Unveiled in Taormina, Sicily, just last week, Bvlgari’s latest high jewellery offering, Polychroma, places colour at the centre of its creative vision this year—both literally and conceptually. The name itself is a clever portmanteau: “poly” for many, “chroma” for colour, and a subtle nod to “Roma,” the brand’s home. For Lucia Silvestri, Bvlgari’s creative director of high jewellery, it was the perfect starting point for a collection that leans into bold combinations, rare gemstones, and design-led craftsmanship. In conversation with GRAZIA Singapore, Silvestri walks us through the thinking behind the designs, the challenges of working with extraordinary stones, and why jewellery should be worn with ease and personality.
Pakkee Tan (PK): I keep going back to the wonderful play on words in this collection. What was the starting point for Polychroma for you?
Lucia Silvestri (LS): First, we thought about the theme of the collection, of course. When I heard the theme was Polychroma—“poly” meaning many, “chroma” meaning colours, and “Roma” at the end—I thought it was brilliant. The idea of beginning with colour really resonated with me. We always work with colour, but for this collection, we placed even more emphasis on it.
PK: Did you work with any historical or artistic references while designing Polychroma?
LS: Historical references? Not exactly. We did look at the archives for inspiration, but we weren’t trying to replicate anything specific. One important lesson I learned from Mr Bulgari was: “Don’t copy yourself.”
PK: There are some truly stunning pieces in this collection. Could you walk us through a few of your favourites?
LS: It’s very difficult to pick a favourite—I love them all! These pieces are like my children. But I can share one…
PK: Ah, the Cosmic Vault necklace.
LS: In the gallery, we have what we call the Five Wonders—five exceptional jewels. Each was a challenge, in terms of the stones, the craftsmanship, and the design. We wanted to surprise people with these extraordinary works of art. It’s not just Bvlgari, not just gemstones—it’s design and craftsmanship coming together.
For instance, there’s a 123-carat sapphire from Sri Lanka. My dream was to find a sapphire larger than the 66-carat one Elizabeth Taylor had in her necklace—specifically, a sugarloaf cut that was even bigger. Finally, I found it, and we began designing around it. We took inspiration from a brocade curtain we saw in Venice. You can’t see the back of the necklace here, but it’s magnificent.
PK: What was the largest stone you worked with in this collection? Any particular challenges?
LS: The largest is a 241-carat emerald—the biggest faceted emerald Bvlgari has ever used. Previously, we mounted a 300-carat cabochon, but this one is faceted. It’s extraordinary in colour, transparency, and cut—truly one of a kind. The idea was to focus all attention on the stone, without losing Bvlgari’s distinctive design touch. We kept the setting geometric, almost Art Deco, but simple and modern. You still see the necklace, but the emerald commands all the attention.
PK: Was it challenging to work with an emerald of this size?
LS: Absolutely. Emeralds are delicate. We went through many sketches before finalising the design. We started working on this piece around two years before the collection’s launch.
PK: I saw the Inside the Dream documentary in 2023—it showed how much iteration and planning goes into using a single stone. Was this a similar process?
LS: Every stone has its own story. This one was different from the 93-carat cabochon you mentioned. But yes, each gem requires its own unique approach.
PK: What’s your personal philosophy when it comes to wearing jewellery? I follow you on Instagram and you always wear it with such joyful abandon.
LS: I love playing with different collections—Tubogas, chains, coloured gems. I’m always in something colourful. I don’t like to take things too seriously; jewellery should be playful and bring joy. Mixing and matching allows your personality to shine through in a unique way.
PK: Do you take the same approach with high jewellery?
LS: Yes, it’s the same. I love wearing big, beautiful necklaces—but when I do, I keep the earrings simple, even if their colour doesn’t match the necklace!
PK: You often cite India as one of your greatest sources of gemstones and inspiration. What keeps drawing you back?
LS: India is a very important country for me. I started travelling there more than 40 years ago. It’s not just about inspiration—it’s also one of the best gemstone markets in the world. The cutting traditions are exceptional, and we collaborate closely with cutters and rough stone dealers there. I grew up with that tradition, and now we continue to work closely with them. It’s a long-standing, meaningful relationship.
PK: You’ve worked with so many gemstones over the years. Are there any dream stones you’ve yet to work with?
LS: My dream is to find a ruby—a vibrant, emerald-cut ruby over 10 carats. That would be incredible.
PK: And finally, in the spirit of Polychroma and its Gallery of Wonders, what still brings you wonder?
LS: So many things bring me wonder—from jewels to nature to people. I’m a very curious person and I love life. I find wonder in seeing things from different angles and perspectives—I try to find beauty in the simplest of things. It’s really about our attitude: I love to enjoy life and see beauty everywhere.
This interview has been edited and condensed for clarity.
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