The Octo Finissimo Automatic in satinpolished rose gold case with integrated brown alligator leather strap. Midnight blue barathea wool with black silk facings, The Deck.
CEO of Bvlgari, Jean-Christophe Babin, and Fabrizio Buonamassa (right), Director of Watch Design at Bvlgari. ORIGINS OF A HOROLOGICAL ICON But before we go into the history and milestones of the Octo Finissimo, let’s pause to examine the genesis of the integrated sports watch and the way in which Bvlgari is both spiritually aligned and yet a radical departure from its rivals. So, time was, if you were a Riviera Rake with the last name Agnelli or Rubirosa in that halcyon era between the ’50s and the ’70s, before the Côte d’Azur was overrun by oligarchs and priapically winged orange Lamborghinis that look like mobile fertility symbols, before the era of champagne bottle wars and when culture, taste and money still aligned, you had to dress in a certain way. And that was with a certain educated but nonchalant élan, a Cifonelli or Caraceni blazer worn or, better, cast over one shoulder like an old bathrobe as you hopped out of your Ferrari 250 SWB and carved your path through the trellises of connubial haut monde mademoiselles to the bar at the Hôtel du Cap. Now the watch on your wrist could hardly be something as pragmatic as a diver’s tool watch. No, what you needed to have, to casually check how many hours from sunset and that rendezvous with that Italian screen ingénue decamped incognito to a nearby villa, was an integrated bracelet, sports chic watch. In the ’70s there were two models, the Royal Oak created in 1972 and the Nautilus in 1976. The man behind both these watches, and clearly an individual with a penchant for slim timepieces with faceted bezels that exhibited a dynamic tension between bold, muscular designs counterpointed by slim (some would even say lithe) profiles, was one Gérald Genta. When Genta eventually created his own eponymous brand, he would also design an octagonal watch with an eightsided bezel. Cut to several decades later in 2000 when Bvlgari would purchase both Gérald Genta and Daniel Roth, at the time both owned by Singapore’s Tay family of The Hour Glass fame, and inherit a great deal of high-complication competences — two watch manufactures and the octagonal model that, while appealing, had not yet realized its full creative potential. Indeed, it took a few years for Bvlgari’s team of Babin, Fabrizio Buonamassa and then-watchmaking head Guido Terreni to realize what Genta’s design truly could be. However, to achieve this, they had to undertake one of the most technically innovative and daring creative programs in the history of luxury watchmaking. The complexity came about because one of the key objectives with Bvlgari’s new Octo model, to be named the Octo Finissimo, was to create the world’s thinnest mechanical watch. Says Jean-Christophe Babin, “With respect to my competitors, movement innovation like this hadn’t really been achieved since the last real pioneering era of the late ’60s, when the industry was chasing the achievement of the first automatic chronograph with Heuer, Breitling and Hamilton pursuing the Caliber 11 and Zenith ultimately arriving at the groundbreaking El Primero. For us, it was never the pursuit purely to have the world’s thinnest mechanical watch. Rather, the goal was to bring that same daring, innovation and finesse that has made us a leader in the ladies’ and jewelry sector to the world of men’s watches. It dawned on us that our advantage is that we are Italian. All our watches and their components are made in Switzerland but from a design perspective, as an Italian company, we are much more open than the Swiss. We draw inspiration from Italian architecture, from fashion, from cinema, from the automotive world and from the very landscape of our home city, Rome, which is so beautiful. We decided we wanted to express the two very Italian qualities of strength and elegance in a bold and groundbreaking manner.” COVER STORY 29
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