A MAGNIFICENT DIAMOND BRACELET, BY BULGARI, CIRCA 1950 The highly articulated bracelet designed with three rows of brilliant-cut diamonds within claw-setting, mounted in platinum, diamonds approximately 20-22cts total, signed Bvlgari, with maker's case, length 17cm The Pindhos mountain range in Greece has long been revered as an esteemed place. The peaks were once seen as a place for worship, reverent believers congregating at the Sanctuary of Dodona to praise Zeus. Others acknowledged the mountains as concealing the entrance to the Underworld and poets, such as Homer, immortalised the range through their words. In more recent years, the mountains have yielded something more tangible, but nonetheless remarkable. Here, in the village of Kallarrytes, we find an ancient silversmithing trade whose humble origins gave rise to one of the greatest jewellery houses in the world: Bulgari. The Pindhos silver trade was painstakingly passed from father to son and, with the birth of Sotirios Boulgaris in 1857, the tradition was continued. Growing up in the village of Paramythia, Sotirios deftly developed his skills as a silversmith and when his family was forced to leave the town, he and his father travelled from place to place selling their trade. However, unrest continued to grow under Ottoman rule and the Boulgaris family made the decision to leave Greece and settled in Corfu. Here, the young Sotirios grew restless, pulled by his desire to achieve greater things and, thus, when the opportunity was offered to him by his old acquaintance and fellow silversmith, Demetrios Kremos, he left his father and travelled to Italy. After a brief spell in Naples, Kremos and Boulgaris arrived in Rome in 1881, virtually penniless but determined to make their mark. They set up a small shop at 75 Via Sistina but within three years their success had spurred Sotirios to leave the partnership and he established his own shop at No.85. Sotirios' business flourished and, ten years later, he opened a second shop, trading in antiques, silver and jewels. It is from this point that we see Sotirios losing his Greek identity and reinventing himself under the name of Bulgari. In 1905, Sotirios began to put a greater emphasis on jewellery and introduced his sons, Constantino and Giorgio to the business. He purchased a new building at 10 Via dei Condotti and, by the end of WWI, jewellery had become the focus of Bulgari, with silver and antiques only being sold on a small scale. In 1932, Sotirios passed away, leaving his company and the foundations of a legacy in the capable hands of his two sons. Constantino and Giorgio wasted no time in transforming Bulgari's image and they expanded the shop at Via dei Condotti, reopening in 1934. The Condotti premises encapsulated what 30s' decadence truly meant. Porphyry urns and marble columns rose from highly polished floors whilst gilded surfaces softly reflected those lucky enough to walk by. Yet the true luxury was cradled within finely made cabinets as jewels glimmered alongside carefully worked silver and gold. With a particular interest in jewellery, Giorgio took the over the main running of the business, which allowed Constantino to follow his true passion which, loyal to his ancestors, was the study of silver. As the centre of jewellery production, Giorgio made frequent trips to Paris to buy high quality jewels and was exposed to the latest ideas in fashion, allowing Bulgari to be a spearhead for fine jewellery design. After thirty years at the helm, steering Bulgari into position as one of the leading names in jewellery, Giorgio passed the business to his three sons, just one year before he died in 1966. They inherited a company that was now synonymous with celebrity and high-end luxury. Bulgari was jeweller to the stars, counting amongst its patrons royalty, business magnates, actors and heiresses. Since then, the company has only grown in strength, with stores around the globe and a strong international following. The 1950s and 60s heralded in a golden era for Bulgari. Already prosperous, the post-war economic boom lifted jewellery to new heights. During this time, Bulgari become known for its rare and precious stones and was keenly sought after by all who wanted a jewel more inspiring than any they had ever owned. During the 50s, Paris was still the centre of jewellery production and thus Bulgari's designs were heavily influenced by French style. Asymmetrical floral sprays were particularly popular, the motifs born from the Rococo period of the 18th century. Curving lines and feminine bows worked to offset exquisite, coloured stones, set against white metal to enhance the lucidity of the gems. In the early 1960s, Italian jewellery was finally given the pedestal that it deserved and was able to step forth from France's shadow. 1962 saw the first exhibition of Italian jewellers in Paris and one English trade magazine noted that 'Italy has built her post-war revival upon design'. Bulgari now began forging its own style, moving away from dainty pieces and creating bold, symmetrical items in compact forms. Borders lost their more natural, rugged shapes and became smooth, aided by Bulgari's signature use of marquise cut stones angled in the one direction. The flourishing film trade further catapulted Bulgari's name during the 50s and 60s. Enabled by The Cinecittà Studios, directors and filmmakers shot on location in Rome, dubbing the city 'Hollywood on the Tiber'. Stars flocked to the eternal city, sent by work but captivated by the luxury held within. In particular, Bulgari became the go to place for the visiting elite, with Elizabeth Taylor stating that undeniably one of the biggest advantages to filming Cleopatra in Rome was Bulgari's shop. Taylor's relationship with the brand became a lifelong love affair and she amassed a jewellery collection which went on to set records when it was sold at auction in 2011. Andy Warhol could also be seen walking through the doors at Via Condotti. An advocate for design, Warhol declared Bulgari as aesthetic creators when he claimed that a visit to Bulgari provided 'the best exhibition of contemporary art'. As they strived ahead with ever more daring designs, Bulgari's signature creations were bold and unashamed. They boasted bright stones, dazzling diamonds and formidable shapes, all artfully coming together in such a way that they might enhance the wearer but not outshine them.