Exhibition at the National Art Center, Tokyo showcasing approximately 350 Bvlgari masterpieces

Founded in 1884, the Italian high jewelry brand Bvlgari can be considered the only brand that, through its bold use of colored gemstones, can transform color into a true art form. From the 1940s and 1950s, by introducing combinations of gold with sapphires, rubies, emeralds, and semi-precious stones such as amethyst and turquoise, Bvlgari was hailed as the “Wizard of Colored Gems”.

Bvlgari Kaleidos: Colore, Cultura e Tecnica" al National Art Center, Tokyo, 2025

Bvlgari arrives in Japan with a stunning exhibition entitled “Bvlgari Kaleidos Colors, Cultures and Crafts,” hosted at the National Art Center in Tokyo from September 17th to December 15th, 2025.

Kaleidos - from the Greek kalós (beautiful) and eîdos (form, figure) - is a term closely related to the kaleidoscope, an optical instrument that creates and displays symmetrical and ever-changing geometric figures by exploiting the reflection of mirrors and colored fragments.

The Kaleidos exhibition, where color takes center stage, features three hundred and fifty jewels from Bvlgari's Heritage collection, and features collaborations with Japanese and Italian architects, designers, and artists. This collaboration further strengthens the deep bond between Italy and Japan, Rome and Tokyo.

All Photos @Matteo Belfiore

Two great names in Japanese architecture, Kazuyo Sejima and Ryue Nishizawa of the SANAA studio, and Italian designers Andrea Trimarchi and Simone Farresin of the Formafantasma studio, were called to set up the Kaleidos exhibition.

SANAA, responsible for designing and installing the exhibition spaces - 2,000 square meters - injects a touch of Japan into Roman history. The exhibition layout evokes a pattern very familiar to the Japanese, that of the Ginko leaf - the symbol of Tokyo - the shape of which resembles the motif found in the mosaics in the Baths of the Roman Emperor Caracalla in Rome.

A brief personal observation: the shape of the Ginko leaf vaguely recalls one of Bvlgari's iconic jewels, the Diva's Dream, characterized by its fan motif. This is just my guess, but looking at the lines and profiles, the similarities seem obvious.

To create a delicate, luminous, and scenic space and to highlight the jewels, the presence of walls was minimized, focusing instead on transparency and spatial stratification through curved steel and glass partitions that follow the Ginko pattern.

Formafantasma studio has created display cases with a simple yet striking design. The display cases, which house some important pieces from the Heritage collection, are primarily made with a base of travertine, a beige Roman stone. Some are completely transparent and embellished with marble displays - red, green, yellow, and more - and characterized by elegant, curved elements.

Perfectly in keeping with its “color” concept, each space features a different hue: yellow, green, blue, red, and purple. In each of these spaces, the jewels of the Heritage collection are displayed with elegance and grandeur, whether displayed in display cases positioned at the center of the space or embedded in the steel walls.

The Kaleidos exhibition is divided into three chapters: “The Science of Colors”, “Color Symbolism” and “The Power of Light”.

The first chapter, “The Science of Colors”, addresses the universal perception of color transmitted from sight to the brain, interpreting light signals and associating them with emotions. This chapter is dedicated to primary and secondary colors. The first three rooms display the primary colors, which are very important in fine jewelry because they refer to certain materials, such as ruby ​​(red), gold (yellow), and sapphire (blue). The next three rooms feature the secondary colors, such as emerald (green), amethyst (purple), and citrine (orange).

Among the jewels on display, a 1940 gold and platinum bracelet with diamonds and citrine stands out, having never been exhibited outside of Italy. Its intense orange gemstones recall the warm golden hues of romantic Roman sunsets.

Displayed alongside it is the platinum, sapphire, ruby, and diamond Bangle from 1954-1955, which celebrates the red-blue color contrast, a true Bulgari signature. The iconic color combination is further enhanced by the cabochon cut, which enhances its depth, brilliance, and intensity.

The first chapter concludes with a necklace and earrings set in emeralds, amethysts, turquoises, and diamonds. This bold combination allows visitors to admire the expressive originality of Bvlgari's color combinations.

The second chapter, “Color Symbolism” analyzes the cultural meanings of color, which can vary depending on context and tradition. Featuring the colors white, black, and red, as well as a room entirely dedicated to shades of green, including jade, peridot, and emerald, the chapter is also enriched by two rooms dedicated to gems, with a small installation, The Wonder Gem and a room entirely dedicated to the Serpenti collection.

Here, rare jade jewels stand out, as does the iconic platinum, diamond, and emerald Seven Wonders necklace from 1961. The Seven Wonders necklace was worn by famous Italian actresses such as Monica Vitti and Gina Lollobrigida.

“The Power of Light”, the final chapter, explores reflective metals and the role light plays in the perception of color.

Since its inception, Bvlgari has been producing silverware, taking full advantage of the many qualities of metals such as gold and silver. These metals, symbols of wealth since ancient times, still enrich Bvlgari jewelry today with unique colors and nuances.

This final part features the masterpiece Convertible Sautoir-Bracelet from 1969, a yellow gold jewel set with amethyst, turquoise, citrine, ruby, emerald, and diamonds. Abounding in colored stones, it fully embodies Bulgari's chromatic vitality and reflects the kaleidoscopic spirit that permeates the entire exhibition.

The Kaleidos exhibition also features installations by three artists: Lara Favaretto, Mariko Mori, and Akiko Nakayama.

The installation “Level” by Italian artist Lara Favaretto is composed of rotating-colored brushes, like those in a car wash. The artist explored the boundary between mechanical and organic by combining movement, rhythm, and chromatic energy. Indeed, upon entering this room, I felt completely immersed in color, in a colorful vortex that thoroughly overwhelmed and entertained me.

The installation “Onogoro Stone Iii” from Japanese artist Mariko Mori, inspired by the Japanese creation myth Kojiki, creates a meditative space by combining futuristic materials and spiritual minimalism. Through color and form, the work conveys a sense of cosmic balance, inviting the viewer to reflect on their origins.

The dynamic installation “Echo” by Japanese artist Akiko Nakayama projects fluid, constantly moving forms into the space. This movement, generated by water, sound, and mineral pigments, immerses the visitor in a perfect encounter between art, nature, and physics.

The exhibition showcases the jewelry through a clever use of emptiness, light, and formal purity, avoiding superfluous decoration. This minimalist approach allows colors and materials to emerge forcefully, making the visit an immersive and sensorial experience.

The jewelry becomes the true protagonist, while the viewer takes on a more contemplative role, observing rather than actively engaging, unlike in more dynamic exhibitions. The exhibition reflects SANAA's austere architectural approach and the dialogue between Roman heritage and Japanese aesthetics. In this balance of light, space, and material, the exhibition demonstrates how the true power of design lies in the ability to make the invisible visible, allowing the jewelry to speak without artifice.

Although the layout may appear repetitive and austere in its minimalist cleanliness, the three installations introduce an element of surprise that breaks the monotony. These scenography interventions immediately capture the visitor's attention, creating genuine “wow” moments and lending rhythm to the exhibition experience. Their presence enriches the visit with visual dynamism, transforming the contemplation of the jewelry into a more engaging and memorable experience.

With “Bvlgari Kaleidos: Colors, Cultures and Crafts”, jewelry is no longer just ornament, but a universal language intertwining emotion, science, history, and artistic vision. In a dialogue between Rome and Tokyo, between tradition and innovation, Bvlgari once again proves itself the true “Master of Color”: an alchemist who transforms gemstones into pure light, and light into timeless poetry.