On a sunny Wednesday morning late last year, Fabrizio Buonamassa found himself behind the wheel of a sleek twin-turbocharged sedan, juking through traffic in downtown Palm Springs, making a beeline for the deadliest road in America.
Buonamassa, the 46-year-old head of watch design at Bulgari, had never been to California. The night before, he’d paced slowly across the rooftop at Chateau Marmont, taking in the Los Angeles skyline, seeming pensive. But when he arrived in Palm Springs, an unsuspecting publicist tossed him the keys to a new Maserati Ghibli. Buonamassa promptly set the navigation to Route 74, that infamous widowmaker of a mountain road running into Coachella Valley, and laid down two fat strips of rubber exiting the hotel parking lot.
“Police?” he said, slowing the Ghibli from felony to misdemeanor speeds, eyeballing a suspect black-and-white sedan in the opposing lane. When it passed, he shrugged, downshifted, and ripped into the throttle again. “Hah!”
Ostensibly, Buonamassa was in town for the Los Angeles auto show, celebrating the release of the new Octo GranSport and Octo GranLusso, the latest Bulgari x Maserati watches. The collection brings together two titans of Italian design—the former company being Rome’s premier jewelry house, the latter Modena’s oldest luxury automaker. For Bulgari, which is now owned by Paris-based luxe conglomerate LVMH, it’s an assertion of the brand’s domestic sensibilities. For Maserati, which has seen sales increase tenfold over the past decade, it’s an opportunity to bake in an additional layer of exclusivity. (While the GranSport and GranLusso aren’t limited-run pieces, they will be available only to Maserati customers.)
Still, joint ventures between watch companies and automakers can feel contrived. Buonamassa brings a unique credibility to this one. He grew up in Naples and studied in Rome, worshipping at the altars of Bertone and Zagato and Pininfarina, the famed carrozzeria that coach-built bodies for Ferrari and Alfa Romeo. Before joining Bulgari in 2001, he actually served as an auto designer at Fiat Group, Maserati’s corporate parent. It was the realization of a childhood dream.
“If I have to make a choice, my heart is closer to the Italian vintage cars than the Swiss watchmaking heritage,” Buonamassa admits. “My father, he was working for Hertz, you know, the rental car companies. He would travel and bring me home books of cars from around the world. I was sketching them from the age of four or five, and this is what I enjoyed drawing first—the cars. But I have always loved designing product. This idea of making emotion from an object. I just love it.”
These two new watches are a testament to that fascination. Buonamassa’s design cleverly recalls a vintage sports-car tachometer; the standalone, retrograde hand sweeps a linear path to indicate minutes, which are displayed in single digits and underscored by a “MINx10” multiplier. The GranSport even has hash marks near the top “6” marker, aping a redline. Hours are shown through a crystal aperture at the three o’clock position, clicking off like an odometer.
The GranSport is DLC-treated steel, black to match the textured dial. It’s slung on a black perforated leather strap with electric-blue contrast stitching, mirroring a Maserati bucket seat. The GranLusso brings a more formal vibe, with an 18-karat pink gold case and gray sunburst pattern dial, hanging on a padded chestnut band. Both pieces measure 41.5 mm, house the same 33-jewel automatic movement, are assembled in-house, and offer a 42-hour power reserve. More important, both pieces look and feel as unimpeachably Italian as the man who designed them.
Back in Palm Springs, having crossed Route 74 off his bucket list, the lanky Buonamassa strode across the courtyard at The Parker hotel, hands in his pockets. Wearing an impeccably tailored blue jacket, Jacob Cohen denim, and purple Persol sunglasses, he stopped to admire a large bronze statue of a half-peeled banana, installed on a grassy patch next to his room. Astrud Gilberto’s “Portami con Te” played over a lawn speaker. He hummed along with the refrain, smiled, then checked his watch.
“Oh!” he said. “Time for lunch.”
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In the beginning, I started to appreciate beautiful drawings. Design was a consequence, because it gave me the opportunity to make sketches. This is why I’m a designer. I’m lucky because my profession is to make drawings.
I’m a formative designer. In my career, I design a lot of different things. I think that a designer should be able to do this. Honestly, the process is sort of a small mystery, but the approach is the same for airplanes, for cars, for watches, for furniture. You have to solve problems. You have to know the problems and imagine solutions, and you have to do this in a beautiful and unique way.
Design is a compromise. Even the credit process. And if you do not trust your idea, it’s impossible to sell, even to the boss. So I have to imagine something, to start to make sketches, to tell you I think that this idea is correct. The sketch is just a skill, it’s just a tool because sometimes I need to fix the image that I have in mind. But I have to trust the idea.
My job is to turn technology into emotions. Bulgari is well known for geometry and color innovation. We were the first to use cabochon cut in jewelry. We were the first to use aluminum in couture watches, plastic in watches—we were the first to use porcelain, exotic material, and steel in fine jewelry. This is the case with the Octo Finissimo, the thinnest automatic watch in the world. I have to know the technology, and I have to be able to transform it into something that makes sense to the client. Otherwise, it’s just a movement. Yes, okay, it’s a fantastic movement, but this is the role of the designer. And I have to do this through the iconic signs, the codes of the brand, and the heritage of the brand.
We have a word in our vocabulary, sprezzatura. That means you can make something very complex in a natural way. The most important innovations are made by simple things. And the simplicity, like Leonardo da Vinci says, is the latest complication. [The Octo] is very difficult to produce, but it works very well. It’s strong enough for everyday life, and it looks absolutely simple. This concept of sprezzatura, for the first time you can find it in watchmaking. Because in Swiss watchmaking, you can find a lot of watches that are very hard [to produce], but also very difficult in terms of language. How can I read the time?
If a product is able to talk to you about its function, I’ve done a good job. Good design expresses itself. If I tell you the watch is this, this, and this, and that you have to use it this, this, and this way, maybe it’s not a good design. It’s another thing.
The retro trend, it is copy-and-paste design. For some brands, it’s easier to open the desk and say, ‘I want to make the new edition of this watch.’ This is not our approach. We make a lot of sketches on the wall and we say, ‘This is good. Wow, it’s fantastic.’ After five minutes, we see again the products and we say, ‘It’s not Bulgari enough.’ The octagon has a lot of different meanings in different cultures, different religions—eternity, friend, perfect balance between the heaven and the earth. It’s a shape that Bulgari started to use in the 1950s. When we decided to revamp, for Gérald Genta, sure, you have to make an Octo. But the Octo that you see today, it’s an Octo made by Bulgari. This [new] watch, it’s the same shape, but with different attention to the details of the faces. It still performs, but in a contemporary way. This is the signature of the brand. When you see this watch, you cannot make mistake it. But when you see this watch compared to a vintage one, it’s two different worlds.
We don’t have a creativity issue at Bulgari. We don’t just put the logo on a watch and say it’s a Bulgari x Maserati, because we have a lot of ideas. The idea [for the GranSport and GranLusso] was to tell you the time in a different way—to tell you the time as a rev counter, as in the dashboard of a car, thanks to our retrograde and jumping hour movement. The number on the watch dial, it is the same font on the Maserati dashboard. After that, it’s a matter of color. The GranSport is very dark. It’s a nod to the performer. The GranLusso, it’s more exquisite. It’s more elegant, more luxurious. This is the two faces of the Maserati, the brand that invented the gran turismo, the kind of cars driven not only by performance but also luxury.
Bulgari and Maserati have a lot of elements in common. Both Italian brands made by [families], the Maserati sons and Sotirio Bulgari with his sons, Giorgio and Constantino. Very strong entrepreneurial skills. The same attention for proportion, the same attention for beautiful things. [The Octo] is an impressive watch in terms of technical skills, let’s say ‘performance,’ but it’s not the first thing you notice. Maserati is the same. It’s engine technology, performance chassis. But when you look at a Maserati car, first of all you see that it’s beautiful.
