Who says jewellery houses and "it" bags don't go together? Certainly not in Bvlgari's case, asserts Mary Katrantzou

It is truly an understatement to say that Bvlgari’s handbags have been a runaway success. Ever since its signature snake motif was introduced to its first handbag range in 2011, there was simply no stopping the maison.

Over the years, as Bvlgari’s bag collections continued to grow and evolve, several high-profile “Serpenti Through The Eyes Of…” capsule collaborations with young fashion designers further cemented the Serpenti purse as another veritable house icon. In particular, the Serpenti Forever top handle and shoulder bags, which come in gorgeous limited-production snake skins and luscious calf leathers, have been as desirable as any of the latest trending styles from the fashion world. 

Among the talents Bvlgari has partnered with included Alexander Wang, Nicholas Kirkwood, Yoon Ahn of Ambush, and importantly, Mary Katrantzou, who is well-known for her audacious colour sensibility, exuberant prints, and form and material innovation. 

In 2021, Katrantzou reimagined the reptile’s head as bejewelled clutches and its slithering form as bag handles. This creative interlude was followed in 2023 with a mini capsule that placed the serpent within a lush garden of embroidered crystal and glass beads.

So stunning has been the Greek-born designer’s spin on the emblematic Serpenti that, naturally, she was tapped for the inaugural role of Bvlgari’s creative director of leather goods and accessories. While she has been busy dreaming up new ideas since joining the house in April, she finds some time to speak to us about her debut Calla collection and the road ahead.

What about Bvlgari resonates with you?

Bvlgari has profoundly inspired me and shaped my identity as a designer. In my work, I have drawn inspiration not only from fashion but also from objects d'art, interior design, and jewellery. Growing up in Greece, I felt a connection to Bvlgari designs and developed an appreciation for its emphasis on symmetry, harmony, and storytelling through alchemy and cultural syncretism. 

Even before exploring Bvlgari's archives, I instinctively recognised these elements as integral to my own aesthetic and creative approach. The house excels in skilfully combining colours, elements, shapes, and materials — which resonates with my creative process. I also feel a connection with the founder, Sotirio Bvlgari, due to our shared Greek heritage.

What convinced you to accept this job?

My first collaboration with Bvlgari took place during my couture show at the Temple of Poseidon in Cape Sounio, where it loaned us exquisite Heritage High Jewellery pieces dating back to the 60s. It was a homecoming for me but also a celebration of Bvlgari’s dual Greco-Roman roots, benefitting the Elpida charity. This moment really allowed us to develop a mutual appreciation.

In many ways, it felt like destiny when I was offered this newly created role. After four years of building a united vision and feeling like a part of the family, the timing felt perfect. I have had the chance to study Bvlgari's history to understand the symbolism of its icons and their rich narrative. It is both an incredible honour and a significant responsibility to embark on this new chapter.

How do you divide your energies between Bvlgari and your own label?

I've always had limited free time, especially since relocating to Rome from London. The majority of my day is spent in calls with my team, discussing and shaping the upcoming collection as well as any ongoing projects. With my attention now divided between Bvlgari and my own brand, my free time has become even more restricted. However, despite the demanding schedule, I find the process to be incredibly inspiring for both sides. We share many commonalities, and navigating the challenges is creatively rewarding.

We’ve seen bags by fashion houses hailed as cult classics. Do you think jewellery houses can join their ranks?

As a high jeweller, we have a unique opportunity to create coveted symbols of timeless luxury and style through our bags. A Bvlgari icon has the design integrity to not only inspire the hardware of the bags, but also its architecture, proportionate scale, and functionality. We have an incredibly rich archive to draw inspiration from, which allows us to create one-of-a-kind pieces and occupy a very interesting space in leather goods and accessories. It’s a point of distinction: a piece of jewellery that becomes a functional bag, and a bag that feels like a piece of jewellery when you hold it.

Tell us about the Bvlgari difference.

The brand's commitment to innovation and reinvention allows us to afford the same preciousness to a bag as we do to the jewellery. The exceptional engineering and craftsmanship of Bvlgari accessories elevate them beyond the offering we see from most fashion houses. The symbolic nature of our icons and the brand's storytelling create a strong emotional connection with our audience, allowing them to feel they own a part of Bvlgari's heritage.

One of the most important differences is that we don’t focus on trends; we allow ourselves to be self-referential. Bvlgari's jewellery pieces serve as endless inspiration, offering unique opportunities to incorporate industrial design elements into leather goods. Unlike traditional approaches where hardware is secondary, Bvlgari's accessories fuse jewellery techniques with functional design and wearability. This approach goes beyond mere decoration, creating a dynamic interplay between heritage and modernity.

What direction will you be taking Bvlgari in?

My vision is to highlight the precious quality of our bags while showcasing the inherent relatability of the leather goods and accessories category. Our point of distinction is our craftsmanship and the ability of our symbols — Serpenti, Tubogas, Diva’s Dream, and Monete — to be eternally reinvented. We now have the opportunity to build the architecture of our offerings beyond the Serpenti. It is equally important to me to create a beautifully crafted work bag, as it is to build on our high jewellery bags.

What were the first things you set about doing?

I knew that creating a complete collection immediately would not be feasible, so I wanted to present a statement of intent. My focus was on developing a distinctive pattern, an identity that could complement our renowned Serpenti, while maintaining its individual significance and the potential to grow into its own pillar in the near future.

I aimed to create something emblematic and deeply connected to Bvlgari's Roman roots, serving as a logo alternative and representing the brand's identity. This motif is called the Calla, inspired by the mosaic floors of the Thermal Baths of Caracalla in Rome. A sensuously curving fan, it has a compelling femininity and universality, connecting with other cultures, other meanings. It links with the ginkgo leaf and the calla lily. The Calla has infinite interpretations, but all roads lead to Bvlgari.

Please share some highlights from your debut Calla collection.

In this first release, the Calla forms a design language expressed through intricate matelasse (a stitching technique yielding a padded quilted pattern) and pave crystal treatments on iconic Serpenti Forever silhouettes; the new trapeze-shaped Serpentine Duo tote in Calla matelasse; and the new Serpenti Sugarloaf, which is a padded-volume nappa leather shoulder bag inspired by Bvlgari's signature high-domed cabochon cut.

How much fun have you had so far?

It's been an absolute joy to embark on this new journey and to establish the foundation for the future. One aspect of this role that I'm particularly excited about is the opportunity to bridge the gap between the magnificence of Bvlgari's High Jewellery and the relatability of the leather goods category for everyday life.