The Ital­ian Touch

Fabrizio Buona­massa Stigliani, Di­rec­tor of Bul­gari Watches De­sign, chats about de­sign phi­los­o­phy

DA MAN - Caliber - - CONTENTS -

This has been a great year for Bvl­gari. For one, the brand cel­e­brates its 100th year of jew­elry watch­mak­ing in 2018—and it does so with style. There is the un­veil­ing of the Octo Finis­simo Tourbillon Au­to­matic, of­fi­cially the world’s slimmest self-wind­ing watch and Bvl­gari’s fourth world record for thin watches. Equally im­pres­sive al­though not a record-breaker is the Octo Finis­simo Minute Re­peater Car­bon, which weighs a mere 47grams—you can barely feel it sit­ting on your wrist, but it still chimes im­pres­sively loud. And that’s just the tip of the prover­bial ice­berg, to say noth­ing of what Bvl­gari has cre­ated for the ladies.

To learn more about Bvl­gari’s con­tin­ued suc­cess story in the world of haute hor­logerie, I spoke to the man at the fore­front of the brand’s watch­mak­ing ven­tures: Fabrizio Buona­massa Stigliani. DA­MAN: Bvl­gari has bro­ken many records— not just for com­pli­cated watches but, quite promi­nently, for the thinnest ones. Why is cre­at­ing the thinnest watches so im­por­tant for the brand? Fabrizio Buona­massa Stigliani: The records are very im­por­tant. But for me, as a de­signer, the most im­por­tant thing is not the record, but the op­por­tu­nity to show for sure our ca­pa­bil­i­ties, our skills. The idea be­hind this big se­ries, this great se­ries of watches, is a dif­fer­ent way to wear a grand com­pli­ca­tion. When I say a dif­fer­ent way, it is, for sure, a wrist­watch, but we re­vamp and rein­vent the ul­tra-thin sen­ti­ment. It means be­ing more mod­ern, con­tem­po­rary in terms of de­sign, in terms of ap­proach with ma­te­ri­als. Be­cause, you know, we just use ma­te­ri­als that are com­mon in the watch in­dus­try like steel, gold, ti­ta­nium and car­bon. But when you com­bine these ma­te­ri­als with a new vi­sion, you have a new watch. That’s the most im­por­tant things for me: To give the op­por­tu­nity to our clients to wear one of the most com­pli­cated watch in the world for ev­ery­day use. I’m a de­signer, some­one has to use my ob­ject. So, our idea be­hind this kind of prod­uct was to have a wear­able com­pli­ca­tion.

It’s easy to make thick move­ments, thick watches; but it’s not com­fort­able. This kind of watch is so thin, so light, it’s like a se­cond skin on the wrist. So, you see, it’s some­thing that fits very, very well with dif­fer­ent styles and, for sure, it fits very well with our idea of style and taste for de­sign and beau­ti­ful things. If I find a way to show you a new way to use an ob­ject that you al­ready know, maybe it’s more in­ter­est­ing to you.

“A de­signer is not an artist—a de­signer has to play with con­straints. For me the con­straints be­came an op­por­tu­nity”

DA: Speak­ing of ma­te­ri­als, the Octo Finis­simo Au­to­matic uses sand­blasted gold. That’s not some­thing you see of­ten... FBS: Yes, from a jewel maker like Bvl­gari that makes im­pres­sive jew­els with in­cred­i­ble use of gold, steel and dif­fer­ent ma­te­ri­als—yes, it’s un­usual. DA: Is it risky, though? FBS: No, it’s not risky. I tell you that the ap­pre­ci­a­tion for this model, the Octo Finis­simo Au­to­matic in gold is in­cred­i­ble. All the ladies love this watch, be­cause it’s so pre­cious but it’s very dis­crete. Of­ten it looks like the same color of your skin. It’s some­thing that’s a lit­tle bit un­der­stated. I think that this is the real taste for el­e­gance and chic prod­ucts: A very unique ob­ject, but very well done with a dif­fer­ent taste.

Again, it was not risky for us. It was a nat­u­ral evo­lu­tion of the use of ti­ta­nium. A de­signer is not an artist—[a de­signer] has to play with con­straints. For me the con­straints be­came an op­por­tu­nity.

The idea of the matte fin­ish­ing on ti­ta­nium was born with the minute re­peater, the first that we pre­sented two years ago. I wanted to see the ti­ta­nium in matte fin­ish­ing—not with pol­ish and satin fin­ish­ing like steel or like white gold. We are talk­ing about ti­ta­nium in very raw fin­ish­ing. My prod­uct has to be able to ex­plain it­self. And when you see the minute re­peater in ti­ta­nium you see some­thing dif­fer­ent. You can­not mis­take it for some­thing else: it is a Bvl­gari prod­uct. And all the el­e­ments of the case, the dial, the in­dexes ... all the el­e­ments tell you the same lan­guage in a very con­sis­tent way. The ma­te­rial helped to say, “I am the thinnest and I am dif­fer­ent” ... in a very dis­crete way.

Every­body knows about ti­ta­nium. But maybe Bvl­gari— thanks to our her­itage, his­tory and our ap­proach to lux­ury—can play with dif­fer­ent ma­te­ri­als and this kind of move­ment. Same thing for car­bon, which we use to im­prove the qual­ity of sound. So, we have the minute re­peater, one of the old­est grand com­pli­ca­tions in watch­mak­ing his­tory, and car­bon, some­thing very con­tem­po­rary. When you com­bine two el­e­ments like this, it’s like the Tubo­gas in the jew­elry world. It’s in­spired by gas pipes, but only Bvl­gari is able to trans­form it into a lux­ury icon. And only Bvl­gari is able to use car­bon like no other for a minute re­peater.

This is our pas­sion: very sim­ple but un­ex­pected. DA: I’ve of­ten heard that Bvl­gari doesn’t de­sign move­ments and then the de­sign, but in­stead starts with the de­sign. Why is that? FBS: To­day we are able to imag­ine the move­ment, the case and the en­tire ob­ject at the same mo­ment. So, when we de­sign the Finis­simo, we im­me­di­ately started to talk with our watch mas­ters in Le Sen­tier [in Switzer­land, where on of Bvl­gari’s man­u­fac­tures is lo­cated] and we im­me­di­ately started to imag­ine the prod­uct so as to have just one sin­gle hand in the cre­ation of the ob­ject.

Newspapers in English

Newspapers from Indonesia

© PressReader. All rights reserved.