There could hardly have been a more fitting moment for an evening dedicated to craftsmanship, heritage, and design. As Bvlgari celebrates 120 years of its St. Moritz boutique, Mary Katrantzou travelled to Switzerland for the occasion, beginning with a first stop in Zurich before heading to St. Moritz. During an evening in Zurich, the Maison once again demonstrated its remarkable ability to honour its history while expressing a confident and contemporary creative vision, with Mary’s presence adding a meaningful creative dimension to the celebration.
Against this backdrop, the unveiling of the Spring/Summer 2026 Leather Goods and Accessories collection, alongside the sculptural Icons Minaudière creations, carried particular weight. The evening was not simply about new designs; it was about continuity, evolution, and the discipline required to build icons that endure.
At the center of it all stood Mary Katrantzou, Creative Director of Leather Goods and Accessories, whose approach to design is guided by structure, clarity, and an uncompromising respect for craftsmanship. Mary does not create bags as seasonal statements, she constructs objects intended to last, pieces defined as much by their engineering as by their beauty.
Under her direction, High Craft is not a tagline. It is a methodology.
Seeing the Icons Minaudière collection in person made this immediately evident. Architectural and jewel-like, these pieces occupy a space somewhere between handbag and collectible design object. Metal frameworks are executed with remarkable precision, surfaces are resolved with near-jewelry attention, and every proportion feels deliberate.
The XS minaudières, notably smaller than a smartphone, express this philosophy with particular confidence. They are not designed around practicality but around presence, objects chosen for their expressive power rather than their capacity. It is a bold stance, and one that speaks to a house secure in its authority.
Running parallel to these sculptural forms was the emotional centerpiece of the evening: the newest iteration of the Serpenti Cuore 1968.
Following its successful debut, the heart-shaped silhouette returns for Spring/Summer 2026 in ultra-supple Light Amethyst calf leather. Defined by its emblematic form and the sinuous metallic snake handle inspired by the Serpenti Harlequin watch of 1968, the design captures the idea of love with surprising discipline, romantic, yet architecturally controlled.
Arriving just ahead of Valentine’s Day, the bag felt perfectly timed. Not sentimental, but symbolic.
The Cuore universe expands further with the introduction of the Serpenti Cuoricino, a jewel-like miniature that reinforces Mary’s nuanced exploration of scale. Retaining the padded curves of the original, it reads almost as wearable jewelry. Pavé crystal versions, meticulously hand-applied through a complex multi-step process involving more than 4,600 Swarovski crystals, leave no doubt about the level of craftsmanship at play.
For me, however, the evening carried an additional – deeply personal – dimension.
Mary and I have shared a friendship for many years, and seeing her present these collections with such quiet authority filled me with enormous pride. She is endlessly inspiring: intellectually rigorous, instinctively creative, and grounded in a warmth that makes her brilliance feel even more rare.
Over time, I have collected each of her own collections, pieces I continue to return to not only for their design but for what they represent. Wearing a look from her F/W 2018 Bauhaus collection that evening felt almost inevitable, a gesture of admiration, but also of continuity.
With heart-shaped bags subtly setting the tone, it felt as though Valentine’s Day had arrived early. Yet rather than romance, the atmosphere suggested something more modern, a refined kind of Galentine’s moment: women supporting women, celebrating creativity, and recognizing the work behind objects of lasting value.
After the presentation, we slipped away for dinner, just the two of us. Mary tried Zürcher Geschnetzeltes for the very first time – a proper Zurich classic – and the simplicity of that moment provided the perfect counterbalance to an evening defined by high craft.
What lingered afterward was not only the beauty of the objects, but the clarity of the message behind them.
One hundred and forty years after its founding, Bvlgari continues to prove that true icons are never static. They evolve, they adapt, and when guided by vision and craftsmanship, they remain unmistakably relevant. And some evenings remind you that the future of a historic house is safest in the hands of designers who understand exactly that.
LoL, Sandra
Photos: © Sandra Bauknecht and Courtesy of BVLGARI / Remy Steiner for Bvlgari
DISCLOSURE: We may earn commission from links on this page, but I only recommend products I love. Promise.
Photo: @alex_lambrechts
Giving interviews …
I wore head to toe DiorAlps (for the details, click 
With hat designer Fabienne Breederland @fabienne_breederland, who designed a special «White Turf» edition, that I am wearing in the photo.
With my friend Jasmin Brunner @jazbrunner, who has her own cashmere brand that is available at Jelmoli.
Having fun with Annakarina Goldkind @goldkind_annakarina.
My dear friend and colleague Jorge Guerreiro @jorge_jsbg_guerreiro and our lovely host Tina Seiler of 
With artist Ginny Litscher @ginnylitscher, who designed a special artwork for the White Turf, and event sponsor Irene Franco @ifra77 of Genesis Europe.
With Jorge and champagne expert Dan Roznov @champagnespy, who took my favorite photo of me at the event below.
Stunning views over the White Turf and St. Moritz from my suite.
Happy me arriving at The Carlton St. Moritz.
</script> "AliMahdavi@ArielleDombasle_2007")
</script> "VladaKrassilnivoka@MissBisou_Visage_HD")