WITH A TWIST

THE LATE ZAHA HADID’S RE­DESIGN OF A BUL­GARI JEW­ELLERY LINE HAS SUR­PRIS­ING QUAL­I­TIES REM­I­NIS­CENT OF HER FINEST AR­CHI­TEC­TURE.

The Australian - Wish Magazine - - CULT -

Art Basel Mi­ami is a reg­u­lar wit­ness to the un­veil­ing of spe­cial new lux­ury prod­ucts, as be­fits an event that at­tracts pri­vate wealth, col­lec­tive sta­tus anx­i­ety, celebrity faces and the elite of the art and de­sign worlds. It’s small won­der that Chris­tian Dior, Saint Lau­rent, Ruinart and Bul­gari have hosted en­vi­able beach­side bashes there, the lat­ter to toast its col­lab­o­ra­tion with late Bri­tish ar­chi­tect Zaha Hadid, who had been work­ing to reinterpret the Ro­man jew­eller’s iconic B.Zero1 col­lec­tion.

Bul­gari doesn’t typ­i­cally en­gage out­side de­sign­ers and cre­atives to work on its prod­uct lines. As jew­ellery di­rec­tor Boris Bar­boni says: “We don’t out­source cre­ativ­ity in gen­eral be­cause we don’t need to – we’ve been in­no­vat­ing in the field of jew­ellery for more than 130 years.” So Hadid’s re­work­ing of the B.Zero1 jew­ellery range comes not from com­mer­cial im­per­a­tive, nor a de­sire to gen­er­ate me­dia cov­er­age (though in­evitably it will achieve both), but in­stead from mu­tual re­spect.

This, ac­cord­ing to Suzanne Trocmé, is what drives the best col­lab­o­ra­tions be­tween var­i­ous cre­ative dis­ci­plines. “I think more of­ten than not col­lab­o­ra­tions are un­likely fits and shouldn’t hap­pen,” the re­spected de­sign critic and au­thor said at the un­veil­ing of B. Zero1 at an event as part of Art Basel Mi­ami. “Brands have al­ways wanted to bring in big names to sell stuff – to jump on a band­wagon – but when you’re work­ing with peo­ple of the cal­i­bre of Zaha Hadid, then you can trust they’re not go­ing to get it wrong, be­cause they haven’t got it wrong so far.”

Hadid is one of the most recog­nis­able names in 21stcen­tury ar­chi­tec­ture and de­sign, de­spite many of her projects re­main­ing un­re­alised or in­com­plete be­fore her un­timely death from a heart at­tack early last year. Once de­scribed as the Queen of the Curve, Hadid’s build­ings of­ten com­prise con­trast­ing or­ganic forms, with sculp­tural shapes that bend and warp so as to re­think the solid rec­tan­gu­lar struc­ture of a build­ing, be it a ho­tel or civic venue or arts cen­tre. These in­clude the Guangzhou Opera House, the Lon­don Aquat­ics Cen­tre, the Chanel Mo­bile Art Pavil­ion, and the Dong­dae­mun De­sign Plaza. In Mel­bourne, a 54-storey, $300 mil­lion Ha­did­de­signed build­ing at 600 Collins Street has just been given the green light

Bul­gari first worked with the renowned ar­chi­tect in 2015, when Hadid cre­ated a tem­po­rary pavil­ion for the grounds of its Mi­lan-based name­sake ho­tel. Tak­ing in­spi­ra­tion from the house’s use of snake sym­bol­ism in

STORY MITCHELL OAK­LEY SMITH Bul­gari’s reimag­ined B.Zero1 col­lec­tion, the lat­est reis­sue of jew­ellery in­spired by Rome’s Colos­seum, de­signed by the ‘Queen of Curve’

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