Won­der Women

Bvl­gari: Tribute to Fem­i­nin­ity traces the lin­eage of the Ital­ian house’s jew­ellery in par­al­lel to the evo­lu­tion of fe­male em­pow­er­ment. Kar­ishma Tul­si­das tours the ex­hi­bi­tion in Moscow

Singapore Tatler - - STYLE -

Tem­i­nin­ity. the word al­most feels like a slur in to­day’s tense po­lit­i­cal cli­mate and, for many, it rep­re­sents a dain­ti­ness and del­i­cate­ness that women do not want to be as­so­ci­ated with any­more. So when Bvl­gari de­cided to name its lat­est ex­hi­bi­tion Tribute to Fem­i­nin­ity, it was truly a pow­er­ful state­ment. Fem­i­nin­ity, in the con­text of the Ital­ian jew­eller, rep­re­sents the con­fi­dence with which women have been wear­ing their gen­der for the past cen­tury, as de­picted in the evo­lu­tion of Bvl­gari’s jew­els since its very be­gin­nings in 1884. At its most ba­sic form, jew­ellery is in­her­ently a fem­i­nine ac­ces­sory, so defin­ing the core essence of the theme was of para­mount im­por­tance to brand and her­itage cu­ra­tor Lu­cia Boscaini. She says that the idea ac­tu­ally came from the mu­seum team at the Krem­lin, where the ex­hi­bi­tion is be­ing held. “While ex­plor­ing the ar­chives with them, they no­ticed this link, this com­mon in­gre­di­ent of how Bvl­gari’s style and cre­ativ­ity evolved in a way that can be eas­ily re­con­nected to the evo­lu­tion of fash­ion trends and the life­styles of women, and that was a start­ing point,” she ex­plains. As­tute mu­seum-go­ers will be able to wit­ness the tan­gi­ble change in so­ci­ety through the evo­lu­tion of the jew­eller’s aes­thetic—a jour­ney re­counted by the 500 pieces on dis­play, in­clud­ing some very im­por­tant jew­els that be­longed to pow­er­ful women in his­tory such as ac­tresses El­iz­a­beth Taylor, In­grid Bergman and Sophia Loren. It be­gins with the sil­ver medal­lions that Bvl­gari founder Sotirios Voul­garis cre­ated for Greek women in 1880. Th­ese func­tional pieces, which were part of their at­tire, re­flected the tra­di­tional way of life at that time. The aes­thetic evolved as Voul­garis moved to Rome and set up his busi­ness there. By the 1910s and 1920s, as women’s roles in so­ci­ety be­came more pro­nounced and they be­gan to sub­vert com­mon ex­pec­ta­tions, so did the jew­ellery forms. As clothes be­came sim­pler and al­lowed for greater free­dom of move­ment, con­vert­ible jew­els that could be worn in dif­fer­ent ways be­came pop­u­lar. At that time, jew­ellery was mainly worn by the up­per crust of so­ci­ety. “Only very rich women wore jew­els for el­e­gant oc­ca­sions. The jew­els fea­tured mostly di­a­monds and also coloured gem­stones. The de­sign came from com­bin­ing var­i­ous

ITAL­IAN CLAS­SIC Screen le­gend Sophia Loren’s per­sonal stash of Bvl­gari jew­ellery shows the jew­eller’s panache in creat­ing at­ten­tion-grab­bing yet time­less de­signs with vividly-coloured stones. Loren siz­zled in a 1992 Vogue Italia shoot (op­po­site), wear­ing a gold di­a­mond-set neck­lace with a match­ing pair of ear­rings

RISK TAKER This brooch in plat­inum and gold with ru­bies and di­a­monds, from 1987 shows Bvl­gari’s courage to ex­per­i­ment with dif­fer­ent styles and de­signs

Newspapers in English

Newspapers from Singapore

© PressReader. All rights reserved.