The “Serpenti in Conversation” is a collaboration between Géraldine Guyot and Mary Katrantzou for alimited edition of top-handle bags. It’s a creative reimagination for fall/winter of the timeless icon, BVLGARI Serpentine, a true must-have.
My mom has been collecting pieces since I was young and so I’ve always been obsessed with the brand
About Géraldine Guyot:
Her creations of lasting minimalism – hats, bags, and jewellery – are iconic. She is known for being a DESTREE cofounder and a creative director. This is her first collaboration with BVLGARI. The French designer made a wearable work of art. The new must-have bag has more of a modern touch and is abstract, but braided trims are also a DESTREE signature.
About collaboration:
At the heart of this classic and minimalist collaboration lies the timeless symbol, BVLGARI Serpenti, that can remain relevant through collaboration, diversity, and imagination. Géraldine Guyot x BVLGARI Serpentine comes in different colours, sizes and materials, from burgundy satin to brown opal nubuck leather.
INTERVIEW: “SERPENTI IN CONVERSATION”
MARY KATRANTZOU AND GÉRALDINE GUYOT
Where did the idea for the collection come from – how did this collaboration begin?
MARY KATRANTZOU:
When I joined BVLGARI as Leather Goods & Accessories Creative Director, it was important to me to build on the success of “Serpenti Through the Eyes Of”, which had been my first collaboration with the house, but to also evolve it into something new. I wanted it to become less of a one-off interpretation and more of an ongoing dialogue – between Serpenti and other creatives I admire. That’s how the idea of “Serpenti in Conversation” was born: a continuing series where we could invite artists and designers into the BVLGARI universe to reinterpret Serpenti. Géraldine felt like the perfect first collaborator. I’ve followed her work for years and love her sensibility, her use of colour, and her timeless approach. It felt natural to begin this journey together, an open dialogue between two female designers.
GÉRALDINE GUYOT:
To me, collaborations are something very special – at my brand, DESTREE, we don’t collaborate very often. Perhaps only once every year. I’ve always been very cautious because, to me, I believe that a collaboration is a moment where magic happens. When you bring different minds together, backgrounds, sensibilities together, something very unexpected can emerge from it. I have been a huge BVLGARI admirer since my childhood – my mother used to have a lot of pieces. I would play with them, try them on. She was really obsessed with BVLGARI – and I was too. I also love Mary’s taste and style, so it was an easy decision. When I was offered this opportunity, it made sense.
How would you each define BVLGARI?
GÉRALDINE GUYOT:
To me, BVLGARI has always stood out for its elegance, but also its boldness, its ever-audacious mix of colours. It’s not a brand that tries to fit in. That’s the main thing. It represents very distinct aesthetics. And I’ve admired that since I was young. I have been collecting vintage BVLGARI for a few years. Every time I wear a piece, it gives character, makes you stand out. That’s my vision of BVLGARI – boldness, with a touch of Roman exuberance.
MARY KATRANTZOU:
For me, BVLGARI is defined by its narrative depth, cultural symbolism and its mastery of colours! I grew up around BVLGARI – my mother owns beautiful pieces from the 70s and the 80s – and I realise now how profoundly its codes shaped me as a designer. Over its 140-year history, BVLGARI’s symbols have continually evolved into true icons. Serpenti, in the hands of BVLGARI, is arguably one of the most powerful motifs in the history of High Jewellery design. What I find most compelling is BVLGARI’s unique ability to view Rome – and the world – through its own lens. There is a magical syncretism in the way it fuses ideas, precious materials, and exceptional craftsmanship. There is also a duality, anchored in heritage yet daring in spirit, that makes BVLGARI truly unique.
This collaboration is part of a series now called “Serpenti in Conversation.” What does Serpenti represent to both of you?
GÉRALDINE GUYOT:
Serpenti, to me, is such a rich symbol. I find it very strong, but also sensual. It’s a part of BVLGARI’s soul for sure. And I think anyone who knows BVLGARI knows Serpenti. So, to reinterpret it through my own eyes was such an honour. I see the serpent as a guardian of tradition, but I also see it as a muse for reinvention. And that was what we did, Mary and I, on this collaboration.
MARY KATRANTZOU:
Serpenti to me has always symbolised transformation, renewal, and evolution. Its strength lies in its ability to continually reinvent itself – just like a serpent shedding its skin. That is what makes it such a powerful icon for BVLGARI. With “Serpenti in Conversation,” my vision is to allow artists and designers to reinterpret Serpenti in an open dialogue with BVLGARI’s heritage. When Géraldine and I met in Paris, she was immediately drawn to the Serpentine bag – a line that was born from my first collaboration with BVLGARI. This series had always been about celebrating Serpenti Forever but in this new format and with Géraldine, we decided to focus on Serpentine and to me it symbolised a 360 moment. When she proposed introducing passementerie, it felt both fresh and deeply rooted in BVLGARI’s history. Many vintage necklaces incorporated passementerie cords, so her idea felt authentic both to her world and to ours. That’s the beauty of this project: keeping our icons alive through new perspectives, while celebrating the house’s codes.
What is it that drew you to Serpentine instead of Serpenti, which is where the collaboration is normally focused, Géraldine?
GÉRALDINE GUYOT:
Some things you can’t explain. I was just drawn to this piece – to the Serpentine bag. There was an instant attraction. We spoke about other bags, but we both kept circling back. This specific shape, I think it is just so modern, but at the same time, it had this very historical place –with the Serpenti represented in movement. I could see it being part of my world. The handle was really my way of bringing a bit of DESTREE, a bit of me, into the BVLGARI universe. The technique I used is inspired by the traditional savoir-faire of passementerie-ornamental trims that we’ve always used at DESTREE. It has become one of our signatures. Bringing that to Serpentine felt like a subtle way of merging our two worlds. I’ve always wanted to create graphic, structured accessories with their own unique DNA – something we do not see every day.
MARY KATRANTZOU:
From the beginning, I felt Géraldine’s contribution should shine through the hardware because that is what sets our bags apart from other luxury houses. At BVLGARI, the hardware is the most precious element of a bag – where craftsmanship meets our DNA as a High Jeweller. By reimagining the handle, she brought her world into ours in a way that felt modern and true to both.
How did the BVLGARI archives inspire you?
GÉRALDINE GUYOT:
I received a document with so many images of archival pieces. And honestly, diving into it was like stepping into a treasure trove of creativity – it was almost overwhelming. What I loved the most was how fearless and bold the brand has always been. And that sense of legacy really anchored the project. When I saw all of this, it wasn’t about just replicating the past, but capturing its spirit, translating it into something new.
MARY KATRANTZOU:
For me, it was about creating what I call a future archive. My role was to ensure Géraldine’s vision was executed with precision, while bridging her sensibility with BVLGARI’s DNA. It was exciting to see Serpenti through another designer’s imagination, but also my responsibility was to translate it seamlessly into BVLGARI’s language. We worked closely together on all elements of the design/development, and it was refreshing to have a partner in crime, who I always felt very aligned with. One example is Géraldine’s Serpentine handle, which we crafted using an innovative electroforming technique – a first for BVLGARI. I always believe today’s innovation becomes tomorrow’s heritage. This collaboration honours BVLGARI’s history while also pushing us forward into new territory.
How about the dynamic of you as two female creative directors – how has that shaped this collaboration?
GÉRALDINE GUYOT:
I’ve always been fascinated by the relentless efficiency of a bag, of accessories. I think Mary and I both understand the emotional relationship women can have with their accessories – how a bag can be a statement, a partner, something that brings confidence. I think being two female designers, designing for women, we could tap into that intuitively. There was very often, between Mary and I, an unspoken understanding.
MARY KATRANTZOU:
Designing as women, for women, gave us a shared intuition about the bond women have with their accessories. A bag isn’t just functional – it’s something that can empower you. That perspective shaped our dialogue throughout the process. At the same time, there’s a pragmatism that comes from this approach. For example, the decision on the handle size came directly from a conversation about functionality. We applied a completely new technique at BVLGARI to ensure the Serpenti handle felt substantial yet light – marrying innovation with practicality.
Why is collaboration important to each of you, and what does it bring to the creative process?
GÉRALDINE GUYOT:
Collaborations to me must be done well, and rarely. Then, you can expect something quite unexpected that will emerge from collaboration. And the fact that you can bring different minds and sensibilities together – when it’s done right, like it was done now because that’s exactly how it felt with Mary and the BVLGARI team – I feel like it’s the best. And it’s very precious, those kinds of collaborations.
MARY KATRANTZOU:
For me, collaboration at BVLGARI is about conversation and plurality – values deeply embedded in our DNA. BVLGARI has always been a plural, open brand. With “Serpenti in Conversation,” I wanted to create a platform where dialogue fuels innovation but also celebrates heritage. The magic happens when the synergy is real. Here, we had the richness of BVLGARI’s archive, the strength of an icon like Serpenti, and the incredible creativity Géraldine brought from her own world. My role was to orchestrate that dialogue – between Géraldine and Serpenti and ultimately between both of us and BVLGARI. That’s what makes this project truly powerful. I love Géraldine’s energy, and we first connected over much more personal conversations. From a female designer to a female designer and from mother to mother. I felt very connected to her on the aesthetics, on the design, but also a force that we could bring and effect change that these collaborations are meant for.
GÉRALDINE GUYOT:
It felt like it was all about synergies. And I think the final pieces reflect that shared energy that Mary and I and the team had – because the team, too, brought so much passion and generosity to the process. Collaborating with Mary was very special. I have admired her work for a long time, but we connected deeply, as people. And she is so inspiring. I honestly couldn’t be prouder to have contributed to this project and this collection, which I love, and I can’t wait to wear. And thank you so much again for the opportunity, Mary. I was so happy to do this. It didn’t feel like working.
MARY KATRANTZOU:
I’m so grateful to you Géraldine! It was the perfect collaboration. And I think the final design is both very Géraldine, but it’s also very BVLGARI.
