One year in Bvlgari foundation marks a milestone in cultural philanthropy

The Italian luxury house has long held a philanthropic ethos, even before its acquisition by LVMH. What’s changed now is the scale and structure of its cultural mission now fully institutionalised.

In 2024, Bvlgari unified its various cultural and philanthropic efforts under the umbrella of a dedicated non-profit, Fondazione Bvlgari. Backed by the maison itself, the foundation has launched projects at a relentless pace roughly one per month. From landmark restorations to new artistic fellowships, its portfolio reflects both Roman roots and global ambition.

Born in Florence in 1981, Matteo Morbidi’s background is architectural, not curatorial. His early career quickly turned toward luxury fashion: starting in store planning at Ferragamo in 2008, then moving through Valentino and Louis Vuitton, eventually specialising in flagship developments across Europe and Asia. By 2015, he joined Bvlgari, initially continuing in design roles. His personal passion for art nurtured by museum visits with his father soon pulled him towards the maison’s Heritage Department, where he began shaping Bvlgari’s cultural strategy.

Launched officially in March 2024, the Bvlgari Foundation centres around three main areas: art and patronage, including restoration of historic monuments and partnerships with institutions like Rome’s MAXXI and the Whitney Biennial in New York; education and philanthropy, covering youth empowerment, human rights, and partnerships with organisations like Save the Children; and savoir-faire transmission, focused on preserving artisanal craftsmanship a priority across LVMH brands and especially vital to Italy’s luxury tradition.

One standout project is the 900,000 euros donation to Milan’s Museo del Novecento, supporting its expansion into the Arengario buildings a significant cultural gesture tied to the opening of Bvlgari’s new Milan flagship.

Morbidi highlights deepening partnerships with local authorities, particularly in Milan and Rome. In the capital, the foundation backs alternative education initiatives in underserved areas, including training in hospitality and goldsmithing, with placements available in Bvlgari Hotels.

Another key contribution is the new lighting for Caravaggio’s works in the Church of San Luigi dei Francesi, completed in late 2024 as part of Rome’s Jubilee preparations.

The foundation’s commitment is resolutely long-term. The ongoing restoration of the Torlonia Collection a trove of over 600 classical sculptures continues with the support of Bvlgari. In partnership with the Fondazione Torlonia, Bvlgari funds both restoration and exhibitions, including a recent show at the Louvre.

Another major undertaking is the Mausoleum of Augustus, where Bvlgari is supporting the redesign of internal galleries. A portion of the ancient Roman structure will house temporary exhibitions, as part of a wider initiative with the City of Rome and Fondazione TIM.

Despite its international reach, Bvlgari remains loyal to its Roman identity. At Villa Giulia, the foundation recently inaugurated a dialogue between its heritage jewellery and the 19th-century Castellani Collection. According to Morbidi, this is only the beginning of a deeper collaboration with museum director Luana Toniolo, whose plans include revitalising both Villa Giulia and the nearby Villa Poniatowski.

Elsewhere, a new fellowship at the American Academy in Rome brings together winners of the Maxxi Bvlgari Art Prize and artists from the Whitney Biennial, offering them the opportunity to develop new works in tandem.

Perhaps the most high-profile development is Bvlgari’s appointment as the main sponsor of the Venice Biennale for 2026, 2028, and 2030. “We’ll be present both at the Giardini and the Arsenale,” says Morbidi. “But I hope the real designers of the space will be the artists.” His architectural background, he admits, has proved useful throughout.

Asked how the foundation manages such a broad range of initiatives with a small team, Morbidi points to a unifying principle: responsibility. “Everything we do from archaeology to education is united by a sense of responsibility. That’s our through line. And I’m constantly amazed by the dedication of our team. Many of them have been with the company far longer than I have. They carry the institutional memory. They show up every day as if it’s the first.”

 

PS