Bvlgari CEO Jean-Christophe Babin in Conversation with Esquire India

FEW PIECES IN JEWELLERY HISTORY CARRY as much cinematic gravitas as Bvlgari’s Serpenti. First introduced in 1948, it pivoted into the limelight when Elizabeth Taylor was photographed on the sets of Cleopatra in 1962, wearing the Serpenti watch coiled around her wrist. That piece with a square dial, an early iteration of the now enduring Bvlgari icon, featured the Roman high jeweller’s distinctive tubogas construction: a supple band of gold that wound around the wrist like a serpent.

From film sets to red carpets, the Serpenti has moved through the decades as a symbol of power, class and taste. Most recently, Nita Mukesh Ambani Cultural Centre (NMACC) in Mumbai opened its doors to the Bvlgari Serpenti Infinito exhibition, to celebrate the Year of the Snake. Across three expansive floors, it featured iridescent vintage high jewellery, luxury watches and India-inspired creations, alongside a curated selection of artworks from across the country that reimagined the serpent in one form or another.

Esquire India caught up with Bvlgari’s CEO, Jean -Christophe Babin in Mumbai to discuss the Serpenti’s eternal mystique, and how the maison’s most famous icon is evolving into a fluid expression of identity, attuned to the modern tastes of a male clientele.

The Serpenti is one of Bvlgari’s most iconic symbols. Given the snake’s spiritual and mythological significance in Indian culture, how do you see the jewellery’s symbolism connecting with Indian consumers?

I think it’s a very lucky coincidence, not only for India, but across human history that the serpent has been revered in almost every culture and era. It’s sacred in China, powerful in the Mediterranean, especially in ancient Egypt, and symbolises fertility, wisdom and wealth across civilisations. In India, of course, its resonance is especially deep. The serpent carries layers of spiritual meaning as the nāga in millennia-old traditions.

It’s fascinating that Bvlgari, perhaps the only jeweller to have made the serpent its signature emblem, didn’t choose it for marketing reasons. The story goes back to Cleopatra, who arrived in Rome wearing serpent shaped gold bracelets as symbols of sovereignty and talismans for protection, which captivated the city. Roman goldsmiths immediately began creating their own versions, and so the Serpenti soon evolved into a Roman symbol of beauty and power.

That tradition disappeared for centuries after the fall of the Roman Empire and was revived by the Bvlgari family in 1948, when Serpenti re-emerged as a “secret watch” —a coiled bracelet concealing the dial. It was both jewellery and timepiece.

Beyond the motif, I think Serpenti reflects shared cultural values between Italy and India, which is seated in deep respect for family, craftsmanship and a love for life. In many ways, India is the Italy of Asia: expressive, creative and emotionally connected to its traditions.

Historically, the Mughal emperors in India proudly wore jewellery. Are we seeing a return to that confidence today, with men embracing jewellery as core expression rather than accessory?

I think Mughal emperors were quite visionary and their approach highlights a long-standing trend: jewellery as a symbol of personal identity. Interestingly, this is not just an Indian phenomenon. When I was young, around 50 years ago, men in Europe—especially in Italy, commonly wore bracelets and gold chains. Over the last two decades, this tradition almost disappeared. Today, however, we are seeing a comeback. Increasingly, men are visiting our stores to purchase jewellery

for themselves, not just for their partners. Even pieces that were originally designed for women are now being embraced as unisex. For example, the ring I’m wearing today is the B.zero1 Rock with onyx, and it has been widely purchased by men. While the diamond version was originally designed for women, its versatility has made the ring popular with men too.

So, we are re-interpreting our traditional designs to suit men. Take the B.zero1 Kada Bracelet, which we launched last year with Ayushmann Khurrana for the Indian market. Initially, the Bvlgari bracelet designed for women was a slim, delicate white gold piece with diamonds, but we reinvented it for men that had a wider band and yellow gold. We launched it in some other countries too, and it has sold well outside India.

Gentlemen often prefer jewellery with thicker bands, fewer diamonds, more understated studs. So, the base design remains the same but small adjustments make them feel more masculine without losing a sense of self.

In fact, until recently, the only jewellery men would consider wearing was a watch, but the rising trend towards adoption of unisex jewellery is clear now entering more gender-fluid territory. The Bvlgari x MB&F Serpenti watch, an incredible kinetic sculpture, draws from a design rooted in Bvlgari’s women’s watches since 1948. Do you see a future where men will wear pieces like Serpenti necklaces or gemencrusted brooches as naturally as they would a luxury watch?

Originally a symbol of feminine allure, the Serpenti motif today speaks a far more universal language. This evolution is reflected in our collaboration with MB&F, (a Swiss luxury watch manufacturer by Max Büsser). This partnership was unexpected, given that we are technically competitors. Yet, out of mutual respect and friendship, we decided to join forces and the result was something truly original. We produced only 100 pieces and they sold out immediately. I think this success

proves that we must continue to push further into uncharted creative territories.

But to answer your question, I firmly believe we will increasingly see men wearing Serpenti necklaces or gem-encrusted brooches as naturally as they would a luxury timepiece. Contemporary luxury no longer belongs to one gender; it belongs to individuality.

In a rapidly evolving global luxury landscape, where do you see India headed?

India already has a huge luxury market, but it’s one that remains largely dominated by Indian brands. The country has extraordinary jewellers and a globally recognised mastery in gem-cutting and craftsmanship. What makes India unique is that these traditions have evolved continuously for thousands of years, without disruption. Because of that, Indian consumers are deeply rooted in their own cultural codes and aesthetics. Even those who study or live abroad, may be Westernised in some ways, but they remain profoundly connected to Indian traditions. This makes India quite different from

other markets, where Western luxury brands cannot simply apply their global formula and succeed.

For us, the key is to acknowledge this deep cultural rootedness and find ways to fuse it with Bvlgari’s own icons. Our collaboration with global ambassador, Priyanka Chopra-Jonas points exactly in that direction, which is combining our global design language with Indian traditions, as we did with the Bvlgari mangalsutra. It’s about creating pieces that feel both international and emotionally resonant with our Indian clients.

Finally, what advice would you offer the modern man trying to build a personal style in a world where the lines between classic and experimental are constantly shifting?

More than ever, personal style should reflect how you feel—where you don’t blindly follow conventions. If you want to be casual, embrace it. Being casual doesn’t mean being careless, as long as you carry it with elegance. If the occasion calls for formality, that’s fine too. The key is to be yourself.

The same applies to your wardrobe, your watch and even your jewellery. Don’t ask yourself whether wearing jewellery might feel “too feminine”. If you like it, wear it. Ultimately, it’s about authenticity and curating a look that feels true to you.

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