The Octo Finissimo Lee Ufan x Bvlgari represents something extraordinary in contemporary horology – a timepiece that transcends the conventional boundaries between watchmaking and fine art. Limited to just 150 pieces, this collaboration between Bvlgari and the Korean-born, Japan-based artist Lee Ufan exemplifies the Maison’s remarkable ability to transform its signature ultra-thin architecture into a canvas for philosophical contemplation.
A Lineage of Artistic Achievement
The Octo Finissimo collection has established itself as the preeminent platform for horological artistry since its inception in 2014. Beginning in size from the groundbreaking Octo Finissimo Tourbillon, which set a world record at just 1.85mm thick, the collection has systematically redefined what is possible in ultra-thin watchmaking whilst maintaining space for creative expression.
The artistic journey of the Octo Finissimo began in earnest with the 2020 collaboration with Japanese architect Tadao Ando, who created a watch in black ceramic with his signature etched on the transparent caseback. Laurent Grasso followed in 2024 with his exploration of celestial phenomena, utilising screen-printing with metallic pigments to create an otherworldly “cloud” effect on the dial. The Octo Finissimo Sketch collection, meanwhile, featured the intimate mechanics drawn by Fabrizio Buonamassa Stigliani himself, transforming technical drawings into wearable art. Each of these collaborations has demonstrated the versatility of the octagonal case – its architectural form, inspired by the Basilica of Maxentius in Rome, provides sufficient visual weight to support bold artistic interventions whilst maintaining the collection’s distinctive identity.
Reflections of Infinity
At the heart of this collaboration lies Lee Ufan’s masterful interpretation of the mirror dial. The artist, renowned for his exploration of the relationship between consciousness, nature, and the universe, has created a timepiece that embodies one of his central philosophical themes: the contrast between the finite and the infinite.
The mirrored dial surface achieves something rarely seen in contemporary watchmaking – a complete absence of traditional decorative elements. There are no guilloché patterns, no applied indices beyond the essential hour markers, no date aperture to interrupt the contemplative plane. Instead, the dial becomes a pool of reflection, its surface achieved through a meticulous polishing process that creates what can only be described as liquid mercury captured within titanium walls.
The technique employed here builds upon centuries of mirror polishing traditions in horology, yet pushes the concept to its philosophical extreme. Unlike the black polish techniques used in fine movement decoration, where surfaces are brought to mirror-like reflectivity through progressively finer diamond pastes, the Ufan dial employs a different approach entirely. The surface appears to have been vapour-deposited or achieved through specialised titanium treatment, creating a reflective plane that captures and refracts light with unusual depth.
The hands, finished in black to provide the necessary contrast for legibility but a cohesive interpreation of time, seem to float above this reflective surface rather than interrupt it. Their simple skeletonised form speaks to the minimalist aesthetic whilst ensuring the watch remains functionally readable – a crucial consideration that many artistic timepieces sacrifice in pursuit of visual impact.
The BVL 138: Mechanical Poetry in Motion
Beneath this contemplative surface beats the BVL 138 manufacture calibre, a movement that represents Bvlgari’s mastery of ultra-thin automatic watchmaking. At just 2.23mm thick, this self-winding movement employs a platinum micro-rotor positioned off-centre, with the balance wheel visible at 7:30.
The technical achievement of the BVL 138 cannot be overstated. Creating an automatic movement of this thickness requires fundamental rethinking of traditional architecture. The micro-rotor, crafted from platinum for optimal winding efficiency despite its diminutive size, is entirely integrated within the movement’s height rather than sitting atop it as conventional automatic systems do
The movement’s decoration follows traditional Swiss protocols whilst acknowledging the spatial constraints imposed by ultra-thin architecture. Côtes de Genève finishing adorns the visible surfaces, whilst perlage treatment provides the characteristic circular graining on appropriate components. Chamfering, the precise 45-degree bevelling of edges, adds visual depth and demonstrates the hand-finishing that distinguishes manufacture-grade movements.
The 60-hour power reserve represents another technical triumph. Achieving this level of energy storage within such spatial constraints requires sophisticated barrel design and optimised gear trains. The movement operates at 21,600 vibrations per hour (3Hz), a frequency chosen to balance accuracy with power consumption in this ultra-thin format.
The Titanium Canvas: Material as Medium
The case and integrated bracelet showcase Bvlgari‘s extraordinary facility with titanium finishing. The 40mm octagonal case, measuring just 5.5mm in height, demonstrates how the material can be manipulated to achieve entirely different surface qualities across its various facets.
The hand-filed titanium case body receives a unique surface treatment that creates visual and tactile contrast with the polished stainless steel bezel. This juxtaposition of finishes, the soft, almost organic texture of the treated titanium against the mirror-bright steel, reinforces Ufan’s artistic concept of contrasting elements finding harmony.
Titanium presents particular challenges for surface finishing. Unlike steel, which responds predictably to traditional polishing techniques, titanium’s molecular structure requires specialised approaches. The “galling” tendency of titanium, its propensity to stick to cutting tools and develop an uneven “orange peel” surface during conventional polishing – demands careful control of cutting fluids, temperatures, and technique.
The hand-filed technique employed here represents an almost prehistoric approach to metalworking, yet one that allows for nuanced surface texturing impossible to achieve through machine processes. Each case undergoes individual treatment, ensuring that no two pieces are identical, a manufacturing approach that would be economically impossible for mass production but entirely appropriate for a 150-piece artistic edition.
The integrated bracelet continues this surface treatment philosophy, creating visual continuity between case and bracelet that reinforces the watch’s architectural integrity. The folding clasp, integrated rather than applied, demonstrates the technical sophistication required to maintain the slim profile across all elements of the watch.
Lee Ufan: Philosophy Made Tangible
Understanding Lee Ufan’s artistic philosophy proves essential to appreciating this horological collaboration. Born in Korea in 1936 and relocating to Japan in 1956, Ufan became a central figure in the Mono-ha (School of Things) movement of the late 1960s.
Mono-ha rejected Western notions of artistic representation, instead focusing on the relationships between materials and the spaces they occupy. Ufan’s sculptures typically employed minimal intervention – placing a stone upon a mirror, allowing glass to crack under the weight of placed objects, or positioning industrial materials in dialogue with natural elements.
The philosophical underpinning of Ufan’s work draws from both Eastern and Western thought. His studies in philosophy at Nihon University included engagement with Martin Heidegger’s concept of Dasein, the interconnectedness of all things, as well as Japanese philosopher Nishida Kitarō’s exploration of mu (nothingness). This synthesis creates art that exists not as object but as mediator between observer and infinite space.
In the Octo Finissimo collaboration, Ufan’s signature theme of stone and mirror finds perfect expression. The titanium case represents the stone: static, finite, providing boundary and form. The mirrored dial embodies infinite reflection, suggesting depth beyond the physical constraints of the watch case. The relationship between these elements creates what Ufan describes as “open dimension”: space for perpetual dialogue between object and observer.
The artist’s handwritten signature on the caseback transforms each watch from industrial product to artwork. This personalisation echoes traditional Japanese and Korean artistic practices where the maker’s mark becomes integral to the object’s meaning and value.
Wearability and Daily Interaction
Despite its artistic aspirations, the Octo Finissimo Lee Ufan x Bvlgari succeeds as a daily-wear timepiece. The 5.5mm case thickness creates a presence on the wrist that feels substantial yet never intrusive. The octagonal form, with its distinctive faceted edges, provides visual interest from every angle whilst the titanium construction keeps overall weight manageable.
The integrated bracelet demonstrates how artistic vision can enhance rather than compromise ergonomics. The continuity of design from case to bracelet eliminates the visual break that often occurs with interchangeable straps, creating a seamless flow that enhances the watch’s architectural character.
The mirrored dial, whilst unconventional, provides surprising legibility. The black hands create sufficient contrast for time reading, whilst the absence of traditional dial furniture eliminates visual clutter. The watch becomes an exercise in essential timekeeping: hours, minutes, and small seconds, nothing extraneous to interrupt the contemplative surface.
The 30-metre water resistance, whilst modest by contemporary sports watch standards, proves entirely adequate for daily wear. This is not a watch intended for aquatic adventures but rather for those moments when time itself becomes worthy of contemplation.
Time as Artistic Medium
This collaboration represents the culmination of Bvlgari‘s decade-long exploration of artistic partnerships within the Octo Finissimo platform. The Maison’s ability to maintain technical excellence whilst accommodating radical creative visions demonstrates a level of manufacturing flexibility rarely seen in contemporary Swiss watchmaking.
The Octo Finissimo Lee Ufan x Bvlgari succeeds on multiple levels: as technical achievement, artistic statement, and wearable timepiece. It demonstrates how contemporary watchmaking can serve as vehicle for philosophical expression whilst maintaining the fundamental requirements of accurate timekeeping and daily utility. Ufan’s contribution transforms the watch from object into meditation aid, creating a timepiece that invites contemplation of time’s passage rather than its mere measurement. The collaboration reveals new possibilities for artistic expression within mechanical watchmaking, suggesting directions that honour traditional craft skills whilst embracing contemporary creative vision.
Priced at €22,000.00 and limited to 150 pieces, this represents both accessible artistry and exclusive collecting opportunity. The watch offers entry into Ufan’s artistic philosophy for collectors who might never own one of his major sculptural works, whilst providing serious horological content for enthusiasts who demand technical substance alongside aesthetic innovation. Bvlgari‘s continued exploration of artistic collaboration within the Octo Finissimo platform positions the Maison as perhaps the most adventurous of the major Swiss manufacturers. Their willingness to cede creative control to external artists whilst maintaining manufacturing excellence creates possibilities for horological expression that simply do not exist elsewhere in contemporary watchmaking. The Lee Ufan collaboration stands as compelling evidence of what becomes possible when technical mastery meets genuine artistic vision.
Octo Finissimo Lee Ufan x Bvlgari Technical Specifications
Ref. 104132 – CHF 18,900 / €22,000.00 Including Taxes, Limited to 150 pieces – Soldout
Functions
- Hours, minutes and small seconds.
Movement
- Calibre BVL 138
- manufacture automatic winding ultra-thin movement with micro-rotor
- Diameter: 36.60
- Thickness: 2,23 mm
- Jewels: 36
- Frequency: 21’600 VpH (3Hz)
- Power Reserve: 60-hours
- Finishes: Côtes de Genève, chamfering and Perlage finishing.
Case
- 40 mm hand filed titanium case body (5,5 mm thin)
- Stainless-steel sunray-polished bezel.
- Transparent case back personalized with Lee Ufan’s signature and quantity limitation of 150 marking.
- Sandblasted titanium crown with black ceramic insert.
- Water Resistance: 3 ATM.
Dial
- Mirroring effect dial.
Bracelet
- Hand filed titanium bracelet with integrated folding buckle.
