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Bulgari Apologizes to China for Listing Taiwan as a Country After Online Backlash

A man smokes as he walks by the Bulgari store at a high-end shopping mall in Beijing, Wednesday, July 12, 2023. (AP)
A man smokes as he walks by the Bulgari store at a high-end shopping mall in Beijing, Wednesday, July 12, 2023. (AP)
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Bulgari Apologizes to China for Listing Taiwan as a Country After Online Backlash

A man smokes as he walks by the Bulgari store at a high-end shopping mall in Beijing, Wednesday, July 12, 2023. (AP)
A man smokes as he walks by the Bulgari store at a high-end shopping mall in Beijing, Wednesday, July 12, 2023. (AP)

Bulgari has become the latest international brand to apologize to China after listing Taiwan as a country on its website.

China claims self-ruled Taiwan as its territory, and both the government and Chinese internet users have a history of scolding or boycotting international brands that have referred to Taiwan as a separate country. Late Tuesday, Bulgari posted an apology on Weibo, China’s version of Twitter, saying it “steadfastly and always” respected China’s sovereignty and territorial integrity.

“Our brand has immediately corrected the mistakenly marked store addresses and map indications on the overseas official website, which resulted from management negligence,” the Italian luxury brand said in a statement. “We deeply apologize for the mistake.”

Brands also have come under fire for offending Beijing’s other geopolitical sensibilities, including its territorial claims in the South China Sea and the status of the Dalai Lama, the exiled Tibetan leader.

The Bulgari incident was widely discussed on Chinese social media, with some users demanding that the brand distribute its apology on its international social media accounts as well.

“Did you post it on the overseas Internet?” one comment with more than 40,000 likes read. “Don’t be a two-faced person who only wants Chinese people to see (the apology).”

A Weibo topic asking users if they accepted Bulgari’s apology had been viewed more than 12 million times by Wednesday afternoon.

Several Chinese state-run publications joined in the demand that Bulgari apologize on its international platforms as well.

“Bulgari made a mistake on its overseas official website but only issued an apology on its mainland China account,” read a commentary by China Daily. “Such an apology may hardly convince Chinese consumers.”

Brands including Valentino, Calvin Klein, Coach, Zara and Delta Airlines have apologized in recent years for listing Taiwan as a country or region separate from China on their websites.

Mercedes-Benz in 2018 apologized for quoting the Dalai Lama on Instagram, while Gap the same year apologized for selling a T-shirt with a map of China that omitted Taiwan and the South China Sea.

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Fashion

Dolce & Gabbana Debut in Paris, Showing Italian Artistry on French Soil

The logo of Italian designers Dolce & Gabbana is seen at a branch office at Bahnhofstrasse shopping street in Zurich, Switzerland September 9, 2020. REUTERS/Arnd Wiegmann
The logo of Italian designers Dolce & Gabbana is seen at a branch office at Bahnhofstrasse shopping street in Zurich, Switzerland September 9, 2020. REUTERS/Arnd Wiegmann
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Dolce & Gabbana Debut in Paris, Showing Italian Artistry on French Soil

The logo of Italian designers Dolce & Gabbana is seen at a branch office at Bahnhofstrasse shopping street in Zurich, Switzerland September 9, 2020. REUTERS/Arnd Wiegmann
The logo of Italian designers Dolce & Gabbana is seen at a branch office at Bahnhofstrasse shopping street in Zurich, Switzerland September 9, 2020. REUTERS/Arnd Wiegmann

For the first time in their 40-year history, the Italian design duo Dolce & Gabbana are showcasing their work in the French fashion capital. Paris, the birthplace of haute couture, now finds itself hosting a powerful Italian counterpoint to French luxury fashion.
The message, as curator Florence Müller puts it, is direct: “Yes, Italy does it too.”
The landmark exhibition, Du Coeur a la Main (From the Heart to the Hand) running from Jan. 10 to March 31, is not only a love letter to Italian craftsmanship, but to the interconnectedness of fashion. “The story of couture is global,” Müller explained. “Embroidery, lace, brocade — they existed long before Parisian couture, in Italy, in India, and beyond.”
Spread across 1,200 square meters (1,400 square yards) of the newly refurbished Grand Palais, the exhibit showcases over 200 looks from the company's Alta Moda and Alta Sartoria collections and 300 handmade accessories, as well as objects like Sicilian ceramics. It includes 10 themed rooms that delve into the artistic roots of Dolce & Gabbana’s work.
Baroque grandeur defines the collection, unapologetically maximalist and layered with embellishments. Among the highlights is a gown inspired by Venice's Murano glass, encrusted with glass mosaics from Orsoni Venezia 1888, the glassmakers behind the golden mosaics of St. Mark's Basilica. Müller described it as “a sculpture on textile — pure craftsmanship elevated to art.”
Opera takes center stage. A black velvet gown softened by gold embellishments captures the drama of Bellini’s Norma, while a romantic blue dress for Verdi’s La Traviata flows like an aria, its tulle layers whispering love and loss. Meanwhile, icons of the brand, such as Sophia Loren and Naomi Campbell, are immortalized in giant paintings. Classical Italian opera and traditional Sicilian folk melodies provide the soundtrack, adding layers of drama.
But Du Coeur a la Main is not just about finished pieces. Five real seamstresses from Dolce & Gabbana’s Milan atelier work live during the exhibition, crafting bodices, bustiers and corsets before visitors’ eyes. “This seamstress is sewing lace to form a dress, while another is draping fabric by hand,” Müller said. “It’s extraordinary. This is not just fashion — it’s art.”
Sicily, Domenico Dolce’s birthplace, lies at the heart of the collection. Traditional Sicilian hand-painted carts, ceramics and lace-making techniques are woven into couture. Yet the exhibit also underscores fashion's often-ignored global influences.
“Luxury goods and artisans traveled more than we think,” Müller said. “The silk and brocades used at Versailles Palace came from India, and Italian artisans were hired to craft the Hall of Mirrors ... (Fashion) is constant exchanges and inspirations — this exhibit reveals what time forgot.”
Italian and French fashion have long been framed as rivals, with French conglomerates such as LVMH and Kering and Paris Fashion Week sometimes viewed as the pinnacle of the industry. But this exhibition challenges that hierarchy, showing that the two traditions are more interconnected than they are opposed. Both rely on les petites mains — "the little hands" — the artisans whose precision and passion elevate couture to art.
“The techniques may differ — Sicily’s lace traditions versus Paris’s tailoring — but the soul of couture remains the same: the human touch,” Müller said. The exhibit reveals the shared ingenuity of French and Italian ateliers, whether in a Sicilian workshop or a Parisian salon.
Even beyond couture, the exhibit highlights the breadth of “Made in Italy.” Everyday items like Smeg refrigerators and coffee presses given a D&G reworking reflect the ethos of Italian craftsmanship, transforming functional objects into canvases for artistry.
“Fashion is art. It’s meant to inspire, to dazzle, to make us dream. Whether you wear it once or never, its value is in its beauty, not its practicality,” Müller said.
When asked about hyperbole of the dazzling gowns — many of which seem impossible to wear on the street — she replies with a smile: “So what?”