of Modernity'. Photo: Dallas Museum of Art

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  Bazuband upper arm bracelet, Cartier Paris for Cartier London, special order, 1922. The piece features platinum and old-cut diamonds. Photo: Cartier Collection

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  Installation view, 'Cartier and Islamic Art: In Search of Modernity'. Photo: Dallas Museum of Art

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  Tiara, Cartier London, 1936, featuring platinum, diamonds and turquoise. Sold to The Honourable Robert Henry Brand. Photo: Cartier Collection

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  Installation view, 'Cartier and Islamic Art: In Search of Modernity'. Photo: Dallas Museum of Art

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  Installation view, 'Cartier and Islamic Art: In Search of Modernity'. Photo: Dallas Museum of Art

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  A platinum and diamond bracelet by Cartier, Paris, 1923. Photo: Cartier Collection

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  Part of the Dallas installation view. Photo: Dallas Museum of Art

For more than a century, Islamic art and architecture have inspired world-renowned jeweller Cartier's designs for some of its most dazzling and opulent pieces.

Now, the Dallas Museum of Art is exploring this history in its latest exhibition, Cartier and Islamic Art: In Search of Modernity.

The sprawling exhibit features more than 400 objects including intricately crafted tiaras, bandeaus, brooches, bracelets and vanity cases as well as sketches of Islamic art and architecture that Louis J7 Cartier and others came across during the early 20th century.

Sarah Schleuning, the Margot B Perot senior curator of Decorative Arts and Design at the museum, said she was fascinated by how Cartier and the Maison's designers were inspired by items and motifs they saw in European exhibitions or in catalogues a hundred years ago.

The exhibit is an excellent example of how people can take inspiration from anywhere.

“We wanted to help people see with their own eyes these ideas … because everything that is creatively made is filtered through us as individuals, and we make connections as well,” Ms Schleuning told The National.

A Cartier bib necklace crafted from twisted 18-carat and 20-carat gold, platinum, brilliant and baguette-cut diamonds, one heart-shaped faceted amethyst, 27 emerald-cut amethysts, one oval-faceted amethyst and turquoise cabochons. Photo: Cartier Collection

“People are seeing connections, different connections maybe than I made. People bring their own ideas to it, are inspired by different things,” she said.

One of the pieces serving as an inspiration behind Maison Cartier features the seal of Emperor Aurangzeb, completed sometime in the mid-16th century.

The work, on loan from the Keir Collection of Islamic Art, is decorated with floral and shamsa designs.

That piece went on to inspire Maison Cartier to craft a gold and platinum bib necklace featuring an intricate arrangement of diamonds, 27 emerald-cult amethysts, turquoise and other jewels in a pattern similar to Aurangzeb's seal.

“It's been fascinating to see how many ways the same sort of basic ideas or motif can be reinterpreted and [reinvigorated] in new and interesting ways,” Ms Schleuning said.

Louis J Cartier, a collector of Islamic art, was inspired by exhibitions that he attended in Paris and Germany in the early 20th century.

House of Cartier began implementing Islamic art and architecture and other influence to continue the “Garland Style” that made its way inside royal courts across the globe.

Louis Cartier's collection of Persian and Indian works had also inspired his designers, who would go on to create the Art Deco aesthetic.

“There was a tremendous interest in seeing and studying [these designs] in a scientific way and starting to think about them really as innovative works of art,” Ms Schleuning said.

This Cartier vanity case is made with gold, platinum, parquetry of mother-of-pearl and turquoise, emeralds, pearls, diamonds, and black and cream enamel. Photo: Cartier Collection

And Louis Cartier's youngest brother, Jacques, incorporated carved emeralds and other gemstones from his travels to India and Bahrain into his work.

The colour combinations from these sources helped to inspire the French house of Cartier's “Tutti Frutti” style, which also incorporates sapphires and rubies to create luxurious pieces.

The museum offers an array of not only exquisite jewellery, but immaculately crafted vanity cases, ewers and other objects that spark inspiration.

“You never know what will inspire people … and the great thing about the show that excites me is the power and importance museums play in culture,” Ms Schleuning said.

The exhibit was organised by the DMA and the Musee des Arts Decoratifs in Paris, in collaboration with the Louvre and with the support of Cartier.

The show runs until September 18.