Can the beauty of color really shape how we perceive the world? That’s the question posed and answered by Kaleidos, a new landmark retrospective by Bulgari held in Tokyo’s National Art Center. Taking its name from the Greek words for “Kalos” (Beautiful) and “Eidos” (Form), Kaleidos is intended as a rich look into the vibrant 140-year heritage of Bulgari, told through a trove of high jewelry in every hue imaginable. Showcasing almost 350 pieces from the maison’s archive and private collections, it marks the largest exhibition Bulgari has ever held in Japan.
Unfolding in three chapters, the first introduces the science of color and color theory, before moving onto a section about the symbolism of colors (red for passion; blue for melancholy) and concluding in a finale that shows how the play of light affects our perception of precious metals. Set across 2,000 square meters, the vast space is divided into numerous chambers in the shape of a gingko leaf—a collaborative effort between Bulgari and the celebrated Japanese architectural firm SANAA.
Filling such a vast blank space presented a challenge. “There are no walls in the museum, so it could be perceived as we could do anything we want, but at the same time you have this kind of fear of the white page,” says Gislain Aucremann, Bulgari’s heritage curator. “We made sure there’s something to discover in every place, and giving a rhythm to the exhibition was important.”
Part of this rhythm was achieved by a triumvirate of contemporary women artists whom Bulgari invited to contribute to the exhibition; the end of each chapter is punctuated by one of their original artworks inspired by color. Italian artist Lara Favaretto’s installation is a room filled with a rainbow of spinning brushes that feel akin to walking through a carwash. In chapter two, the artist and architect Mariko Mori—known for her space-age white structures—has created a giant translucent stone inspired by the creation myth of the Japanese archipelago, that evolves with prisms of color depending on which angle it is viewed from.
The exhibition concludes with a projection from the artist Akiko Nakayama, whose so-called ‘Alive Paintings’ appear on the walls of the final chamber, which houses an emerald pendant made from convertible sautoir-bracelets in a spectrum of gemstones. “We wanted to give the freedom to these three very talented female artists to express themselves and express the philosophy of the exhibition through the language of color,” says Laura Burdese, deputy chief executive of the Bulgari Group.
The space is dotted with pieces that hold cultural legacy too, such as the diamond and emerald necklace famously worn by Elizabeth Taylor (her husband Richard Burton was known to have said “the only Italian word Elizabeth knows is Bulgari”), and another by Monica Vitti. Overall, though, the exhibition is free from celebrity faces, with the attention lavished on the jewels and their colors.
The goal of the exhibition, says Aucremann, is not a brand showcase, but “a cultural exhibition talking about color,” an area of expertise in which Bulgari holds a legitimate claim. Unlike Parisian jewelry, for instance, which is historically more monochrome, Roman jewelry is more vivid and bold in its use of color, rich with variegated gemstones. As such, the exhibition walks guests through a spectrum of raspberry rubies to sunset citrines, lashings of diamonds, and sapphires and emeralds the size of ripe plums set in bracelets or pendants.
Cabochon cut stones (the world’s oldest polishing technique and a Bulgari signature) are a main feature, with dome-shaped amethysts and rubies on show, with accessories including the house’s iconic melon-shaped evening bags, alongside brooches in the shapes of ice cream and candy. Everything is bold, rich, and unapologetically Italian. “It really expresses a very Roman kind of vibe,” says Aucremann.
The optimistic vibrancy of the exhibition is indicative of the market, too. With a slowdown in sales plaguing the luxury industry, the fine jewelry segment has shown relative resilience. “In this very challenging and uncertain economic moment, especially for luxury, jewelry is a bright spot,” says Burdese. “It’s not something that lasts only for a season, it’s there to stay.”
The exhibition is also something of an exercise in cultural exchange. Though Bulgari doesn’t disclose financial figures, Burdese says that Japan is “a very important market” and in the house’s top five, not far behind Europe. Speaking to the synergy between Italy and Japan, the exhibition opens with two pieces from the house’s heritage collection: A precious paperweight in the shape of a Roman temple, made from lapis lazuli, onyx, diamonds, and yellow gold, sits next to a gold circular brooch that, in mother of pearl and diamonds, depicts a scene of Mount Fuji.
“In Japan, you find a love for tradition and this timeless culture around craft, but at the same time there is bold innovation and a visionary spirit,” says Burdese. “So there is no other country in the world—[except] probably Italy, but in a different way—that can merge these two different souls.” The result is an immersive exhibition full of surprises that, instead of feeling like a branded showcase, displays the Roman house’s unparalleled prowess at purveying beauty through color. “We don’t call it a museum collection at Bulgari,” says Burdese. “For us, this is a living heritage; it’s what we are today and what we will be tomorrow.”
Bvlgari Kaleidos is on at The National Art Center, Tokyo, until December 15 2025
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