Bulgari’s Latest ‘Sketched’ Watches Are Drawing Attention

Bulgari celebrated its 140th anniversary this week with a trio of Octo Finissimo Sketch limited editions dedicated to the art of trompe l’oeil.

The French art history term translates to “deceive the eye,” a reference to the artist’s ability to fool the viewer into thinking they are looking at something real when it’s simply an artistic illusion.

Bulgari’s Sketch series debuted in 2022 with an Octo Finissimo Automatic and an Octo Finissimo Chronograph GMT featuring “sketched” dials depicting the original hand drawings. This time, Bulgari flips the script with dials bearing illustrations of the interior movements, mirror images of the actual calibers that can be viewed through sapphire crystal case backs.

Limited to 280 pieces in steel (€17,800/about US$19,400) and 70 pieces in 18-karat 5N rose gold (€51,000/about US$55,500), the new Octo Finissimo Automatic Sketch depicts the in-house BVL 138 caliber’s micro-rotor, escapement, bridges, rubies, and intricate finishing details, such as Côtes de Genève and circular graining.

undefined Each monochromatic piece measures 40mm in diameter and 6.4mm thick, in keeping with Octo Finissimo’s ultra-thin theme. The sapphire crystal case back is engraved to commemorate the anniversary.

The third piece is a Chronograph GMT Sketch (€20,800/about US$22,600), featuring a 43mm polished steel case measuring 8.75mm thick. In 2019, the original Octo Finissimo Chronograph GMT broke an ultra-thin record with a 3.33mm-thick caliber incorporating a 30-minute chronograph and central second in addition to a second time zone at 3 o’clock.

Limited to just 140 pieces, this edition’s dial features a sketch that blends dial and movement elements. The Tri-Compax chronograph dial display (GMT at 3 o’clock, 30-minute counter at 6 o’clock, small seconds at 9 o’clock) is combined with a balance between 4 and 5 o’clock, the chronograph column wheel at 8 o’clock, and finishing details on the bridges and gears.

Those who follow the Instagram account of Fabrizio Buonamassa Stigliani, Bulgari’s product creation executive director, will instantly recognise the stylistic signature of his fast-motion freehand sketching videos. Before joining Bulgari as a designer in 2001, he designed cars for the Fiat and Alfa Romeo brands at Centro Stile Fiat, where he honed his precise yet spontaneous fast-sketching technique using a pen or marker on paper.

Each monochromatic piece measures 40mm in diameter and 6.4mm thick, in keeping with Octo Finissimo’s ultra-thin theme.
Bulgari

In 2014, he re-envisioned Gérald Genta’s Octo design with the goal of creating the world’s thinnest mechanical watch. The resulting Octo Finissimo line went on to set nine ultra-thin records, including a number of complications, such as the world’s slimmest tourbillon, minute repeater, automatic chronograph, and perpetual calendar. In 2022 it went to extremes with the futuristic Ultra, measuring just 1.80mm thick. (Ultra was ultimately bested in 2022 by Richard Mille’s UP-01 Ferrari at 1.75mm thick.)

Such accomplishments represented daunting technical feats that brought Buonamassa Stigliani’s sketches into reality. When Bulgari acquired the Gérald Genta and Daniel Roth brands in 2000, it also secured the technical know-how to create such record-breaking ultra-thin watches. (LVMH acquired Bulgari in 2011 and has relaunched the Genta and Roth brands separately.)

Bulgari’s Sketch series pays homage to the importance of hand-drawn renderings in art history. Since the Renaissance, Italian artists kept their schizzi (sketches) for their students and their archives as references to use in the quest to improve upon an original design.

“Call us optimists. Call us dreamers. Call us whatever the hell you want, but we’re betting on people, and we like those odds. The future is for everyone.”

That ad copy is from the voice-over of a July Meta Platforms META -3.38%.

spot that’s been part of a public-relations blitz to position Meta as the humanist AI company. The message was undercut by the ad’s inclusion of David Bowie’s “Five Years,” a brooding 1972 song about an impending apocalypse. But this week CEO Mark Zuckerberg left no ambiguity, publishing a 6,500-word manifesto—about 10 times the length of this newsletter—with a title that echoed the ad: “The Future is for Everyone.”

That seems to be Meta’s new tagline. In light of sinking public opinion and the company’s thousands of lawsuits from states, school districts, parents, and users, Meta’s public relations have been defensive. This push represents a return to offense, with a chance to distinguish Meta’s approach to AI from other labs like OpenAI, Anthropic, or SpaceX SPCX +9.65%.

“It is surprising that the discourse from many developing AI is so filled with doom,” Zuckerberg wrote. “I do not understand why anyone who believes that AI will eliminate most jobs and much of humanity’s relevance would rush to build that future.”

Zuckerberg frames what sort of future we build with AI as the central issue of our time. “We believe that delivering superintelligence to everyone is the way to answer this question,” he says. “This has the potential to begin a new era of personal empowerment where individuals can use this powerful new capability to reach their full potential, pursue their interests, and improve their lives and the world more than ever before.”

The flood of words belies the situation on the ground in mid-2026. Americans, at least, have a love-hate affair with social media. A November Pew Research Center poll reported that 71% of U.S. adults used Facebook, and 51% used Instagram. Worldwide, 3.6 billion people use at least one Meta app every day.

But in a Reuters/Ipsos poll conducted in July and August, 61% of respondents said they wanted more government oversight of social media, and two-thirds supported laws to keep children under 16 years old off the platforms. When it comes to Meta in particular, in the 2026 Axios Harris 100, an annual poll about corporate reputation, Meta placed 96th out of 100. It’s only above two other social media companies, Chinese ultracheap retailer Temu, and Spirit Airlines, a defunct air carrier. Regarding ethics, Meta came in last, and it was only ahead of TikTok in trust.

The steady drip of headlines in the teen social media trials isn’t helping. Last week, Meta lost a judgment in New Mexico state court that raised their liability in that relatively small jurisdiction to nearly $1 billion dollars. On Wednesday, jury selection began for a federal case with four states suing Meta over addictive product design, and false marketing that said its platforms were safe for teenagers. In July, Meta claimed that the states are asking for a total of $1.4 trillion in damages, in addition to design changes in the apps. This is part of a multidistrict litigation, where thousands of federal trials with social media defendants are coordinated in Judge Yvonne Gonzalez Rogers’ district courthouse in Oakland, Calif.

There is a separate such group of thousands of cases in California state court, mostly with individual plaintiffs. The steady drip of bad headlines from the courts will continue unless Meta decides to settle en masse.

Meanwhile, in the second quarter, Meta booked “$2.40 billion of charges related to legal proceedings,” according to its quarterly filing. That may be just the beginning.

Zuckerberg spent 6,500 words getting his utopian message out, but I can sum it up in two: Trust us. The evidence is that Meta has a long way to go to win back that trust.

Bulgari’s Latest ‘Sketched’ Watches Are Drawing Attention

Meta is betting on a human-first AI future, but growing legal battles and declining public trust are putting Mark Zuckerberg’s vision to the test.