Footnotes

• Cf. Triossi, A., 'Between Eternity and History: Bulgari, From 1884 to 2009, 125 Years of Italian Jewels, Skira Editore S.P.A, see catalogue item 164 for a parure of turquoise, diamonds, platinum and gold, dated 1965, which is of similar design to the present lot.
  
  According to Triossi, until the 1960s, fashion and jewellery conformed to the dictates of Parisian style. The coming of the new decade, however, witnessed a divergence from such ideals toward individual style innovation. Bulgari began to set itself apart from francophile edicts by developing its own chromatic palette for jewels, deviating from the traditional use of the triumvirate of emeralds, sapphires and rubies, combined exclusively with diamonds. Instead, Bulgari turned toward the use of a wide variety of gemstones, chosen for their chromatic effect rather than their intrinsic value. Bulgari mounted these gemstones in unconventional colour combinations, and exhibited an unquestionable preference for cabochon-cut stones combined with smooth diamond-set contours. Triossi writes that the overarching aim of these design elements was to achieve a sense of volume in a jewel.
  
  It was this mode of design which laid the foundations of Bulgari's future style. To the eyes of contemporaries, however, these characteristic hallmarks became clearly recognisable as 'Bulgari style'. Triossi recalls an article published in the December 1963 edition of Connaissance des Arts, where it was written that a Bulgari jewel is as recognisable as a Chanel suit.
  
  The present lot is a spectacular example of the glamour of Bulgari in the 1960s. The use of colour, contour and cabochon create drama in a jewel which would have lent itself well to adorning the decollétage of one of the celebrated 'Bulgari-loving' style icons, such as Elizabeth Taylor, Anna Magnani, or Sophia Loren.

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Category: Jewellery

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