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BVLGARI HISTORY



Founded in Rome in 1884 by the talented Greek silversmith Sotirio Bulgari,
the brand quickly established a reputation for Italian excellence with exquisite
craftsmanship and magnificent jewellery creations. Over the decades, the Bulgari
generations defined a distinctive style made of vibrant colour combinations,
exquisitely balanced volumes and unmistakable motifs that pay homage to the
Roman roots of the company. While always revering its cultural legacy, Bulgari
introduced innovations that rewrote the rules of the jewellery universe and
launched new trends that stood out as icons of contemporary design.




FROM SILVER TO GOLD

The exquisite silver ornaments forged by Sotirio Bulgari were greatly
appreciated by English tourists coming to Rome for the traditional Grand Tour
and made the business thrive. After the first store on Via Sistina, new shops
were then opened on Via Condotti and in other tourist destinations. When
Sotirio’s sons Giorgio and Costantino joined him in the business,
they suggested that the family company could focus on high jewellery in order to
grow, taking advantage of the fruitful legacy of silversmithing.



The early high jewellery creations of the 1920s reflected the design of
traditional French school, incorporating platinum and diamonds with geometric
and stylized Art Déco design. From the 1940s onwards, the genuine Italian
Bvlgari style started to emerge, embracing the sunny shades of yellow gold and
the sinuous coils of the Serpenti creations. 


Previous Slide

Bracelet in gold, 1942.
The difficult economic conditions due to Second World War implied a very limited
production of jewels with precious stones and more focus on design, adopting
softer lines inspired by nature.

Model Amanda Wellsh wearing a selection of Bvlgari creations from the 30s.
Photo: © Gian Paolo Barbieri, 2016

Necklace / tiara combination in platinum with diamonds, 1935.
A typical convertible creation form the 1930s, the necklace may be worn also as
tiara when secured to an appropriate mount. The use of large, round brilliant
cut diamonds was a characteristic that made Bvlgari stand apart in the period.
Paired with baguette-cut diamonds, they  gave extra sparkle to the creation with
a sumptuousness that will be fully explored in the decades to come.

Model Amanda Wellsh wearing a selection of Bvlgari creations from the 30s.
Photo: © Gian Paolo Barbieri, 2016

Convertible necklace in platinum with diamonds, 1938.
A stunning example of convertible necklace from the 1930s, the necklace could be
divided in smaller elements, which, when mounted on appropriate fittings, formed
different jewels: the sides could be worn as two bracelets and as two dress
clips while the central pendant could be mounted on a bangle. 

Model wearing a selection of Bvlgari creations from the 40s and 50s. Photo: ©
Stefano Galuzzi, 2015.

Bracelet in gold, 1942.
The difficult economic conditions due to Second World War implied a very limited
production of jewels with precious stones and more focus on design, adopting
softer lines inspired by nature.

Model Amanda Wellsh wearing a selection of Bvlgari creations from the 30s.
Photo: © Gian Paolo Barbieri, 2016

Necklace / tiara combination in platinum with diamonds, 1935.
A typical convertible creation form the 1930s, the necklace may be worn also as
tiara when secured to an appropriate mount. The use of large, round brilliant
cut diamonds was a characteristic that made Bvlgari stand apart in the period.
Paired with baguette-cut diamonds, they  gave extra sparkle to the creation with
a sumptuousness that will be fully explored in the decades to come.

Model Amanda Wellsh wearing a selection of Bvlgari creations from the 30s.
Photo: © Gian Paolo Barbieri, 2016

Convertible necklace in platinum with diamonds, 1938.
A stunning example of convertible necklace from the 1930s, the necklace could be
divided in smaller elements, which, when mounted on appropriate fittings, formed
different jewels: the sides could be worn as two bracelets and as two dress
clips while the central pendant could be mounted on a bangle. 

Model wearing a selection of Bvlgari creations from the 40s and 50s. Photo: ©
Stefano Galuzzi, 2015.

Bracelet in gold, 1942.
The difficult economic conditions due to Second World War implied a very limited
production of jewels with precious stones and more focus on design, adopting
softer lines inspired by nature.

Next Slide

Model Amanda Wellsh wearing a selection of Bvlgari creations from the 30s.
Photo: © Gian Paolo Barbieri, 2016




DARING COLOURS AND ECLECTIC FLAIR

By the mid-1950s,  Bvlgari took a step further by introducing daring chromatic
combinations of precious stones and coloured stones. Recalling the cupolas of
Roman landscapes, the cabochon became an hallmark of the brand to glorify the
vivid colour of gems.



With the flourishing Dolce Vita era, the store on Via Condotti became one of the
favourite meeting places for movie stars and socialites, thus amplifying the
international fame of the brand. Riding a wave of success, in the early 1970s
the company expanded into Europe and the United States. The Bulgari brothers of
the third generation  infused new creative boost with unrestrained
inspirations, ranging from Far East to Pop Art, catering to the taste of modern
and dynamic women. From their pioneering vision, the BVLGARI BVLGARI watch
became an instant classic and an unprecedented design statement.


Previous Slide

Sautoir in gold with rhodonite, rubellites, sapphires and diamonds, 1972.
Designed as a stylized four-petal flower, the necklace has a detachable pendant
that can be worn as a brooch. Sautoirs with an elongated chain and sumptuous
pendants perfectly resonated with the "maxi" fashion of the 1970s characterized
by colorful pyjama trousers and exotic caftans.

Necklace in gold with emerald, rubies and diamonds, 1969.
The detachable octagonal pendant can be worn as a brooch and is set with a 44,60
cts. cabochon emerald in a frame of rubies and brilliant-cut diamonds. The
geometrical shape is an hallmark of the Bvlgari style, inspired by the monuments
and decorative motifs of the Eternal City.

Necklace with amethysts, diamonds and green enamel, 1971.
The sautoir is composed of twenty-four sections in the shape of stylized
elephants, lined with the muzzle against the back, to form a decoratively
ordered and symmetrical line. Along the sides of each figure two geometrical
amethysts are set in bezels, while the upper parts are decorated with green
enamels. At the sautoir is applied an elephant-shaped pendant that can be worn
separately as a brooch. The jewel reflects the mood for exoticism and dreams of
escapism of the 1970s, with Indian suggestions massively influencing fashion and
design.

Sautoir in gold with coral and diamonds, 1971.
The sautoir is designed as a chain of gold and coral links supporting a central
coral disk decorated with gold flame-like motifs randomly encrusted with
brilliant-cut diamonds. The emphasis on round shapes is an hallmark of the
Bvlgari style distilled over the decades.

Sautoir in gold with yellow and blue sapphires, agate, citrines and diamonds,
1972.
The sautoir is designed as a gold chain of filed curb linking decorated at
intervals with oval elements alternatively set with cabochon sapphires and
citrines, the pendant mounts a cushion-shaped yellow sapphire, four cabochon
sapphires on borders of blue agate. The motif of elliptical concentric shapes
was in tune with the experimentations of Optical art of the 1970s and with
Bvlgari's research on round, harmonious shapes.  

Sautoir in gold with rhodonite, rubellites, sapphires and diamonds, 1972.
Designed as a stylized four-petal flower, the necklace has a detachable pendant
that can be worn as a brooch. Sautoirs with an elongated chain and sumptuous
pendants perfectly resonated with the "maxi" fashion of the 1970s characterized
by colorful pyjama trousers and exotic caftans.

Necklace in gold with emerald, rubies and diamonds, 1969.
The detachable octagonal pendant can be worn as a brooch and is set with a 44,60
cts. cabochon emerald in a frame of rubies and brilliant-cut diamonds. The
geometrical shape is an hallmark of the Bvlgari style, inspired by the monuments
and decorative motifs of the Eternal City.

Necklace with amethysts, diamonds and green enamel, 1971.
The sautoir is composed of twenty-four sections in the shape of stylized
elephants, lined with the muzzle against the back, to form a decoratively
ordered and symmetrical line. Along the sides of each figure two geometrical
amethysts are set in bezels, while the upper parts are decorated with green
enamels. At the sautoir is applied an elephant-shaped pendant that can be worn
separately as a brooch. The jewel reflects the mood for exoticism and dreams of
escapism of the 1970s, with Indian suggestions massively influencing fashion and
design.

Sautoir in gold with coral and diamonds, 1971.
The sautoir is designed as a chain of gold and coral links supporting a central
coral disk decorated with gold flame-like motifs randomly encrusted with
brilliant-cut diamonds. The emphasis on round shapes is an hallmark of the
Bvlgari style distilled over the decades.

Sautoir in gold with yellow and blue sapphires, agate, citrines and diamonds,
1972.
The sautoir is designed as a gold chain of filed curb linking decorated at
intervals with oval elements alternatively set with cabochon sapphires and
citrines, the pendant mounts a cushion-shaped yellow sapphire, four cabochon
sapphires on borders of blue agate. The motif of elliptical concentric shapes
was in tune with the experimentations of Optical art of the 1970s and with
Bvlgari's research on round, harmonious shapes.  

Sautoir in gold with rhodonite, rubellites, sapphires and diamonds, 1972.
Designed as a stylized four-petal flower, the necklace has a detachable pendant
that can be worn as a brooch. Sautoirs with an elongated chain and sumptuous
pendants perfectly resonated with the "maxi" fashion of the 1970s characterized
by colorful pyjama trousers and exotic caftans.

Next Slide

Necklace in gold with emerald, rubies and diamonds, 1969.
The detachable octagonal pendant can be worn as a brooch and is set with a 44,60
cts. cabochon emerald in a frame of rubies and brilliant-cut diamonds. The
geometrical shape is an hallmark of the Bvlgari style, inspired by the monuments
and decorative motifs of the Eternal City.




MODULAR JEWELS AND UNCONVENTIONAL MATERIALS

In the 1980s and 1990s, Bvlgari continued to innovate and launched distinctive,
versatile jewels designed to be worn from morning until night. Modular jewellery
was the answer for any woman’s need: a single element with a strong design was
the starting point to be replicated and combined with a wide range of
precious stones, from hematite to coral to diamond pave.



Unconventional materials were incorporated to jewels and watches with unbridled
creativity, reaching new pinnacles of sophistication: steel, porcelain, silk and
wood pushed the boundaries of luxury, giving life to creations that were
as pleasant to be seen as to be touched, like a second skin.


Previous Slide

Necklace in gold with sapphires, rubies, diamonds and silk cord, 1980
In the 1980s Bvlgari was the first jeweller to combine silk cords with precious
stones. The silk cord could be changed to match the outfit, thus introducing a
very modern prêt-à-porter concept in high jewellery . This was but one of
Bvlgari's experimentations with materials to achieve a jewel that could be worn
all day, in formal and informal occasions. 

Model wearing a selection of Bvlgari creations from the 90s. Photo: © Stefano
Galuzzi, 2015.

Chandra rings in gold with porcelain and amethyst/citrine, 90s.
The bombé-shaped white porcelain ring is decorated with stylized petal motifs
and set at the centre with a cabochon amethyst or citrine.

 Chandra necklace in gold with porcelain, rubellites and peridots, 1994.
With the Chandra collection Bvlgari  took the experimentations with materials a
step further, enhanced by the luminous smoothness opf porcelain. It incorporated
the typical round shapes favored by the Brand and a very pleasant effect to the
touch. Moreover, the porcelain beads produces a nice sound that made these
creations even more fun, trasgressive and playful.  

Necklace in gold with sapphires, rubies, diamonds and silk cord, 1980.
In the 1980s Bvlgari was the first jeweller to combine silk cords with precious
stones. The silk cord could be changed to match the outfit, thus introducing a
very modern prêt-à-porter concept in high jewellery . This was but one of
Bvlgari's  experimentations with materials to achieve a jewel that could be worn
all day, in formal and informal occasions.

Melone evening bag in gold with sapphires and diamonds, 1976.
The round shape of the bag was in keeping with the signature round volumes of
the Bulgari jewellery  along with the smooth contours and the cabochon-cut
stones. A peculiar part of the bag was that it was hinged to open into two
halves and was fitted with a mirror, a comb and lidded compartments. The bags
were suspended on silk cords finished with tassels, which were available in a
variety of colours and could even be changed to suit the occasion. 

Necklace in gold with sapphires, rubies, diamonds and silk cord, 1980
In the 1980s Bvlgari was the first jeweller to combine silk cords with precious
stones. The silk cord could be changed to match the outfit, thus introducing a
very modern prêt-à-porter concept in high jewellery . This was but one of
Bvlgari's experimentations with materials to achieve a jewel that could be worn
all day, in formal and informal occasions. 

Model wearing a selection of Bvlgari creations from the 90s. Photo: © Stefano
Galuzzi, 2015.

Chandra rings in gold with porcelain and amethyst/citrine, 90s.
The bombé-shaped white porcelain ring is decorated with stylized petal motifs
and set at the centre with a cabochon amethyst or citrine.

 Chandra necklace in gold with porcelain, rubellites and peridots, 1994.
With the Chandra collection Bvlgari  took the experimentations with materials a
step further, enhanced by the luminous smoothness opf porcelain. It incorporated
the typical round shapes favored by the Brand and a very pleasant effect to the
touch. Moreover, the porcelain beads produces a nice sound that made these
creations even more fun, trasgressive and playful.  

Necklace in gold with sapphires, rubies, diamonds and silk cord, 1980.
In the 1980s Bvlgari was the first jeweller to combine silk cords with precious
stones. The silk cord could be changed to match the outfit, thus introducing a
very modern prêt-à-porter concept in high jewellery . This was but one of
Bvlgari's  experimentations with materials to achieve a jewel that could be worn
all day, in formal and informal occasions.

Melone evening bag in gold with sapphires and diamonds, 1976.
The round shape of the bag was in keeping with the signature round volumes of
the Bulgari jewellery  along with the smooth contours and the cabochon-cut
stones. A peculiar part of the bag was that it was hinged to open into two
halves and was fitted with a mirror, a comb and lidded compartments. The bags
were suspended on silk cords finished with tassels, which were available in a
variety of colours and could even be changed to suit the occasion. 

Necklace in gold with sapphires, rubies, diamonds and silk cord, 1980
In the 1980s Bvlgari was the first jeweller to combine silk cords with precious
stones. The silk cord could be changed to match the outfit, thus introducing a
very modern prêt-à-porter concept in high jewellery . This was but one of
Bvlgari's experimentations with materials to achieve a jewel that could be worn
all day, in formal and informal occasions. 

Next Slide

Model wearing a selection of Bvlgari creations from the 90s. Photo: © Stefano
Galuzzi, 2015.




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