Power Couple: When Mary Katrantzou Met Bvlgari…
The past 12 months have been a time of transformation for us all. Greek fashion designer Mary Katrantzou has taken this sentiment and woven it into a collection designed in collaboration with Bvlgari; an inspiring journey that began in the brand’s astonishing archives
Some might say no one understands the art of collaboration more than London-based designer, Mary Katrantzou, who has notched up multiple partnerships during her illustrious career. She’s cast her creative net over rugs, exhibitions, beauty packaging, Disney collections and even bespoke jockey silks at the Qatar Goodwood Festival in the UK. A fashion powerhouse in her own right, she joined forces with Bvlgari last month to bring her maximalist fashion touch to an array of bags and printed-silk scarves for the Italian jeweller. We caught up with her over Zoom whilst in lockdown in her home town of Athens.
Supermodel Natalia Vodianova models Mary Katrantzou’s new collection for Bvlgari
What was the first step in this collection with Bvlgari?
When we started the collaboration, I had the opportunity to go to Rome and visit the Bvlgari archives. We all know Bvlgari’s design codes, but looking at the incredible pieces and studying them in person was a very different experience that I found inspiring.
Were there any pieces that you particularly remember from the archives?
We looked at a watch from 1986 called the Harlequin watch. I immediately felt it would be a great creative challenge to turn into a minaudière, so that was the first idea: why not have the snake head be a minaudière in its own right and still be true to the original? The way it opens by pressing the tongue is the same, it allowed us to explore the world of watches and high jewellery and bring that into their bags – I guess this has the idea of metamorphosis at its core.
The snake-head minaudière is a truly special creation. How did that idea come to life?
I thought it was an amazing idea and it never existed before. As a Bvlgari lover, I felt the need to have that clutch as a forever piece. For me, it was very inspiring to see that, in the past, Bvlgari had created such incredible minaudières that were so detailed and precious.
The gold-plated Serpenti minaudière is one of the stars of the capsule collection
It’s more than a bag, isn’t it?
Yes, the execution and artisanship on this piece makes it seem like an object of art that you would have in your home. It’s very much in sync with the world of Bvlgari. Even though it’s not as functional as the Puffy bag or the Forever bag, it still felt to me very much Serpenti.
How did you approach adding your signature to the range?
I guess what’s ‘Mary’ about this collection is that the perspective and narrative are through my eyes. The first thing I wanted to do was think about what Serpenti means to me. It’s a symbol of evolution and rebirth that felt very relevant and so the artwork we created for this collection represented this transformation.
Can you pick out a key design feature that represents this rebirth?
Coiling around the snake-head clasp on the Bvlgari Forever bag and gradually transitioning into the spiral of butterfly – that was the piece that allowed us to speak about the narrative of this collection. It became a blank canvas to develop it with Montex in Paris and do the most couture embroidery at a scale that makes it feel so precious. When you examine the work, it’s so detailed and intricate and unique. That was one of the pieces that allowed me to apply my own universe to it.
What’s the story behind the Puffy bag?
Serpenti Metamorphosis bag, Dhs47,500, Bvlgari x Mary Katrantzou
We wanted to create a bag with dual functionality, that you can wear for all occasions, which is not about the embellishment. It’s a very feminine bag in its lines and it allowed us to showcase Serpenti in its entirety. The handle is almost like a piece of jewellery that you can then remove and replace with a gold chain and have it become a cross-body bag.
You’ve explained how the collection is themed on transformation and metamorphosis. Is that something you’ve thought about a lot personally in the last year?
Serpenti Metamorphosis Handle bag, Dhs12,200, Bvlgari x Mary Katrantzou
I don’t think many of us have realised how much we’ve changed this year, everything is still evolving around us and we haven’t really felt the full effect yet. As a creative, I think the last year allowed me to pause and reflect. It was a gift to be able to collaborate on this project during lockdown and be so creatively inspired, not just on the design side but by a house like Bvlgari on many levels, such as the amount of time it takes to create timeless luxury. Sometimes we underestimate the importance of time in the creation process. It taught me the joy that you can take from design when you have the time and are working with a team that is so passionate. The last year was a compass at the right time to show me how creatively fulfilled I can be if I change my mindset and apply my creativity differently.
What do you like about doing collaborations?
Personally I love them because they expand your creativity and allow you to explore your imagination in a very different way. We’ve collaborated on homeware, the Paris Opera, and now the Greek Ballet. But I think with Bvlgari it has been different because it’s not a one-shot collaboration, we had almost a whole year working together with their incredible team.I had the time to study the brand and their design codes, and I didn’t fully realise our common cultural backgrounds until I came to collaborate with them.
What type of cultural similarities did you notice?
The hexagonal scales are hand-painted on the minaudière
The mythology of Serpenti dates back to ancient Greek and Roman mythology and those archetypal icons and emblems are in-built for Greeks and Italians. It was incredible to explore and discover elements that are so innate in me.
You’re still running your core brand, of course, as well as multiple collaborations.
How do you manage to stay on top of everything?
The Greek fashion designer lends her mastery to accessories
I think that creativity brings more creativity, and as long as you keep your brain creatively stimulated you become prolific. This year we did not do a show, which gave me a lot more time to appreciate the work I do and sometimes even allowed me to be bored.
Can boredom be a good thing?
Well, I’ve been told that, ‘You need to be thankful that you have time to be bored, because creatives are not able to create and visualise amazing ideas when working constantly.’
What do you want to be remembered for?
[Laughs] That’s a heavy question! I think my work has so much to do with narrative and positivity. I feel it’s important to be able to tell a story through your work, and through that narrative, hopefully send a message of optimism and make people feel great about themselves.
Interview: Olivia Phillips. Words: Jade Chilton
From Harper’s Bazaar Arabia May 2021 issue
