‘Very Roman, very Bvlgari’: Mary Katrantzou on the ancient roots of her opulent first accessories collection for Bvlgari

Just south of the Colosseum in Rome is the Terme di Caracalla, a vast complex of Roman baths where, in the time of antiquity, residents of the city – up to 1,600 at a time – would lounge in the thermal spas, lavishly decorated with marble and gleaming glass mosaics. It is from here that the Greek fashion designer Mary Katrantzou, who was recently installed as creative director of leather goods and accessories for Bvlgari, drew inspiration for her first collection for the Roman jewellery house, which debuted last month in Paris.

‘I wanted to create something emblematic and deeply connected to Bvlgari’s Roman roots,’ explains Katrantzou, who notes that the baths were considered ‘one of the seven wonders of ancient Rome’ thanks to their rich interiors and dramatic architecture. In particular, it was the fan-shaped designs found on the floors of the baths’ western entrance palestra – composed from a combination of granite, marble and porphyry – which particularly fascinated Katrantzou, an expanse of preserved mosaics that previously inspired Bvlgari’s ‘Divas Dream’ jewellery collection, in 2016.

Mary Katrantzou’s ‘Calla’ collection for Bulgari

Kantrantzou’s own relationship with Bvlgari dates back to 2019. That year, she hosted an opulent couture show for her eponymous label at the Temple of Poseidon, which sits on the shores of Cape Sounion in her native Greece. Bvlgari would loan jewellery for the occasion, and later drafted Katrantzou to create a perfume with nose Alberto Morillas inspired by the scents of her Greek garden (in particular, the gardenia tree). She also took part part in the ‘Serpenti Forever’ collaborative project, which saw various designers reinterpret the house‘s most famous emblem in 2021 (Katrantzou’s capsule collection comprised a series of handbags, a precursor to her current role).

The new collection is called ‘Calla’, a reference to both the Terme di Caracalla and the calla lily, which also served as inspiration, as well as the way ‘calla’ translates from Greek as ‘magnificent beauty’. Katrantzou describes the ‘Calla’ fan motif as one of ‘sensual curves... feminine, versatile and with a compelling universality’, while noting its similarity to the leaf of the ginkgo tree, ‘a symbol of ‘strength and resilience’. Here, the reappearing motif adorns the Serpentine Duo handbag in either a scale-like crystal iteration or quilted matelassé leather, while the flap-pocket Serpenti Sugarloaf bag has larger calla-shaped matelassé quilting, and is completed with a serpent’s head fastening. Joining the pair is the glimmering crystal-covered ‘Ginkgo’ clutch, crafted from nappa leather and moulded metal in the shape of a ginkgo leaf.

‘By translating the feeling of the mosaics into these accessories, we create a tangible connection to Bvlgari’s heritage, while also [trying to create] a fresh, modern identity for the brand,’ says Katrantzou. The colour palette, meanwhile, draws on the colours of the Roman baths, as well as the more vibrant hues for which Bvlgari is best known. ‘It includes rich emerald green, deep amethyst, shimmering gold, and soft pearl white elements,’ says Katrantzou. ‘It’s very Roman, very Bvlgari.’

As for translating the house’s codes into accessories – Bvlgari’s jewellery is often vivacious in design, epitomised by the late Elizabeth Taylor, perhaps the house’s highest-profile client – Katrantzou says it ‘comes from exploring the rich heritage of the brand and pushing beyond it. I aim to find that subtle, almost imperceptible space between tradition and craftsmanship,’ she continues, noting that each handbag is entirely handmade in the house’s Florence atelier, while Bvlgari’s expertise in metalwork leads to near unparalleled clasps, chains and fastenings. ‘I find inspiration in the incredible engineering behind Bvlgari jewellery... unlike typical leather goods, where hardware is often secondary.’

As for the differences – or similarities – between creating a fashion collection or accessories, Katrantzou says both are rooted in ‘storytelling and craftsmanship’. That said, she does admit a shift in thinking: ‘accessories do go beyond the seasonal scope of fashion. You are creating forever pieces, investment items that need to express the wearer’s identity.’ She settles on wanting her accessories to feel like wearing a piece of jewellery. ‘A bag is an extension of the woman wearing it and we want to bring beauty to her everyday life.’

The ‘Calla’ collection, designed by Mary Katrantzou for Bvlgari, is available from bulgari.com