The serpent is no longer just a motif. It’s a metaphor for creative exchange—shedding skin, shifting shape, constantly renewing.
Under the visionary creative direction of Mary Katrantzou, Bvlgari’s Serpenti icon is entering a new era—one shaped by dialogue, not monologue. Following the success of her own collaboration with the house, Katrantzou launched SERPENTI IN CONVERSATION: an ongoing series that invites designers into creative communion with Bvlgari’s rich heritage.
The first to be invited? Parisian designer Géraldine Guyot, founder and Creative Director of DESTREE.
Together, they’ve reimagined the Serpentine Top-Handle handbag: bold, sculptural, and exquisitely engineered. Drawing on DESTREE’s signature use of passementerie and Bvlgari’s jewelry savoir-faire, the result is a study in contrast—structured yet fluid, precious yet light.
In this exclusive conversation, Géraldine Guyot speaks to KHAMSA about symbolism, legacy, and what happens when creative exchange becomes a form of metamorphosis.
١. Where did the idea for the collection come from & how did this collaboration begin?
At DESTREE, we collaborate very rarely—perhaps once a year—so it has to be something truly meaningful. For me, a collaboration is where magic happens. When you bring different minds, backgrounds, and sensibilities together, something unexpected emerges.
I’ve been a huge admirer of Bvlgari since childhood. My mother loves the house and owns several pieces, which I used to try on and play with. It’s been part of my visual language since I was very young. When the opportunity arose to work with Mary and Bvlgari, it just made sense. I also admire Mary’s taste and creative world deeply—so it felt like a natural meeting of minds.
٢. What drew you to the Serpentine bag in particular?
Some things you can’t quite explain—there was an instant attraction. The Serpentine bag just spoke to me. We explored other designs, but we kept coming back to that one. It felt like the right fit.
The shape is so modern, yet it also holds a kind of historical resonance. The handle, especially, was my way of bringing a bit of DESTREE into the Bvlgari universe. I used a traditional passementerie technique, which we often incorporate in our accessories. It’s ornamental and intricate—something that’s become a signature for us.
Bringing that craftsmanship into the Serpentine felt like a subtle yet powerful way of merging our worlds.
٣. So tell us — what was it like stepping into the Bvlgari archives? A dream of many!
When I first explored the Bvlgari archives, it truly felt like stepping into a treasure trove—so much creativity, so much boldness. It was almost overwhelming, but in the most inspiring way. What struck me most was how fearless Bvlgari has always been. That unapologetic spirit, that legacy of audacity, became the foundation for my approach. I wasn’t interested in replicating the past—I wanted to capture its essence and reinterpret it through a fresh, unexpected lens.
٤. How did being two female creative directors shape the process?
There was a natural, intuitive understanding between Mary and me. As women designing for women, I think we both understood the emotional relationship women have with accessories—how a bag can empower, elevate, and express identity.
I’ve always been drawn to the functionality of accessories, but also to their symbolic power. There’s something incredibly potent about creating objects that women carry with them every day. That sensitivity really shaped how we approached the collaboration.
٥. Finally, If you had to capture the essence of this collaboration in just three words—what would they be, and why?
Modern, History & Synergy
All images are courtesy of Bvlgari.
Interview conducted in-person by Aya Mechelany in Paris, and transcribed for clarity.
